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CHRISTINE McGUINNESS has revealed she is closer than ever to Paddy – even though their marriage ended four years ago.

In fact, the former model claims Paddy has even checked out the women she is dating, branding herself a “five star lesbian” in her most revealing interview to date.

Mum-of-three Christine, 38, who finalised her divorce from ex-Top Gear host Paddy, 52, in 2024, spoke of her decision to date men and women last year.

And, with the pair still living under the same roof as their three children in leafy Cheshire while they wait for it to sell, she says Paddy is fully supportive of her choice,

But now she is looking to the future — and plans to have a woman by her side as a life partner.

“I would love to have a wife one day,” Christine explains on new podcast It Started With A Kiss out today.

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“Not like a legalised marriage, but like a blessing, a celebration of love.

“I’ve been there, done it, spent an absolute fortune and probably aged about ten years throughout it all.

“I don’t want to do that again.

“I would love to just be saying, ‘This is my wife.’”

Christine’s unusual set-up with Paddy means the pair juggle dating outside of the home.

“I love a double life,” Christine added.

“It’s ideal for me because I don’t want to bring somebody into my personal life too quick.

“I like the separate life.

“My family, my kids, my home is up there, then I come to London, step off that train and I can work, have fun, sleep in and I don’t need to worry about everything.”

It is the freedom of Christine’s new lifestyle, and the support of Paddy, which she says has allowed her to start again.

Although her openness with Paddy may shock some.

On the podcast Christine is asked: “Are you showing him pictures like, ‘Oh look at her, she’s fit. What do you think of her?’

And Christine tells the hosts Amy Spalding and Gareth Valentino: “There’s times where we have, yeah.”

For now Christine insists she is still dipping her toes into the dating pond and has yet to properly settle down.

“I’m just seeing how things go, just figuring it out.

“I’m trying to not plan too far ahead,” she explains.

“I’ve dabbled in people who are in the industry.

“I’ve been trying to think what really works better.

“I quite like that people that aren’t in it are usually a bit more . . .  they’re happy to just take it slow and they understand that I don’t want to just put you on Instagram the next day because of my work and everything.

“So that’s usually quite nice.

“But I tend to just meet people out and about, at events and stuff.

“I’m quite lucky that I mix in circles with a lot of gay, bi, pansexuals.

“I’ve never gone too serious with anybody in the industry, it’s always been more of a fun fling type thing.

“I’ve spent time with a lot of women in sport.

“I’ve spent time with women in music.

“I’ve spent time with actresses.

“With me, I can panic and I can pause if I think of the future too much.

“So I’m just trying to enjoy the now.

“Enjoy the moment.”

Christine chose to speak about wanting to date men and women after signing up to E4 TV series Celebs Go Dating in April last year.

It came after Christine and Paddy announced their separation in 2022.

At the time, the pair released the news in a joint statement and said: “A while ago we took the difficult decision to separate but our main focus as always is to continue loving and supporting our children.

“This was not an easy decision to make but we’re moving forward as the best parents we can be for our three beautiful children.

“We’ll always be a loving family, we still have a great relationship and still live happily in our family home together.”

The couple first crossed paths in 2007 at the Liverpool International Tennis Tournament when Christine was working as a model for boutique shop Cricket.

Months later they started dating and in June 2011 they married at Thornton Manor in Cheshire.

After being married for just over a decade, Christine said it was her late diagnosis with autism that gave her the courage to admit their marriage was not working.

She documented her diagnosis in a BBC documentary, Unmasking My Autism, in 2023 and said at the time: “Starting life on my own is scary, I struggle making decisions.

“I was only 19 when I met Patrick and for the last 15 years my role has been wife and mum.

“When I was diagnosed, I set out on a journey to find out who I was.

“I have separated from my husband in the process, I’m shedding my old identity and finding out who I am.

“I’ve only ever had this one man in my life, I don’t know what it is like to date.

“I can’t imagine being single or with another man.

“But I’m going into a new chapter on my own which is petrifying for someone who doesn’t like change.”

Two years later, she started to date both men and women and now says she has found her type.

“I’m a sucker for a stud and a masc,” Christine explained, suggesting she prefers more masculine women.

“I swear they come for me.

“This one date, well, it wasn’t a date, it was when I did the whole hotel thing and not the whole date thing.

“Because I didn’t want to ever just meet someone and it just be sex, but then kind of did find myself in a place in life where I was like, ‘Do you know what? I actually do just want to do that.’

“I’ve been married, I’ve had situationships, I was single, I was celibate for six months, and with all of that, I just had a moment of, ‘Do you know what, I wouldn’t mind just meeting up with someone and just seeing how it goes.’

“So I got to this hotel and I’m thinking, ‘This is just sex, it’s fine.’

“She was very, very beautiful, like that perfect, pretty, handsome, like masc stud type woman, really gorgeous, dark skin, like she had everything.”

Christine adds: “We’re just chatting away and she said that she was a Gold Star Lesbian.

“So I’m like, love that, love a Gold Star Lesbian.

“I went, ‘Stop . . .  because you might be a Gold Star Lesbian, but I’m a Five Star Lesbian.’”

Of her first kiss, Christine is just as open, saying: “The first time I kissed a woman, again after my husband and no disrespect to him, it had been a while.

“I remember that first kiss just being so soft and so nice and so feminine.

“I knew I always felt it and it wasn’t something that I was worried about never doing again because when I married, I married for life, genuinely.

“But I was really happy that I was doing it again.

“And I’m really happy that now I am dating women again and that I am having fun.

“I’ve got some of the best stories, some of the wildest memories, like the craziest experiences that only I and one other person would ever know.”

During the episode of It Started With A Kiss, Christine said she has drawn the line at introducing a partner to her children early.

Joking that women in same sex relationships move forward quicker when it comes to love, Christine says: “It’s two weeks and you’re moving in, you’ve got a cat and a flat . . .

“For us two, if we ever end up in something where it progresses and it turns into a relationship and then they want to live with you or whatever.

“I don’t want any more children because a lot of the women that I meet usually don’t have children and they want children, whereas I’ve had them.

“So that’s something that I try to be honest about at the beginning to anybody that I’m even talking to.”

Of settling down for good, Christine says neither she or Paddy are in a rush.

She adds: “We know it’s going to take a while because we’ve got children.

“Going back home, we both kind of get that reality check of we can’t just go and move in with somebody just yet.

“But we’ll talk, we’ll have a laugh, we don’t go into too much detail about anything.”

• Christine’s full interview on It Started With A Kiss is available on YouTube and all podcast platforms now

SHE became the youngest ever Bond girl at 21 – and Gemma Arterton thinks one reason she landed the role as MI6 agent Strawberry Fields is because she teased 5ft 10in Daniel Craig about his height at the audition.

Now 40, the actress recalls how she had been relaxed about applying for the part in Quantum Of Solace because she did not realise quite how huge the 007 films were — and just tried out for “fun”.

Talking about Daniel, 58, who played Bond for 15 years, she says: “He’s got his sense of humour, so that was good.

“I used to poke him a bit, like, I think that’s why I got the job.

“I did a screen test with him and I came on set and said, ‘Hi’, and he said, ‘Hi’. I said, ‘You’re not as tall as I thought you would be in real life’.

“He said, ‘That’s really nice of you to say so’. I was joking with him. I didn’t think I’d get it.”

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After she landed the part, Gemma — who is 5ft 7in — says Daniel had to use height-boosting shoes for a few scenes when she was ­wearing stilettos.

Gemma, whose parents split when she was young, grew up on a Kent council estate with her mum Sally-Anne, a cleaner, and younger sister Hannah.

She said at the 2024 Marrakech International Film Festival: “I knew nothing about the Bond legacy because I grew up in an all-female household where we didn’t really watch movies.

“I literally didn’t know how big James Bond was, which sounds ridiculous because everyone else does. The ­surprise of how big it was — I couldn’t believe it.

“I auditioned for it because my agent told me to, not expecting to get it, and got it and just did it because it was fun.

“But I had an amazing time making it and it was huge. I had no idea what I was letting myself in for.

“We went on all these amazing locations. I had just left drama school, it was one of my first jobs, and it was the first time I was on a big film set.”

Now, Gemma is about to appear in another spy thriller — but this time she will take on the lead role in new ITV crime drama Secret Service, which starts tomorrow night.

She plays Kate Henderson, who balances being a suburban married mother of two teenagers with secretly being a senior MI6 operative and heading the Russian desk at the intelligence service.

It is based on the book of the same name by ITV newsreader Tom Bradby.

Gemma says: “She trains spies and finds out some very important information, which is that there is a Russian spy within the British government.

“Her mission is to find out, by hook or by crook, who that is. It’s really gripping. It’s edge-of-your-seat stuff.”

For this role, Gemma did plenty of research and, with writer Tom’s help, she even met a real-life spy to perfect the part.

She told ITV’s This Morning: “I was lucky enough to meet someone who could advise me on how they negotiate their lives and live day to day — you know, their family and their kids.

“There’s a scene where I tell my kids what I do and they don’t believe me, they laugh it off. And that came from this ­previous spy and what happened when he told his daughter and she thought, ‘You’re joking’.

“But it was invaluable to me because it’s not just the high-stakes lives they live, it’s about the attributes they have to be a spy, which are very specific — very risk averse, good at problem solving.”

Gemma has been acting since she was a teenager and was 16 when she first considered it as a career.

She says: “I come from a humble family. My father was a metal worker, my mother is a cleaner, and not involved in the arts in any way.

“I always liked performing and showing off. I didn’t know that acting was a profession really until I was about 16 and I was doing a lot of amateur dramatics as a hobby.

“There was a lady there who said, ‘You should go to college to study acting’.

“I thought, ‘OK let’s see what happens’. Then I saw Breaking Away and Dancing In The Dark and I was inspired.

“That’s when I realised I would like to give it a go.”

She first broke through with comedy film St Trinian’s in 2007, followed by Quantum Of Solace a year later.

Since then, she has made more than 30 films, including 2018’s Vita & Virginia, in which she played author Vita Sackville-West, who had a romantic ­relationship with fellow writer Virginia Woolf.

Talking about why she left Hollywood films behind to make more independent movies, Gemma says: “I think at the time it was very different in the industry to how it is now for women.

“In those films — not the Bond film. I had a really good time making that film, but the other ones — I didn’t feel very empowered.

“I didn’t feel like I had a voice and I didn’t feel comfortable. I always felt good doing independent films.

“My taste is that as well. I like independent film, it’s my passion. Usually, the stories are better and the characters are stronger and I felt like I had a voice on set.”

Films such as Byzantium, The Voices, Their Finest and The Disappearance Of Alice Creed followed, alongside performing with the Royal Shakespeare Company and starring in stage productions such as Nell Gwynn, which won her an Olivier Award in 2016.

On the Dish podcast, Gemma told how, when she starred in The Little Dog Laughed at London’s Garrick Theatre in 2010 with Tamsin Greig, Rupert Friend and Harry Lloyd, they had a novel way to try to dispel their nerves.
Laughing, she said: “We used to play this game called bum slap.

“We’d be on stage before the audience came in, obviously, and you have to run around and smack each other’s bum.

“Basically, you have to smack as many bums as you can. And it was the best warm-up ever because you were all loosey goosey.

“I think I’d rather do bum slap than any of the old acting rituals.”

Gemma loves working in Britain because she gets to perform different accents.

She said: “I do enjoy a Liverpool, that melting pot of accents that is Lancashire, Manchester and Blackburn, it’s insane.”

Gemma herself had a Cockney accent before gaining her scholarship to the Royal Academy Of Dramatic Art, where it “softened up a bit”.
London is now her home, but her mum still lives in Gravesend — and now does watch films, thanks to her famous daughter.

Gemma says: “She’s grand, she’s living the life. She’s down in Kent where I grew up, the same home — I paid off the mortgage.

“I think she does eventually watch my shows. She takes her time and needs to watch them with the subtitles on, maybe to absorb them.

“She’s very honest. She’ll say, ‘Why did you do that? You sold out there’.”

Gemma has her own family now, too — son Theo, three, and a baby boy whose name she has not revealed — with her husband, Peaky Blinders actor Rory Keenan, who she married in 2019.

They do not live a showbiz life, but he is supportive of her work.

Gemma says: “My family life is my world now, whereas before it was work.

“It’s made me hyper-focused on what I do want to do.

“Before, it was like, ‘I will do that with that director or that actor I like’, even though it wasn’t the best thing for me.

“But now it’s made me really specific about what I want to do, because if I’m going to be away from them, which I inevitably will, it’s hard.

“But if I’m in it and enjoy the work, then it’s OK.”

Timeline of James Bond actors

Over the years there have been seven actors who have played 007.

The first ever James Bond film was in 1962, and this is who has played the lead role over the years:

• Sean Connery – The late star was the first ever actor to play Bond, and reprised the role for seven movies.
• George Lazenby – The star only played Bond once, but was the youngest actor to ever play the spy.
• Roger Moore – The late movie star spent 12 years making seven films in the famous franchise.
• Timothy Dalton – The smooth actor took over from Roger Moore and appeared in The Living Daylights and Licence to Kill.
• Pierce Brosnan – The handsome star played Bond for four movies from 1995 to 2002.
• Daniel Craig – The British star was the first blonde James Bond and the sixth actor to win the role in 2005.

STRUTTING the red carpet at The Devil Wears Prada 2 premiere, dazzling Anne Hathaway was like a different woman.

Gone was the so-called “in-authentic” air that critics once claimed she exuded, leading to her being branded “Hollywood’s most hated woman”.

Instead, more than a decade after the trolling began, 43-year-old Anne appeared determined to shake off her difficult reputation once and for all.

Not so long ago, it could be argued she was best known for snapping at interviewers, snubbing fans and even, it is claimed, rubbing some co-stars up the wrong way.

A campaign known as “Hathahate” had kicked off in 2011, when Anne was panned for her Oscars hosting performance with James Franco.

Two years later, as she picked up awards for playing Fantine in the 2012 film adaptation of Les Miserables, her acceptance speeches were widely dubbed overly dramatic and insincere.

The hate spiralled from there. But Anne, who wore a sexy, cutaway Versace gown to The Devil Wears Prada 2 premiere, appeared to be launching a charm offensive as she flashed her Hollywood smile at the paparazzi in Leicester Square on Wednesday night.

Her shiny, orchestrated comeback was almost derailed this week when she was accused of “playing Muslim” by casually dropping “Inshallah” — the Arabic phrase for God Willing — into an interview.

The online hatemongers immediately went into overdrive.

In the viral interview with People magazine, Anne — who has been married to jewellery designer Adam Shulman since 2012 and has two sons with him — was asked about her plans for the future.

Without hesitation, she responded: “I want to have a long, healthy life. Inshallah, I hope so.”

While the phrase is widely used, Anne’s decision to say it has sparked debate.

One person questioned: “Is she playing Muslim now?”, while another moaned: “Anne Hathaway and her Inshallah clickbait make me not want to see Devil Wears Prada 2 and I had been looking forward to it.

“It’s not a religious thing. It’s the obvious clickbait as a marketing tactic. It’s insulting.”

As she signed autographs at the premiere in London this week, Anne was gifted a copy of the Qur’an, an Islamic religious text.

She replied: “Thank you so much. That’s very kind,” before moving on.

But insiders tell us that drama over her use of the word “Inshallah” is the last thing she would have wanted.

A source revealed: “Anne, like many people, uses that expression all the time and meant no offence.

“She has spent years stepping on eggshells and she just wants this press run to be smooth sailing without everyone hating her again.”

Anne’s every move has not always been so heavily scrutinised.

She has spent years stepping on eggshells and she just wants this press run to be smooth sailing without everyone hating her again

Source

Her breakthrough role as Mia Thermopolis in the 2001 Disney hit The Princess Diaries is still a fans’ favourite and later, she was revered by her peers following roles in the likes of Brokeback Mountain and The Devil Wears Prada.

But then the tide turned. In an interview with Vanity Fair in 2024, she revealed that she once Googled herself and the top article was titled, “Why does everyone hate Anne Hathaway?”.

She claimed the backlash affected her work, telling the magazine: “A lot of people wouldn’t give me roles because they were so concerned about how toxic my identity had become online.”

According to an LA-based source who has worked with Anne in the past, interactions with her can be tricky, and her mood depends on whether people are in or out of her favour.

They said: “The thing with Annie is, if she likes you, you’re golden.

“If she doesn’t, you’ll know about it fast. A lot of people complain about her attitude. She often comes across as frosty because she is so focused on work and she can’t stand time-wasters.

“After all, there are not many Hollywood actresses who take their work so seriously they would shave all their hair off just a couple of months before their wedding, like she did for Les Miserables.

“When Annie is in that mode, the advice is usually to steer well clear.”

Anne was born in Brooklyn, New York, to stage actress mum Kate and lawyer father Gerald.

She says she knew she wanted to be a star aged three after watching Kate play Eva Peron in Evita.

By eight, Anne was obsessed with becoming an actress, further inspired by her mother playing Fantine in a US tour of Les Miserables — a role Anne later portrayed on the big screen.

She has previously told how she got an agent at 11 and landed her first major TV role at 16 in comedy drama Get Real.

Anne had starred in a string of movies before her 2011 Oscars debacle, which followed a plan to team her with co-host James Franco in a bid to pull in younger viewers.

‘Needed a break’

It backfired spectacularly and their lack of chemistry was widely mocked, as was Anne for having eight outfit changes.

Afterwards, Anne admitted she was “slightly manic and hyper-cheerleadery on-screen”.

Meanwhile, Franco, who stepped away from the spotlight after settling a $2.2million class action sexual misconduct lawsuit in 2021, said: “I think the Tasmanian Devil would look stoned standing next to Anne Hathaway.”

From then on, Anne’s reputation for being difficult grew.

Much of the criticism was ridiculous and unfounded.

Comic book fans even moaned when she was cast as Catwoman in Christopher Nolan’s The Dark Knight Rises because they did not think she was sexy enough.

But other complaints seemed to hold more weight. In a 2012 interview, which resurfaced and went viral in 2024, journalist Kjersti Flaa called her “dismissive” for providing short, unenthusiastic answers during a Les Mis press day.

When asked, “Do you believe people loved more passionately back then?” and, “Do you remember your first crush?”, the star bluntly replied, “No”.

Anne followed up with an apology to Kjersti for being so curt, attributing her behaviour to personal circumstances.

The actress went on to win a slew of awards for her performance in Les Mis, including an Oscar, a Bafta and a Golden Globe. But her acceptance speeches were criticised for being too rehearsed or self-absorbed.

Following her Golden Globes victory, Anne said: “Thank you for this lovely blunt object that I will forevermore use as a weapon against self-doubt.”

Later, she was accused by many on Twitter of putting on “The Anne Show”. Amid the fierce backlash, she stepped away from the public eye, and said in 2014: “My impression is that people needed a break from me.”

Curt answers

By 2022 the actress was back, in movie Armageddon Time, but was yet again called out online over a video of her refusing to pose for photos with fans as she left a Valentino fashion show.

Other clips included a red carpet chat in which Anne was asked what Vogue editor Anna Wintour — the inspiration for The Devil Wears Prada’s fictional magazine editor Miranda Priestly — had said about the movie.

The actress first appeared frosty as she retorted, “Why would I tell you?”, before laughing raucously.

When the interviewer pressed, “Because I’m a fan and I need to know”, Anne said, “I know, but you weren’t there”, followed by another cackle — leading to claims she was trying to pass her curt answers off as banter.

The original Devil Wears Prada was an overnight success when it was released in 2006, and saw fans obsessed with Meryl Streep’s character Miranda Priestly — the editor of fictional magazine Runway.

The sequel centres on Miranda navigating the decline of traditional print media as she finds herself at odds with former assistant Emily Charlton, played by Emily Blunt, now a powerful executive at a luxury group controlling crucial advertising revenue.

I think the Tasmanian Devil would look stoned standing next to Anne Hathaway

James Franco

Andy Sachs, played by Anne, is a features editor who reunites with Miranda in an attempt to save Runway.

As the stars hit the red carpet on Wednesday night, Anne exuded a glow that bore no resemblance to her frosty past demeanour.

She smiled for fans and appeared gracious when stopping to chat to press on the red carpet — desperate to prove she was more darling than devil.

But as mixed reviews of the trailer for The Devil Wears Prada 2 flood in before the full movie even hits cinemas, has Anne done enough to silence the Hathahaters?

Maybe it’s better the devil you know

By Dulcie Pearce, The Sun’s film critic

IT’S been 20 years since they bitched, backstabbed and brought the house down in feisty fashion film The Devil Wears Prada.

During that time, the much-loved comedy has become a cultural reference, with the characters becoming household names.

But after two decades, has The Devil Wears Prada 2 lost its bite?

Well, one thing is for sure, the cast of Anne Hathaway, Meryl Streep, Emily Blunt and Stanley Tucci have clearly found the formula for time travel, as they all look younger than they did in 2006.

Taking to the very red carpet at the European premiere in Leicester Square on Wednesday night, the foursome eradicated wrinkles and turned up their smile wattage to ultra.

They also, clearly, had to get on board with the film’s “partners” Diet Coke, with three-time Oscar-winner Streep’s outfit – red, white and black with a metallic sheen – looking like it was inspired by a can of the sugar-free pop.

Those attending were all given their own DC to sip on, too, and I don’t think it’s a spoiler to say that it’s the beverage of choice for characters throughout the film.

Audiences seeing early showings of the much-anticipated sequel also signed paperwork ensuring the film cannot be reviewed until a day and a half before it hits cinemas on Friday, May 1.

So no one is giving much away, with red carpet responses being, “It was so much fun” from Hathaway, and Streep saying: “This is a fun fashion movie. There’s a lot of music; there’s a lot of laughs.”

It hasn’t gone unnoticed that, as part of the excessive publicity campaign, Streep has joined forces with Vogue editor-in-chief Anna Wintour, who her character, Miranda Priestly, is based on.

The pair cosied up together on the cover of this month’s Vogue magazine, which is a huge contrast to the first film, which Wintour had nothing to do with.

So much so, designers and fashion figures were scared to be linked with the movie in case they offended her.

Streep recalls in the Vogue interview: “Everybody was afraid of Anna on the first one, so we couldn’t find any clothes.”

Fans fear the film has hung up its devil horns and slipped on some heavily branded wings.

AFTER literally breaking the scales, Alison Hammond has spent recent years vehemently denying fat jabs helped her to shed 13st. 

And we can reveal her astonishing weight loss is actually the result of an adventurous gym routine, a toyboy boyfriend and a £2.85 supermarket secret.  

A close pal said: “Alison was mortified when she stepped on the scales in 2020 and her weight was so high the sensor broke. 

“It stopped at anything over 29st, so she has no idea exactly how much she weighed back then. 

“It was a real wake-up call and she began a strict diet that day. 

“People are constantly accusing her of cheating and saying that she’s on fat jabs, but she’s not.

“They weren’t even around then.”  

Instead, the Great British Bake Off host, 51, has been munching on Itsu crispy seaweed thins — with just 24 calories in a pack.  

Her mate added: “When shoppers see her in Tesco the trolley is usually packed high with boxes of Itsu seaweed snacks.

“She eats about four packs a day.

“Instead of toffees she’s addicted to seaweed.” 

It is a far cry from the terrifying moment a few years ago that kickstarted her bid to get healthy. 

The scale shock prompted her to visit the doctor, who confirmed she was prediabetic and needed to slim down or face an early death. 

Being prediabetic — the point where your blood sugar is higher than normal but not high enough yet to be diabetic — genuinely terrified her as it can bring serious health problems.  

Following her doctor’s grave warning in November 2020, and in a desperate bid to reverse her diagnosis, the popular This Morning host made a plea to viewers live on air.  

Begging for help 

“I need some help,” she said bravely.

“I’ve really got to change my ways, if you guys see me out there buying sweets or chocolates, please I’m begging you, I’m not allowed to have it. 

“It’s serious now.”  

Viewers were quick to react, messaging the show in their droves with supportive comments and sharing their own struggles too.  

I thought, ‘I have to be an adult about this’. The sweets had to stop and the fatty foods.

Alison of changing her life

“Ali knew she was morbidly obese and was genuinely concerned that she was going to die,” says her pal.

“But the encouragement from viewers really touched her.

“It inspired her to make changes.” 

She previously said that her mother Maria, who died in January 2020 from lung and liver cancer, influenced her decision to overhaul her lifestyle. 

“My mum had type 2 diabetes,” she said.

“She was worried for me, so when I then found out I was prediabetic, that was frightening.  

“I thought, ‘I have to be an adult about this’. 

“The sweets had to stop and the fatty foods.”  

It was not the first time Alison had tried to lose weight.  

She had a gastric band fitted after a chair broke underneath her while she was interviewing actor Matt Damon in 2007.  

However, following the op, Alison experienced complications and “couldn’t keep anything down”. 

After two years, she decided to have the procedure reversed.  

Then, ten years later, she appeared on TV show Sugar Free Farm, which followed celebs as they embraced a sugar-free diet and farm work. 

While she managed to lose two stone on the show, the side effects from the sugar withdrawal left her feeling dizzy and sick.  

Now Alison, who is mum to Aidan, 21, works out three to five times a week with her personal trainers Lui Mancini and Ellis Gatfield.  

She combines strength training, boxing and Pilates rather than cardio and when she is busy working she enjoys walking.

A video posted by Lui displayed her hard at work with kettlebells, medicine balls and a punching bag. 

But no doubt also helping Alison’s confidence — and her weight loss — is her lover.  

She met David Putman, 29, a former Russian model, when she booked in for a massage in 2023.

The couple kept their relationship secret for about a year but now it is very much out in the open and despite the 22-year-age gap they are desperately in love.  

“It was pretty much love at first sight,” said her pal.

“She fell totally head over heels with David and he’s besotted with her.

“When you see them together it’s so sweet.

“He gets on really well with her son too.” 

But a change in her diet has had the most dramatic effect on her.

In a bid to reverse her prediabetes she has cut back on sweets and fatty foods — which has not been easy, especially as the host of C4’s Great British Bake Off, where she is surrounded by temptation.  

“Ali was completely addicted to toffees,’ says her pal.

“She would eat bags of them.” 

For people who need to use them, weight-loss jabs are a good thing. But for me, as soon as I hear any scare story, I get frightened.

Alison on using fat jabs

But these days she relies on seaweed.

The salty snack, combined with a rigorous exercise regime, has seen her weight drop to under 17st.  

She now drinks two litres of water a day and has a high-protein diet with lots of chicken and turkey mince bolognese.  

“She eats half of what she used to eat,” revealed her friend. 

Alison, who also hosts Your Song on Channel 4, previously told how weight loss jabs were not for her because she was “frightened” by “scary” stories surrounding them. 

She said: “For people who need to use them, weight-loss jabs are a good thing.

“But for me, as soon as I hear any scare story, I get frightened. 

“So I haven’t wanted to use them, but that’s not to say I wouldn’t in the future, and I certainly wouldn’t look down on anyone who did.” 

But industry insiders have warned there could be an issue if her slimdown becomes too extreme, especially as she vies for the presenting gig on Strictly.  

“There’s a fear that if she gets too skinny she might not be as popular with her fans,” said another source.  

Pals insist Alison has no intention of losing her curves or trademark sparkle.

Her journey has never been about fitting into a certain dress size but building a healthy life.  

During an interview on Loose Women last year, she summed up her attitude perfectly: “You know what, all I can do is be me.

“I can’t do anything else. 

“I’m a black, big, bubbly woman, who is slowly deflating a little bit.” 

Only time will tell if Alison’s next steps will be into the ballroom. 

But one thing is for certain, it will be seaweed, and not Ozempic, in her handbag. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“And I had to personalise this.

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

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

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

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

“This has been going on since the Seventies.

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

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

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

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

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

“For me, it’s about the philosophy.

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

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

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

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

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

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

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

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

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

“Criminal law is her calling.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“And touring took money. 

“That’s why I never had tour support.

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

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

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

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

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

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

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

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

“But vocally, I did have to make changes. 

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

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

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

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

“It was a strategic, compositional choice.

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

“And we’re having a blast. 

“They’re amazing singers. 

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

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

“I have so much respect for Nick Cave.

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

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

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

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

“Her journey as a little girl with her muses.  

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

•  In Times Of Dragons is out on May 1. 

TORI AMOS 

In Times Of Dragons 

★★★★☆

WHEN Jack Whitehall decided to leave Sky’s A League of Their Own in 2018 to try and crack America, he feared it would leave his friendship with his co-stars James Corden and Freddie Flintoff in tatters.

Fast forward eight years, and it appears Jack’s prophecy may have come true. Both Flintoff and Corden skipped his £250k nuptials on Saturday –  with Flintoff posting photos of himself on the golf course in Slough instead.

And neither Corden 47, who attended the stag do in London on March 30th, nor Flintoff, 48, – who was involved in a horrific and life-changing crash while filming the BBC’s Top Gear – have congratulated Jack and his new wife Roxy Horner online. 

Their absence at the bash raised eyebrows – and sparked rumours of a feud between the former best mates.

One guest tells us: “Of course, people noticed that Freddie and James weren’t there. They were huge parts of Jack’s life for so long.

“But Freddie has been through so much over the last few years, and people suspected he just didn’t want to be at such a public event. 

“All the guests were photographed for Vogue, and it was actually quite a big spectacle, so it wouldn’t be surprising if Freddie didn’t want to be part of the circus.

“Why James missed it is another matter and very bizarre considering he was at the stag do.”

‘Very bizarre’

Other guests, including Jamie Redknapp, who also worked on the Sky show, shared gushing posts about the nuptials on Instagram. Corden however, is no longer following Whitehall. 

Meanwhile, Redknapp certainly made his presence known; he posted his Vogue snaps from the big day and gushed: “Congratulations to Jack and Roxy on your big day. I honestly couldn’t be happier for you both. I think the world of you guys, and I’m so proud to be there to see it all

“Jack, you’re like a little brother to me, although somehow still my favourite man baby. And Roxy, fair play… you’ve taken on a lifelong project there.

“Wishing you both a lifetime of laughs, love, and just enough chaos to keep things interesting. Have the best day, and an even better life together.”

Roxy sent a pointed response, saying: “Thank you so much for being there on our special day x”

Whitehall, known for Fresh Meat, tied the knot with Roxy at Euridge Manor in Wiltshire over the weekend, with their daughter Elsie by their side.

His stag do took place at the end of March in London and saw him joined by fellow celebs Jamie Redknapp and James Corden as well as ex-rugby star, Lawrence Dallaglio.

The boozy day out, which Whitehall says started at 11am with a Guinness, ended up getting so rowdy that the comedian can barely remember what happened.

The lads sank pints at The Devonshire pub, before visiting the infamous and very sexy nightclub The Box, which is believed to have put on a private show just for Whitehall and his rowdy group of mates.

They then moved on to mini-golf hotspot, Swingers and ended the night with drinks at the Soho Hotel bar.

Images from the night showed Whitehall staggering down the street with Corden and Redknapp,  but Flintoff was absent.

The four mates started working together in 2012, at the time Whitehall was a relative unknown, while Flintoff and Redknapp were sporting legends, and Corden had made his name in comedy Gavin & Stacey.

‘Breaking up the friends’

Whitehall’s career started to take off, and despite League of Their Own being a huge hit, he decided to quit in 2018 to pursue a career in America like Corden.

He admitted at the time he was worried about leaving his mates behind and said: “It was very sad ­sitting down with Jamie and ­Freddie and telling James on the phone. Jamie wept.

“I’m the b*****d breaking up the friends. But I think they still like me.

“I think we’re all still pals, it will probably help going forward with our friendship as we won’t see each other all the time.”

His career skyrocketed from there, and a few years later, Corden quit A League of Their Own and then Flintoff left a year later. 

Former cricket star Flintoff landed a place on Top Gear in 2019 but in December 2022, he was involved in a terrifying accident while filming the BBC show.

He was airlifted to hospital after his three-wheeled Morgan flipped, leaving him with devastating facial injuries, which meant he needed reconstructive surgery, as well as suffering some broken ribs.

He became a social recluse, not leaving the house for over six months, and struggled with his mental health, including suffering from PTSD, flashbacks, and anxiety.

Whitehall appeared in Flintoff’s 2025 Disney+ documentary about his accident and recalled their first meeting, he said: “I remember being quite intimidated. I was meeting Freddie Flintoff, who I looked up to a lot as a kid, for the first time.

“So many people think of him as so strong and so alpha, but he’s definitely fragile.”

Asked if he had a message for Flintoff, whose friendship with Top Gear co-host Paddy McGuinness also struggled post-crash, Whitehall replied straight-faced: “Answer my texts.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

this thing I loved.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And that sense of place runs throughout the album.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NOAH KAHAN – The Great Divide

★★★★★

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

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

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

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

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

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

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Aged 67, she is finally cool again.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

AFTER becoming the first Love Island star to make Forbes’ 30 Under 30 list, savvy Molly-Mae Hague has a nifty plan to ‘Fury-proof’ her finances.

With a staggering £22million in the bank and a second baby with boxer fiancé Tommy on the way, there are whispers that a watertight pre-nup featuring a “loyalty clause” is in the works.

Molly, 26, took the shamed boxer back a year ago after cheating allegations against him led to their shock split in 2024.

And while her £600,000 engagement ring is back on and she is pregnant with a sibling for three-year-old Bambi, there is no sign of a wedding on the horizon.

Now sources close to the business-minded beauty say she is determined to make sure Tommy, 26, is 100 per cent dedicated to her before tying the knot.

An insider explained: “Molly has more than proved she knows a thing or two about making money and she knows full well what marriage could mean for her wealth.

“There’s been talk that she would want him to sign a contract before they commit any further, which would have a cheating clause and allow her the access to her money she feels she might need to move on.”

Molly was already a popular influencer when she appeared on Love Island in 2019 and met Tommy but her rise to super stardom and extreme wealth after the show is unprecedented.

‘Old home is back up’

She did not just land a fast fashion deal like other Islanders. She became Pretty Little Thing’s creative director, earning a reported £400,000 per month.

She also secured deals with huge companies such as L’Oreal and Fairy.

And recently she is said to have been paid more than £2million to collaborate with Adidas.

Molly would not be the first woman to demand a cheating clause.

Catherine Zeta Jones is said to have included a similar one in the pre-nup prior to her 2000 wedding to fellow actor Michael Douglas.

It was reported that if he ever cheated he would have to pay ­Catherine £1million for every year they were married.

Justin Timberlake and Jessica Biel also allegedly have a clause in their prenup that would entitle Jess to £400,000 if he cheated.

It was late in the summer of 2024 that Molly dumped Tommy, telling her followers: “Never in a million years did I think I’d ever have to write this.

“After five years of being together I never imagined our story would end, especially not this way.”

The couple had been planning to move into a £5million mansion but after Tommy was accused of kissing a blonde beauty on a lads’ holiday to Macedonia, Molly stayed put in her £4million Cheshire home and booted Tommy out.

There’s been talk that she would want him to sign a contract before they commit any further, which would have a cheating clause

Insider

But the couple were seen sharing a kiss at a New Year’s Eve party and officially reunited in May 2025.

And while they now live in their new family home, we can reveal Molly has kept hold of her first mansion, which is solely in her use.

Our insider said: “Molly has been very reluctant to sell the Cheshire home and knows it’s probably wise to keep hold of it as a back up.”

At the start of the year fans were shocked when Molly quietly announced she was expecting another baby with Tommy, and was already six months pregnant.

Pals say the star opted to have another child with Tommy because she was keen that her children all have the same father.

Another source adds: “Molly is very traditional in lots of ways and Tommy is, of course, also very old school, so they wanted to have more children together.”

A blended family was not an option for Molly, the source said.

Molly’s dream

“She wants her kids to have ­consistency like she had growing up. It’s one of the main reasons she got back with him.”

Casting doubt over their relationship, Tommy’s dad John Fury said in the family’s Netflix show, At Home With The Furys: “Molly is a lovely person, but she can’t help the life she’s been brought up in, it’s contrasting to ours.

“But she’s put up with some s*** hasn’t she, so fair play to her – she’s not a bad girl.

“I’m also going to be there to support them. Let’s see what happens.”

Tommy’s half brother and former world heavyweight boxing champion Tyson has also been critical of Molly’s career.

She wants her kids to have consistency like she had growing up. It’s one of the main reasons she got back with him.

Source

In the new series of his show he appears mocking of influencers, warning his daughter Venezuela: “If you are an influencer your private life is non-existent. Look at Tommy and Molly. If you want to make money out of doing nothing, ­basically privacy doesn’t exist.

“I’ve done a million-thousand achievements. I can write a table full of them. We’re just in an era where you can get famous for what? Getting our tits out on telly.”

But Molly, a dropout from the London College of Fashion, has come a long way since Love Island.

Forbes might have put Tyson at No3 in its ranking of the highest-paid athletes in the world, with his earnings being estimated at £120 million, but Molly is hot on his heels (wearing her sold-out Adidas shoe collection).

BROKEN Social Scene is more than just a band, it is a community.

The Canadian collective is at the beating heart of Toronto’s freewheeling indie music scene.

If you attempt to count the combined total of active and inactive members, you arrive at a mind-boggling approximation somewhere between 20 and 30.

“What I love about this band is that it’s an open door,” affirms singer and guitarist Kevin Drew.

Since forming Broken Social Scene in 1999 with Brendan Canning, Drew has been its lynchpin . . . albeit one with an unerringly democratic approach.

“We invited everybody in and we didn’t have rules,” adds the 49-year-old frontman. “And we went out and did our f***ing best.”

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Over the years, notable collaborators have included an array of Canada’s finest singers, including solo artist Feist, Amy Millan of Stars and SFTW’s other interviewee this week, Emily Haines of Metric.

Drew cemented his place at the centre of the scene by co-founding progressive label Arts & Crafts in 2003 and has known many of the artists since he was a teenager.

Now, Broken Social Scene are back with their first album in nine years, Remember The Humans, a typically multi-layered affair but one that never loses touch with a winning melody.

Through words and music, it serves as a telling reminder that in this dislocated tech-driven world, we are still mere mortals with very human feelings.

Drew is at home outside Toronto and I’m in London when we hook up for a video call this week.

Before we discuss Broken Social Scene’s welcome return to the fray, he balances his phone on a copy of Irma Rombauer’s hefty culinary classic, The Joy Of Cooking, to bring his face into full view.

He apologises for appearing a bit flushed and says with a big smile: “Sorry, I just took a sauna.”

I quickly discover that Drew is a disarming character with a refreshingly open take on life.

“My dad was from London originally,” he continues. “I said, ‘Hey Pops, I’m gonna speak to The Sun’, and he went, ‘Oh, my gosh, I remember The Sun — it used to have the pin-ups!’ ”

I inform Drew that one of my earliest reviews for SFTW was Broken Social Scene’s self-titled breakthrough third album, released in 2005. “So, we have a long relationship together, which I love,” he responds without a trace of irony.

Introductions out of the way, he’s ready for me to ask why it’s the right time for a new album, as well as a triple headliner tour with Metric and Stars, which is coming to the UK in September.

“We came to a realisation through playing shows after the pandemic that this IS our life,” he says. “This is something we have spent so much of our lives working on.

“We still find much joy in melody and we are part of the muscle memory business now.

“At the age we’re at and with what we’ve achieved already, we made a firm choice to continue.

“Between us all, we have had so much loss of family and friends, but we found that grief made us grateful for what we’ve got.”

Drew is thrilled to be heading out with his comrades from Metric (particularly Jimmy Shaw) and Stars, a trek that summons “the true spirit of what we have been from the beginning”.

Audiences can expect some band-hopping, meaning that Drew can’t really say how many people will be on stage with him.

“I haven’t a clue,” he says. “But I do know there will be a LOT.” The latest chapter in the Broken Social Scene story probably began in 2022 with a 20th anniversary tour of their second album, You Forgot It People, and its songs that still resonate today.

Drew and his fellow travellers realised they might provide some solace in a world where “identity is at war, fear is prominent at every turn” and where “hope is a very tired word”.

He says: “We thought, ‘Let’s do our tiny little protests, let’s continue to demonstrate community’. After all, it’s not hard for us to make music because there’s so many of us.

“Just by being around for 25 years, we have our own sound.”

One song from You Forgot It People — Anthems For A 17-Year-Old Girl, with Metric’s Haines on lead vocals — has acquired a new audience, as Drew explains.

“Thanks to the [2024] film I Saw The TV Glow, the trans community has brought that song into their lives and embraced it.

“It went viral on TikTok, then suddenly all our listens went up. It was the greatest award we’ve ever been given. We were so touched.”

For Drew, it was proof positive that “music helps to build your identity, to find your own people and to express yourself. Right now, that is something to hold on to”.

With its layers of horns, guitars and synthesisers as well as various distinctive voices, new album Remember The Humans is a triumph for freedom of expression.

There’s also a strong feeling of Broken Social Scene coming full circle, enhanced by the return of original producer David Newfeld.

Drew picks up the story: “I moved out of the city, just half an hour away from where Dave had moved 18 years ago.

“He started coming over for dinner and there was a lot of laughter. He’s so old school — still has a flip phone because he doesn’t think smart phones are smart.

“I reached out to him about working together again. I missed his sound and his passion, which were so unpredictable.

“Next thing I knew, I was on a two-and-a-half-year journey of starts and stops — and loss. I lost my mom and he lost his, so we bonded over that.”

It’s clear that the new album’s heartfelt opening song Not Around Anymore is, among other things, a product of their grieving process.

Drew adds: “Dave also latched on to the song And I Think of You. If you put it through headphones, you are hearing his grief over his mom. He records that thing, mixes it and he takes you on a journey.

“His mom was his world — they talked three times a day. Once he’d lost her, I realised it would help him to put love and loss into some of this music.”

We move on to other key contributors, firstly Feist, who resurrects What Happens Now, a song that reportedly didn’t make the cut for Broken Social Scene’s 2017 album Hug Of Thunder.

“Leslie Feist is a different entity because she’s so solo in her success,” says Drew. “There’s us, Metric and Stars, but she became the biggest of all on her own.”

He adds that Feist has “an open invitation” to be part of Broken Social Scene’s endeavours.

“I always tell her, ‘You’re welcome at this home any time you help build it. In fact, you’ve got your own wing!’ ”

Over acoustic strums, atmospheric electronica and occasional swells of horns, Feist’s ghostly delivery turns What Happens Now into a standout moment. “I’m honoured we were able to put it on this record,” says Drew. “It fits the theme.

“I love the cadence of Leslie’s vocals, the way it seems as if she is drowning before she becomes so clear. It’s so Feist.”

Another singer to make a significant contribution is Hannah Georgas, who became involved in Broken Social Scene’s world through being a support act.

Drew says she made Only The Good I Keep her own, and adds: “She neurologically removed my topline [lead vocal melody] — but we need people to have ownership.

“At first, I called Hannah and said, ‘This is great, but I’ve got something I can’t get in’. Two days later, I couldn’t even remember what I was saying and all I could hear was her version.”

Broken Social Scene regular Lisa Lobsinger brought the song Relief into the mix — providing another insight into the band’s democratic process.

Drew reports: “We got this email out of the blue from Lisa saying she kept singing a song in her head while meditating, and she thought it was by Social Scene.”

Lobsinger realised she was making up Relief by herself in that moment, so she submitted it.

“We sent it to the crew, and everyone loved it,” continues Drew. “So, I said, ‘Oh my God, Lisa, let’s do it!’ ”

Before we go our separate ways, Drew leaves me with telling observations about more general topics related to his home country.

Much as he appreciates iconic Canadian artists like Leonard Cohen, Joni Mitchell and Neil Young, he singles out some of the lesser-known trailblazers who inspired him — “Thrush Hermit, Sloan, Hayden and Godspeed You! Black Emperor”.

And he has this to say about Donald Trump’s wacky idea of making Canada the 51st US state.

“I say to the younger members of the band, ‘Don’t listen to this man. In fact, don’t listen to men in general — if they have a microphone, they won’t do you any favours, including rock singers!’ ”

It’s a typical comment from someone for whom community spirit means everything.

In Broken Social Scene, decides Drew, “we are empaths, not sociopaths. No one has their identity wrapped up in this band”.

BROKEN SOCIAL SCENE
Remember The Humans

★★★★★

JENNIFER ANISTON could be destined to marry her hypnotherapist boyfriend – as she is convinced they are soulmates who met in a past life, it is claimed.

The Friends star and wellness guru Jim Curtis are said to be so in love, they have begun scouting locations for their wedding.

Sources claim the smitten couple have also had regression therapy, designed to open up old memories, and firmly believe they knew one another in a previous incarnation.

Now, they are keen to “complete their journey” by marrying in front of loved ones at a lowkey ceremony — possibly in Europe.

An insider said: “Jen is glowing. She feels like she has waited a lifetime to find a love this easy and in a way, she believes she has.

“They’ve done intensive regression therapy together, and Jen and Jim believe they met in a past life.

“They feel their souls were destined to find each other again in this timeline to complete their journey.

“It’s all very woo-woo and spiritual, but it absolutely works for them.”

After two failed marriages — first to Brad Pitt, then Justin Theroux — Jennifer, 57, is apparently convinced she has found The One in Jim, 50.

The insider said: “Jen has never been so happy.

‘Clicked instantly’

“They’ve been discussing a small wedding away from the Hollywood circus, and Europe is top of the list.

“Jen does not like big crowds and would ­prefer an intimate ceremony with just a handful of their closest confidantes.”

The couple regularly split their time between Jen’s £15million Bel Air mansion in Los Angeles and her £12million Montecito retreat. But it appears they may be ready to move in together.

Jim has listed his £1.2million pad in Manhattan, and the pair are said to have been hunting for a luxury New York apartment.

They have been spotted looking at a block where prices start at £5million.

Jen is glowing. She feels like she has waited a lifetime to find a love this easy and in a way, she believes she has.

Insider

A source said: “They have been viewing apartments on the Upper East Side. This will be their first joint home.”

Jen and Jim have grown close amid their shared passion for spiritual healing.

But I am told they also bonded over their shared love of dogs.

Jen’s fans will be delighted to see her so happy after previous devastating break-ups.

Her 2000 marriage to actor Brad ended in divorce in 2005 amid rumours he had an affair with Angelina Jolie. After brief romances with Vince Vaughn and John Mayer, Jen wed actor Justin Theroux in 2015.

But they announced their split in 2018. Since then, the Morning Show star has kept her romantic life fiercely guarded, focusing on her career, rescue dogs and tight-knit circle of friends — until Jim walked into her life.

The master hypnotherapist, transformational coach and best-selling author built a career guiding clients through trauma and emotional recovery.

He has more than a million Instagram fans and posts daily affirmations. The pair were introduced through mutual friends in 2024. Jen was already a fan of his self-help literature and they clicked instantly, ­leading to clandestine dinner dates at their homes.

They have since been spotted on a romantic getaway at the exclusive ­Ventana Big Sur resort in Northern California and on a yacht in Majorca.

Written in stars

Instagram photos shared by Jen on Easter Sunday showed the couple embracing, and there was a snap of her with Friends co-star and pal Courteney Cox.

Jim has had a turbulent love life, too. In his book, The Stimulati Experience, he told of past struggles to “keep” a girlfriend and his divorce from his ex-wife.

According to one source, Jim was “Jen’s rock” as she was plagued by an alleged stalker who began bombarding her with messages and voicemails in 2023.

In 2025, the man crashed into the gates of her home while she was inside. He was later charged but was deemed mentally incompetent to stand trial.

“Jim kept her grounded throughout what was a very traumatic and stressful time,” said one source.

They have been viewing apartments on the Upper East Side. This will be their first joint home

Source

Meanwhile, Jen has been uncharacteristically open about her deep admiration for Jim. Last November, on his 50th birthday, she shared a black and white photo of them on Instagram. On her wedding finger was a diamond ring, prompting speculation she was engaged. But her team refused to comment.

Shortly after, Jen told Elle magazine Jim was “quite extraordinary”, and “very special”.

Now, it seems that with a spiritual connection written in the stars — or perhaps a past life — Jen’s search for The One is finally over.

Jennifer’s reps were asked to comment.

ARLO PARKS’ third album is a reset, inspired by the nightlife, freedom and spontaneity she missed out on when she broke through as a teenager. 

For Ambiguous Desire, the London-born singer-songwriter wanted to escape from way she had created songs in the past.  

Arlo, 25, says: “I wanted this to be from ground zero and exactly how I feel now, while I’m really living. 

“When I got to the end of the cycle for my second record, My Soft Machine, I was like, ‘OK, I want to see what it’s like when I DECIDE the path of my days’.  

“I wanted to spend more time in nocturnal spaces, making friends with DJs, club organisers and people in different collectives, and getting inspired by exploring the subcultures and the history and the architecture of those spaces. That’s what was fascinating.” 

Using voicenotes, journal entries and memories from nights out, the Mercury Prize winner’s intimate album is rooted in storytelling.  

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She says: “For this record, my mantra was to write it exactly how it felt.  

“In the past, I was focused on making things as beautiful and poetic as possible, but this time I stripped it right back to the lean truth of it, and that felt more authentic.  

“I also wanted to bring in those references exactly as I heard them, without softening the edges or maybe adding guitars to bring it into the indie world. 

“I wanted it to be inspired by house and garage, the music I’ve been loving. It was just about being true to myself.” 

This raw approach to songwriting runs through 12-track Ambiguous Desire. 

Arlo, real name Anais Marinho, says: “I wanted to make the music feel exciting and dynamic, so the song Jetta is just a voicenote in an Uber with my friends from one of those nights. 

“It’s the sound and the stories of people. Even the vinyl cover and the inserts are photos I took of my friends on nights out.” 

I chat to Arlo at her London record label office the day before she flies back to LA, which has been her home for the past four years. 

Arlo, who won the Brit Breakthrough Artist Award in 2021, following the success of her debut album Collapsed In Sunbeams, says: “LA does feel like home, but London will always BE home.  

“When I moved to LA, I was coming into myself as an artist, so I see it as the place where I built my community and grew into my confidence. But London is where I grew up, where my roots are, where I wrote my first word and heard my first song.”  

While London holds emotional ties — Arlo has been staying with friends and family while in the capital — LA has provided the creative community and space to push her sound. 

She says: “It’s the place where I met a lot of the people that I make music with. And there’s something about the pace of life there, the nature and the sunshine that gives me this sense of peace, where I can just sit and write.  

“My main collaborator, Baird, lives there and we made the whole record in the space he shares with his brother. 

“It’s like a living-room studio with pianos, acrylic paints, sewing machines — it’s an amazing creative hub. The place has been really inspiring for me and given me the peace to experiment.” 

Club culture became both creative research and a release from everyday worries.  

She says: “In New York, we were going to clubs like Nowadays and Basement, which is more in the techno world, and then in LA there are nights like Midnight Lovers. 

“The scene there feels much more DIY, more warehouses than big institutions like London’s Fabric.  

“It was nice to have that as part of our week, like knowing on a Saturday we’d go out and experience it. 

“And I love living in LA because so many artists pass through, so you can catch shows all the time. People like Jamie xx in those spaces were amazing.” 

The euphoric dancefloor-inspired Heaven was the first song that Parks wrote and knew she was on to something special.  

She recalls: “I’d been out with my friend Kelly [DJ Kelly Lee Owens], who was supporting Caribou and, the night after, I’d written all of these little fragments in my journal, like my friend wearing pink Adidas shoes. That’s in the song, which came together exactly like the night had felt.  

“I was able to distil that experience into a song. It felt very cinematic.” 

Clubbing helped Arlo reconsider how songwriting can be a collective experience rather than just a personal one.  

That instinct carries into the brilliant 2Sided, the first track released from the album, which describes the heat and chaos of a night out with friends at a club. 

She says: “It felt like the right song to start this era, and it came about really naturally.  

“I felt it when I made it, and also a lot of my friends — my partner, everyone in my life — were like, ‘That’s the one’.” 

Her other standout tracks explore different themes.  

The dreamy Beams includes the line “I know it’s not a way to treat people you love”, and Parks says: “I think that sentiment is really simple.  

“There’s a moment where you’re in a situation or a relationship and you’ve become used to being treated a certain way and then you realise, ‘Wait, that’s not actually how you treat people. You should be softer, kinder’.  

“It’s about that realisation of what you actually deserve.” 

Luck Of Life is another brilliant track, which explores grief. Arlo says: “That started just me on my computer at the kitch­en table.  

“It’s about loss, something we’ve all experienced whether it’s someone passing away or a break-up, but the impact those people had on our lives and, hopefully, bringing comfort to people who are hurting.” 

On Senses, a collaboration with Sampha, she says: “It’s soothing. I think a lot of that comes from Sampha, as he’s just such a soulful person. 

“He’s always tried out lots of different genres in his career, which is really inspiring to me.” 

For her forthcoming live shows in the UK, US and Europe, Arlo has made some changes. 

She says: “It makes sense to shift the set-up as well for these shows. For a long time, it’s been kind of indie — I had a guitar band — but I want to bring the samplers and the drum machines in.  

“I’ve been inspired by how Massive Attack are touring now and bringing those Nineties sounds into more contemporary spaces. 

“With the smaller shows we did at the end of last year, I had this idea of a light box above with a blue wash, and the stage being in the round with all my samplers and equipment in the middle.  

“I wanted to feel like those nights. Even the imagery came from that.  

“We went back to some of those clubs and did this kind of guerilla-style photography with my friends.  

“It was about staying true to what really happened and trying to recapture that.”  

In 2022, Arlo cancelled some US tour dates due to “debilitating” mental health issues. She has since learned to slow down to avoid another burnout. 

She says: “Music is what I love most in the world, so if I ever feel anything negative, I know it’s because I’m feeling overworked, not because of the music itself.  

“It’s my passion, it’s very much at the centre of who I am.” It is why she also took her time making Ambiguous Desire.  

She says: “I didn’t really want it to be this sprint where I would then have a crash, I want to do this for the rest of my life.”  

Arlo, who became a Unicef UK Ambassador in 2024, to advocate for child mental health, adds: “I’ve always wanted to be a career artist and be making music forever. I knew that I had to pace myself a bit. And, looking back, I’ve had some amazing times. 

“Thinking back to Glastonbury and winning the Mercury Album Of The Year [for Collapsed In Sunbeams] as well, I couldn’t believe it.  

“There’s something really specific about the Mercury because it’s just one winner and it was at the Hammersmith Apollo, which I used to cycle past on the way to school, which made it surreal.” 

Parks has previously been hailed a “voice of her generation”, but that must come with pressure.

She says: “I felt like I was speaking to collective experiences we were going through, rather than being some kind of spokesperson. I never really saw myself as that, so I didn’t feel pressure to be a certain way.  

“I was just telling stories about what I was seeing and living, and that happened to connect with teenagers at that time. 

“But, anyway, my fan base is broad — I love it when I see whole families at a gig and I’ve seen grandparents with grandkids as well as groups of friends. It really is a bit of everything. And I love that. That makes me feel really happy.” 

Ambiguous Desire concludes with track Floette, which she describes as “a note of hope”. 

Arlo says: “I wanted to embrace the fact that change is inevitable and part of life, and we’re all growing and trying our best.  

“ ‘We’re blossoming’ as it says in that song.  

“Looking at myself, I’m more confident and I feel happier than ever.  

“I’ve made something I’m really proud of, which colours the lens that I’m looking at things through.  

“It’s the start of something new, and in the future, I’d love to write a book and a screenplay and be part of a soundtrack for a film.  

“It’s like I’m coming of age. Maybe it’s just growing up. 

“While I’m proud of the music that I made before, this feels a little bit more different.  

“I feel like I’ve finally arrived, after years of making music. I’ve found the confidence to step away and do things my way, take a risk and witness it pay off. 

“I trust myself and my intuition more than ever.” 

• Ambiguous Desire is out today. 

ARLO PARKS
Ambiguous Desire

★★★★☆

COLEEN ROONEY will mark her 40th birthday today with a series of celebrations at her £20million Cheshire mansion.

But the hundreds of bottles of champers on ice this weekend are far from the only corks she will be popping this year.

Mum-of-four Coleen — wife of former Manchester United superstar Wayne — has big plans in the pipeline — with one pal telling The Sun: “She’s entering her powerful era.”

With a seven-figure Primark deal and a fly-on-the wall Disney documentary already in the bag, insiders say the 2024 I’m A Celebrity runner-up is dreaming big.

One friend explained: “Coleen’s sons are growing up fast and she is excited about the opportunities ­coming her way.

For a long time her primary focus was being a mum to her four boys. She is the backbone of their household, a constant for her sons and for Wayne.

“But now they’re growing up — the boys somewhat more than Wayne at times — Coleen is ready to reclaim some of herself.

“Going into I’m A Celebrity was a great way for her to dip her toe into the water. She loved it and it was obvious the nation still has a ­massive soft spot for her.

“Coleen said she would take a break after that to work out her next move.

“Turning 40 and with loads of exciting things coming her way, she’s entering this powerful new era.”

Coleen will celebrate today with Wayne and their sons, budding Man Utd footballer Kai, 16, Klay, 12, Kit, ten, and eight-year-old Cass.

She will then throw a huge bash for her closest friends and family.

An enormous white marquee has been erected in the 50-acre grounds of their home, previously dubbed “Morrisons mansion” because of its vast size and appearance.

‘A good knees-up’

Wayne’s footballer pals, including Ryan Giggs, Paul Scholes and ­Darren Fletcher, are all on the guest list, along with Coleen’s Wag chums such as Annie Kilner and Abbey Clancy.

“I’m looking forward to it, I love a birthday and a celebration,” Coleen said ahead of her bash.

“I have decided to enjoy a couple of different celebrations with family and friends over the year, and with my birthday falling over Easter weekend, some friends are away — so any opportunity to extend the ­celebrations…”

Caterers and staff will keep the party running smoothly, with insiders saying no expense has been spared.

“Coleen loves a good knees-up,” another pal explained.

“She can afford a lovely lifestyle and everything at the party will be classy and beautifully done. But for her, plenty of booze, good music and her family is all she will want.

There’s going to be live music and you can guarantee Wayne will be getting up on the microphone

Pal

“There’s going to be live music and you can guarantee Wayne will be getting up on the microphone.

“He loves to sing and will be keen to give everyone a tune or two.”

Those close to Coleen say eyes will be kept on Wayne following a rather embarrassing boozy night out before the Brit Awards in February.

Photographs and videos from a posh bar in Manchester obtained by The Sun showed Wayne struggling to do up his trousers after he spent time chatting with a mystery woman.

He was later seen leaving the venue at 3.45am and getting into a car alone to head home.

At the time, pals close to Coleen said they were furious at his behaviour, which came in the same week Coleen was launching her Primark clothing collection.

Branding Wayne an “idiot”, one seethed: “It’s upsetting to see Wayne acting this way because it takes the spotlight away from her.”

After dating Wayne since she was 16 years old, Coleen is well-versed in facing down his antics. She has stuck by him through every crisis in their marriage — including visits to sex workers in 2004 and 2009 and being charged with drink-driving in 2017.

In recent years Wayne has curbed his wayward ways, but has still had his share of controversial moments.

Turning 40 and with loads of exciting things coming her way, she’s entering this powerful new era

In 2020 he allegedly poked fun about his lack of a sex life, while the following year he was ­photographed fast asleep in a hotel room chair while three women struck comic poses around him.

“If Coleen is the angel then Wayne has definitely always been the devil on her shoulder,” one friend joked.

“Her friends think she’s the ­strongest woman out there for ­putting up with everything that Wayne has done. It takes a certain kind of woman to tolerate that behaviour and live with it. But Coleen has always just asked for honesty. 

“The only time I think she’d draw the line is with anything that could affect her children.

“Her four boys are Coleen’s world. And when it comes to her kids, she is like a lioness with her cubs.

“Wayne absolutely knows that. She is just as fiercely protective over him too, to be honest. Coleen comes across as soft on the surface but she’s got balls of steel. No one would mess with her.”

Coleen herself confessed she was used to Wayne’s poor decision making and said she stuck with him for love.

She told British Vogue: “We’ve had our ups and downs. Obviously everybody knows. It’s been hard to go through it in the public eye but there has always been true love there.

“If the love is gone then, it’s pointless. But if not, you’ve got something to work for.”

Coleen added: “We’ve never backed away from it. We own it.

‘Cheering her on’

“I remember having a conversation about this with someone and I said, ‘Well, do you know what your wife gets up to every day and night? At least I know what my husband is doing!’

“It might not be good, but I know. People lie to themselves.”

Coleen first came into the public eye when Wayne burst on to the scene as a teenager at Everton — and she was famously photographed in her school uniform aged 16 in 2003. 

Her fashion choices saw her becoming a regular at high-end Liverpool boutique Cricket, once dubbed the “unofficial footballers’ wives headquarters” for how often she and other local Wags, including ­Steven Gerrard’s wife Alex, shopped there.

But it was at the 2006 World Cup at Baden-Baden in Germany that Coleen cemented her status as one of our favourite Wags alongside Cheryl Cole and Victoria Beckham.

Coleen comes across as soft on the surface but she’s got balls of steel. No one would mess with her

Friend

In that same year she teamed up with Asda as the face of its George clothing brand, before kicking off a lucrative deal with Littlewoods four years later for her own range.

It is expected that Disney TV ­cameras will capture parts of Coleen’s birthday celebrations, with the family opening the doors of their home for a fly-on-the-wall series. 

Simply called The Rooneys, the three-parter has filmed both Wayne and Coleen, while also shadowing Coleen as she worked with Primark on her clothing line.

Insiders say the big plan for Coleen is to help make her star shine brighter.

Undeniably, she now has the opportunity to bring in the bigger pay packets.

Her deal with Primark was worth millions, while further lucrative deals have been coming in thick and fast.

Meanwhile, Wayne has struggled as a manager. He left Plymouth Argyle after seven months in charge, and was sacked by Birmingham City after just 83 days.

He now has regular gigs as a pundit on Match Of The Day but, as one pal puts it, that is not going to sustain their lifestyle.

“Coleen is the golden ticket for the family now,” a friend explained.

“Wayne was the breadwinner for so long and now the roles have started to slowly reverse.

“To put it bluntly, Coleen is very marketable. She is popular, unproblematic and relatable. Her ­decision to create an affordable brand with Primark shows that.

“Watching her next steps is going to be really interesting. Everyone who knows and loves Coleen is cheering her on and wants her to succeed.

“This is just the beginning for Coleen. Now you just have to sit back and watch her rise.

“We just hope Wayne catches on and keeps himself in line.”

BOOKING opens today for thousands of readers heading off on our Hols From £9.50.

If you’re looking for inspiration, our Hols guru Tracy Kennedy, who has enjoyed Sun getaways for 30 years, has answers to readers’ questions . . . 

GLENN JONES: What are some great uk parks that can even keep teenagers entertained?

I’d recommend Billing Aquadrome.

It has outdoor evening entertainment, a giant inflatable obstacle course and pool and snooker tables.

Plus you can take the younger ones to the ball pit or slime making while the teenagers are busy. Seal bay is another great choice. they’ve got a surf simulator, plus food like greek gyros and ice cream.

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IT’S NOT TOO LATE

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CHRIS FOX: My kids love sunny holidays, while my wife and i love culture and history. How can we blend both in one holiday?

Give Parkdean Resorts Camber Sands in East Sussex a go.

The beach is beautiful and there’s a little amusement park on the seafront.

For grown-ups, it’s a ten-minute drive into the charming town of Rye. Or 35 minutes to Hastings to visit the castle and Battle Abbey, and have a nosy in the shops in the old town.

HENRY McCAFFERY: Any suggestions for parks better suited to the elderly?

Try Parkdean Resorts’ Cherry Tree in East Norfolk.

It’s only a short drive to the beach, plus you’ve got Gorleston-on-Sea a ten-minute drive away and Burgh Castle nearby.

There are also plenty of countryside walks. And Norfolk is very flat so you won’t have to negotiate many hills.

ADAM MEACHAM: Where is ideal for a romantic getaway for couples?

I’d suggest visiting Italy, there are 26 italian parks available and it is such a romantic country.

If you’re wanting to go away in the UK, I’d suggest heading to Scotland to one of the beautiful sites there. There are plenty of beautiful walks and glens to explore.

DORA WHITE: How do we find quieter sites?

Maybe book a holiday just before the kids break up. Plus a good park for some peace and quiet is the Lakes Rookley on the Isle of Wight.

The views are amazing around there, and there’s a lovely calm lake to walk around.

BOOKING OPEN FOR A BARGAIN BREAK!

GET away on our super Hols From £9.50 – with dates available in spring, summer and autumn.

Choose from 290 top holiday parks in the UK and European destinations including, Spain, Croatia, and France.

We offer the best value for holiday park breaks, including four midweek nights for the price of three – you will not find a better deal anywhere, guaranteed.*

To book one of our holidays, collect FIVE codewords or Sun Savers codes printed daily in the paper until April 16.

Or join Sun Club at thesun.co.uk/club for £1.99 and get automatic access without the need to collect codes.

Book online by collecting FIVE codewords and entering them at thesun.co.uk/holidays.

Or book via post by collecting FIVE codewords and sending them with the form you can find at thesun.co.uk/holidays.

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Go to Offers and click Start Collecting on the Holidays From £9.50 page, then enter FIVE Sun Savers codes to unlock booking, which is now open.

Today’s codeword is FAIR.

• T&Cs: Price per person based on four sharing. Multiple codeword/code collect or digital subscription required. Subject to availability. *Price guarantee excludes extras. Date restrictions apply. For full T&Cs see thesun.co.uk/holidays.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DERMOT KENNEDY 

The Weight of The Woods 

★★★★☆

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“That might have been me,” smiled Richards.

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

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

DESPITE winning dream roles, Anya Taylor-Joy admits her real wish is to retreat from Hollywood and live on a farm.

The 29-year-old is one of the world’s best-known actresses but has spent years feeling nervous on the red carpet, struggled to watch her award-winning performances and now wants calm.

She voices love interest Princess Peach in the new Super Mario Galaxy movie, which is released on April 1.

But Anya described her ideal life as “on a farm”.

She said: “I want goats, chickens, ducks, horses — all of it. I want to work, come into the city when I want to, then disappear and ride all day.”

The film is the follow-up to 2023’s The Super Mario Bros. Movie, which grossed more than £1billion worldwide.

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Princess Peach is the main female character and head of state of the Mushroom Kingdom.

Anya said: “I was so touched by how strong she is and how cool. The fact that’s going to be a role model kids can have nowadays is unbelievable. I left feeling very inspired by her.”

Anya knows all too well that life can be difficult as a child.

She was born in Florida, then lived in Argentina for five years where she rode horses in the idyllic countryside.

Her African-Spanish mum, a psychologist, and Scottish-Argentine dad, who raced powerboats, then moved the family to London when she was six — and things became dramatically different.

Anya was bullied, “locked in lockers, barred from classrooms, not invited to things” and did not speak English.

Watching films helped her navigate through the traumas.

She told the Happy Sad Confused podcast: “I’ve never been good at being cool, this is why I didn’t get along well with people in school.

“If I like something, I love it and it just pours out of me.

“But if I was sad, like if my hamster died, my parents could put me in front of a movie and I would feel better at the end of it.

“I could get lost in something like that.”

It was her love of movies that eventually helped her learn English.

She says: “I learned English when I was eight. I stuck it out for two years in London, refusing to speak English because I wanted to go home. Then eventually I was like, ‘I have no friends, this is going to be a needed skill’.”

Anya told her parents she was going to be an actress.

But first, after being “picked up” outside Harrods, she became a model at 16.

She was recruited by Sarah Doukas, boss of Storm model agency, who had discovered Kate Moss.

But at first Anya thought she was a stalker.

She said: “It was absurd. A black car comes up, starts chasing me. I pick up my dog, start running and a head comes out of the window and they say, ‘If you stop, you won’t regret it,’ and I stop.

“It was the head of a modelling agency. I don’t encourage other people to do this.

“I had no idea what I was doing, but luckily it worked out and my parents came with me the next day to the modelling agency.”

Her parents always supported her. Anya said: “They’d had six kids, so were like, ‘Oh, just do whatever you’re going to do’.

“I’m so grateful for the approach my parents have had because I did some pretty ballsy things in my teenage years and luckily they paid off, but they were always supportive.”

She did many auditions before getting her breakthrough role at 19 in film The Witch.

Anya said: “I thought that audition went so badly. I truly thought I had messed that up massively because I had a huge panic attack before I went into it, and luckily that really worked for the scene.”

It was then that Anya found where she truly belonged.

She said: “Going into work every single day felt like such a joy.

“I could breathe because I’d found a place where I was doing something I loved, with people who didn’t think I was a psychopath. And I could have fun with it. I loved every second of making that movie.”

She found it “mind blowing” that The Witch was a hit and forced herself to watch the performance.

Anya said: “It’s like getting hit by a bus. I personally don’t agree with not watching your films, it’s not all about you. It’s a whole bunch of other people who have done a lot of work and different departments that you have to go and support, because they deserve it and you love them. So I have to watch it.

“But the first time, I always feel I’ve let people down and I’m always like, ‘Oh, I messed it up’.

“Then I process it and the second time I watch it, it’s slightly more palatable and I’m able to lose myself a bit more.

“By the third time I’m just like, ‘OK, whatever’. You just have to get over yourself and applaud the people you care about that worked with you.”

Anya became a household name in 2020 after starring in Netflix series The Queen’s Gambit, which led to a Golden Globe for Best Actress.

She went on to roles in horror film Last Night In Soho, black comedy The Menu and the apocalyptic film Furiosa: A Mad Max Saga. Anya said she works “very hard, very gratefully hard” because she feels lucky to do a job she feels passionate about.

But it is not always easy. Despite her modelling background, Anya struggles with the limelight.

She said: “When I first started doing red carpets, I couldn’t handle the notion of being pretty.

“I was like, ‘I don’t do that’. I am a scummy, mud-caked ferret and striving for anything different felt disingenuous and scary.”

She has even been known to dress up “like an East Berlin spy” at times so nobody recognises her.

Now she is trying to make time for some balance in her life.

She said: “I’ve been living on film sets for five years and, occasionally, I think it would be nice to find out what Anya would do with three months if she wasn’t playing another person.

“So I’m trying to be more careful with my time there.

“You spend 18 hours a day thinking, behaving and breathing as another human being. That doesn’t leave a lot of time to figure out what it is that you like.”

And the person she wants to spend it with is her husband, US musician Malcolm McRae, who she married in 2021.

The couple split their time between homes in the Hollywood Hills and London.

She said: “I’ve finally found someone who will happily sit in silence with me, reading. We’re basically 80 years old and seven at the same time, and it works really well.

“When you are together, you are really valuing the time you have. Everyday, mundane activities are so full of joy.

“I love going to the petrol station with him and filling up the car and going to get breakfast.”

But right now, her focus is all on Princess Peach.

Anya told US Today: “She wants to find out where she comes from and is on a quest for adventure and prioritising herself a little bit more.”

Princess Peach sounds very much like the actress playing her.

HE may be a 63-year-old “normal” dad these days, but Shaun Ryder has not lost the ability to shock.

When the Happy Mondays frontman spoke to host Jack Whitehall at the Brit Awards last month, his tale of nearly being busted for drugs had to be edited out.

But, then again, putting the potty-mouthed and straight-talking singer on live telly is always a risk.

In an exclusive interview with The Sun, the Mancunian reveals that ITV did not appreciate his story of a drugs raid that happened when he was up for a Brit award in 1996.

Back then, Shaun’s other band, Black Grape, had been nominated for British Breakthrough Act.

Shaun says: “I told him I went to score and the gaff where I went to score got raided by the police as I’m scoring and the cops cottoned on who I was.

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“And I’m saying, ‘Oh, I’m getting a Brit Award here’ and they let me go.

“They busted a heroin house and they let me go because I was up for a Brit Award.”

You might think that Shaun, who has already published two autobiographies, has no fresh stories.

But the singer, who has a new memoir out now and who is writing material for Happy Mondays’ first album in 20 years, always has plenty of tales to tell.

In his latest book, 24 Hour Party Person, he recalls facing down what he believes was a killer orangutan, escaping a gun battle and being held hostage by an armed robber.

There are also numerous car crashes from which he somehow escaped alive.

Shaun, who quit drugs aged 40 after 20 years of substance abuse, admits: “I have used up more than nine lives.”

It could all have ended shortly after Happy Mondays’ first album, Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out), came out in 1987.

Shaun, who was not famous at that point, went to Amsterdam to live for a short while.

He remembers: “Some nutcase we knew from Manchester, who was doing armed robberies and was then in Amsterdam, hijacked a load of people, put them in the canal and shot them and then turned up at the gaff where we were staying and held us hostage for a day or two.”

Luckily, Shaun managed to talk the robber into letting them go.

But there was no way of having a nice discussion with a great ape that appeared in front of Shaun on a Barbados beach when he was recording Happy Mondays’ fourth album in 1992.

At the time there were stories in the local Press about a dangerous orangutan, nicknamed Jack the Ripper, on the loose.

Shaun claims: “This thing just dropped out of the trees right in front of me. It was a f***ing big orangutan.”

Telling himself “don’t show any fear”, the musician stood tall and shouted, “Grrr, arrrgh, f*** off, just f*** right off”, at the animal.

Remarkably, the orangutan did as it was told.

Orangutans are not native to the Caribbean, so there is a good chance it was indeed Jack the Ripper.

And Shaun, who was “smoking up to 50 rocks of crack cocaine a day” in Barbados, insists it was not a hallucination.

The album, Yes, Please!, failed to generate enough sales to justify the £150,000 spent making it and the following year the Happy Mondays broke up.

Shaun formed Black Grape in 1993 with his dancer mate Bez and rapper pal Paul “Kermit” Leveridge.

But it did not help keep him out of trouble.

During one trip to Jamaica, he and Kermit found themselves in the middle of a gun battle while trying to buy drugs.

He recalls: “I was going scoring and someone got shot, shot in the head. We just ran for it. If you’re a junkie going scoring, that’s the sort of s**t you come across.”

It was getting together with third wife Joanne which finally helped Shaun give up drugs and stop boozing.

They had dated briefly before Happy Mondays had hits, but he says: “She blew me out.”

Joanne, who now manages the TV part of his career — which has included two appearances on I’m A Celebrity . . . Get Me Out Of Here! — remained in the same circle as him.

The couple got together more than 20 years ago and married in 2010.

They have two daughters, Pearl, 17, and Lulu, 18.

Shaun, who also has four other children with previous partners, says: “She reeled me in and it’s a good job. “She didn’t let me get away with half of the stuff.

“If she hadn’t I’d have just carried on with crashing, but once I hit 40, I was determined to give up drugs anyway.”

His older children had to deal with his absences and spells in rehab.

But the youngest two have grown up in a more stable environment.

Shaun, who is also stepdad to Joanne’s son Oliver, explains: “I’ve still got two kids at home, so for the last 18 years, I’m just Dad.

“They’ve grown up coming and watching us at music festivals, and they’ve seen me in the jungle, but they’ve never seen that Shaun Ryder who’s off his nut.

“I pick them up from college and all that sort of thing, and drop them off. I’m the f***ing taxi service.

“In this house, you know, we don’t even have booze or anything, so, we’ve just been like a normal f***ing mad family for the past 18 years or whatever.”

Shaun says he did not see much of his older children and admits he was not a good dad to them.

But he says: “I’ve had really no trouble off my kids, I’ve been very lucky with the kids.”

This year is going to be an important one for Shaun.

Apart from the book and new album out next year, he is doing a Q&A tour and is on the road with Happy Mondays.

The return to the studio is due to former Creation Records label boss Alan McGee.

Shaun reveals: “I’m writing it now. Alan McGee wanted a new Mondays album, so Alan usually gets what he wants.”

When it comes out, it will be 40 years since the Manchester group’s first release in 1987.

These days various health problems, including a recent bout of pneumonia, means performing is harder than ever for Shaun.

One legal substance that has helped keep him on the road is the fat jab Ozempic.

Shaun says: “You just raid the medicine cabinet, don’t you, and get on with it, so the show must go on.

“I have an overactive thyroid, so even if I ate f***ing lettuce and tomatoes, I would be big.

“Since I started on the injections my thyroid started to get better.”

If Shaun has his way he will keep performing until the Grim Reaper finally catches up with him.

And the singer would settle for dying on stage, like the comedian Tommy Cooper.

He says: “In this game, you’re doing some Tommy Cooper style, you know what I mean?

“As long as you enjoy it, do what you do, f***ing do it and I still do.

“I’ll still make music and go play music out there until I f***ing drop dead on stage.

“It’s a good place to go, innit? To drop dead on stage, singing Kinky Afro.”

• Shaun’s new book 24 Hour Party Person is available from awaywithmedia.com.

SHE is an Oscar-winner married to a former James Bond, but Rachel Weisz says Hollywood made her feel so ugly she considered having plastic surgery.

When the British beauty first went there in the Nineties, she contemplated a nose job, boob job or liposuction to get noticed and boost her career.

Rachel, now 56 and one of the world’s most sought-after stars, said: “I went into quite a major depression.

“I was watching so many daytime TV shows. And then I would get in my car and drive to these auditions while listening to the radio.

“I feel sick now when I listen to the radio, all these commercials for different car dealers.

“I just felt like the world was so desperate and lonely and sad and people were trying to sell cars and no one wanted to buy them.

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“People are very focused on their own thing. In LA unless you’ve just won an Oscar or you’re ‘Mr Studio Head’, no one talks to you. Even at parties. I was at this big Hollywood party, and no one looked.

“Everyone is blinkered and they just kind of scan the room for ­anyone important. LA makes you feel ugly. Because if you’re an actress, no one pays you any attention.

“And you immediately start thinking, ‘God, I must have a nose job. Or, I must get that boob job, or I must get that lipo’, whatever it is.”

For Rachel, who started her career with bit-parts on Inspector Morse and whose new thriller Vladimir was released on Netflix on March 5, real success and happiness came when she turned her back on the glitz and glamour of Los Angeles.

She decided to split her time between London, where she grew up, and New York with her then-partner, director Darren Aronofsky, and their son Henry, now 19.

Rachel, who has been married to 007 actor Daniel Craig since 2011, told Index mag: “There’s not much room for eccentricity in Hollywood, and eccentricity is what’s sexy in people.

“I think London’s sexy because it’s so full of eccentrics.”

The actress’s breakthrough came in 1999 when she landed the role of feisty librarian Evelyn Carnahan in blockbuster The Mummy.

By 2006 her A-list status was cemented when she won the Best Supporting Actress Oscar for The Constant Gardener.

She went on to star in 2009’s The Lovely Bones and 2015’s Youth, as well as 2021 Marvel film Black Widow.

Now Vladimir sees her as ­married college professor M, whose life spirals into a steamy, all-consuming obsession with her younger colleague, played by One Day and White Lotus star Leo Woodall.

The series is based on the book of the same name by Julia May Jonas, which Rachel describes as a ­brilliant piece of writing.

She added of the character she plays: “I deeply empathise with her and understand her. But I left her when I got home.

“She’s like a projection of what a viewer might want to live out.”

Rachel and Daniel, who ­officially ended his 15-year stint as James Bond with No Time To Die in 2021, were friends for years before falling for each other in 2010 while filming thriller Dream House.

Within months they secretly wed in New York and went on to have daughter Grace, now seven. They split their time between Brooklyn in New York and ­Primrose Hill in North London.

But the couple deliberately choose not to do films together.

Rachel said: “I think we really love our private life as a life, as a family, and then we go to work separately.

“It means we can alternate, so I can stay home with the family while he works. We can swap out. If we’re both doing ­something at the same time, it’s probably less ideal.”

Rachel grew up in ­Hampstead, North London, with dad George, a Hungarian-Jewish mechanical engineer, and mum Edith, who originated from ­Austria and was a teacher-turned-psychotherapist.

The star started modelling at 14 and studied English at ­Cambridge University, with her parents hoping she would choose a more traditional career.

Rachel told the Sunday Sitdown With Willie Geist podcast: “They were just the kind of ­parents who were like, ‘You’ve got to get a degree, like you have to go to ­college’, which in the end I did.

“They wanted me to have a fall-back, so I could be a teacher . . . that would be a really good job.

“My parents would be really happy if I was a teacher. My dad was very sceptical about my career choice. I think he wasn’t very impressed by what I was doing.

“He was my harshest critic for a very long time. I think he only, after a good 15 years, was like, ‘OK, yeah’.

“He was tough — yeah, he was tough, in a good way. He was always honest, he didn’t make it nice. He’d take things apart and say, ‘I didn’t understand what you were doing,’ or, ‘That was a bit wooden’.”

But winning her Oscar changed everything.

Rachel said: “That definitely changed my life. Maybe my dad was like, ‘OK, all right, you were OK’.

“He would never be more over the top than that.”

And that Oscar meant she had the freedom to choose the roles she truly wanted, just like the one in Vladimir.

She said: “In the beginning of my career, I just did whatever job I got so I could pay the rent. I wasn’t picky.

“Now I’m in this luxurious position where I can choose things. It’s really about the character and writing, if it appeals to me or if it seems it would be interesting to ­pretend that story.

“I was never the kind of kid that got on the table and did a tap dance and a song. I wasn’t the star of the school plays or ­anything. I was ­actually really shy.

“I think a lot of actors, when I meet them as grown-ups, they go, ‘I was really shy too’.

“I think I’m just a daydreamer. I think storytelling is, in a way, daydreaming, but ­putting your daydreams into ­writing and getting people to embody them.

“I think my daydreaming skills have just come into it, I get paid for it.”

Despite now being praised for her stylish looks, ranging from velvet trouser suits to Valentino haute ­couture, walking the red carpet still makes Rachel nervous even today.

She said: “I don’t think any actress would say doing the red ­carpet is not terrifying. The way to get through it is to pretend.

“It’s a fantasy, like walking into a fantasy world. These people, they transform you, and that is fun.

“What you see on the red ­carpet is not a character that has anything to say.

“I used to be very shy, and in a way that was what was so great about the idea of ­acting. You can hide the real you behind that character.”

But after years of ­struggling with fame, Rachel says she has finally learned to be ­content with exactly where she is in life.

She said: “Someone once said to me when I was younger, ‘Never think the best party is somewhere else’. You know that feeling of being somewhere and thinking you should go somewhere better?

“You can’t do that. ­Wherever you are is the right place to be.”

“Well, I guess it’s a brother thing.”

The Black Crowes singer Chris Robinson is reflecting on his rollercoaster relationship with his younger sibling, guitarist Rich.

Their explosive chemistry once earned the outfit a fitting accolade — “The Most Rock ’n’ Roll Rock ’n’ Roll Band in the World”.

Chris is first to admit they’ve had their ups and downs since forming in 1984 under their original name, Mr Crowe’s Garden, as schoolkids in Atlanta, Georgia.

“Rich and I, for better or worse, were stubborn and arrogant but always strong believers in the art,” he admits.

“This has always been our path and, no matter what, we have to do it like this.

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“In rock ’n’ roll, there are plenty of show dogs, pure bred and beautiful. We’re f***ing feral.”

Following in the footsteps of other warring brothers — Ray and Dave Davies or Noel and Liam Gallagher — the Robinsons weren’t on speaking terms for five years after their so-called “contractual obligations” tour ended in 2014.

“Sometimes, you have to take your lumps,” continues Chris, employing that very American phrase for suffering setbacks. “But, right now, we’re in the zone. The chemistry is 100 per cent there.

“The way we feel goes right back to when we started — it’s f*** it, just play it — even if we are more well-mannered.”

The Black Crowes’ big reunion began in late 2019 with warm-up shows for a planned 30th anniversary tour of their debut album, the seminal Shake Your Money Maker, the following year.

But the pandemic slammed on the brakes before the dates finally happened across the US in 2021, uncorking the band’s celebrated freewheeling energy.

Back to the live arena came Jealous Again, Hard To Handle, She Talks To Angels and Twice As Hard, songs that somehow bottled up the band’s influences — Led Zeppelin, the Rolling Stones and Little Feat among them — but still refreshingly their own.

In 2024, with their creative juices flowing, The Black Crowes released their first album of original material in 15 years, Happiness Bastards.

Now the Robinsons are back again — with a bang.

The follow-up, A Pound Of Feathers, comes tearing out of the blocks with the rocket-fuelled, riff-driven Profane Prophecy, setting the tone for another of The Black Crowes’ “love letters to rock and roll”.

The album arrives with some sound advice — “This isn’t a record you play on Sunday morning, this is a f***ing Saturday night burner!”

In a world where smoothly produced pop dominates the airwaves, The Black Crowes are unashamedly sticking two fingers up at it.

“None of what’s going on in that world is relevant to me,” decides Chris, “and rock ’n’ roll is still huge for millions and millions of people.”

He is talking to me via video call from Aspen, Colorado, the premier ski resort in the States, playground of the rich and famous.

“My wife is an avid skier. She’s the Franz Klammer of the family,” he reports with a reference to the Austrian downhill legend.

“I get to do the cooking, the reading and the hanging out.” (And talking to people like me about The Black Crowes). Brother Rich is at home in Nashville and begins his call by apologising for being under the weather.

“I’m going to be coughing randomly,” he says. “I’m in the middle of flu that’s going around.”

After clearing his throat, Rich, the less flamboyant one who lets his guitar wizardry do most of his talking, gamely picks up on Chris’s theme.

“When we got back together, we both agreed we needed to do it properly,” he affirms.

“We knew that bringing back a toxic dynamic wouldn’t be healthy for anyone.

“We couldn’t have the overarching idea that when Chris and Rich get together, it’s a bad thing.

“We’ve always written all the songs, we own the name so coming back with a more mature approach has been very helpful.”

Rich acknowledges that the music landscape for the older, wiser Black Crowes is vastly different from when they started out. “There’s a bunch of people in the industry who like to think rock ’n’ roll is dead,” he says.

“But then there’s a bunch of people trying to keep it alive. Guns N’ Roses, the Rolling Stones, Metallica and Def Leppard are still selling out stadiums.

“Tens of millions of people still want to see bands like them. Rock ’n’ roll is one thing that no one could tame.

“And it’s still like that for us. We can go into a studio with almost nothing and, in a week, make a record.

“There’s a human, organic quality to rock ’n’ roll. We don’t have auto-tune and we don’t have to set our s**t to a grid.”

Looking back at their unfettered past, Chris exclaims: “I have to say I’m so f***ing proud of The Black Crowes, man!

“Rich and I started this band when we were teenagers in Mom and Dad’s house, as a vehicle to write songs.

“And we found our way to being musicians and performers.”

Yet the creation of A Pound Of Feathers has still blown Chris away, most notably because of the stellar contributions from Rich.

The album was made in double-quick time, carried along by the brothers’ spontaneous fusion of riffs and lyrics.

Chris says: “I’ve been on stage and sat in studios my whole life with my brother playing amazing guitar.

“But, with this album, I sat there with my mouth hanging open.

“Granted I’m very close to the flame but everything he did, I was like, ‘Wow, this guy’s taking it to a new place.’”

During the sessions, The Black Crowes were visited by Chris’s friend, Todd Snider, the singer/songwriter who died last November from pneumonia aged just 59.

Chris cherished the chance to hang out with Todd — and to get some memorable feedback from him.

“He was a storyteller, a real poet, and he and I had a great friendship. He also really liked The Black Crowes.

“He asked if he could come and check out the recording. I went, ‘Dude, yeah fine, but you’re going to be the only one here’. So he sat there taking in me and Rich putting music together.

“At the end of the day, he said, ‘Are you f***ing warlocks? Is this some kind of ESP or is it a parlour trick? You don’t say anything yet, 30 minutes later, there’s this massive song blasting out of the speakers’.”

For Rich, the studio is his happy place. “I’ve always loved being in a studio,” he says.

“It’s where you bring to ­fruition all the things you have in your head.

“With this record, we came in without any concrete ideas. By allowing ourselves just to play in the sandbox, it became fun and exciting.”

Rich gives a shoutout to producer Jay Joyce, who also helmed Happiness Bastards.

He says: “Nine and a half times out of ten, he agrees with us when we’re excited about something.

“He’s there with us, not bogging us down by trying to insert himself when its unnecessary.”

So what of the songs? There’s the aforementioned opener Profane Prophecy which captures the unvarnished sound of The Black Crowes’ live mayhem, yet recorded in the calmer confines of a studio.

You hear Chris nodding to past rock ’n’ roll excesses by hollering, tongue firmly in cheek, “My pedigree in debauchery is my claim to fame.”

He smiles, “Of course I have to embrace that life. That’s why I sing, ‘I eat casino breakfast off the kitchen floor’.”

But he maintains that while giving “a vision of a debauched rock ’n’ roller”, he’s also “confusing fact with fiction”.

The four-minute shindig concludes with the ensemble chant of the phrase that yielded the album title, “a pound of feathers or a pound of lead”.

Chris got the line from In Here The World Begins, a song by long-defunct British electro-pop band Broadcast.

“I loved the phrase and what it could mean because a pound is a pound,” he says. “It doesn’t matter whether it’s lead or feathers. There’s some weird wisdom to it.”

We turn our attention to Cruel Streak, pounding rock underpinned by funky rhythm.

“I’m adjacent to funk at all times,” says Chris. “Growing up in Atlanta, there was this multi­racial band called Mother’s Finest who played heavy funk with ‘Baby Jean’ Kennedy as lead singer.

“There’s a lot of Mother’s Finest in The Black Crowes.”

On the R&B-flavoured It’s Like That, which comes with heavy basslines and a hint of reggae, the brothers employed an amphibian guest, which, as Chris explains, fits with their anything goes attitude.

“I was staying in Nashville, and the doors were open. I heard this frog, so I recorded him. That’s my Nashville rasta frog on the solo.”

Rich says: “There are tree frogs all over the South. They were blaring one night and Chris said, ‘Man, I want to use that sound’.

“So he took his phone and pressed record. We found the right space for it on the song.” On the loose, laidback country-tinged Pharmacy Chronicles, recalling the vibe of the Rolling Stones’ Exile On Main St., Chris sings “let the demons find you” because, he insists, we mustn’t think everything is “sugar-coated, glossy and gorgeous”.

“Especially something as messy as a 40-year career in rock ’n’ roll,” he adds. “I can’t believe some of the s**t I was doing. Get some surgical gloves and get to it!”

But Chris is not one to dwell on the past, with all its euphoric highs and crashing lows. “I am devoid of nostalgia,” he says.

“I like to think I interact with the world as a poet. I’m always writing — it could be because I overheard a conversation at an airport check-in.

“I’m no Bruce Springsteen,” he confesses. “But I connect with the world through whatever inspires me.”

And, as he puts it, “a lot of the darkness that is the United States right now” informs A Pound Of Feathers.

It explains why final track Doomsday Doggerel with its line “a front row seat to the end of times” is in stark contrast to the closing song on Happiness Bastards.

“On that last record, Kindred Friend was a beautiful pastoral thing with harmonica, about me and Rich, the band and our audience,” says Chris.

“Doomsday Doggerel is much darker. We haven’t remembered lessons from our past and the f***ing racism means we’re operating at a very low frequency.

“I just hope that someone can play this record on a Saturday night, keep out the low frequency and get a better hum going.”

As Pharmacy Chronicles ebbs to a close, you hear a defiant chorus of “the good times never end”.

As far as Chris and Rich and the rest of The Black Crowes family are concerned, rock ’n’ roll is the perfect antidote to personal and universal turmoil.

“We’re loud, we can be sloppy but we are like an old cartoon of two people fighting on a train,” says Chris.

“The train goes round a bend, leaning all the way over a cliff, but then it comes back up. That’s us.”

THE BLACK CROWES

A Pound Of Feathers

★★★★☆