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IT is one of showbiz’s most famous moments – Tom Cruise leaping on a sofa while telling Oprah Winfrey about dating Katie Holmes.

“I’m in love,” the Mission: Impossible actor yelled, giddy with excitement as he flailed his arms about.

It was May 2005 and Tom, who divorced fellow Hollywood A-lister Nicole Kidman in 2001, had been dating Dawson’s Creek beauty Katie for just a month.

It seemed the love was mutual, with Katie revealing she was taking lessons in Scientology, a controversial religion founded by science fiction writer L. Ron Hubbard and beloved by her husband.

“I’m really excited about it,” she said, while Tom emphasised: “She makes her own decisions.”

And it seemed TomKat, as they were nicknamed, were flourishing.

Just 11 months after his dramatic declaration of love, their daughter Suri was born.

Katie and Tom wed in November 2006, but after five and a half years of marriage, she apparently blindsided her husband when she unexpectedly filed for divorce in June 2012 because of Scientology and its impact on her daughter.

And Suri, now 20, appears to have made up her own mind about her dad, dropping his surname in favour of her mum’s middle name, Noelle.

The move emerged after she publicly registered to vote in Pennsylvania, where she studies under the alternative name.

It is also reported she has been estranged from Tom, 64, since she was ten, while remaining close to Katie, 47, who is no longer a Scientologist.

Suri, an aspiring actor and drama student, is currently appearing in a re-imagined performance of Shakespeare’s A Midsummer Night’s Dream at the Edinburgh Festival Fringe.

And she seems to have inherited her father’s talent for acting, with critics saying the Carnegie Mellon uni student “stole the show”.

Journalist Tony Ortega, who has investigated the workings of Scientology for three decades, said of the family breakdown: “When Katie split with Tom, any normal Scientologist would be told she is an SP, a suppressive person — an enemy of the church.

“And Suri, being connected to Katie, would be considered a PTS — potential trouble source.

“Tom would be expected to disconnect from them and not have anything to do with them.”

The church says: “A suppressive person (SP) is a person who seeks to suppress other people in their vicinity.

“A suppressive person will goof up or vilify any effort to help anybody and particularly knife with violence anything calculated to make human beings more powerful or more intelligent.

“The suppressive person is also known as the antisocial personality.

“Within this category one finds Napoleon, Hitler, the unrepentant killer and the drug lord.

“But if such are easily spotted, if only from the bodies they leave in their wake, antisocial personalities also commonly exist in current life and often go undetected.”

Tom does seem to be in contact with his two other children, Isabella “Bella” Cruise, 33, and Connor Cruise, 31, who are both Scientologists.

Bella and Connor were adopted by Tom and Nicole in 1992 and 1995 respectively.

As youngsters, the pair divided their time between Sydney and Los Angeles, although they also lived in Hertfordshire for three years.

When their parents split up, the stars would initially spend their time between the children.

With dad Tom, they visited Scientology sessions at the church’s main hub in Clearwater, Florida, where followers spoke about attaining “spiritual freedom”.

In 2004, instead of seeing their mum, they were packed off to a Scientology summer camp.

The next year, they were living full-time with their dad.

In 2019, Bella told in a promotional email for Scientology how she was “drowning in problems” before training as an “auditor” — which is basically a counsellor who helps other believers shed “spiritual distress” using an “E-meter”.

The device is similar to a lie detector and delivers low-voltage electricity to the subject.

The email said: “This is what I had been searching for. The missing piece. Thank you to my dad for everything. We all need to do this. Wow. What an accomplishment. It’s hard work. It’s a lot of effort.

“It’s a few meltdowns and running to the bathroom to have a mini- episode, but it is worth everything because you will get through.

“This is a gift to yourself and so many others. It doesn’t matter if you aren’t going to be an auditor or aren’t going to join staff. If you are going to make it as a being for the long run, you need this.

“That’s the truth. So stop messing around and get going.”

However, despite her support of Scientology, Bella has not stayed living near her dad. Instead, she has switched the bright lights of Hollywood  for the far less glitzy Croydon, South London.

She lives in an ordinary semi-detached house with her British husband, Max Parker, 34, an IT consultant she met through friends and married in 2015.

She works as an artist, selling trendy tote bags and T-shirts with her prints on, and posts Instagram pictures and videos of her artwork and trips to Brighton.

Previously, neighbours told The Sun: “I wouldn’t have known her if she’d come up and smacked me in the face. I don’t keep up with celebrity culture.

“They have a reptile of some kind — we can see the red light of the tank. That’s all anybody seems to know. She’s very mysterious.

“I don’t know why she’s chosen Croydon, poor child!”

Former Scientologist and US actress Leah Remini, 56, wrote a book about her time in the church called Troublemaker: Surviving Hollywood And Scientology.

In it, she said she asked Bella if she saw her mum often and claims Bella replied: “Not if I have a choice. Our mom is a f***ing SP.”

Nicole, who left Scientology around the time of her divorce from Tom, has previously said: “I’ve chosen not to speak publicly about Scientology. I have two children who are Scientologists and I utterly respect their beliefs.”

She reiterated this in 2018, saying: “They are able to make their own decisions. They have made choices to be Scientologists, and as a mother it’s my job to love them.”

Bella does follow her half-sister, Sunday Rose, 18 — from Nicole’s marriage to country singer Keith Urban — on Instagram as well as both parents.

However, neither Nicole nor Keith attended Bella’s wedding reception in London, and it’s said she turned down her dad’s offer of a £324,000-a-month rented penthouse when she first moved to the UK capital.

Connor, understood to live near Clearwater, Florida, has been pictured with Tom at various sporting events.

A source told People magazine in 2019: “Connor has been able to remain close with Tom because of Scientology.”

On Instagram, he has shared pictures of him with his father, writing: “Watching the Yankees beat the Dodgers a couple years back with my dad.”

Scientology has two major centres in London, and its UK base is at the Grade II-listed Saint Hill Manor in East Grinstead, West Sussex.

And while Bella is in Croydon, it is unclear if she will travel north to Edinburgh to see her half-sister Suri, who is busy making a name for herself on stage.

THE price tag for John Travolta’s Saturday Night Fever suit is every bit as eye-watering as his dance moves.

The flared white three-piece outfit from the 1977 hit movie is expected to sell for as much as £300,000 at auction next month.

It is one of more than 1,400 items from film and TV that Propstore will be putting under the hammer in its four-day Summer Entertainment Memorabilia Auction.

The sale includes the fake axe wielded by Jack Nicholson in The Shining, a Harry ­Potter golden snitch and a hoverboard ridden by Michael J Fox in Back To The Future II.

A 15-inch stop-motion animation puppet from the 1949 film Mighty Joe Young is estimated to be worth up to £1.5million.

Here, we look at the most memorable mementoes up for grabs.

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WITH the summer holidays in full swing, travellers would do well to be wary of scammers spoiling their trips abroad.

A British tourist was recently charged £490 for an £8 taxi fare in Paris after a cabbie got her out of his car, claiming his internet connection was poor, changed the amount on the card reader, then got her to pay through the window.

In-person payments like this don’t offer the same automatic protection against fraud as bank transfers.

Around one in every 20 British holidaymakers falls victim to some sort of physical or digital scam while travelling overseas, and more than 9.4million have been caught out over the past five years.

Graeme Buck, Abta’s director of communications, said: “Always apply the same personal safety rules that you would at home, and read the Foreign, Commonwealth and Development Office travel advice for the destination you are travelling to.”

With millions of us jetting off this month and next, we reveal tricks con artists use to target you, as well as tips on how to keep your hard-earned holiday cash safe.

CLEAN BANDITS

IF you suddenly find an “accidental” dollop of ketchup, spilt coffee or fake bird droppings on your jacket or bag and an over-friendly local steps in to dab it off with tissues, keep your wits about you.

While you are distracted by the person cleaning you, their accomplice will rifle through your pockets and help themselves to valuables.

BED RECEPTION

TIRED after a long day travelling, you check in at your hotel and head off to bed.

Then someone claiming to be from reception calls to explain there is a glitch with the card you have just used, and they ask you to verify again your payment details over the phone.

But it could be a scammer after your money.

Never give card details over the phone. Go down to the desk to verify what the caller said.

JUICE JACKING

SNAPPING holiday photos can drain your phone’s batteries.

Exploiting this vulnerability, scammers tamper with public USB charging ports in hotels, cafes and aiports to steal data such as bank information, or to infect your mobile with malware.

Plug your own charger into a standard wall outlet or use a USB data blocker (an adapter that cuts off data transfer).

Or safer still, invest in a portable power bank.

Always tap “don’t trust” if a pop-up asks to share data.

FREE GRIFT

Couples tend to be a magnet for this sort of con in Paris, Milan, Rome and other European cities.

A stranger hands you a flower or ties a bracelet to your wrist, then demands a large cash payment — or the fake act of kindness is a distraction technique for pickpocketing.

Refuse the item and walk away.

THE SELFIE STEAL

WOMEN are mostly the target for this scam.

A random friendly couple asks you to take their photo.

The request might seem harmless — but do not oblige if they then ask you to join them for a selfie.

Once up close they’ll grab your purse, phone, watch and jewellery — and because they’re experts at what they do, you won’t feel a thing.

THE FRIENDLY WAITER

WHILE out sightseeing, you bump into a waiter who claims to recognise you and says: “I served you last night at dinner at your hotel. Don’t you remember?”

This is a red flag. Unsuspecting holidaymakers have told how they were conned into a “cheaper tour” by someone pretending to be their waiter, and intimidated into buying items from their friends’ shops — only to discover the conman didn’t work in their hotel at all.

Scammers can know where you are staying just by looking at your wristband, so turn it inside out when venturing outside the hotel.

PEA & CUP GAME

THE trickster lines up cups, hides a pea under one and moves them around.

You’re encouraged to bet on which one contains the pea.

A couple who are in on the scam get it right — and because you can see where the pea is, you then take a risk.

You win the first round but lose the rest.

One victim explained: “They won’t let you get away until you’re skint, and you’ll find it very intimidating. Just walk on by.”

TAKEN FOR A RIDE

A taxi driver insists the meter is broken, takes longer routes or charges hidden fees for the ride.

Or, upon picking you up from the airport or station, they claim your booked hotel is closed, under renovation or in a dangerous location.

The driver offers to take you to a better hotel where they get a commission for your new booking.

Always ensure the meter is running, use trusted apps such as Uber, Bolt or Freenow, or pre-book air-port transfers before your trip via a trusted site.

There’s a tourist Facebook site for many destinations, so head to the relevant one for transfer recommendations.

WHATSAPP TRAP

Scammers hack legitimate hotel and Airbnb messaging accounts so they can message guests shortly before arrival.

The con artists claim your booking will be cancelled unless you re-enter your card details, often via a WhatsApp or phishing link.

Never pay or click links outside the official app platform.

JUST SIGN HERE

TRICKSTERS — usually groups of young people — approach British tourists near major sights asking them to sign an English petition for a deaf charity or human rights cause.

While you are holding the board to read the details or sign, they pressure you for cash or pickpocket you.

TICKET TRICK

Hanging around busy stations such as Paris Gare du Nord or Rome Termini, swindlers posing as transit staff or helpful locals offer to assist you with the complicated ticket machines.

They will overcharge you, snatch your change or sell you cheap child-fare or invalid tickets.

“I’VE got a statement drafted, I’m ending it,” Katie Price told me of her fledgling marriage to Lee Andrews.

That was on February 1st.

This statement, as we all now know, never materialised. Because that’s how conmen like Lee operate: over the resulting four months he lied, scammed, obfuscated and wormed his way back into her affections.

Time and time again he has dismissed the seemingly never-ending allegations against him as a scurrilous and damaging pack of lies.

Katie, in her misguided loyalty, has sucked it up, and let him back in. But over the next 1,500 words I am going to lay bare the damning Lee Files: past recordings, voice notes, messages and shameless untruths. 

Unverified rumours of a gay affair, allegations of more people cheated of their hard-earned savings, a forthcoming appearance on Piers Morgan’s global YouTube show, horrific allegations of mental and physical abuse from former partners, mental health fakery and what really happened with the couple’s new dog, Dubaii: all shall be revealed.

My hope, in so doing, is to expose this man for the pathological liar he really is – and ensure he never, ever hurts another woman (or man) again.  

Lee, a source tells me, has left Katie no choice but to consult a divorce lawyer. 

She is also, I can confirm, refusing to return to Dubai. And with Lee locked-up, with travel ban, a reunion any time soon seems unlikely.

For Lee, literally and metaphorically, there is no coming back.

So, where to begin? 

Lee and I have history as anyone familiar with this sorry saga may remember.

The “multi-millionaire businessman” persuaded me to “invest” £1,000 in his latest (non existent) project, promising a £4,000 return. Needless to say those funds never arrived. 

After my piece ran, and Lee first emerged from Al-Awir prison, he sent me a series of messages insisting the money was still on its way (LOL). I told him not to bother paying me back as my bank, HSBC, had refunded me.

Our early exchanges post-prison – to recap, I had earlier joined the model, 48, in trying to hunt down Lee in the UAE – were cautious.

We sent one another “disappearing messages” on WhatsApp, both nervous the other might release them.

When I filmed an Instagram video describing Lee as a “bad man” and a “sociopath”, I awoke to a flurry of seething messages from him saying: “Clems you are not allowed to discuss a persons case files publicly it comes with 3 years sentence and 200k fine (sic).

“The UAE authorities will arrest you for this. And the facts are wrong on this bill oh dear clemmie what have you done. I have to make a police case for this now.”

I am still awaiting that lawsuit. 

In response to my disclosure that Lee had had a hair system fitted – aka a toupee – he added: “And you can’t discuss a person’s appearance online.”

From here, I clawed things back and we went on to start chatting again more regularly.

He sent me photos of his shackle marks and hand cuff ties – things people had mocked online in the wake of his claims he’d been taken at gun point to a black site – and said he’d had a hard time in jail.

This I believe.

And on 15th July, unfortunately whilst I was having Botox shovelled into forehead, I missed two calls from Lee in Al Awir prison.

It was utterly bizarre. He left me a voice mail: “Obviously I think you know where I am. I want to run something past you.” He thanked me and signed off. To this day, I have no idea what he wanted. 

Anyway, I honestly didn’t know if I would ever release this dossier, and even now, there is a part of me that feels enormous guilt.

Because Lee can be funny, charming, interested and interesting. It is hard not to like him, on a superficial level, and I can understand how and why so many women have fallen for his charms.

I have, though, since spoken to an anonymous account online, going under the name Chaos Corner, who claims to know someone personally conned by Lee.

They have posted several damning videos about his past behaviour, and much of the evidence stacks up. There is, after all, no smoke without fire.

I have also chatted at length to his brilliant ex-fiancee, Alana Percival. She is an incredibly courageous and powerful woman, and the first to come forward with allegations – and proof – concerning her ex’s treatment of her, and other women.

She has subsequently set up a support group for women who have been hurt by this man, using her voice for good, and gaining hundreds of thousands of supporters online in the process.

She tells me: “Based on my own experience, I believe Lee is a dangerous, sick and deeply harmful person. I believe he should be held accountable through the proper legal process. 

“My hope is that no one else has to go through what I went through and that anyone who has experienced trauma through him or his actions, abuse or manipulation, feels able to find their voice when they’re ready.

“That’s why I don’t judge Katie at all. Unless you’ve lived through that kind of manipulation, it’s incredibly hard to explain the hold someone can have over you.”

Over the past five months we have witnessed, in real time, the car crash of this marriage. Like rubber-neckers, we haven’t been able to get enough.

But, as the love-loving mum of five has always reminded me, this is HER life we are all gawping at. And only she can call time on this marriage.

It is, though, a sorry state of affairs that has left Katie teetering on the brink of losing public support, something she should be basking in off the back of her recent hit four-part documentary.

But as she herself said in our interview earlier this year, “never underestimate The Pricey”.

Kate is canny. She has, I can reveal, ALL the receipts of Lee’s lies, and WILL deploy them in a court of law should she need to.

Lee may have hoped to take a pretty penny from this marriage – but I doubt he will get one.

She has also NEVER paid for his release from jail contrary to public opinion.

And whilst Lee has garnered something of a celebrity status himself – flogging personalised Cameo videos for around £30 a pop – no TV network would dare to platform him with so many serious allegations hanging over him.

Indeed, a few weeks ago he was in talks with Piers Morgan to undertake a lie detector test. Piers confirmed they were in talks, but on Wednesday told me he had pulled the plug, describing Lee as “dangerous to deal with”.

He is dangerous I fear – which is why I am now blocking him across all forms of communication. I do not wish for his wrath or recrimination.

Doubtless Lee will feel I have betrayed his trust. And, yes – I have.

But, then again, this is a fraudster, currently holed-up for the third time in 10 months, and someone who took to Instagram on June 2nd to tell his 150,000 followers that his mental health had taken a battering after being relentlessly trolled 24/7.

This, I can now reveal, is yet another blatant lie. And one, for me, that crosses a line.

“Obviously you know I am not depressed,” he told me in a voice note.

“That’s there to get my legal side up, to get my doctor to sign me off. Do not repeat that!”

Well, I’ve repeated it, because it makes a mockery of those kind, decent folk genuinely battling daily with mental health struggles.

Elsewhere, despite his endless wealth brags, a source tells me a brief £300million partnership he obtained with the UAE Royal Family Offices was terminated after representatives sent in accountants to check Lee’s financials.

He had pledged a bond of around £10million, but when they checked his accounts, it is claimed, found only 27 Dirhams sitting there.

Lee, naturally, will likely deny this – and given he is in prison I am unable to put this historic allegation to him.

But then again, he denies all allegations.

Including a slightly surreal one earlier this week, in a post by Chaos Corner which purported to show loving text messages between Lee and another younger man.

Screenshots of the WhatsApps, in which he promised to leave Katie to be with this anonymous chap – homosexuality is prohibited in Dubai – also showed a credit card with Lee telling the man to treat himself to something nice.

The owner of the account sent me the telephone number of Lee given to them – and it matches the one I have. 

I can reveal Katie put this latest twist in the tail to her husband on the phone on Tuesday night – and he adamantly rejected them.

Another recent dispute came over ownership of the couple’s Pomski whom they rescued from a pet shop, and named Dubaii.

Katie paid for the seven month-old pup, but Lee assured her he had sorted care for the poor animal after he got banged-up once again.

Instead, it emerged, he dumped the dog with a registered pet sitter. 

When she couldn’t get hold of her best friend, Katie contacted Lee’s ex, Dina, who runs an animal rescue sanctuary, to take him in.

Lee also told Katie he had paid for Dubaii to be flown back to the UK.

Surprise, surprise, he had not. 

More lies from a man who makes Pinocchio’s nose seem miniscule.

Even in own sister, Kelly, who has been a rare voice loyally supporting him, seems to have turned against him.

Family friend Becky Smith bravely posted on Facebook: “Kelly Andrews and I just want to take a moment to speak the truth.

“Recent information shared by Chaos Corner has brought forward evidence that has left us both shocked. We are the first to admit when we’re wrong and now that there is proof, we feel it’s important to acknowledge that. (It is) incredibly painful for the family.”

And his dad, of course, recently enjoyed a jail stint by proxy, presumably, by being Lee’s father.

Latest unedifying accusations over a recorded video call – released on Chaos Corner, supposedly show Lee scamming an American man out his late mother’s inheritance. Again, Lee will presumably claim this is AI and untrue.

Lee’s litany of lies, should I detail them in full, would take me way over my word count.

But, in short, he’s bragged about a cameo on EastEnders (denied by the BBC), being arrested for espionage (reality: fraud), a sex tape (never filmed), arms dealer (he posed with a paintball marker), an interview by wife Katie on live stream on June 25th (been and gone), a boxing match in York on July 27th (he is still in prison and has a travel ban), returns to the UK (see: aforementioned travel ban), home ownership (rentals), gifts (a Ferrari “bought” for his wife who has a driving ban), adopting his wife’s five kids (he has not). And I will eat my mortar board if he has a PhD from Cambridge University.

In short, this is a man who wouldn’t know the truth if it smacked him around the hair piece.

He has hurt far too many people… must never be allowed to hurt again. Katie, if you’re reading this: get out. Now.

Last night Lee was unavailable for comment, and Katie declined to comment.

IT was 15 years ago today that the shocking news broke that Amy Winehouse had died, aged just 27.

She had released just two albums during her eight-year career, but her massive success and larger-than-life character meant her death sent shockwaves around the world — and today her impact on culture is more apparent than ever.

In music, fashion and art, she has inspired an entire generation of artists. British music is being dominated by women whose sound, style and brand is packed with references to the late superstar.

In recent weeks rapper Cardi B and actress Zendaya have been spotted dressed like Amy, with her trademark beehive hairdo.

And one artist who is frequently compared with Amy is Raye, who, much like the late singer, has become a celebrated industry darling, thanks to her brassy Motown influences and brutally truthful lyrics.

But Raye feels the weight of comparison more than most, and said: “I’m aware that what she did is irreplaceable and inimitable.

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“Amy did it so well that no one can ever do what she did. And, God rest her soul, she gave her whole life for us to enjoy the music that she left behind.”

Like Amy, Raye went to South London creative arts academy The Brit School, whose starry former pupils also include Adele and Olivia Dean.

Raye recalled her years at the school, and how she would walk down the corridors and see photos on the wall of alumni such as Amy and say: “That’s gonna be me one day.”

Amy’s star certainly burned brightly, but all too briefly. Her body was discovered at her home in Camden, North London on July 23, 2011, by her security guard Andrew Morris.

Toxicology reports later revealed her blood alcohol content was five times the legal drink-drive limit, and the coroner’s report stated her “sudden and unexpected” death was caused by misadventure due to alcohol poisoning.

Amy had battled drug addiction for years, inspiring her 2006 single Rehab, but she had got clean from illegal substances before she died.

As a fiercely unapologetic woman in the music world, she blazed a trail for a new way to be an artist — and for future star Lola Young, who was just ten years old when Amy died, she was an inspiration.

The One Thing singer carries a gritty London identity similar to Amy’s and produces familiarly confessional lyrics.

She is even managed by Nick Shymansky, the same industry executive who guided Amy’s career during her breakout success.

After Amy, he swore he would never manage another artist, but was so won over by Lola’s talent — and subtle similarities to Amy — that he decided to take her on, and she has since sold millions of records.

When Amy found fame in the Noughties the music landscape was dominated by indie and processed pop, but she forged a new path with her neo-soul, Sixties pop and jazz sound — and now that sound is everywhere.

Olivia Dean’s easy-listening collection The Art Of Loving is on course to be the biggest-selling album in the UK this year, despite the fact it was released last September.

And even more recently, British newcomer Sienna Spiro has followed Amy with her vintage aesthetic and her breakout single Back To Blonde — mirroring Amy’s 2006 album and single Back To Black.

It is paying off, as last week Sienna shot to No2 in the charts with her debut album Visitor.

The impact of Back To Black, Amy’s second album, was felt worldwide. With classic songs such as Rehab and Tears Dry On Their Own, it became the fifth best-selling album of the 21st century so far, shifting 20million copies.

Amy sang about toxic co-dependency, addiction, dating disasters and her flaws, all in graphic detail, then wrapped them up in palatable and catchy songs.

It was all the more interesting for listeners, as her tumultuous personal life, including a rollercoaster relationship with her boyfriend and then husband Blake Fielder-Civil, and her drug use, became front-page news.

The saga taught lessons to youngsters such as future superstar Billie Eilish, who saw the tragedy unfold as she was growing up in California.

She said: “The things that inspire me about Amy are also the kind of things that are sad about it.

“You knew she wasn’t doing anything that she did for attention or in a weird, fake way because from what I gather, she didn’t really want that s**t, you know.

“It showed me that she was kind of raw for what she was creating, and she wasn’t trying to be anything she wasn’t, because she didn’t even want to be that.

“She changed a whole generation of music. Everyone, when listing off the people that inspired them, Amy Winehouse is always in that list.

“Everything about her, she just mixed a whole bunch of stuff together, and created the most beautiful things.”

And it’s not just female fellow stars who are Amy’s admirers.

Mark Ronson, who produced her Back To Black album and co-wrote the song of the same name, has credited Amy with his entire career.

Accepting the Outstanding Contribution to Music prize at February’s Brit Awards, he said his multiple chart-topping collaborations with other artists would never have happened if it wasn’t for her.

He said: “I realised on the way here that on Thursday, March 6, it’ll be 20 years to the day that Amy Winehouse came up to my studio in New York City. We went upstairs and talked for four hours and that night we wrote Back To Black, and that day changed my life for ever.”

Mark has since gone on to sell millions of records by working with superstars such as Lady Gaga, Bruno Mars and Miley Cyrus.

But he added: “I know the music I made with Amy is the reason any of them know who I am anyway. That’s why I’ll always treasure her voice, her talent, our bond, all of it.” And this month The Rolling Stones have celebrated Amy’s legacy by covering her song You Know I’m No Good on new album Foreign Tongues.

Guitarist Keith Richards said: “Loved the song. Always thought that Amy was a sad story in many ways, but she was one of the best to come out of England, and probably had so much more potential.”

Such was her star power, she shared the stage with the Stones at the 2007 Isle of Wight Festival, covering the Temptations’ Ain’t Too Proud To Beg, just four years after releasing her debut album Frank.

Street artist Pegasus was a close friend of Amy’s and launched his career on the day she died.

He has since become famous for his stencilled portraits of the singer, such as his “Fallen Angel” mural near Camden Lock, close to where they used to hang out.

Pegasus, whose real name is Chris Turner, told The Sun: “Amy was one of those people who come along every so often, makes a massive impact, unfortunately isn’t around for long but leaves a lasting legacy.

Her light will always shine bright. Her unique style, her love for the greats, like Etta James, Billie Holiday and Nina Simone, introduced and inspired a generation of artists that came after her.

“I am always seeing bits of Amy everywhere and it makes me so proud.”

SHAKIRA’S performance at the Super Bowl 2020 halftime show was plagued by backstage tensions with her Latina co-star Jennifer Lopez.

But today, the South American She Wolf singer is howling with delight as she dominates music charts around the world following a show-stopping performance at the World Cup Final.

Colombian beauty Shakira, 49, pulled off the ultimate performance, wowing 1.5billion global viewers at Sunday’s mega gig.

The mum-of-two, who is worth £224million, celebrated her success by sharing snaps of herself with Beyonce, Jay Z, David Beckham, BTS, Tom Cruise and Anya Taylor-Joy.

Elsewhere, her rival J-Lo was left washing away her woes after she was pictured in a bathtub on a day out with her sister.

It came after she sang at an intimate gig for Dolce and Gabbana in Sicily last week — a much less extravagant showcase than Shakira’s.

Insiders say J-Lo was licking her wounds after being desperate to land the World Cup gig herself, 12 years on from her stellar performance at the 2014 tournament in Sao Paulo, Brazil.

To add insult to injury, her latest movie, Kiss Of The Spider Woman, was branded a box office flop.

As one music insider said: “J-Lo practically dismissed Shakira as some sort of backup singer at the Super Bowl, but how the tables have turned.

“Naturally J-Lo would have loved her chance to shine on the world stage again.”

Rumblings of a feud between the pair first began in February 2020.

The American football body, the NFL, had booked Shakira and J-Lo to co-headline the prestigious Super Bowl half-time show, a slot that has attracted the likes of Michael Jackson, Prince and Beyonce.

Fans went wild for Shakira as she sang hits including Whenever, Wherever and Hips Don’t Lie, and J-Lo belted out her bangers On The Floor and Love Don’t Cost A Thing.

The critics lapped it up, calling the concert “electric” and the “sexiest half-time show in memory”.

But behind closed doors, Jennifer, 56, was said to be unhappy that she had to share the stage.

In her 2022 Netflix documentary Halftime, a furious J-Lo raged behind the scenes. She blasted the joint ­performance as “the worst idea in the world”, with her manager Benny Medina adding: “It was an insult to say you needed two Latinas to do the job that one artist historically has done.”

J-Lo made it very clear she felt she had deserved the 12-minute slot to herself.

Fans also spotted a difference in how the artists shared promotional photos on Facebook in the weeks before the event.

While Shakira’s snaps featured both Latina artists, J-Lo’s were of herself.

Despite J-Lo’s very public comments, her rival has been more ­discreet, though she has hinted at tensions. Shakira, who released her first album aged 14, confessed: “It wasn’t an easy show to put together.

“There was a lot of work behind it, a lot of stress. But it was one of the highlights of my career.”

Fast forward to now and the tables have turned for the stars, who both burst on to the pop scene in the mid-Nineties.

Shakira’s infectious World Cup anthem with Burna Boy, Dai Dai, has taken the world by storm, triggering a chart frenzy the likes of which J-Lo has not experienced since 2011 when On The Floor — her collaboration with Pitbull — went to No1.

Minutes after her hip-shaking performance of the track at the World Cup Final, it was riding high at the top of Spotify’s chart, handing the star her biggest streaming day ever — and the biggest streaming day in US Spotify history to boot.

Shakira has pledged to donate all royalties from Dai Dai to the FIFA Global Citizen Education Fund.

A music insider said: “Shakira’s numbers are astronomical. She is dominating every single music chart on Earth. It’s quite the achievement for any artist, never mind one who turns 50 next year.”

What’s more, the singer’s phenomenally successful Las Mujeres Ya No Lloran (Women No Longer Cry) tour was officially 2025’s highest-grossing global trek and the most lucrative tour of all time by a Hispanic artist.

To top off her reign, Shakira is heading back to Europe this autumn for a 12-arena residency across September and October in Madrid.

It will be at a brand new, specially built venue dubbed the Shakira Stadium.

An insider added: “Having a literal stadium built in your name in Spain is one hell of a mic drop. You can’t buy that kind of triumph.”

It has been a different story for J-Lo, who was forced to cancel her This Is Me . . . Live tour in 2024 amid reports of weak ticket sales.

She said in a statement she was “heartsick and devastated”.

What makes this triumph even sweeter for Shakira is it was born from the ashes of heartache. Both stars have endured devastating public splits.

In 2022, Shakira’s 11-year relationship with Spanish football legend Gerard Pique fell apart amid claims he cheated.

Spanish media reported she discovered his infidelity when she returned to their Barcelona mansion and noticed someone had been eating her strawberry jam — a spread that her hubby loathed.

She later dismissed this as “not true”, but split with the former footballer nonetheless.

Instead of moping, Shakira — who has sons Milan, 13, and Sasha, 11, with her ex — marched straight into the recording studio.

She teamed up with Argentine producer Bizarrap to release a ruthless diss track that mercilessly mocked Pique and his new, girlfriend, Clara Chía Marti, who was in her early twenties at the time.

In an obvious dig, she sang: “I’m worth two 22s. You traded a Ferrari for a Twingo. You traded a Rolex for a Casio.”

Shakira also proudly declared in the lyrics: “Women don’t cry any more, they cash in.”

And cash in she did. The song shattered several Guinness World Records, rocketed her career to new heights and proved that hell hath no fury like a Colombian pop ­goddess scorned.

J-Lo, took a different approach. After three failed marriages — to Ojani Noa, Cris Judd and Marc Anthony — with whom she has 18-year-old twins Max and Emme — J-Lo rekindled her early Noughties romance with ex-fiancé Ben Affleck in 2021.

Bennifer 2.0 tied the knot in 2022, and Jen became so hopelessly obsessed with their “fairytale” that she self- funded a cringe-inducing, £15million ­musical film, This Is Me . . . Now: A Love Story.

The film bombed spectacularly, the accompanying album flopped and, just two years later, their marriage ended in another bitter divorce.

J-Lo’s recent cinematic efforts have not fared any better.

While she was once the undisputed queen of the romcom, with movie hits including The Wedding Planner and Maid In Manhattan, her recent films have failed to set the box office alight. In fact, 2024 sci-fi flick Atlas was widely panned, while last year’s Kiss Of The Spider Woman lost millions, leaving ­Hollywood insiders questioning J-Lo’s bankability.

Even a recent return to romcom in Netflix’s Office Romance scored a measly 49 per cent on movie review website Rotten Tomatoes.

While recent professional endeavours may have struggled, J-Lo is the ultimate comeback queen.

And her £300million business empire, including the booming JLo Beauty line, proves she is a ­formidable force.

So while Shakira is enjoying global adoration, it would perhaps be foolish to write J-Lo out of Hollywood quite yet.

IT was seen as total madness by many and a charade by others.

But pop duo Wham!’s 1985 trip to China for two special concerts in the newly opened communist state turned out to be a stroke of genius.

The gruelling ten-day trip saw Wham! become the first Western band to perform in Communist China, and helped fast-track school pals George Michael and Andrew Ridgeley, now 63, to superstardom.

During their illustrious time together they sold more than 25 million records worldwide and clocked up five UK No1 singles including Wake Me Up Before You Go-Go, I’m Your Man and Last Christmas.

Crucially the trip helped the duo crack America and, armed with their catalogue of hits and flanked by a camera crew, it was filmed for what would have been a gritty documentary about the band leading a Western revolution in the country.

Speaking in the documentary, George, who died on Christmas Day 2016, recalls: “It was historic. There were only a few things that you can do as a pop band that haven’t been done before.

“It was a great privilege being the first people to play real Western pop music to those people.

“I wouldn’t have missed it for anything. It’s just that it was a pretty hard couple of weeks.”

Wham!’s manager, Simon Napier-Bell, initially believed that getting renowned British director Lindsay Anderson on board to make the film was a massive coup which would add credibility.

But, it quickly became apparent they had completely different visions for the documentary.

George and Andrew just wanted to make a glossy concert film, while Lindsay, who openly criticised the group, was focused on a hard-hitting documentary about the westernization and opening up of Communist China.

And due to these creative differences the documentary was never shown and the tapes were archived.

Now, for the first time, the incredible footage has been unearthed and the historic trip is told in George and Andrew’s own words in the 90-minute film, Wham! 10 Days In China.

While often unpredictable, the late singer was by all accounts far better at playing the media game than his bandmate.

At a VIP screening at Soho House in London, Andrew told The Sun: “Frankly, I behaved like a bit of a t**t, honestly.

“We were relatively young, but we had also had a good two or three years worth of experience with the press.

“We knew the game. We knew what was at stake. We knew how to behave and how not to — but I just chose not to.”

The band had formed just four years earlier, releasing their debut single Wham Rap! (Enjoy What You Do) in June 1982.

Andrew knew going to China was a “risky” move for the famous duo, who had experienced phenomenal success but were yet to reach the international stardom they eventually went on to achieve.

He adds in the film: “Wham! In China . . .  I was cynical. Untried. Untested. Risky.

“I didn’t really like it. Landing in China, I felt we were there on false pretences. It was a circus. Wham! in China was more than just the shows.

“A show had to be made of Wham! in China and that meant official events, interacting with our hosts. It was just part and parcel of being there.

“Being dragged around to contrived scenes was not something either of us was particularly comfortable with.”

However they took the risk, determined to break the US market as quickly as possible.

Andrew continued: “To break the States was a huge ambition for any act — and George’s ambition overrode everything.

“However, he had suffered with his voice breaking down.

“He had undiagnosed polyps on his vocal cords at that point and so he didn’t want to spend months touring small venues. We wanted to fast-track Wham! straight to the top. Something was going to have to be done.”

Run like a royal tour, as well as the two concerts in Beijing and Guangzhou, the trip included a number of photo opportunities and government-organised events.

The whole tour was masterminded by Napier-Bell, who saw the opening of China as a way to make history and fast-track the boys to the top.

In return, China got foreign investment.

Alongside the more obvious choices, such as a trip to the Great Wall of China, Wham! were guests of honour at a State Dinner and a garden party at the Ambassador’s house inside the British Embassy.

Publicly, the pair put on a great show, making small talk and mingling with dignitaries.

But amusing new footage reveals the stars oscillated from finding the whole thing hilarious to being sick to death of being wheeled out to all and sundry.

During the dinner, they were presented with an intricate tapestry, prompting George to whisper to the camera like a naughty schoolboy: “It’s a bath mat. We will cut it down the middle. My mum can have one half and Andrew’s mum can have the other half.”

The long, drawn-out trip to the Ambassador’s house almost pushed them too far.

Andrew recalls: “Our schedule was such that we were being pulled in a variety of different directions.

“The Ambassador’s residence was a bit of 1930s Blighty transported into Peking. They seemed to exist in this colonial microcosm. It’s quite strange.

“There was nowhere to hide in there. I thought I would be polite and play the game, but Yog [George’s nickname] didn’t feel the same way. He thought it was an utter charade.”

George was so fed up with parts of the trip that he upped sticks and left Andrew in the middle of a cassette signing with fans.

His bemused bandmate was forced to make up excuses that George was feeling sick and needed a lie-down to cover up the fact the star had simply had enough.

In historic footage of the moment, seen for the first time, a baffled Andrew says: “He’s left me in the lurch before, but once bitten, twice aware — or twice as aware.”

Grilled as to how he would describe his partnership with George, he added: “Stormy, but mostly on the fair side. He’s a nice enough chap.”

While the band split in 1986, the pair went way back before fame, having known each other since 1973, after meeting on their first day at Bushey Meads School, Herts.

Asked if he found watching footage of his late friend difficult, Andrew added to The Sun: “Sometimes it catches me out.

“The moments that really appeal to me are scenes like the one where we are bickering in the back of the car — just two youngsters, two friends.

“They are the ones where you can see the essence of real friendship. They are the things I miss, as we are unable to share them now.

“Anyone who had his company and his friendship for an extended period of time will know he was a deeply caring chap, and we all miss him. To have lost the best friend I have ever had is difficult, as they are irreplaceable. A childhood friend who you have spent all those years with.”

The trip wasn’t without drama.

During an internal flight, one of the band’s trumpet players suffered a breakdown — stabbing himself in the stomach and forcing his way into the cockpit.

For the first time, backing singer Shirlie Kemp — who went on to become one half of Pepsi & Shirlie along with Helen DeMacque — speaks about how she was left terrified and covered in her bandmate’s blood.

Shirlie said: “It was one of the most scary experiences of my life.”

Despite the mile-high terror, Wham!’s trip was hailed a success, both in terms of winning over the Chinese with their music and cracking America.

Chatting to The Sun, Andrew says he believes his late pal would be most proud of the fact the gigs helped inspire a generation of children in China to get into music, many of whom had never even danced in public before attending the Wham! gig.

Andrew told us: “I think George would feel very much the same way as I, in that the legacy that exists for the Chinese people who were at the show is the most meaningful and substantial of all the legacies.

“It achieved what it was supposed to. The trip was designed to raise our profile in the US, as we didn’t want to do a long tour. Yog didn’t like being away from home for extended periods.

“He would find the fact that there are Chinese artists whose careers may exist only because they saw Wham! incredible.”

• Wham! 10 Days In China will be in cinemas from July 28 and will then air on BBC Two and BBC iPlayer in August.

ON the same day as the 2022 World Cup final, England lost one of its most beloved singers – Terry Hall of The Specials.  

“Terry passed away right after the game,” recalls his bandmate and best buddy, Lynval Golding. “I was in Jamaica when I got the phone call to tell me he’d gone.” 

On December 18, Lynval had been watching Argentina beat France on penalties after a 3-3 extra-time thriller. 

He says: “It was a fantastic game and I thought to myself, ‘Terry, that game was played for you’.” 

While Lynval is a Chelsea fan, Terry supported Man United — but both had been following the Three Lions. 

Four years on, as England’s 2026 campaign ends in defeat to Argentina, The Specials have released their final album, recorded in the summer of 2019 in their teenage stomping ground of Coventry. 

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Across 24 tracks, it is a reminder of a band that smashed racial and class divides — yet one that did it with horn-fuelled hooks primed for the dance floor. 

Live From The Cathedral draws on a four-night homecoming stand in the ruined shell of the old St Michael’s Cathedral, bombed almost to oblivion in the Blitz.  

It includes all The Specials’ favourites — Too Much Too Young, Rat Race, Nite Klub, Stereotype and Ghost Town among them. 

There’s also room for songs from Encore, the band’s studio album released earlier in 2019, including Vote For Me, B.L.M., and a reworking of Fun Boy Three’s The Lunatics. 

It ends with The Specials’ lilting cover of You’re Wondering Now with the Coventry crowd, given encouragement from Terry, chanting the chorus of, “You’re wondering now, what to do/Now you know, this is the end.” 

As it has turned out, the album does mark the end of The Specials, the ska revivalists with punk attitude who formed in 1977 and captivated the nation as members of the 2 Tone movement alongside The Beat, Selecter and Madness. 

And that’s why I’m speaking to the surviving core members, guitarist and occasional vocalist Lynval, who came to Britain as part of the Windrush generation, and bassist Horace Panter. 

I’m supposed to be talking to them together — but then I didn’t take the World Cup into account. 

Only when Horace and I are winding up our chat does Lynval join the video call. 

“I just woke up. I was watching football all night!” he exclaims.  

It’s the day after England beat Mexico and though Lynval lives near Seattle these days, he’s in London staying with family.  

He adds: “Obviously every four years, football is the most important thing in our lives. I’ve got my England shirt!” 

Lynval is the extrovert who wears his heart firmly on his sleeve while Horace seems to be a calm and thoughtful character.  

Hearing from these contrasting souls, one thing becomes abundantly clear. They think it’s all over. 

“This live album is the last hurrah, the final full stop,” says Horace.  

“Losing Terry was a tragic way for it to end, but it’s been an absolute joy to have been part of this band. Incredible. 

“I’ve moved on,” he continues. “Life happens.  

“In 2021, I was handed a granddaughter which I wasn’t expecting. 

“My son and his wife have moved up to live near us (not far from Warwick), so I’m involved in looking after her.  

“I still play music — noisy blues rock with some buddies from Leamington and Coventry. 

“I do other musical stuff and I’ve got this art career. I paint pictures.” 

As for Lynval, the loss of Terry aged 63 from pancreatic cancer, came as the bitterest of blows. “It took me three years to even listen to those live recordings,” he says. “It felt so raw.” 

He sees Live From The Cathedral as a tribute to all those members of the 2 Tone family “who are no longer with us”, including Specials drummer John Bradbury, trombonist Rico Rodriguez and The Beat’s Ranking Roger. 

“But it is more focused around Terry than anyone else,” he says. 

“I was absolutely blessed to work with him, one of the best lyricists England has ever produced. He never got the credit he deserved — he was so damned good.” 

Lynval vividly describes his heartbreak at discovering his close friend was seriously ill. 

Terry had just got back from Los Angeles where he’d been writing songs for the next (and never to be released) Specials album and Lynval had flown over from Seattle for sessions.  

He says: “The next day, I went to the studio and Nikolaj [Torp Larsen], our musical director, was there.  

“We listened to some of the music — one song had the feeling of Funky Kingston. 

“I waited but Terry didn’t turn up. I was the only one he would let visit him at home in Islington so I got on the Underground, came off at the Angel, and walked right to his house. 

“His wife Lindy opened the door. She looked a bit concerned and said, ‘Terry’s in bed’. 

“We both had jet lag so I decided to leave him that way. I had my usual cup of mint tea and chatted with Lindy.”  

Later that week, Lynval heard that Terry had been to hospital and received devastating test results.  

He says: “I went to Coventry and hit a bottle of rum. I went into a black space — completely dark.”  

Soon after his pilgrimage to the Midlands city where they had formed The Specials, Lynval rang Terry. 

“Terry rarely talked to anyone on the phone but he knew we had something to discuss.  

“He said, ‘I’m going to fight this’, and I said, ‘Terry, I’m going to be right by your side, fighting with you brother’.” 

Lynval firmly believes he is “spiritually connected” to Terry and, by way of example, explains how he came to sing Moon River at his funeral. 

“When Brad [John Bradbury] died in 2015, I sang Redemption Song as a tribute, with just cello, violin and viola. 

“Terry’s wife asked me what I was going to do this time. I said, ‘I don’t think I have the strength to do anything’.” 

But then, Lynval heard a radio playing Andy Williams’ definitive version of Moon River. 

He says: “It was beautiful. I rang Lindy and said, ‘I will sing for Terry and I know what I’m going to do — Moon river, wider than a mile’. 

“She started crying and said, ‘It was our wedding song and I played it to him on his deathbed, you’re a genius’, and I hadn’t known.” 

So, along with Nikolaj and guitarist Steve Cradock, Lynval performed Moon River in the same crematorium as John Bradbury’s funeral. 

He says: “When I sang that line, ‘Two drifters off to see the world’, I thought of Brad and Terry.” 

The loss of two such important bandmates prompts Lynval to echo Horace’s sentiments that The Specials have run their course. 

He says: “My book is always open, but not to do anything as The Specials ever again. 

“I was so blessed to work with these musicians but I can’t play the guitar any more. 

“My nerves were damaged after I was hit by a bus. 

“I’ve passed my guitars and keyboards on to my 18-year-old great-nephew Jayden. He’s a jazzer and a Golding!” 

I ask Horace for his thoughts on Terry and he talks of “a private person despite the fact that he could go out in front of four or five thousand people”. 

He adds: “I would kill to go on Desert Island Discs but Terry was like, ‘No, I won’t do that’.  

“But there was always something to laugh about with him. He could be very funny. We bonded over Northern working men’s club comedians and Spinal Tap.” 

Now it’s time to return to those balmy summer nights in 2019 when Terry, Lynval, Horace, Nikolaj, Steve Cradock and the rest of the ace live Specials band performed those hometown gigs in Coventry. 

Horace says: “It was a real coming together of people in Coventry and the ruins of the cathedral was a fantastic venue. 

“Usually when we went to Coventry, we would play this big soulless concrete shed up by the football stadium.” 

He adds: “I was still living there in 2019 so I would walk over the green to Empress House, catch a No13, which dropped me off at Pool Meadow. Then I’d cross the road, go up through the university, and I was at the cathedral. It was great.” 

He remembers Coventry being “a tough place to live” back in the Seventies when The Specials got together, the other members who made the debut album besides Terry, Lynval, Horace and Brad being Jerry Dammers, Neville Staple and Roddy Radiation. 

“By the time we came to prominence in 1979, there was an enormous amount of unemployment and disaffection in Coventry,” says Horace. 

Although Dammers’ masterpiece Ghost Town could be about any downtrodden city with big social problems, it could, he suggests, also have been about their hometown. 

He says: “Lynval suffered racism in some of the jobs he had. At night, he’d go out to the clubs and getting home could be quite an adventure.” 

Though The Specials were associated with Rock Against Racism, Horace says: “We didn’t play many of the gigs because we were the working definition of white guys and black guys making music that works. It was unity in action.” 

He draws my attention to the great Friday Night, Saturday Morning which The Specials perform on Live From The Cathedral and is dedicated by Terry to the fabled Parson’s Nose fish and chip shop in Coventry. 

The song goes: “Hope the chip shop isn’t closed. Cos’ their pies are really nice. I’ll eat in the taxi queue. Standing in someone else’s spew.” 

Horace says: “That was one of Terry’s first forays into songwriting and a really important song of ours. He gave it a very droll delivery. 

“The Parson’s Nose was the chippy that stayed open late after you’d been to clubs like Mr George’s, La Chaumière or Tiffany’s. You’d go there for a steak and kidney pie and mushy peas. 

“Nite Klub mentions Tiffany’s. The shows we did there were the apogee of 2-Toning in 1979.” 

Lynval says: “I got chased in Coventry, I got stabbed in Coventry. It could be a running battle because of the racial problem.” 

But he adds that he had “wonderful” Friday nights and Saturday mornings that ended up at The Parson’s Nose or the Chinese takeaway next door. 

“We were youth, we were growing up and I really did ‘wish I had lipstick on my shirt instead of piss stains on my shoes’.” 

Horace maintains that The Specials gave Coventry something to smile about and to be proud of in the late Seventies “and that was acknowledged during the gigs in 2019”. 

So, I can’t help but ask, how did Horace get his stage name, Sir Horace Gentleman?  

“That was Lynval’s fault,” he replies. “I was raised in Kettering, Northamptonshire, and had a very plummy accent.  

“I was at art college and wasn’t working class by any stretch. And, of course, lots of people had reggae names like Prince Buster or Sir Coxsone.” 

Horace says The Specials “owed as much a debt of gratitude to The Clash as we did to the Jamaican artists.  

“We had the great good fortune to open for The Clash for three weeks in 1978 so we could sit side-stage every night and watch how those guys delivered and what they delivered.  

“We thought, ‘Well, OK, if we’re going to be any good, we’ve got to be at least as good as these guys’. The Clash set the benchmark.” 

But the final words are with Lynval, who has nothing but fond memories of his time in a very special band. 

“I feel so honoured to have been in The Specials,” he says. 

“It’s nearly 50 years since we first got together. What an achievement! 

“And, hold on a minute, those songs are just as relevant today.” 

Lynval leaves us with a quote from a song that Horace insisted they play live at every show because it served as a mission statement. 

“Just because you’re a black boy. Just because you’re a white. It doesn’t mean you’ve got to hate him. It doesn’t mean you’ve got to fight. 

“It doesn’t make it alright.” 

THE SPECIALS 

Live From The Cathedral 

★★★★☆

ONCE the golden couple of Hollywood, Brad Pitt and Angelina Jolie’s multi- million-pound divorce battle rumbled on longer than they were man and wife.

And ten years since proceedings first started, the bitterness between those involved shows no sign of slowing down.

Brad, 62, watched in horror this week as the final steps were taken to remove any trace of him from the once-glorified “Brangelina” clan.

In a brutal move, his children Maddox, 24, and Zahara, 21, have both filed court papers to officially change their surname from Jolie-Pitt to just Jolie.

Siblings Shiloh, 20, and Vivienne, 18, have already turned their backs on the Pitt name, while Knox, 18, has also dropped it from informal documents and is estranged from Brad.

This leaves only Pax, 23, still using the Pitt surname.

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Insiders say that Brad has been left privately “devastated” by the decision.

A source said: “One by one, his children, who he was once so close to, have removed their connection to him.

“He really wonders if he’ll ever rebuild bridges with his shattered brood now.”

It is the latest twist in the family saga, following on from allegations of physical abuse, financial coercion and severe family PTSD as well as a Father’s Day Instagram post from Pax calling Brad a “world-class a**hole”.

It all helps cement Brad and Angelina’s divorce as perhaps the most toxic the entertainment world has ever seen.

In September, it will have been a decade since Maleficent star Angelina, 51, first filed for divorce from movie heart-throb Brad.

Their relationship started not long after they met on the set of 2005 film Mr & Mrs Smith, when Brad was still married to Jennifer Aniston.

They wed in 2014 but, less than two years later, in September 2016, they split in explosive fashion.The former couple had previously adopted Maddox, Zahara and Pax before having Shiloh, Vivienne and Knox.

But Brad, who was once inseparable from all six kids, has now been well and truly frozen out.

Legal notices published in the Los Angeles Daily Journal yesterday reveal that both Maddox and Zahara have filed petitions to change their surnames.

If approved, the changes will become official in court, with Maddox’s hearing set for September 14 and Zahara’s two weeks later.

Zahara has publicly gone by Zahara Jolie since starting university.

Shiloh legally dropped “Pitt” after turning 18 in 2024, while Vivienne was credited simply as “Vivienne Jolie” as a production assistant for the Broadway show The ­Outsiders.

Pax is the only one still using the Pitt surname, but he has an incredibly difficult relationship with his dad, who he once claimed made his younger siblings ­“tremble in fear”.

Brad’s relationship with his children seemed to change for ever after an ill-fated flight in 2016, which also marked the end of the high-profile showbiz marriage.

The couple are said to have tried to keep their blistering rows from the children, but that became impossible in the confines of a private jet.

In a report filed by the FBI about the incident, Angelina claimed Brad yelled at her before pulling her into the toilet, where he pushed her against the wall and punched the ceiling repeatedly.

It is also alleged that when one of their kids tried to protect their mum, Brad “choked one of the children and struck another in the face”.

It has long been rumoured that it was Maddox who was assaulted.

The report said Brad then poured beer on his family as they tried to sleep.

The incident led to an investigation by children’s services, with Angelina being awarded temporary full custody and Brad only allowed supervised visits. He was later fully cleared.

Just days later, Angelina filed for divorce, citing irreconcilable diff­erences.

Pax’s private Instagram post on Father’s Day 2020 suggests the kids experienced problems before and after the plane incident.

He wrote: “You time and time again prove yourself to be a terrible and despicable person.

“You have no consideration or empathy toward your four youngest children, who tremble in fear when in your presence.

“You will never understand the damage you have done to my family because you’re incapable of doing so.”

Brad later confirmed that his boozing had become a problem, revealing he had visited Alcoholics Anonymous groups.

He said: “I had taken things as far as I could take it, so I removed my drinking privileges.

“You had all these men sitting around being open and honest in a way I have never heard.

“It was this safe space where there was little judgment, and therefore little judgment of yourself. It was actually really freeing just to expose the ugly sides of yourself.

“There’s great value in that.”

The confession did nothing to quell the animosity between the parties, though.

And while the divorce might have been finalised in 2024 — after eight agonising years — another legal fight is still rumbling on.

The former lovers are locked in an acrimonious $350million court battle, known as the War Of The Rosés, over Angelina’s decision to secretly sell her stake in their ­Chateau Miraval vineyard and home for $64million to Russian booze tycoon Yuri Shefler in 2021.

Brad then sued her in a bid to void the sale.

The couple bought the 1,300-acre Miraval estate in Provence, southern France, in 2008 and married there in 2014.

Angelina claims she originally wanted to sell her stake to Brad, but he demanded she sign an $8.5million non-disclosure agreement as part of the deal.

Her legal team argued it was a coercive tactic to prevent her ­talking about his alleged abuse.

A trial has been scheduled for February 1 next year.

Insiders have claimed that Brad’s partner of four years, Ines de Ramon, 33, has tried to persuade him to end the hostilities.

A source said: “Ines wants to have a life together — with possibly children in the future — without the albatross that is the eight-year War Of The Rosés.”

While Angelina’s attorneys have filed explosive allegations in court, she has kept a mostly dignified silence.

In 2020, the actress turned human rights advocate addressed the ugly split in a rare interview with Vogue.

She said: “I separated for the wellbeing of my family. It was the right decision.

“I continue to focus on their healing.”

During another interview, when asked if she worried about the safety of her children, she said: “Yes, for my family. My whole family.”

And during the Press tour for her 2021 Marvel film Eternals, in which she played Thena, a warrior battling memory loss and a fantasy-world version of PTSD, she revealed that she had been diagnosed with the condition.

She said: “I had talked to the director about experiencing PTSD myself a few years ago and my own fears about not being strong enough to protect those that I love.”

And while Brad might have moved on, Angelina, who was widely once considered one of the world’s most beautiful women, remains single.

Last month, she said: “To be candid, I haven’t dated since I divorced a decade ago.

“So I kind of get in my head that that aspect of me is not centered in my life if I’m focusing on my children, my family.”

It is true that all six children have certainly been caught up in the crossfire of their parents’ decade-long war, with the sorry saga serving as a cautionary tale to other Hollywood couples on the cusp of divorce.

Now, as the February 2027 trial over the battle for the French vineyard looms, peace still seems a long way off.

And while Brad might still be fighting over his financial future, his legacy with his family appears to be long gone.

THE Rolling Stones and Amy Winehouse — somehow it was a match made it heaven.

On June 10, 2007, the original rock and roll miscreants invited the supremely gifted but wayward singer on stage at the Isle Of Wight Festival.

Amy was all the rage that summer with her second (and final) album Back To Black riding high in the charts. Britain and the world had taken her songs to their hearts — Rehab, You Know I’m No Good, Tears Dry On Their Own and Love Is A Losing Game among them.

At the festival, Amy wore a pristine white shirt, skinny black jeans, a chunky belt, ballet flats and THAT towering beehive.

She looked every inch at home next to the man with all the moves, Mick Jagger — a lean, sinewy T-shirted figure in an all-black outfit.

Together, they belted out a wild rendition of The Temptations’ soul classic Ain’t Too Proud To Beg.

Together, they perfectly captured the rebellious spirit of rock and roll.

When Amy died four years later aged just 27, the world lost a generational talent — a sultry, emotionally wrought voice for the ages.

Now, in 2026, the Stones are releasing a cover of Amy’s You Know I’m No Good on their vibrant, age- defying 25th studio album, Foreign Tongues.

I’ve had the chance to speak to guitarist and lovable rogue Ronnie Wood about the song, his close friendship with Amy — and all things related to the eclectic 14-track album.

By Stones standards, it’s a rapid-fire follow-up to 2023’s Hackney ­Diamonds and a freewheeling ­confection of rock, soul, dance, country, blues and balladry.

“We just loved to pay tribute to Amy because she was such a jewel,” Ronnie says with typical warmth.

“A very lost jewel in the jewellery box but she was wonderful.”

At the time of Isle Of Wight, Ronnie was still battling alcohol addiction himself and he discovered an immediate bond with troubled Amy.

“We came back on the ferry together and had such a laugh,” he recalls. “Then shortly before Amy died, I had a real in-depth [chat] with her in the garden of a hotel in Rio.

“She was asking me, ‘Oh Ron, what am I going to do? And I was going, ‘Don’t worry because everyone knows you’ve got vodka in your water bottle. Just don’t hide it and try to go on stage tonight.

“Her band pleaded with me. They went, ‘Ronnie, please get her to go on — she’s trying to pull out of the gig.’ Anyway, I talked her through stuff and she did go on.”

“Amy needed a carer all the time otherwise she went off the rails, which of course she did.”

I ask Ronnie where Amy ­Winehouse should be placed in the pantheon of great female singers, past and present.

“There are some lovely singers around,” he answers. “They arrive in spasms. Chanel Haynes from my band is great — she played Tina Turner [in the stage musical] and really has the essence of Tina. I also like Jessie J.

“But Amy was like Billie Holiday. She had that once-in-a-lifetime deep blues. It’s a pity she was her own worst enemy.”

Of the Stones’ rousing rendition of You Know I’m No Good, Ronnie says: “I love the way Mick has put the harmonica over the brass riff.”

Mick himself reflected on the song this week at an intimate fan playback at Metropolis Studios in Chiswick, West London, where much of Foreign Tongues was recorded.

“We decided we wanted to cover this Amy Winehouse song. We do it in the same key as her. There’s a well-known horn lick on that record and I thought, ‘Yeah, I can do that. I’ll do it on the harmonica.”

Mick is accompanied by Ronnie but minus Keith Richards, who’s at home in the States and sends a video message saying “god bless you all”.

Wearing a floral shirt beneath a black leather jacket despite the heat outside, Mick, the planet’s most sprightly octogenarian, is in expansive mood. He saunters into the room and greets the assembled throng from countries far and wide with a World Cup quip, “Apologies to anyone from Mexico!” Cue much laughter.

With his face wreathed in smiles, he peers around the sound-proofed room and says: “We had a lot of fun making this record in this very room.

“It didn’t look quite like this,” he adds before waving his arms in ­different directions.

“The drums were over there, Ronnie was there, I was there, Keith was there.” Ronnie also can’t help a reference to important football matters when he describes the band’s preparations for the sessions at Metropolis.

“We had a lot of rehearsals — a bit like practising for the World Cup — at Electric Lady Studios in New York and on the West Coast at Jim Henson’s studios.”

The subject soon moves on to how the Stones have kept going nearly 65 years after Jagger and Richards met on Platform 2 of Dartford railway station and decided to be in a band together.

Listen to Foreign Tongues and you’ll be astonished by Mick’s still jaw-dropping range.

So how does he keep his most precious instrument — his vocal cords — in shape?

He says: “With other instruments, you can see them — a guitar, a piano — but you can’t see your vocal cords.

“So, you can’t say, ‘Oh they look really good today, I’ll do this.’

“If anything goes wrong, the doctor has to look at them. You have to keep them in shape like a muscle.” How does Ronnie keep his fingers nimble enough to dance across the fretboard? “There are exercises for the hands,” he replies. “And I put arnica [a herbal remedy] on them because they can hurt a lot.”

Mick says: “The thing with Ronnie is that he’s very good because he doesn’t stop playing, either with another band or doing his own gigs.”

This helps explain why Ronnie’s guitar work is a prominent feature of Foreign Tongues.

“When the first mix was finished, Ronnie came to my house and I played him the whole record,” reveals Mick. “I said, ‘So, what do you think Ron?’ And he said, ‘I didn’t really get any solos.’”

That comment was a classic piece of Ronnie mischief because, as Mick points out, “No one else gets a guitar solo on the record apart from Ronnie!

“I get a harmonica solo but Keith doesn’t really get a solo,” he adds before turning to his bandmate and asking, ‘Why is that, Ronnie?’ Ronnie gives a knowing smirk and says: “Keith told me, ‘Anyone can play a solo, it’s the riff that matters!’

“And I said, ‘OK, you’ve done the groundwork there but I’ve got the icing on the cake.”’

This brings us to a wider discussion about the Foreign Tongues sessions which prompts Ronnie to chip in with: “We’re much more civilised than we used to be.”

Mick picks up the thread: “I’m always the last to arrive. I’m not sure how that happens.

“We usually start about half past three and finish at about ten, ­having agreed the night before what we’re going to do.”

Ronnie salutes producer Andrew Watt, the live-wire American ­producer who helmed Hackney Diamonds and Paul McCartney’s recent album, The Boys Of ­Dungeon Lane. “We need someone to boss us around, and Andrew did that.”

Mick interjects: “Otherwise, it would all fall to bits! So we’re very pleased that Andrew herds us into doing it.”

Ronnie comes back in with a very telling comment: “Mick never lets anything fall to bits because the Rolling Stones is his baby — and he won’t let anything destroy that.”

The Stones’ approach these days clearly has something to do with the fact they’re all sober.

Yet Foreign Tongues has drawn comparisons to 1978’s Some Girls, Ronnie’s first album as a full-time member — recorded when things were far less civilised.

For instance, the disco-inflected Jealous Lover, with Mick still able to produce his best falsetto, is reminiscent of Miss You. Elsewhere, the band summons the raw energy of Respectable or Shattered.

The frontman sifts through the mists of time to the sessions at Pathé Marconi in Paris: “In the late Seventies, I’d have to dig Ronnie and Keith out of a late-night pizza place. I’d go in there at 1am and say, ‘It’s time for the studio, lads!’

“And poor Bill Wyman [bassist] had been in the studio since six o’clock waiting for us.

“We’d get there at 2am and we’d leave at eight. We’d run into the factory workers getting their ­morning coffees.”

Ronnie laughs: “We played for so long back in those days that Bill would have a sleep, come back and we’d still be playing.”

With the album out tomorrow, Mick is asked about his hopes for a good reception for Foreign Tongues. It prompts a comparison with an album many regard as the Stones’ finest, released in 1972.

With 14 new songs about to be unleashed, he accepts that it’s “a lot of music” and says: “It’s longer than Exile On Main St. When that came out, reviewers generally said things like, “It’s kind of rambling and all over the place.”

“It was too much for people to take in all at once. But, from the reviews I’ve seen, we are getting very good ones [for Foreign Tongues].

The album is notable for guest appearances — Steve Winwood, The Cure’s Robert Smith and Red Hot Chili Peppers’ Chad Smith.

One song, the “punky” Hit Me In The Head features the late effortlessly cool Stones drummer Charlie Watts. Mick explains: “People would say, ‘Charlie’s such a subtle drummer, he loves jazz — you can hear that soft touch.

“Well, not on this one. This one sounds banging, banging, banging — very punk. We recorded it in 2021.”

In my chat with Ronnie, he talks about Paul McCartney’s bass playing on Covered In You, reprising his role on Hackney Diamonds track Bite My Head Off.

He says: “Oh Paul was so lovely.  He said playing with the Stones was one of his biggest ambitions. He loved it, like a kid in a toy shop.”

He remembers how in The Beatles and Stones’ early days, he was a bystander in a band called The Birds,” but told himself that one day he would join Mick, Keith and co.

Why the Stones? “Because I’m more of a jazzer and a bluesman,” he replies. “I respected The Beatles’ music, their adventurousness, but I liked the funk and the women around the Stones.

“I thought, ‘That looks like a good job.’ Then, like a jigsaw, all the pieces fell into place.”

Finally, I beg the question: Is there’s more in the tank from the world’s greatest rock and roll band?

“There is, but what we’ve got to do is survive!” says Ronnie.

ROLLING STONES

Foreign Tongues

★★★★★

AS Mick Jagger says, this is “a lot of music.”

But over 14 tracks, the Stones have a blast.

There’s the ragged majesty of Rough And Twisted, the dance floor-primed Jealous Lover, the politically charged Mr Charm, the country twang of Ringing Hollow, the three-minute punk mayhem of Hit Me In The Head, a yearning Keith Richards lead vocal on Some Of Us and the raw delta blues of Chuck Berry’s Beautiful Delilah.

At times, it needs to be a little rougher around the edges, but this high-energy album is nothing short of a miracle from rock and roll’s great survivors.   

THE word “splat” has been on Ian Gillan’s mind for a few years now.

To him, it is a word to conjure with, one to fuel his wild flights of imagination.

To most of us, it summons visions of insects hitting windscreens or ripe tomatoes falling to the floor.

As you will discover, however, the Deep Purple singer and lyricist — he of the legendary full-throated holler — has given “splat” a much deeper meaning.

What if it represents the end of humanity as we know it?

Then, as he suggests with an “optimistic” spin on the notion, “What if we morph into something else that’s metaphysical?”

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When Gillan first considered Splat! as an album title, he thought it sounded “too terminal”.

He says: “I knew how the interviews would go — ‘So this is your last record, right?’ ”

It soon becomes clear from talking to the hard rock survivor that Deep Purple, the last band standing in a so-called “unholy trinity” alongside Led Zeppelin and Black Sabbath, are very much alive and kicking.

When it came to writing themed lyrics for Purple’s 24th studio LP, Splat! screamed out from the pages of the notebook Gillan keeps to record his ideas.

Now, in tall, spidery type, it adorns an album cover housing some of the band’s heaviest, most riff-driven, yet most concise music in years.

As Gillan attests, Splat! summons the devil-may-care spirit of iconic early albums Deep Purple In Rock and Machine Head — and songs like Child In Time, Smoke On The Water and Black Night.

“What I’m hearing now is the band as it was in ’69,” he says.

There’s no doubting that the current line-up of Gillan, founder member Ian Paice (drums), another stalwart in Roger Glover (bass), Don Airey (keyboard player since 2001) and recent recruit Simon McBride (guitar) has hit a purple patch.

“You can give all kinds of reasons, but, quite simply, I think it’s human chemistry,” says Gillan, who lives in Portugal and turned 80 last August.

“The songs are coming easy.

The band is cranking live.

When all the elements work well, they feed off each other.”

He salutes Northern Irish guitarist McBride, who replaced Steve Morse in time for previous album =1, for adding a dynamic gut-punch to proceedings.

He agrees with me that the songs on Splat! don’t “outstay their welcome”, crediting legendary Canadian producer Bob Ezrin (Alice Cooper, Pink Floyd, Kiss) for “keeping the arrangements snappy”.

Gillan recalls how it used to be: “With the band having no leader — we never have really — it was often a case of sitting there and one of us would say, ‘Let’s make this bit longer, let’s put another section in there’.

“We might spend weeks arguing or debating an arrangement.

But Bob just comes in and says, ‘I’m not liking that’, and cuts it out.”

Gillan considers Purple to be “an instrumental band”, with the music always getting written first.

Then it’s time for him to step in with the lyrics and those still mighty vocals, delivered with all the theatricality you might expect from someone who took the part of Jesus on the original Jesus Christ Superstar album.

It’s fair to say that Splat!, also the name of the album’s emphatic closing track, represents one of Gillan’s most ambitious concepts, so let’s return to his thought process.

“For some time now, I’ve been trying to make an album sound as if all the songs belong,” he says.

“There’s one exception on this record and I’m not happy about it,” he announces by way of a slight digression.

When I suggest that the track in question might be Third Call, which seems more to do with sex than metaphysics, Gillan replies: “Oh, how did you guess?

It should have been called Sore Thumb.

“I’ve done my own little album on my computer, replacing it with a song destined to be a B-side or bonus track called Hoot ’n’ Slither, which does fit.”

So, let’s hear about his mind-boggling concept, so big that it almost hurts the brain.

“I’ll probably find myself in pseud’s corner again,” he mutters with a smile, before launching into his explanation.

“I’ve been fascinated by the word eternity since I was eight.

I couldn’t understand how things could go on forever.

As a child, it didn’t seem possible to me.

“One summer night, I started thinking about the end of the road, the end of the country, beaches, the sea, the sky, the stars.

“I started panicking, so I built a brick wall around my universe, as many kids have, I’m sure.

“That was it, I was safe.

And then, a horrible thought occurred to me: ‘What’s behind the bricks?’ ”

Gillan says that “later in life”, Edwin Abbott’s classic novella Flatland, a satirical study of a two- dimensional world written in 1884, got him thinking about other dimensions, the afterlife and spiritual worlds.

Then he considered that the population of Earth had “virtually tripled” during his lifetime.

He continues: “For some years, this explosion has seemed unsustainable to me and that the only way to escape is not by flying through the solar system in tin cans.

“It has to be metaphysical.

I’m hopeful.

Perhaps we might become some sort of intelligent energy.”

Gillan draws my attention to the song The Only Horse In Town, one of the last recorded for Splat! and driven by Airey’s fulsome keys and McBride’s shimmering riffs.

It was inspired by a real-life encounter with someone close to death near Noble Street Studios in Toronto where Purple were doing a recording session.

“The snow came down and we saw there were these vagrants living under a blue tarp,” he says.

“The place looked like a rubbish dump.

“We offered them some hot food when we went out to get our takeaway for lunch — and they didn’t want it.

They just wanted dollars for crack.

“I thought of this one guy who probably had days to live.

I imagined his final hit.

“Then (in my mind) I stepped into his shoes and started walking across America until I got to the high plains of New Mexico and found this derelict film set.

“Along with a clapped-out old horse, this guy finds solace, a haven.

It fits very nicely with the overall pattern of the album.”

Next, we take a dive into more of the Splat! songs, starting with the three-minute opening blast, Arrogant Boy, about a bloke called Billy.

“The attitude in the music screamed frustration to me,” says Gillan.

“I had this idea of an ordinary guy down the pub who doesn’t give a monkey’s toss about what goes on at the higher levels of society.

He’s sick of the political pendulum.

“Everyone knows that nothing’s happened in the last fifty, sixty years.

We’ve built nothing.

We’ve done nothing.

We’ve gone backwards in almost everything.

The great institutions are useless piles of rubble.

“So Billy is sticking his head up out of a hole and saying, ‘Get on with it!’”

This brings us to the wild Diablo, recorded in Nashville and featuring guitar solos from none other than country rock star Keith Urban, whose studio the band were occupying.

Here, Gillan truly lets his imagination run riot.

“Diablo is a place where young people go for their rite of passage.

It’s dangerous and many don’t come back,” he says.

“This is the story of Dra-ma.

She pickles her knuckles and has 20 fights before beating up Guts McKenzie in the final.

She celebrates with a bucket of wine and falls into the glitter pool.

It’s all a bit surreal.”

You may think Gillan’s gone off on one but this ceaselessly entertaining character is also partial to a bit of humour.

The Rider is not about someone on a horse, but more about the notorious demands of rock stars when they go on tour.

He says: “I’m not going to mention his name, but he’s a very famous musician in a very famous band.

I was sitting having a beer with him and he said, ‘Someone got a fear of flying so we hired a psychologist.

The next week, there were four psychologists on the plane, one for each member of the band.

Then someone got a bad back so we got a physiotherapist.

The next week, there were four of them.’’

So what about his band’s riders?

“Deep Purple have never been extravagant,” he answers.

“When I was with Black Sabbath, it was a slightly different story, more funny than extravagant.

“I remember Geezer [Butler] complaining that the ham was round and the bread was square, that his sandwich was an incongruous mess which didn’t look right.

“My rider has always been very simple.

It’s bread and cheese, some tea bags — it has to be PG Tips — and a kettle.”

Elsewhere on Splat!, Jessica’s Bra has got to be one of the most eye-catching song titles of the year.

It was supposed to be Bar but, as Gillan admits: “I can’t see too well and make loads of typos these days.

“It’s a sort of Irish pub song.

I grew up in pubs with a beer in one hand, a fag in the other, and in fantastic company.

“My pals were drinking pals — I didn’t smoke a joint until I was 38.

We were pub guys who got locked in, behaved outrageously, but it stayed within the walls.

No harm done.”

Guilt Trippin’, with its gorgeous piano intro and outro and screaming vocals, is about “God and Charlie Darwin having a pint”.

Gillan says: “God is saying, ‘We’ve got to get the numbers right next time,’ but Darwin just goes, ‘Humpty, humpty’.

He doesn’t want to interfere!”

The Lunatic, inspired by the plight of George Orwell’s 1984 protagonist Winston Smith, summons a bout of indignation from Gillan.

“I can’t believe the prescient nature of that book, which was published in 1949,” he says.

“More recently, the NHS proscribed the word lunatic.

I take great offence at that.

Most of my friends are lunatics and always have been — and I happily follow the moon around.”

Through the song Scriblin’ Gib’rish, Gillan vents his spleen at those online matrixes where you have to identify motorbikes or traffic lights, “proving that I am a human being to a f***ing robot”.

Of note here is that he’s heading to UK theatres next spring for his Talking Gib’rish spoken-word tour, a departure from the arena-sized norm.

It’s an opportunity for him to regale audiences with stories from more than six decades in the business.

On a personal level, it’s clear that Gillan is pressing on despite the rigours of live performance and, as he reports, “failing eyesight”.

“Over the past few days, I’ve been taking a deep breath and looking at the future,” he says.

“A few years ago I was doing a talk and the theme was positive ageing.

I realised that when people retire, they stop making long-term plans — even if it’s small things to do with the house or garden.

“But I keep thinking some years ahead with projects, and don’t worry whether I complete them.

“That’s a self-creating energy, like nuclear energy.

It’s incredible.

So, I’m making long-term plans and to hell with it!”

If that’s the template for his mind, what about his body?

Alluding to his younger self — that skinny figure in tight flared jeans with a shaggy mane — he says: “Obviously, I used to be quite athletic when I was young, but I can’t pole vault anymore!

“Well into my sixties, I used to run upstairs two at a time, and now I run down ten at a time.

“So, you’ve got to have a laugh.

Otherwise, you’d sit down and cry.”

One thing is for certain, Ian Gillan and Deep Purple are NOT about to go Splat!

DEEP PURPLE

Splat!

★★★★☆

FIRST REVIEW CONFESSIONS II

★★★★★

AS one of the most talked-about, celebrated and frequently derided pop stars of all time, returning with her first album in seven years is a high-stakes move for Madonna.

The Queen of Pop has never left it so long between albums in her 43-year career. And she has taken an even bigger risk by recording a ­follow-up to her much-lauded 2005 dance-pop opus, Confessions On A Dancefloor.

But rather than playing it safe, ­Confessions II sees her doing just that — confessing.

She addresses everything from how she failed her eldest daughter Lourdes to her regrets over her relationship with her late brother, Christopher Ciccone.

And also, surprisingly, how her first husband, Sean Penn, 65, made her feel during their short-lived marriage.

The most venom-tongued track is titled Bizarre, in which she squarely attacks the Hollywood A-lister, who she was married to from 1985 to 1989.

She references the 1968 Shelby GT500 convertible she gave him as a wedding gift and his conviction for reckless driving in 1987.

And she also lays into how Penn was “threatened” by her and claims he resented her while they were together.

Madge sings: “Love is the strangest thing. Just when you think you’ve finally let go, it comes back to you.

“Movie star, deep blue eyes. In Hollywood, we’re a perfect prize.

“He drove way too fast, Shelby Cobra wasn’t meant to last.”

Earlier the lyrics had turned to anger, as she sings: “Roll out the carpet for us, but you don’t share it.

“All ’cause you’re threatened by me, you won’t admit it.

“The little things that you do don’t make me want you. Who knew love could be so bizarre?”

And in a later verse, she adds: “I know I left you behind and you resent me.

“A thousand reasons why you could never have me.

“The thought of being with you is so indecent. I guess you’ll never know my dirty little secret.”

Penn isn’t the only subject of her scorn, with Betrayal appearing to be about her stepmum Joan, who died in 2024 while the album was being made. Madonna did not attend her funeral.

The singer was five years old when she lost her mum — who she was named after — to breast cancer. Three years later, in 1966, her dad Silvio married Joan, who worked briefly for the family as a housekeeper.

In the opening verse of Betrayal, Mad­onna sings: “This is a story of betrayal. You couldn’t see your fall from grace.

“So take the hammer, hit the nail. You’ll never take my mother’s place.”

And later in the track, she adds: “You betrayed me, you enslaved me.”

But Madonna, 67, shows her softer side on The Test, which sees her and Lourdes, 29 — the eldest of her six kids — open up about their at-times difficult relationship.

On how her daughter was thrust into the limelight because of her own fame, Madonna sings: “Little star, I tried to put you on a pedestal, you didn’t ask for all the flashing lights.

“I didn’t think of how we could disturb, or how it hurt. I wish I knew the pain I caused.”

She continues: “Sometimes I think you wish I’d go away, but the shadow stays, and it’s OK to be yourself.”

Madge also appears to touch on her 2023 brush with death, when she was found unresponsive at her New York apartment and placed into a coma after suffering from an infection that led to sepsis.

Lourdes, 29, who Madonna had with fitness trainer Carlos Leon, was among those that rallied around her in hospital.

Madonna sings: “You made me whole when I was broken, too. I hope and pray I can do the same for you.”

Paying tribute to her mum, Lourdes sings: “You are my reason to be, what I want or look like, what I wear, all the clothes on my back, and what I attract.

“I trace the line of what you have sewn. Keep my own design. Make it a landscape. Make it alive.”

Elsewhere on the album Madonna makes peace with Christopher, who she was accused of “dropping” as her creative director in the early-2000s, and who later wrote a book titled Life With My Sister Madonna.

The once-close pair never fully repaired their relationship and he died of cancer at the age of 63, in October 2024 although she says he now visits her in her dreams.

On the song Fragile, she sings: “We shared a name, a home. We shared a fragile bond, now you’re gone.

“We laughed, we cried, we held each other’s hands. We had each other’s eyes and they belonged

“This is the time I hate the most, the words inside my heart

“I know you’re fragile ’cause you’ve been hurt, been let down.”

At the end of the track, she adds: “Late last night I was fast asleep, you came to me in a dream.

“You said don’t forget about me, don’t forget to be happy.

“So I hope you found a higher ground.”

The 16-track album clocks in at almost 64 minutes, and is a metaphor for a night out, starting with the heavy, pulsating beats of a club.

Then the final five songs represent the evening winding down, with Madonna spilling out her deepest feelings with the bravery and vulnerability that comes from a night of loud, messy partying.

When she reaches the last track L.E.S. Girl — about her life pre-fame on the Lower East Side of New York — you can hear traffic beeping, signalling she is finally on her way home as the morning rush hour starts.

It’s a neat arc for the ambitious album, which she once again made with English producer and songwriter Stuart Price, who she teamed up with on the first Confessions album.

But this record is much darker, heavier and grown-up.

And as well as being symbolic of a single night out, Madonna uses it to represent key parts of her life and the moments that have made her.

The most brilliantly bombastic highlight comes in Danceteria — named after the New York nightclub where she found her friends in the industry and where DJs played her music for the first time.

It’s a feel-good number with a Vogue-style rap and namechecks for everyone from her pal Debi Mazar to artist Jean-Michel Basquiat and even The B-52s.

Another highlight comes with Love Sensation, which appears to be a tribute to her boyfriend, Akeem Morris, 30.

She started dating the former football player in 2024, two years after ending a three-year romance with dancer Ahlamalik Williams, 31, and they now live together in London.

Madonna sings: “When I feel alone I always want to bring you near ’cause you bring a smile right here. You chase away my darkest hours.”

And in the chorus she continues: “Baby, come and get with me, there’s something that I gotta do.

“Baby, when you’re here with me, there’s nothing that we cannot do.”

So far in her career Madonna has sold 450million albums, and counting.

And with this project, she proves there is still plenty of passion, ambition and talent.

Undoubtedly it is her most cohesive and accomplished album since the original Confessions, 21 years ago.

And long may the Queen of Pop ­continue to reign.

LOVE, BETRAYAL AND ECSTASY ON SWEET 16

I Feel So Free: The opening track, released in April, is a throbbing song with breathy vocals and a sample of the 1989 Lil Louis acid house track French Kiss, complete with orgasm. It’s a statement of what’s to come as she says: “On the dancefloor, I feel so free.”

Good For The Soul: Heavy-sounding verses make way for a buoyant and optimistic pop chorus, all about how important letting your hair down is. It was written on her first session for the record.

One Step Away: Madonna dives headfirst into house music on this pulsating track about the release she feels in a nightclub. Over the beat, she utters: “The dance floor is not just a place, it’s a threshold. A ritualistic space where movement replaces language.”

Bring Your Love: The credibly cool lead single features Sabrina Carpenter, uniting two generations of pop stars who are resolute in their determination not to be swayed by naysayers. In the chorus they say: “Bring your love ’cause you cannot shake me. Bring your love ’cause you’ll never break me.”

Danceteria: “Everyone here is a work of art,” Madonna sings on this wonderfully poppy single, inspired by the New York nightclub she went to as a youngster.

Read My Lips: Spanish guitar and a guest appearance from Colombian singer Feid give this a different feel, though there’s a Latin trap beat to keep the party going. It’s clear Madge isn’t happy on it, though, singing: “You cut me with your lies, ’cause you hurt me with your kiss.”

Everything: It opens with strings reminiscent of her 1992 track Deeper And Deeper, but evolves to have regular house music breakdowns fit for a packed Ibiza dancefloor. And she’s worked up, spitting: “It’s not OK, I don’t f*** with it.”

Love Sensation: Pop makes a return on this heart-warming crowd-pleaser. “There’s nothing that we cannot do,” she repeats as the track builds to euphoric choruses. This is destined to be a future single.

Love Without Words: An ode to partying, starts with the sound of smoke being pumped on to a dance floor. “Call it trance, call it house, call it love without words,” she sings.

Bizarre: Madonna teamed up with super-producer Martin Garrix for this revenge track about her ex Sean Penn. The melody, complemented by strings and hints of EDM production, is enough to have people throwing their hands in the air.

School: “I can make moves on the dance floor, I can make love on a man’s floor,” she breathlessly coos on this track, on which her vocals are heavily distorted. It’s one of the weaker songs.

Fragile: There’s a major change of pace with break beats and strings, as she sweetly sings about her late brother Christopher. Her voice truly takes centre stage here.

My Sins Are My Savior: She is joined by Belgian rapper Stromae on this dark and moody track, which wouldn’t sound out of place on 1992’s Erotica album. Reflecting on the criticism in her career, she sings: “I was not lost, I was just broken. They tried to take me down, they tried to take my crown.”

Betrayal: She teams up with producer Mirwais, who she first worked with in 2000, on this 90s-inspired track, featuring brass and piano over bleak and mournful vocals.

The Test: Madonna has said Lourdes approached her about working together to heal their rift, and it certainly sounds cathartic. Her daughter’s voice here is far smoother, but they blend exquisitely.

L.E.S GIRL: It’s the end of the night, Madonna is on her way home and she’s reflecting on when she was a “Lower East Side girl, lost in a fragile world.” It’s a tear- jerker, and triumphant look back at how far she has come. The perfect ending.

TO the untrained eye, he was just a bloke in a shiny police helmet singing about staying at the YMCA.

But behind the tight trousers and macho character in disco group ­Village People, Victor Willis was a musical hitmaker who co-wrote songs that will provide the soundtrack to every wedding, birthday and office party for years to come.

Yesterday, in a Facebook post, his wife Karen Huff-Willis announced Victor’s death, aged 74.

“It is with profound sadness that I must announce the death of my husband,” she said.

“Victor passed away on Tuesday, June 30, 2026, as a result of a short but aggressive illness.”

Long before he was commanding crowds to put their hands in the air to anthems that defined an era, including YMCA, Go West and In The Navy, Victor was singing gospel music in his Baptist minister father’s church.

Read more on Victor Willis

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Village People lead singer & founding member dies at 74 after ‘short illness’

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He grew up in San Francisco and his high school band, The Ballads, supported The Temptations.

He sat in on sessions with American jazz trumpeter Dizzy Gillespie, before becoming an actor and singer.

A role in the Las Vegas production of musical Hair earned him a place in Broadway productions of Two Gentlemen Of Verona and The Wiz.

In the late Seventies, he caught the attention of flamboyant French producer Jacques Morali, who was creating a musical group based on the macho stereotypes and gay pin-ups of New York’s Greenwich Village.

Their four-track demo, called The Village People, earned the group a record deal, and Jacques asked ­Victor to become the frontman.

While the rest of the line-up were recruited from dance studios and clubs for the roles of the cowboy, the Native American, the biker, the construction worker and the soldier, Victor was thought to be the only straight member.

After albums Macho Man in 1978, and Cruisin’ in ’79 which gave us YMCA, they put out Go West and its title track became a gay anthem, later covered by The Pet Shop Boys.

It also featured In The Navy, which the US Navy co-opted for a recruitment campaign, before realising they were using the ultimate camp parody.

It was around then that Victor met and married his first wife, future Cosby Show star Phylicia Rashad.

They split in 1982.

After battling growing frustrations within the group, Victor walked out in 1979.

But his departure triggered a downward spiral.

He struggled to escape the group’s flamboyant reputation and establish credibility on his own.

His 1979 solo project, Solo Man, remained unreleased for more than 30 years until 2015.

The Eighties and Nineties became a blur of substance abuse, addiction, and brushes with the law.

In 2015, he said: “I got very depressed over the years.

“I got kind of drugged out, because I was disappointed with the way things were and got frustrated, and gave up for a bit.”

He began to turn things around in 2006 after he received court-ordered substance abuse treatment and completed three years of probation.

After getting clean, he turned his energy towards a battleground between him and ruthless record executives who had pocketed the lion’s share of the royalties from the Village People’s catalogue.

This led Victor to meet his second wife Karen, an attorney who helped him fight his copyright case against the companies who controlled Village People’s hits.

They ­married in 2007.

Victor, armed with a gritty determination, launched a historic, multi-year lawsuit under a loophole in the 1976 US Copyright Act, which allows artists to reclaim their work after 35 years.

In a legal victory that sent shockwaves through the music industry, the US courts ruled in his favour in 2013.

Victor clawed back up to 50 per cent of the lucrative copyright percentages for YMCA and his other hits, becoming a hero to older musicians everywhere.

The resolution paved the way for his return to the group in 2017.

Older, wiser, but with that same thunderous voice, he toured the world to packed arenas, watching three generations of families throw their arms in the air to spell out those four famous letters.

By then, YMCA was being regularly played at Donald Trump’s political rallies, a use Victor was unhappy with.

“I don’t endorse Trump, I’ve never endorsed Trump, nor have the Village People,” he told the BBC in 2020.

However, he surprised fans last year by agreeing to take part in the politician’s second inauguration saying: “Our song YMCA is a global anthem that hopefully helps bring the country together after a tumultuous and divided campaign where our preferred candidate lost.”

In his tribute yesterday, Trump claimed: “He was a great and happy guy who loved that I used YMCA at my rallies.”

Regardless, YMCA remains Victors’ biggest hit, reaching No1 in 17 countries.

The star may have hung up his police helmet for the final time, but his legacy is firmly etched into global nightlife.

As long as there is a wedding with a dancefloor, people will be ready to fling their arms up in the air in the shape of a “Y”.

AS one of Hollywood’s highest-earning actresses, Millie Bobby Brown has her pick of big-budget productions.

But she reckons British reality show The Celebrity Traitors would be the perfect platform for her secret manipulation skills — after she beat a lie-detector test.

The inquisitive actress took a polygraph with her Enola Holmes movie co-star Louis Partridge, who ended up in a real sweat as he was grilled.

But Millie, 22, remained so composed under questioning, that the machine failed to spot she was telling porkies.

The Stranger Things star, who earned nearly £20million last year, says: “I so want to be on The Traitors. I think I’d be really good.

“Do you know why? I did a lie-detector test with Louis, and Louis was sweating during the whole thing and could not lie.

“And then he said, ‘Her hands are getting cooler and she’s evading the questions’.

“Somehow, the report has come back, like, ‘She’s a pathological liar’.”

The BBC and its Traitors host Claudia Winkleman should get right on the telephone to Millie’s agent, because her appeal to young audiences is unrivalled by any other actress from these shores.

Millie, who grew up in Bournemouth, has been acting since she was nine.

For nearly a decade, she played telepathic Eleven in Strangers Things, which broke streaming records on Netflix before ending last December.

She is now back as Sherlock ­Holmes’ detective sister in her third Enola Holmes movie, which lands on the streaming channel today.

Millie is also working on a host of ideas, producing projects alongside her 24-year-old husband Jake Bongiovi, who is the son of rock singer Jon Bon Jovi.

The couple, who married in May 2024, have a lot on their hands.

Not only did they adopt a baby girl last summer, they also have a huge menagerie of animals at their home in Georgia — including sheep, ponies, goats, cows and ten dogs.

Some critics have questioned whether Millie was too young to adopt at the age of 21.

But she says: “I love being a young mum because I’m able to run around and chase after her.

“And I love where I’m at right now. I never was the kind of girl to be, like, out on the town, you know? So it wasn’t just in my nature. I love living on my farm. I love sewing.”

Having missed out on a normal childhood because she grew up on sets with “men over 40 years old” talking about “grips” and “ladders”, Millie was not the most outgoing teenager.

But that has all changed since she met Jake.

Millie explains: “I can’t talk about, you know, ‘Oh my God, what bars do you like around this area?’. I lack a little bit of that.

“When I met my husband, he’s the most social butterfly, the complete opposite of me. I really tried to lean more into that.”

A lot of Millie’s time, though, is spent watching the telly at home — where ITV’s Love Island is her guilty pleasure. Although Jake is not so keen on the dating show.

She says: “Love Island. He’s like, ‘Millie, I don’t care about these ­people’. And I’m like, ‘Well, I do. And they just broke up’.

“Yeah, I’m a reality TV snob. I mean, I just watch every show out there.”

Film buff Jake would rather go to the cinema to watch a movie, but parenthood now makes nights out a bit tricky.

And Millie says she usually nods off if she settles down in front of a movie.

She reveals: “I have to have a coffee because I typically fall asleep. It’s not because of the film, it’s because I’m tired. I’m a mum.”

Even though she is still only 22, Millie is now almost a showbusiness veteran, having been in the industry for 13 years.

She is able to call on a host of big names for advice, including Top Gun and Mission Impossible megastar Tom Cruise.

Millie is also close to many of the actors she has appeared with on screen, including Winona Ryder, Matthew Modine and David Harbour who are her Stranger Things co-stars.

There is also Helena Bonham Carter, who is her character’s mum in Enola Holmes.

Millie says: “Winona will text every four months, but the longest message ever. However, Helena Bonham ­Carter, she is there for me whenever I need her, and I’m very, very ­grateful to her.

“Matthew Modine, my godfather. He officiated my wedding.”

Tom Cruise is also only ever a phone call away. Millie says: “I’m very lucky to call him my friend.”

Now, she is paying back the support she has received from industry greats by helping to mentor young talent.

Owen Cooper, 16, was thrust into the limelight when his debut performance in Netflix drama Adolescence led to a string of awards, including an Emmy last year.

Millie says: “He has my number, anytime he needs me, has any questions. He texts me, he’s like, ‘Hey, am I doing this magazine? Is this, like, one I should do?’.

“And I’m like, ‘Owen, do what makes you happy. If you’re not tired, do it. But if you’re tired, don’t do it.

“‘Don’t run yourself into the ground and listen to your parents and just enjoy it. But don’t push yourself’.”

Reports emerged at the end of last year about a claimed fall-out between Millie and David Harbour.

It was alleged that she had filed a bullying and harassment claim against the 51-year-old actor, who played her adoptive father in Stranger Things.

But there is no sign of tension in Millie’s interview to promote Enola Holmes 3, where she speaks warmly about David.

She says: “I’m very lucky. David Harbour’s a great person. I like to talk to him.”

The duo are teaming up again for a Netflix TV series, where David is a former FBI agent reunited with his daughter, played by Millie.

The actress insists the untitled project, which will be written by Adolescence co-creator Jack Thorne, is “concrete”.

Millie adds: “The schedule is insane and it’s just placing things in the right place for my time and my schedule. But the David Harbour project is sooner than expected, I think.”

Most recently, Millie filmed a romantic comedy called Just Picture It and has written a book about her grandmother’s World War Two ­stories, called Nineteen Steps.

Whatever she is doing, the young actress and producer will make sure that everyone is comfortable with the working environment.

Discussing the main rules on set, the Gen Z icon says: “I don’t tolerate any bullying. I don’t tolerate any negativity.

“I have been in situations like that before and I only tolerate positivity, love, friendship, kindness, trust, communication.

“And I just will stop people in their tracks if I see that.

“I’ll just take them to the side and be, ‘This isn’t working’.

“I’ll just take them to the side and be, ‘This isn’t working’. We’re playing pretend, for goodness sake. My daughter plays pretend. This is meant to be fun.

“You know, let’s not yell or be upset or dwell on something that’s very, very small and minor.”

Years in showbiz, which is often unforgiving, has clearly taught Millie how to cope with relentless negativity.

The hatred she has experienced online led her to delete her social media in 2021 and leave someone else to deal with her digital output.

She explains: “I needed to hire someone for my mental health to take care of it for me.”

There is no escaping the trolls, though, and last year she called for the cruel comments about her appearance to stop.

There were dumb remarks online about her appearing to be aged 35 or 40.

Afterwards, Little Britain creator Matt Lucas apologised for posting, “No but, yeah but” — the catchphrase of TV “chav” Vicky Pollard — next to an image of Millie in a pink tracksuit top.

He admitted it was a misplaced gag.

Fortunately, Millie is now able to laugh off those brickbats, intended or not.

She says with a smile: “If you Google it, everybody says I look like a 50-year-old. And honestly, I am here for that.

“My mum looks amazing for 50. Gosh, I feel very much 22.”

Let’s all hope that is the truth, and that Millie has the youthful energy to keep up her incredible output on screen.

And with any luck, we will see her plotting away in a cloak inside a Scottish castle very soon.

• Enola Holmes 3 is streaming on Netflix from today.

TWO years after hanging up his football boots to pursue a career in modelling, a major curve ball has seen Romeo Beckham land his first acting role.

The 23-year-old will make his big-screen debut this November in movie Forty Love, which centres on a same-sex romance involving two rising tennis stars.

Insiders say Romeo — the middle son of David and Victoria Beckham — honed his skills during secret acting lessons last year.

A source revealed: “Romeo has long been in demand for film and TV roles, but he made sure to do the work before putting his name to anything.

“Forty Love’s script and the team behind it resonated with Romeo, plus he has first-hand experience of being a professional sportsperson and knew he could bring that knowledge and experience to the role.

“It’s a French film and is currently only slated for release over there, although there will be plans for a wider rollout.

“Romeo had a handful of lessons with acting specialists early last year before they started filming. He has put his heart and soul into this role.”

Forty Love is described as a “sensual, romantic and deeply moving fable and coming-of-age story.”

Most of the movie will be in French, but Romeo plays an English-speaking character, using his native language in his scenes.

It is a far cry from the football pitch or runways across the globe where he has modelled for Saint Laurent, Balenciaga and Burberry.

His fans have applauded his new career, with many comparing Forty Love to HBO Max series Heated Rivalry, in which two professional male ice-hockey players have a secret romance.

But Romeo himself is aware of being branded a nepo baby as he expands his showbiz CV, just like his ex-footballer dad David and former Spice Girl mum Victoria did before him.

And he is not the first famous youngster to move into acting.
Maya Hawke — daughter of Hollywood actors Ethan Hawke and Uma Thurman — is now a screen star following her breakout role in Netflix’s Stranger Things.

And Lily Collins, whose father is superstar singer Phil Collins, plays the lead role in the romantic comedy Emily In Paris.

A source said: “Romeo knows there will be a lot of eyes on him, but his work will speak for itself.

“This film will show people what Romeo can do. He is an impressive actor and this is a great starting point for him.

“He is still working as a model and he has just launched his clothing range Intra, which is a project he has been working hard on in the background.

“Romeo is a grafter.”

Forty Love will be the directorial debut for fashion photographer Pierre-Ange Carlotti, who has cast French actor Paul Kircher alongside Romeo.

Paul plays the leading role of Sacha Gallo, a tennis superstar who is vying to win a major trophy in Paris under the guid- ance of his coach and father.

Romeo will play his rival — and his love interest. The film’s synopsis says of Sacha: “For the first time, he faces an opponent of an entirely different nature — love.

“A force as exhilarating as it is destabilising — and far more dangerous than anything he has encountered on the court.”

Renowned French actress Catherine Deneuve has also been cast in the film, which will be released on November 25. Those close to Romeo say he is being quietly championed behind the scenes by David and Victoria, who are “beyond proud” of his new venture.

A source added: “David and Victoria have always supported all of their children. And seeing Romeo taking on his first big film is a huge moment for them. They couldn’t be more proud of him and what he has achieved.”

News of Romeo’s acting debut had been kept a closely guarded secret.

After turning down a new contract with Brentwood FC’s B-team in 2024, he signed to top French agency Paris Safe Management and returned to working as a model.

Work poured in for the youngster, who made his modelling debut for Burberry in 2012, aged ten.

In the months after his decision to step away from football, he walked on runways for Balenciaga, Burberry and Versace, before he was put forward for the role in Forty Love. Production started on the film last summer and wrapped late last year.

“Romeo didn’t want any fanfare around his new role, so he kept it very quiet,” an insider explained. “He wanted to get his head down and get his teeth into the character and focus on that as best he could.

“Romeo is used to playing a character on the catwalk — it’s why modelling is such a stepping stone for acting jobs because you are playing a role.

“His acting lessons made sure he felt confident and then he got to work.

“By all accounts, he loved the experience and it’s likely there will be more roles to come after Forty Love comes out.” Romeo will be following in his mum’s footsteps with his jump to the big screen.

Fashion designer Victoria was the first in the family to hit the big time in the Spice Girls film, Spice World, in 1997.

To date, it is the highest-grossing film of all time by a musical group, and in the US it broke the record for the highest-ever weekend debut for a Super Bowl weekend, with box office sales of more than £8million.
Twenty years later, David followed suit with a small speaking role in Guy Ritchie’s King Arthur: Legend Of The Sword.

He said of breaking into films: “I am very aware that many sportsmen and other celebrities have turned their hand to acting and failed. I know it is a tough profession, where you need a huge amount of skill and discipline. I wouldn’t want to push myself forward too soon, without learning more about it and doing a lot more practice. But what I have done so far, I have loved.

“I can deal with most things. I am a well-known person, so I have gotten used to criticism. It was nerve-racking delivering the lines, but it actually went really well.

“The thing about sport is that it gets the heart beating faster.

“You focus the mind in order to deliver. Acting has a similar feel.”

Romeo’s sister-in-law, Nicola Peltz, who is married to his estranged brother Brooklyn, works as an actress, too. But she has failed to make her mark on the industry.

Her directorial debut Lola, which she also starred in, came out to much fanfare two years ago. But it was savaged by critics and took just £480 at the box office.

Nicola was blasted for creating a film inspired by “poverty porn”, which a commentator said was “filled to the brim with underbaked, oftentimes harmful tropes”.

Undeterred by the failure, Nicola has spent the past few months filming Prima, which is a debut from famed photographers The Morelli Brothers.

They have worked with a legion of A-list celebrities, including Hailey Bieber, Lindsay Lohan, Gwen Stefani and Kris Jenner.

The indie film will see Nicola playing a ballerina who is raised and coached by her grandmother, played by Faye Dunaway. Prima is expected to be released later this year, although no official date has been confirmed.
Romeo, alongside the wider Beckham family, has had no meaningful contact with Brooklyn since he cut himself off last year.

Insiders joked Romeo was rivalling Nicola by entering the acting sphere, but conceded: “It’s hardly a competition.

“Romeo is carving out his own lane, just as he has done his entire career.”

Brooklyn, the eldest of the Beckham clan, demanded in January that his family only contact him through lawyers.

He later issued a blistering statement insisting he no longer wanted to be a part of the family.

His decision to cut himself off was hugely painful for the Beckhams, including his younger brother Cruz, 21, and his little sister Harper, 14, who was seen delivering a letter to the home he shares with Nicola in Los Angeles earlier this month.

A source said: “Brooklyn has made his position clear and the family have respected that.

“It’s painful for everyone involved.”

Romeo will be supported by family at the release of Forty Love, with promotional screenings being drawn up beforehand.

A source said: “David and Victoria are both so incredibly proud of Romeo.

“They know how hardworking he is and have supported him throughout this project.

“Romeo knows what he wants in life and will work hard to get it.”

HE stands to inherit his late dad Liam Payne’s £21million fortune, but nine-year-old Bear might not see a penny until he is at least 25.

His mum Cheryl Tweedy wants the legacy to be withheld until the lad is old enough to make informed financial decisions.

She has gone all out to protect their son since he was born in 2017, shielding him from the public eye in a bid to give him as normal a childhood as possible.

And she is keen not to expose him to the pressures of having such huge wealth at his young age.

One Direction star Liam died suddenly in October 2024 without leaving a will, and Cheryl quickly doubled down on her determination to protect her son from the trappings of fame and fortune.

High Court probate documents published over the weekend confirmed Bear is the sole beneficiary of his father’s fortune.

Parts of the estate — which includes the five-bedroom home at Chalfont St Giles, Bucks, that Liam bought for £3.25million in 2021 to be closer to his son following his split from Cheryl — can be used immediately to look after Bear’s needs.

However, Cheryl, who was named an administrator of Liam’s assets last year, would prefer he does not gain full access until he is much older.

“Protecting Bear is Cheryl’s priority in life,” a friend explained. “She is a devoted mother and will do everything she can to take care of him.

“Cheryl knows how difficult it can be to live in the public eye and has shielded Bear from that as much as she can.

“Inheriting this amount of money at a young age is enough to have the potential to send anyone sidewards — and that is what she wants to protect Bear from.

“She is going to stop him receiving Liam’s inheritance until he is at least 25 years old, if not older.

“For Cheryl, she feels that she wants Bear to be of an age where he can make informed decisions about the money.”

Cheryl and Liam first met when he auditioned for The X Factor in 2008 and she was on the judging panel.

It was not until 2016 that they started dating, and Bear was born the following year.

Their relationship ended in 2018, with Cheryl and Liam becoming devoted co-parents to their young son.

In a statement following their break-up, Liam wrote online: “We still have so much love for each other as a family.

“Bear is our world and we ask that you respect his privacy as we navigate our way through this together.”

In the years that followed, Liam regularly praised Cheryl’s ability as a mother and revealed she had stayed at home with their son while he pursued his solo music career.

He said of the former Girls Aloud star: “What I’ve learnt about being a dad is how hard it is to be a mum and she hasn’t had any help from anybody and she’s done it all herself.

“She supported me going off and doing my career and stuff. She is amazing.”

Cheryl, too, spoke fondly of Liam and revealed becoming a mother had changed the way she wanted to live her life. She said in 2019: “Everything changed for me from the moment Bear was born.

“My old brain came out of my head, and all my worries, anxieties and feelings of emptiness went, and a new brain replaced it.

“I knew the word ‘fulfilled’, but I’d never known what that felt like.

“Money, fame, success should have made me feel that, but they never did, which is probably why I looked for it in my relationships with men, but that never worked either.

“I was always angry at myself.

“And then, even though I’d had a really tough pregnancy because I had gestational diabetes, I felt more peaceful. The moment I held him in my arms I had that feeling: Fulfilment. It’s stayed with me. And I’ve changed so much. I really have.”

Together, Cheryl and Liam chose to keep their son out of the spotlight and, to date, the schoolboy is rarely seen.

Last month, Cheryl revealed she had taken him on a dream holiday to Orlando, Florida, but chose not to post in real time about their trip on social media.

She also continued to keep his face shielded from view, a decision she made with Liam when Bear was still a small child.

A friend explained: “Giving her son a normal and happy childhood is what Cheryl remains focused on.

“She wants him to have a life that other kids have. His parents might have been public figures, but Bear is not. Keeping that normality and stability for her son is paramount for Cheryl.

“It’s why the idea of him inheriting such a vast amount of money is worrying. Not everyone in this world has good intentions and Cheryl knows that.

“She wants him to still have ambition and the drive to succeed without the back-up of the money — and she’s aware that people may want to befriend him because they are aware of his situation.

“Guiding her son and controlling his access to the money will allow her to keep him safe. The older he is, the more wise he will be and, ultimately, when he is a man in his twenties with a job and a life of his own, he will be better able to make informed decisions with her guidance.

“It is all any mother would want for their child.”

Liam’s passing at the age of 31, friends say, only fuelled Cheryl’s determination to allow their son to live a normal life.

The singer fell to his death from a third-floor hotel balcony in Buenos Aires, Argentina, in October 2024.

An autopsy confirmed he died from multiple traumas and internal and external bleeding.

He had been with his girlfriend Kate Cassidy in the days leading up to the tragedy. She left the country to return to the house they shared in the US days before Liam died. Two men were arrested on suspicion of supplying him with cocaine before his death.

Liam’s body was repatriated to the UK for his funeral in Amersham, Bucks, which was attended by his closest friends and family.

Cheryl was supported by her former Girls Aloud bandmates Nicola Roberts and Kimberley Walsh, as well as Liam’s friend and former mentor Simon Cowell.

Liam’s One Direction bandmate and close friend Niall Horan spent time with him in Argentina prior to his death after Liam flew there to watch him perform.

Three weeks ago, he spoke movingly about Liam and said he will cherish their last meeting. Niall revealed: “I’m glad of that, it means my last memory of him was happy. It still feels surreal.

“On day one I was, like, ‘Nah, it didn’t happen’. Our friendship was a bond that was there for ever, even if we hadn’t seen each other for a while.

“And it’s wild that one day, like the flick of a switch, he’s gone.

“All our families are in touch, they shared those experiences, too.”

Recalling the good times he shared with Liam, Niall added: “When I think of Liam’s passing, there is sadness, but it also makes me laugh because of the memories we had.

“I’ll go to places and think of something random that makes me laugh.”

Niall joined One Direction stars Harry Styles, Louis Tomlinson and Zayn Malik at the funeral.

In the days before the service, Cheryl issued a statement about Liam, saying: “As I try to navigate this earth-shattering event, and work through my own grief at this indescribably painful time, I’d like to kindly remind everyone that we have lost a human being.

“Liam was not only a pop star and celebrity, he was a son, a brother, an uncle, a dear friend and a father to our son.

“A son that now has to face the reality of never seeing his father again.”

She added: “Before you leave comments or make videos, ask yourself if you would like your own child or family to read them.

“Please give Liam the little dignity he has left in the wake of his death to rest in some peace at last.”

Since then, friends say Cheryl has devoted her time to caring for Bear and is determined to give him stability.

“Cheryl loves being a mum and doing all the normal things that parents do,” a pal explained.

“The school drop-off and pick-up, play dates with friends, cooking the dinners — she does it all while juggling work commitments.

“Cheryl knows there will be interest around Bear because of who his parents are. But that doesn’t mean he has to live that life — or even have any part in it. Protecting him from that and caring for him is all she cares about.

“She is a mother first and foremost. Her son will always be her number one priority.”

ADELE is gearing up to shock the music world by making a comeback – and is already hard at work.

The elusive superstar singer vowed to take a “big break” two years ago.

Now The Sun can reveal she secretly flew into London earlier this month from her LA bolthole and has been writing and recording at Church Studios in North London over the past week.

In even more exciting news for fans, other famous musicians have been spotted there while she has been inside.

It all leads to hopes the 38-year-old may have collaborations on her next record, having never done so on the core work of her four albums.

American singer-songwriter Justin Vernon, better known as frontman of indie folk band Bon Iver, was photographed outside the studios last Wednesday.

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It is not known whether he is working with Adele, although in 2016 she tweeted: “Bon Iver’s music is one of the true loves of my life. Every. Single. Time.”

Gen Z heartbreak singer Gracie Abrams also appeared to be shooting a music video outside at the same time.

The studios are owned by producer Paul Epworth, who Adele has worked closely with throughout her career, and with whom she won an Oscar for James Bond theme song Skyfall.

Church Studios are also where she made parts of her 2015 album 25.

A source said: “Adele is spending at least a fortnight in London writing and recording music.

“She was in and out of sessions last week and will be back in there this week, but she is keeping a low profile while she is here.

“She feels safe at Church Studios and it’s where Paul is based, so it made sense to travel over for the ­sessions, rather than work somewhere else in LA.”

The studios were previously owned by Eurhythmics great Dave Stewart, and it was where the British band recorded their 1983 album Sweet Dreams (Are Made Of This).

Industry insiders believe the move is an attempt to develop a more English-sounding album, after her most recent one, 30, was made in the States.

A second music source said: “Adele has been living in LA for a decade now and although she loves it, her roots in London are very important to her.

“People close to her have been encouraging her to reconnect with where she grew up for her new music, because they believe it will help inspire something different.

“Her last album was well received but it was very Hollywood.

“People loved Adele originally because she was down to earth and relatable, so she’s trying to bring that back by drawing on inspirations in her home town.

“Coldplay, Paul McCartney, Oasis, Mick Jagger, Florence + The Machine, Culture Club, The Streets, Tom Jones, and her close friend Jack Penate have all worked at Church Studios before, so she’s in good company.”

Adele was born in Tottenham, North London, and later moved to Brixton and West Norwood in South London.

On her third album 25, released in 2015 just before she relocated to the US, she had lyrics about the capital and a song called River Lea, about the waterway running through Tottenham.

But 2021’s 30 was written about her divorce from charity entrepreneur Simon Konecki, which happened in LA, and made no mention of the UK.

After releasing the record, she ­performed two sell-out shows in Hyde Park, followed by her two-year ­Weekends With Adele residency in Las Vegas and a ten-night residency at a purpose-built stadium in Munich.

Now it is clear the mum-of-one is trying to soak up some British ­culture while she is here.

Adele was photographed in London nine days ago arriving at the 36th birthday party of actor Aaron Taylor-Johnson.

Then on Thursday night she attended Messy singer Lola Young’s concert at O2 Academy Brixton, and the youngster shared a selfie of them together.

Fans have also claimed Adele was in the audience at a production of Romeo & Juliet in London’s West End on Friday night.

In July 2024, Adele revealed she planned to take a break after her run of Sin City shows.

She said: “I don’t have any plans for new music at all.

“I want a big break after all this and I think I want to do other ­creative things just for a little while.”

But in February, she flew to Rome for her acting debut in Tom Ford’s upcoming historical drama Cry To Heaven, based on Anne Rice’s 1982 novel of the same name.

She spent several weeks there and will appear opposite Hollywood heavyweights including Colin Firth, Julianne Moore, Nicholas Hoult and Thandiwe Newton.

Two months later, The Sun revealed she was being courted to record a single for the soundtrack.

But although work has brought her back to the UK, it looks unlikely that a move is on the cards.

The Rolling In The Deep singer paid £47million in 2022 for Sylvester Stallone’s former Californian home with her sports agent partner Rich Paul.

The following year Adele talked about how she would find it tough to move back to the UK.

The singer, who now only occasionally returns to London, explained: “I get really bad seasonal depression, so the weather is good for me here.

“It is strange sometimes, because I’m very British. Because it’s a bit harder for me to go out nowadays, what I love the most about LA is everyone goes to each other’s houses. I like that.

“And I actually have made a lot of really great core friends. I didn’t think I’d ever have a real friend group here. I don’t want a bunch of celebrities being my friends — well, only celebrities.

“And my friends are actually from LA, Before I moved here, I’d never met one person who was from LA.

“They’re not famous and they’re great. And having a kid at school, I’ve got great mum friends. I do like it.”

The same year, she had an ­emotional exchange with British actor and presenter James Corden on his final Carpool Karaoke ­segment on The Late Late Show, before he moved back to the UK.

James said: “It’s been a brilliant adventure but I’m just so certain it’s time for us as a family, with people getting older, people that we miss, to go home.”

A teary Adele responded: “I know. I’m just not ready to come back yet, otherwise I would come back with you.”

She also said she likes being left alone in LA, adding: “For anyone that has never been to LA, you assume it would be the opposite. But there are so many famous ­people here that they don’t waste their time,” she said.

“I really miss London, but I miss the London from before all of this happened in my life.”

Since releasing her debut album 19 in 2008, Adele has become one of the 21st century’s best-selling artists, and won 16 Grammys.

Her second album 21 racked up sales of 57million, while 30 sold 261,000 copies in its first week to become the fastest-selling album in four years.

Now the pressure is on for Adele to continue her streak of success.

Having named her first four albums after the ages she was when she wrote them — 19, 21, 25 and 30 — it remains to be seen whether her next record will be called 38, her age now.

When 25 came out, Adele said: “I think this will be my last age one.

“I’m sure I’m wrong with this but I feel there’s been a massive change in me in the last couple of years.”

She later decided to name her fourth album after the age she was when she got divorced, and reflected on the future of her titles in an interview at the time.

Adele said: “I am just like everyone else in the world. I can change my mind. And I haven’t got to stay true to something that I’ve said — you know, I think the age thing is a bloody good idea. And so I want to keep going with (the titles). Or I might not.”

Our music insider added: “Adele feels the pressure with her music and won’t rush anything out if it’s not up to scratch with her back catalogue.

“She has been writing for a while now but she is taking her time with it.

“She knows there are always grand expectations and she is determined to only return when the music is the best it can be.”

AFTER years of “neglecting” Europe and the UK, Aussie duo Empire Of The Sun return for three sold-out nights at London’s Alexandra Palace next week, proof they are making up for lost time. 

“The Empire surges on,” says singer Luke Steele in a quiet moment away from the tour.  

“Empire still feels as intense as ever. It’s like being in a vortex. It’s like Lord Of The Rings when they put the ring on, or when you’re surfing and you’re caught in the wave. Being on this tour is always like that.  

“We’ve changed a few things and added a few new songs, and suddenly it changes the ripples of everything else.” 

Nearly 20 years after track Walking On A Dream first introduced Empire Of The Sun’s fantastical universe, Steele and non-touring band member Nick Littlemore are bigger than ever. 

“It’s incredible because these are our biggest shows and it’s the biggest following we’ve had,” says Steele proudly on a video call. 

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“It’s exploded in a completely different way, to a whole new generation who are my son and my daughter’s age.  

“My daughter Sunny is about to turn 18 and Walking On A Dream came out the week she was born. Nearly 20 years later, it has hit that next generation and it is so reinvigorating. I’m running into kids who are 15 asking, ‘Who’s this new band?’.  

“A lot of people have been asking about the band’s outfits — they’re fascinated by the fashion. 

“But for so many people, they just hear the songs on the radio or at a party and don’t even know what the band looks like. They’re just captivated by the melodies.” 

Steele is in Budapest to perform, and he has just got back from a scooter ride around the city’s sights on a rare day off. 

The pair have survived near burnout and band tensions, but Steele says the music always pulled him back and now he feels the healthiest and sharpest he has ever been. 

“We always had great shows in the UK, but it felt like we’d lost a bit of steam by not touring there frequently. Then the pandemic was tough — five years not being able to tour and stuff — so maybe now we’re making up for lost time.” 

Last summer’s sold-out Labyrinth On The Thames show at Greenwich’s Old Royal Naval College was Empire Of The Sun’s first London performance in more than six years. 

“That was special. It was amazing,” Steele says. “So it’s great we are coming back to the UK — to London and also Cardiff and Halifax — which I am told is right at the top of the UK but not as far as Scotland.” His music is better than his geography. 

Empire’s return has meant more than just filling venues. It is about the band’s influence on the fans, who have found their own lives reflected in the songs. 

“The music is so important. It’s important for us, for our sanity, but it’s amazing what the records have been doing to people,” he says. “I feel a bit more like a conduit now. I’ve been handed these keys, and it’s like, what are you going to do with them? What doors are going to open?” 

“I have to harness that power of influence in a clever, natural way. 

“Coming back with the new show and writing new records post-pandemic, it feels like the songs need to have new revelations and new messages in this crazy world.” 

Steele reckons part of the success of Empire Of The Sun’s performances has been down to his live band, which includes former Gomez guitarist Ian Ball and drummer Olly Peacock.  

“They are the greatest players — really seasoned musicians, which is incredible to have,” says Steele. “People with experience are worth everything in touring. Ian is my right-hand man. The one and only.  

“You rehearse for three months, then you get up in front of 80,000 people and suddenly my in-ear pack goes down, or the pedalboard dies. Ian is so calm. He just mooches over, cool as a cucumber, sorts it out and comes back before I’ve even noticed.”  

Steele says having a great team behind him means he can execute the ideas he has been inspired by. 

“There are quite a few songs from Ask That God in the set.  

“We always play the hits, like We Are The People and Alive, because that’s important for people’s memory, and then there are a couple of throwbacks from the earlier records. 

“It’s about trying to fit it all in without it becoming an exhausting meal for people.  

“The first show probably had too many songs — like eating that last chicken wing at the Chinese buffet, where you walk out thinking you’ve had too much. It’s a fine line. 

“I don’t like those shows where bands play for three-and-a-half hours. I want to see a concert, get blown away, and go and put my pyjamas on. You don’t want to lose people.” 

Almost two years into the Ask That God tour, Steele is still pushing the show forward. 

He says: “It’s so exciting and exhilarating, and then there are the fans who mean so much. 

“It always sounds so cliched to me, to talk about ‘the fans’ but as I’ve got older and seen their dedication they become like your friends. It’s more than someone buying an album. The music seeps into their lives. 

“The other day I met this girl who showed me a video of her three-year-old kid dancing to one of our songs. It’s amazing to be so far away from home and see how much the music touches people.  

“We played Poland recently and this girl had spent months making these elaborate Salvador Dali and Escher-style collage illustrations for each song. She printed them all in a book and had written a personal note at the end. 

“People really go on the journey with us, so I’m pretty thankful.” 

Being away for long periods from his own family in Australia is what hits Steele the hardest. 

“I’m not really going home until Christmas. We go from here to the American tour and it just keeps going, but they’re all coming out to the UK shows. 

“I find it hard. I go through different stages of exhaustion and depression, excitement and exhilaration. It’s like a wave.  

“I feel quite fragile because I’m so emotional. Being on the road is a real vortex. And when you get home it’s not easy — this pipe burst in the front bathroom of my new house I bought in Perth, and 700,000 litres of water flooded the whole house.  

“When I came back from tour in January from Miami, it was just like a swimming pool, so everything’s been gutted now. It’s just all concrete, so we’re in a rental for a while — we’re pretty much homeless now.” 

After living in the US then New Zealand, Steele moved back to Perth to be closer to his family. 

Steele, who was living in America during Donald Trump’s first presidency, says the country’s extremes fed into his songwriting. 

“I had to go because I was writing so many aggressive songs. Now I’m back where I grew up and it’s been awesome,” he says.  

“I haven’t lived there for 20 years, so it’s a perfect amount of time to get over the regret, you know? 

“And it’s been good to be the hometown hero.  

“Walking On A Dream became the soundtrack for Tourism Western Australia’s global campaign and it is even named after that song.  

“There’s also a music room at my school named after the family. It feels kind of cool to be given the keys to the city, where it all started.” 

Steele lost his dad, blues musician Rick Steele, last year and he recently paid tribute to him with a night of blues. 

“It was the one-year memorial and it was awesome to come back together, remember him and play the blues. The blues club he belonged to is stronger than ever, which is great. 

“I didn’t want him to pass away and then the club to fall over. His legacy moves on, and we’re about to do a grant the Steele family has started — the Rick Steele Music Grant. 

“We’ve also got a plaque on a park bench just down the road from his house, where he lived his whole life. He used to go there most mornings, get a coffee and sit on that bench. I think he’d think that was pretty cool. He’s got his own bench there.” 

For Steele, that sense of legacy, home and survival has fed back into the music. 

“It’s a good spot to be, because I feel the sharpest I’ve ever been and the healthiest. I got rid of all of that garbage, all the drugs and alcohol, years ago.  

“It was music that helped me to heal by writing every song and playing, recording and mixing it myself.  

“Music is still such a powerful phenomenon and medium. It’s a healer. It brings renewal, hope and vision.  

“Music was always the vessel, even after I said the band was done and went off to write a solo record.” 

That sense of purpose also seems to have softened the creative tension between Steele and Littlemore.  

They have not always seen eye to eye, but time, distance and their separate lives have made the partnership easier to understand. It’s like a marriage that works because both know when to step away. 

“I think Nick and I have been good at that,” he says.  

“We probably spend more time apart than together and, when we come together, it’s quite focused on the job at hand.” 

After side projects — Littlemore is the frontman of electronic trio PNAU — and an eight-year gap between third album, Two Vines, and the release of 2024’s Ask That God, time apart now seems to be part of how Empire Of The Sun have survived.

Steele says: “When we came back, it was like, OK, we’re older now — what are we actually talking about? What’s the real meaning? So we’re trying to bring more of that into the show and the theatrics.  

“But I think now we can sit back and soak in the fruits of our labour a bit.  

“For a while, you’re just trying to hold on to it, because you spend your whole life trying to get to a point where people are actually listening. 

“Now we have people’s attention, we have to treat that with respect and not take it for granted. 

“I haven’t spoken to Nick for a while, but we’ll probably start talking more now we are about 45 songs into the new record and trying to finish a huge batch of songs. It’s definitely going to be a little bit more edgy.  

“We’ve been working with different producers and in Hawaii, LA and Sweden. Each territory brings different colours.  

“Working with these different people, from different places gives you beautiful ingredients.” 

But before new music arrives, there is the small matter of shows in Halifax, Cardiff and three sold-out nights at Alexandra Palace. 

It is surely a pinnacle moment, which Empire Of The Sun have been building towards for nearly 20 years. 

“We’re going all out on that,” he insists.  

“They’re going to be massive shows.” 

“I’M still the same person as the 15-year-old me,” decides Blur guitarist Graham Coxon.

“Still a romantic idiot, still reasonably innocent — and I think that’s a healthy way to be,” he continues.

“I don’t want to be a cynical old bastard, so I’m lucky I still have a magical outlook on life.”

I’m talking to Coxon, 57, about his “lost” solo album, Castle Park, which is finally set to come blinking into the sunlight.

The product of sessions which took place in the winter of 2011, it is named after his teenage stomping ground in the centre of Colchester — an affirmation of that younger “same person” self.

In a wider sense, it serves as a nod to his Essex hometown — a city since 2022 — where he attended Stanway School, met Damon Albarn and where, in 1988, they formed Blur with Dave Rowntree and Alex James.

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It was there, too, that his band leader and clarinet-playing dad introduced him to music, namely, “the Bs — Beethoven and The Beatles”.

The album cover resembles a classic picture postcard, divided into quarters and depicting scenes from the park with its vast Norman castle and an ornate Victorian bandstand.

Coxon says: “There were a few occasions when me and a group of friends would stay in the park rather too long, get locked in and have to climb over the fence.

“I remember being slightly inebriated and dancing around the bandstand — and then, of course, there was the statue.”

He’s referring to the imposing bronze Angel Of Victory which stands atop the Colchester War Memorial at the southern entrance to Castle Park.

“I had some dangerous moments when I climbed up and gave that statue a kiss,” he admits. “I used to do it regularly — she was very beautiful.”

If that fearless act of youthful exuberance was an example of Coxon’s romantic nature, it’s clear that he carried it forward to the album that was shelved until now.

“It comes through,” he agrees, “even though there are songs about getting dumped.

“There’s a lot of processing my own romanticism on that album, but not in a heavy way.

“It’s reasonably light-hearted for the first half at least, even if it takes a tumble down to the most depressing song I’ve ever written [album closer All The Rage]. But that’s life, isn’t it?”

Looking back at ten tracks of “romance, break-ups, heartache and alienation”, he says: “When I was writing them, I was in a very problematic situation emotionally. Somehow, songs have a way of describing your situation more succinctly than whatever is going through your mind.”

In 2026, I’m happy to report that Coxon is in a much better place. It’s 10am when I’m connected via video call to the home he shares with partner and bandmate in The Waeve, Rose Elinor Dougall, and their daughter.

“You’ve got me before my brains kick in,” he warns me, but he soon warms to the task of talking about his music outside of Blur.

Aside from the imminent release of Castle Park, this year sees reissues of Coxon’s back catalogue, beginning with his debut album The Sky Is Too High (1998) and its follow-up, The Golden D (2000).

He’s also working on the third Waeve album with Rose, which he describes as “a lot less hard-edged” than 2024’s City Lights.

“It’s more floaty and summery,” he reveals, before reaffirming his romantic credentials.

“Lyrically, there’s a lot more affection. Rose and I go through life together and, sometimes, saying things in lyrics is the nicest way to show affection away from our normal hectic lives.”

But it is his “lost” Castle Park, with lyricism and songcraft as assured as anything in his solo repertoire, that we are focusing on. So, how come the album joined a legendary list that includes The Who’s Lifehouse and The Beach Boys’ Smile by lying dormant for years?

Coxon casts his mind back to 2011 when he headed to The Pool studios in Bermondsey with Ben Hillier, co-producer of Blur’s 2003 album Think Tank (made without Graham except for one track) and engineer on The Golden D.

He says: “It was really odd because I recorded 20 songs and ten of them became A&E [released in 2012], which was based around improvised bass lines.

“The other ten were weirdly different — more trad indie, jingle-jangly, with a bit of Sixties influence.”

Those songs, you may have guessed, were earmarked for Castle Park.

Speaking of parks, Coxon had form thanks to Parklife, Blur’s immortal hit with lyrics by Damon Albarn and music by the whole band, not to mention a vocal masterclass from Phil Daniels.

Despite a widely held belief, the song wasn’t inspired by Castle Park but, as Albarn once explained, by London’s Hyde Park where he used “to watch people and pigeons”.

It seems as if the Britpop icons’ 2012 reunion, which included a momentous Hyde Park show to mark the end of the Olympics, is the chief reason why Coxon’s next album didn’t appear.

That rapturously received performance led to Blur’s run of festival shows in 2013 and a new album in 2015, The Magic Whip.

Then Coxon moved on to mastermind soundtracks for Channel Four comedy drama The End Of The F***ing World as well as embarking on a sci-fi music/graphic novel project in 2021 called Superstate.

He founded The Waeve with partner Rose and, of course, reunited with Blur for their 2023 album The Ballad Of Darren and a tour including two barnstorming nights at Wembley Stadium.

In other words, while Castle Park gathered dust, Coxon kept himself busy.

He says: “I’m really not sure what happened. Maybe it was lack of confidence. Maybe I thought these songs weren’t fashionable and who would give a s**t?”

Over the years, however, his theory didn’t stand up as fans would repeatedly ask him to release Castle Park. “They even knew the name of the album.”

The clamour heightened when Coxon broke out some of the songs during live shows.

These include opening track Billy Says, a spiky three-minute slice of mod-pop, which finds him channelling his heroes, The Kinks and The Jam.

He says: “Ray Davies is the best songwriter we ever had, followed closely by Paul McCartney, and The Jam was a huge band for me. I thought that being a Jam fan elevated me as a person.”

Other tracks to receive a live airing were Alright, with its pithy putdowns of a love rival, a playful duet with Lucy Parnell called There’s A Little House, and gorgeous acoustic guitar-led Easy.

Of all the Castle Park songs, there’s one which Coxon is most proud of, the poised, richly atmospheric Isn’t It Funny.

“It came to me in the dream,” he says. “I had the chords and half of the chorus, I heard some words — and then I woke up. I thought, ‘My gosh, I need to make a quick note of this.’”

Isn’t It Funny contains the lines: “The sun made black her hair and the river her eyes. She needs no man, no sea, nor heather. She’ll change your mind and slip away.”

By way of explanation, Coxon says: “I realise that there’s always been this elusive feminine spirit or a goddess of nature in my work.

“I don’t write songs about this entity for my own excitement. They just come out.”

Then there’s the sublime Mélodie Pour Christine, a lyric-free classical piece for harp and strings with Lucy Parnell’s vocals serving as another instrument.

“That piece was important to me,” he says. “I devoted it to a French friend of mine — a wonderful person who I loved very much and is no longer with us.”

Another song that hits the mark is bleak All The Rage, which, he says, “communicates one’s despondency around the creative life — and that has got even worse 15 years later!”

If most of Castle Park is filled with distinctly English sensibilities, American influences arrive with a cover of When You Find Out by short-lived Seventies punk-pop trio The Nerves.

“It’s a great song, even Blondie would go, ‘Hey, this is a good one’. I just made it slightly less than perfect,” laughs Coxon.

Then there’s “an attempt at soul” with Forget Today which finds him employing his considerable saxophone skills and Ben Hillier providing Hammond organ. (Worth noting that Coxon played sax on Parklife.)

Dripping Soul ventures into territory occupied by Ennio Morricone’s spaghetti western soundtracks, “so it’s not exclusively weird south-east of England s**t”.

“I love westerns, particularly Sergio Leone films. A Fistful Of Dollars and all that,” says Coxon.

In the song, he is peering “beyond the veil” at the “souls of those cowboys who came from a place where life is cheap and death is taken for granted”.

With its galloping guitars, Coxon realised he couldn’t turn Dripping Soul into “a hanging out in Camden sort of thing”.

But he does believe that the house he shares with Rose in London is populated by the souls of dead people.

“I don’t even believe in ghosts, but I’ve seen them,” he reports. “So that’s a bit of a quandary.”

Coxon says he still likes to talk to dear departed loved ones: His mum, Christine, drummer Graham Fox, the Irish journalist who first wrote about Blur, Leo Finlay, and the head of Food Records, Andy Ross.

“I don’t really see them as gone,” he says. “I can still talk to them — they may have disappeared but they’re still fully alive in my mind.”

With that said, we return to 1998 when all those people were still with us — to the making of Coxon’s debut solo album The Sky Is Too High.

It was an unvarnished, largely acoustic affair featuring his own artwork and, as he explains: “It was recorded through really good gear but approach was quite raw.”

Sandwiched between Blur’s self-titled fifth album and its follow-up, 13, “It was done in a bit of a hurry — I wasn’t f***ing about.”

The project had begun when a neighbour asked Coxon to write a couple of songs for a film about Victorian bare-knuckle fighter Tom Sayers — setting wheels in motion that are still spinning.

He says: “That request turned into an addiction to writing songs and releasing them.”

So, how did his solo endeavours affect his relationship with his Blur bandmates. “They didn’t talk about it,” replies Coxon, “Though I did once catch Damon singing R U Lonely? He said, ‘That’s quite a catchy little tune’.

“Attempting to develop as a songwriter when Damon Albarn is your best mate is hard work. I mean, he’d already written some bloody good songs by then.”

Released in 2000, Coxon’s second effort, The Golden D, is very different — heavier, more abrasive and driven by searing electric guitars.

The mood changes with the funky Oochy Woochy, which tapped into Coxon’s fascination with Nineties’ fusion of hip-hop and jazz — a style developed by American rapper Guru called Jazzmatazz.

He says: “I’ve always liked that skinny beat stuff with James Brown loops or similar. Stuff like Public Enemy and 3rd Bass. Oochy Woochy is not a mickey take but a go at that.”

With physical releases of Coxon’s other albums still to come this year, there’s plenty more scope to revisit his solo journey.

Then, in November, he’s hitting the road for a UK tour, bringing the songs back to life still further.

Looking back on his output, Coxon says: “I think it has had a lot to do with my development as a person.

“You know, that anxiety-ridden creative weirdo who puts all this stuff out there.

“I guess that’s why I like Castle Park coming out — because now there are no secrets. You’ve got it all.”

GRAHAM COXON

Castle Park

4.5 STARS

• Also released: The Sky Is Too High and The Golden D

WHO can blame Paul McCartney for glancing in the rear-view mirror on his latest record? 

At 83, the likely lad from Liverpool, who became a Beatle and Britain’s best-loved songwriter, is due a moment of reflection.  

He looks at it this way: “As a writer, you often write about things in the past, even if it’s just yesterday.” 

Or even, as Macca can’t resist saying, if that past “always seems so far away”.  

“That’s another nice idea. I think I might have done that one,” he adds in acknowledgment of his immortal Beatles ballad Yesterday. 

His 20th solo studio album, The Boys Of Dungeon Lane, finds him casting his mind back to innocent times before The Beatles changed his life for ever. 

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Five of the 14 tracks visit the simple pleasures of youth — As You Lie There, Days We Left Behind, Down South, Home To Us (a first ever duet with Ringo) and Salesman Saint — and, as you’ll discover, each comes with a captivating back story. 

Here, the master storyteller, whose previous character studies include Eleanor Rigby, The Fool On The Hill and She’s Leaving Home, turns the spotlight on himself for what might just be his most personal song cycle yet. 

On The Boys Of Dungeon Lane, Sir Paul makes you believe in HIS yesterdays. 

Asked why much of his latest work deals with memories, he replies: “I think writers, including me, ask themselves that. 

“When you think about, say, Charles Dickens, what’s he going to write about except stuff he knows and stuff he remembers? Then he can gussy them up.” 

And do recent Beatles and Wings reissue projects have an impact on the way he fashions a song these days? 

“No,” answers McCartney emphatically. “The thing that pulls it all together is me — it’s my brain making music.  

“I don’t think, ‘Wow, oh yeah, let’s do this. This is a Beatles idea, or this is a Wings idea’. I don’t think like that. It’s all current. It’s me. This is what I do.” 

Listen to The Boys Of Dungeon Lane and you’ll understand what he’s getting at.  

Despite first picking up a guitar nearly 70 years ago, he’s still making eclectic, freewheeling music, brimful of ideas, even if many lyrics are bathed in nostalgia. 

The album was recorded over the past five years, when time permitted between touring and other commitments, in the company of in-demand American producer Andrew Watt, known for his work with Ozzy Osbourne, Post Malone, Lady Gaga, Miley Cyrus and, ironically, The Beatles’ chief Sixties chart rivals, the Rolling Stones. 

“We just enjoyed it,” says Macca of his sessions with Watt. “We were like a couple of Boys Of Dungeon Lane — little boys in a sandpit — and we were having fun.” 

So, with the help of telling observations from the man himself, given to me by his team, let’s take a deep dive into the key tracks. 

As You Lie There begins proceedings in memorable style with an intimate spoken word passage delivered over minor key acoustic strums. 

McCartney intones: “I used to walk past your house. Every night I’d look up at your window. The light was on. I saw your silhouette on the blind. Do you think of me? Do I ever cross your mind?” 

The song, with its squalling rock refrain, recalls a teenage crush from the time Macca lived at 20 Forthlin Road in the Allerton area of south Liverpool, in the house where he and John Lennon first discovered their spark of creative chemistry. 

“Up in one of the ­windows, there was a girl I ­fancied called Jasmine,” he says of his tale of unrequited love. “But I didn’t know how to approach her. I never spoke to her. 

“The joke was, she did show up later that year and knocked on the door. I was indisposed — I was on the toilet — so I missed Jasmine.” 

Aside from the sweet story behind the lyrics, As You Lie There is important because it is the song that kickstarted the whole process, just as the world was emerging from the Covid pandemic. 

McCartney says: “The album really started when my manager said, ‘Would you like to meet Andrew Watt?’ 

“I knew he was an active young producer, and I liked some of his stuff. I said, ‘Yeah, great’. He said, ‘Well, it’s just a cup of tea. Go down to his studio’.” 

The pair hit it off and what began as that cuppa at Watt’s basement studio — located in his Beverly Hills residence once owned by Charlie Chaplin — soon turned into something much more significant. 

Macca described his songwriting process, how he would try “to find  

a really weird chord”, to give him “a little inspiration”. 

To his delight, he realised that Watt, a big guitar collector, “had figured that if I was coming down, it would be handy to have a left-handed guitar. 

“I struck this mad chord,” he continues. “I still have no idea what it is, then I changed one note, then another. Suddenly we  had a three-chord sequence and Andrew said, ‘We should record this’.” 

As the song took shape, they considered bringing in Chad Smith of Red Hot Chili Peppers on drums but Watt suggested that McCartney, a more than proficient drummer, should play them himself.  

He says: “I really enjoyed drumming to it, so I put down the drum track, then obviously the bass.  

“Then Andrew put the guitar lick down, because he’s a good guitar player. And over a few days, we made As You Lie There. That started the journey.” 

The “journey” included recordings in various LA studios as well as Macca’s own Hog Hill Mill in Sussex and his old Beatles stomping ground, Abbey Road. 

Of all the ensuing songs, first single Days We Left We Behind sets the tone — and is also significant for yielding the album title. 

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

Whenever he goes to Liverpool these days, to visit the city’s Institute for Performing Arts (LIPA) for instance, he notes that “the back entrance to the airport is in Dungeon Lane”. 

He remembers trips down that lane “as a little kid, because I used to wander off, just on my own, with my little bird book”. 

It was the keen ornithologist’s gateway to stunning Mersey Shore, an area teeming with wading birds just a short distance from suburban Speke where he lived between the ages of five and 13. 

“Speke is quite working class,” says McCartney. “We didn’t have much at all but it didn’t matter because all the people were great and you didn’t notice it. 

“It’s my wife Nancy’s favourite track on the album. When we play it to people, we say, ‘You don’t need to cry’, and then you look up and see that they are.” 

When asked how he settled on the album title, Macca says you could ask the same question about Sgt. Pepper’s Lonely Hearts Club Band. 

“It’s just some words I like. We were thinking Along The Mersey Shore could be good. But then I liked The Boys Of Dungeon Lane — it’s a bit more, ‘What’s that about?’ ” 

McCartney says Days We Left Behind “involves a bit in the middle about John and Forthlin Road”. (The McCartney family moved there in 1955). 

It suggests that he and his much-missed songwriting partner in The Beatles “wrote a secret code, to never be spoken”. 

This leads us to the folkie Down South which, says Macca, is “another one about reminiscing”.  

“I often think about John and George,” he continues. “We used to hitchhike in the days before The Beatles. It was in the days when you could — now I warn my grandkids, ‘Don’t do it’, because there are too many nutters out there.” 

He remembers: “I got a tip from someone who said, ‘You start off in Chester — because that’s where all the lorries are and they’re all going straight down south. That’s a good place to get your first lift’.” 

With Harrison, seven months his junior, coming along for the ride to places like Harlech in Wales, it was a perfect chance to do some “bonding” with his future bandmate. 

And speaking of bandmates, what about the rousing Home To Us, which, for good reason, is the only track McCartney doesn’t play the drums on. 

During one of his breaks from sessions with Watt, he “talked to Ringo about Andrew”. 

“Then Ringo went round to Andrew’s studio and drummed a bit. Next time I saw Ringo, he said, ‘Well, he didn’t do anything with it.’  

“I asked what he’d expected and he said, ‘Well, you know, a track’.” 

When Macca finally heard his old mucker’s efforts, he suggested to Watt: “We SHOULD make a track and send it to Ringo. So, we did.” 

On writing the Home To Us lyrics, he reveals: “This song is done totally with Ringo in mind. I’m talking about where we came from.  

“In common with a lot of people, you come from nothing and you build yourself up. Ringo was the one who came from the most ‘nothing’ in The Beatles. 

“He was from the Dingle and that was well hard. He used to get mugged coming home from work. 

“Even though it was crazy, it was ‘home to us’ and I made the song around that idea.” At first, Ringo only sang a few lines of chorus, but Macca rang him and said he’d “love to hear him sing the whole thing”. 

“Next, we took my first line, Ringo’s second line and we had a duet — something we’d never done before.  

“We also wanted backing vocals, and I had the idea it would be nice to hear girls. Chrissie Hynde and Sharleen Spiteri are mates — and they did it.” 

The last of McCartney’s memory songs is the most poignant, Salesman Saint, which pays tribute to his midwife mother Mary who died when he was only 14 (the “mother Mary” of Let It Be) and his salesman/amateur musician father Jim. 

He says: “This song is me remembering my mum and dad. I was born in World War II and I often think, ‘Bloody hell, it’s tough enough having a baby now but imagine if we were all conscious that bombs could be falling any minute’ — and Liverpool was getting heavily bombed.  

“I was thinking about them bringing up this kid in those circumstances. My dad happened to be a cotton salesman, and my mum was a nurse. They did it. They managed it and they brought up me and my brother [Mike]. 

“Got us to doctors, got us to school and did all these things under those circumstances. At the end of the song, there’s music I’m trying to make from their era.” 

So now you’ve heard about all the songs inspired by McCartney’s youth but there are NINE more tracks to digest. So here, in Macca’s own words, are his thoughts on those: 

Lost Horizon: “This one came about when our dearly beloved and now sadly deceased studio manager, Eddie Klein, was logging some old cassettes of mine.  

“He asked me if I remembered Lost Horizon and I said, ‘No’. He said, ‘It’s good, you should listen to it’. So, we remade it faithfully to the cassette version — just with a more modern sound.” 

Ripples On A Pond: “It’s a love song. Like a few of the songs, we started this in my studio in Sussex. I said to Andrew, ‘You’re supposed to be a pop producer and we’re making all these records that don’t sound like that to me so, come on, let’s pop this one up!’ ”  

Mountain Top: “My wife is a real live music fan and if there’s anything on she’s like, ‘Can we go?’ So, we go to Glastonbury every year and I started fantasising about some young girl tripping — she’s magic mushroomed out. The things you write songs about!” (Nancy delivers the closing spoken words.)  

We Two: “A lot of Beatles records were made on a four-track Studer machine, including A Day In The Life. It’s such a classic now. I’ve got one in the studio and we use it sometimes. Andrew loves all these recording legends of the past. I showed him the Studer and he said, ‘Can we use it now?’ Luckily, it’s in full working order so we did We Two on it. It’s a little love song.” 

Come Inside: “Going to side two now. We start it off with a rocker love song. It’s straightforward — but with verve.” 

Never Know: “When I was in LA, I always liked the idea of Laurel Canyon and that scene. The days of Joni Mitchell, the Eagles — all that hanging out, getting stoned and playing guitars. So that was the vibe that started off Never Know.” 

Life Can Be Hard: “I had a little instrumental chord sequence during Covid — and there was a little baby in the house, my wife’s niece’s new baby and it was a thrill. For a lot of people, Covid was terrible if you weren’t with family.  

“Anyway, this baby used to like these chords, and it became a song. Life can be hard, but that’s when we put it together again. It’s a positive message.”  

First Star Of The Night: “I was on tour and had a day off, which was precious. We were in Costa Rica and it rained hard — all day heavy, tropical rain. I was thinking about being out by the pool, but you really couldn’t go out.  

“I thought, ‘I know, I’ll write a song’. I had my guitar with me. So, this starts out, ‘Even when it’s raining’, but then I switched it to, ‘Even when it’s raining inside’, just to give myself somewhere to go with the song.” 

Momma Gets By: “The last track on the album and it’s totally imaginary. I was thinking of Porgy and Bess’s world. It’s basically about a woman who you can see is the strength in the family.” 

Finally, Macca is asked how he hopes listeners will respond to his new album. 

He replies: “Well, I hope they fall in love with the songs and the performances. I hope it takes them to a place of joy.” 

Whether it’s Penny Lane, Dungeon Lane or Memory Lane, Paul McCartney will transport you there. 

Roll up! Roll up! He is your magical not-so-mysterious tour guide. 

PAUL McCARTNEY

The Boys Of Dungeon Lane

★★★★★

JASON ISBELL is a song writer’s song writer. You can tell by the company he keeps.

He’ll never forget the moment some years ago when he heard a certain person singing one of his choruses back to him in unmistakeable tones.

“I’ve grown tired of travelling alone. Won’t you ride with me? Won’t you ride? Won’t you ride? ”

Isbell recalls: “At first, I thought it was somebody doing a Bruce Springsteen impersonation of singing my song. And then I realised, ‘No, that’s actually him!’

“It was a huge deal for me to meet Bruce, and for him to know who I was.”

Turned out that one of Springsteen’s sons had brought to his dad’s attention Isbell’s breakthrough 2013 solo album Southeastern, complete with the track Traveling Alone.

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To the 47-year-old born in northern Alabama, two miles from the Tennessee state line, it was validation — just like his six Grammys and the fact that Southeastern appears in Rolling Stone magazine’s list of greatest albums of all time.

“I’m a punk but I’m not that big of a punk to pretend something’s not an honour,” the one-time member of Drive-By Truckers decides in his Southern drawl.

“I met Randy Newman and it was the same kind of thing,” he continues, casting his mind back to the 2021 Newport Folk Festival when both artists were on the same bill.

“I was so nervous to talk to Randy but I said to him, ‘Man, your songs are very important to me as a musician, as a human being’ — and he leaned in and said, ‘I like your songs, too’.

“I knew Randy was probably not the sort of person to bulls**t you.”

I’m speaking to Isbell as he prepares to hit these shores with his ace band, The 400 Unit, for a tour of the UK and Ireland which culminates with a night at London’s hallowed Royal Albert Hall on June 11.

But on this day, the hard- working singer is in Dallas for a solo acoustic show, showcasing last year’s captivating, intimate Foxes In The Snow album, when we’re connected via video call.

“My flight was cancelled last night because of bad weather so I drove here — took me nine and a half hours,” he reports from his hotel.

It’s 10am US Central Time and 4pm UK time and, despite the previous day’s exertions, Isbell seems fresh and focused for a deep dive into his life in music — and the songs that define him.

It’s clear from talking to this thoughtful soul that his career can be divided into two distinct categories — before and after he got sober — which he describes in depth later.

But first, we go back to his early life as the son of teenage parents, the subject of his song Children Of Children, and his early introduction to music.

Mom Angela was 17 and dad Mike was 19 when he was born so “I got to spend a lot of time with my grandad, who preached in a Pentecostal church in Alabama, and played guitar, mandolin, fiddle, banjo.

“And my uncle, my dad’s little brother, played guitar in a rock band.

“When I was around four, my parents would take me to band practice in his friend’s garage, and I would fall asleep, usually when they did Neil Young’s Like A ­Hurricane.

“Though my dad and mom didn’t play music, pretty much everybody else in my family did, at least as a hobby. It was seen as a birthright thing.

“I know this sounds like down-home Southern horses**t, but my grandad would make me play gospel music with him for a ­couple of hours a day.

“Then if I could get through it without getting lazy, I could play rhythm guitar. The guitar was huge, and I was small, and it would take a lot of work.”

Isbell became “obsessed” with blues after hearing Robert Johnson’s recordings and “this little white kid from a hillbilly town” would bombard his music teacher with questions about the Mississippi Delta pioneers.

“My teacher was a big rock and roll guy who had a different Rolling Stones T-shirt for every day of the week,” he says.

“He would call me out of class on the loudspeaker in a really gruff voice, so it sounded like I was in trouble. But I knew that he had made me a mixtape.

“There were a lot of people who took an interest in me early on. I got very lucky that way.”

As a teenager in the Eighties, “radio was huge” for Isbell, who singles out Crowded House and Elvis Costello in particular.

“As my parents were not much older than me, we listened to a lot of the same music,” he says.

“In those days, it was big arena bands like Journey and Foreigner, My dad liked country music, too, so he had Merle Haggard and Hank Williams records.”

At this time, Isbell started playing bars in the Southern music mecca of Florence and Muscle Shoals, which, “because of the liquor laws”, also had to sell food.

He says: “They would check the receipts to make sure you sold more food than alcohol, which was terrible for any kind of music scene — but really good for a 15-year-old kid because they couldn’t kick me out!”

In these places, he got to see legendary session men like Spooner Oldham, Donnie Fritts and, crucially, bass player and trombonist David Hood, father of Drive-By Truckers frontman Patterson Hood.

In 2001, Isbell joined the Truckers and hit the ground running by contributing two outstanding songs to their 2003 album Decoration Day, the title track and Outfit.

He says: “I liked playing guitar and singing background vocals, but I had a lot to prove.”

He describes how his dark, Southern gothic magnum opus about a multi-generational family feud came into being: “I wrote Decoration Day on the road, in Carbondale, Illinois, I think.

“We were staying at a friend’s and everybody else was asleep in the house.

“One person always had to sleep in the van to stop people stealing our gear. That night, it was me.

“I woke up early — around eight o’clock in the morning. So I had a couple of hours before everybody else started moving and I came up with Decoration Day.”

Another memorable Drive-By Truckers effort by Isbell is Danko/Manuel, his tribute to roots rock icons The Band, which appeared on the 2004 album The Dirty South.

He says: “At the time, Rick Danko and Richard Manuel were the only two not still alive. Now, none of them are.

“I was reading [drummer] Levon Helm’s book, This Wheel’s On Fire. He talked about having to siphon gas out of cars in parking lots while the rest of them were on stage. They were a bunch of feral kids in the early days.”

In 2007, largely thanks to heavy drinking and unreliable behaviour, Isbell left the Truckers and went solo.

It’s good to report that he’s on friendly terms with his old bandmates these days and joined them on stage last year for Stephen Colbert’s The Late Show.

He says: “We were very close at one point. It’s not easy to make friends in general so I try to keep the ones that I can.

“Even after I got sober, I didn’t quite know why I’d had drinking problems to start with.

“At first, you’re just hanging on for dear life and trying to stay sober. Eventually, if you do it right, you do repair the parts of yourself that you were ignoring.

“Once that happened for me, I was able to reconnect with those guys. We were able to be friends again and they’ve continued to make really valuable music.”

When it came to Isbell making his first solo album, Sirens Of The Ditch in 2007, highlighted by a couple of fan favourites, Dress Blues and The Magician, he had a lot to learn — and fast.

“I didn’t know what the hell I was doing,” he sighs. “I know I had to argue a lot, which actually turned out to be a good thing.”

A big moment for him arrived with a yearning composition on his third album, Here We Rest (2011), his second with his band The 400 Unit and the last before he went into rehab for ­alcohol addiction.

To this day, Alabama Pines is one of his most performed live songs.

“When I wrote it, everything else in my life sucked,” he says. “It was a very dark time. I was in physical and psychological pain. Working on it was the most relief I got.”

He adds: “The complication in that song adds a lot of value to it — the fact that you’re yearning for a place that isn’t perfect.

“It’s a dynamic that finds its way into a lot of Drive-By Truckers’ work and a lot of my own. It’s very possible to miss a place that wasn’t necessarily all that good to you.

“That song doesn’t have a chorus, it never gets huge so it’s not an anthem. But it stands out in my solo work and I still like it. It has never let me down.”

Everything changed for Isbell after rehab and first notice of his sober approach is 2013’s breathtaking Southeastern with its enduring keepers, Cover Me Up, Stockholm, Elephant and the aforementioned Traveling Alone.

“I wasn’t in the same type of pain,” he says. “Recovering from addiction heavily involved dealing with myself — my life, my emotions, my situation — not postponing it.

“When I was drinking, I would write until the sun went down and then I’d think, ‘I need a drink’.

“With Southeastern, I would stay working for hours and hours at a time because I didn’t have anything else to do. It’s not like I was going to the bar.”

The record proved a big commercial success even if a song like Cover Me Up, recently covered by Morgan Wallen, is about recovering from addiction and the healing power of love, while Elephant is an unflinching study of mortality and the impact of cancer.

Today, Isbell performs such tracks from a slightly different perspective.

“With a room full of people cheering for these songs, we get to celebrate the fact that these horribly sad songs exist,” he smiles.

Next, we rattle through a few more Isbell staples like 24 Frames from 2015’s Something More Than Free with its sparkling electric ­guitar passages.

“I may have doubled up two exact same slide-guitar parts on that. It’s the old George Harrison trick from My Sweet Lord and it works every f***ing time.”

He sees guitar playing as his “hobby”. “My girlfriend paints very seriously and that’s her work,” he says by way of example.

“Lately she started working with miniatures and building doll houses, and that’s her hobby. It’s very close to painting but it’s not a commercialised part of her life.

“That’s how I look at guitar playing. Singing, songwriting, touring — that’s my job. If left alone for a couple of hours, I just sit and play guitar — that’s my hobby.”

There’s a profound Isbell song on 2017’s The Nashville Sound, If We Were Vampires, a big favourite of his friend, the late, great singer John Prine, who he describes as “thoughtful, witty, highly intelligent and emotionally open”.

“There’s some magic in that song,” he says. “Everything else on the album was written when I thought, ‘There’s so many f***ing love songs, why would I bother to do another one?’

“By the time I got to the chorus of If We Were Vampires, something hit me — the reason you love somebody, go through all that effort and pain, is because you’re going to die.

“Without death, we wouldn’t be motivated to live. It was one of those moments where I was like, ‘Wow! Thank God I weaved my way to that path’.”

A telling Isbell insight is revealed by It Gets Easier with its line, “it gets easier, but it never gets easy”, from the 2020 album Reunions.

It addresses his sobriety and brings this reflection: “I don’t think about drinking as much as I used to, but I do sometimes, not necessarily when things are bad.

“When it is going badly, the first thing you do is you make a plan – talk to friends, talk to a therapist, go to a meeting.

“For quite a few years, the hardest times have been to not think about drinking when things are going really well.”

Isbell’s consistently fine recorded output includes 2023’s Weathervanes, with standouts like reflective acoustic ballad Cast Iron Skillet and gritty rocker King Of Oklahoma, about the downward spiral of a blue-collar worker who turns to prescription meds.

Mention of them is cue for him to offer a warning to those attending his upcoming shows.

“When I’m writing a record, I think, ‘How am I going to make these people hold their pee for four more minutes?’

“Because when the new material comes out, that’s usually when everybody heads to the bar!”

• Jason Isbell & The 400 Unit play Belfast June 2, Dublin June 3, Bristol June 5, Gateshead June 6, Glasgow June 7, Manchester June 8, Birmingham June 10 and London’s Royal Albert Hall June 11

IN the weeks before we lost The Beach Boys’ Brian Wilson on June 11 last year, he had two special visitors. 

They were the group’s surviving founder members, his first cousin Mike Love, and his best friend from college, Al Jardine. 

It was their chance to say goodbye to the man who, above anyone, brought “good vibrations” to the world and created their 1966 magnum opus Pet Sounds. 

First to venture up the drive at Brian’s Beverly Hills mansion for one last time was Jardine.  

“I last saw him at the very end,” he says. “I came up to the house and he just pointed at me. 

“He said, ‘You started the band’, and I went, ‘Wait, come on, Brian, I’m sure you had a little something to do with it!’ 

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“He was very direct at times — he could be very unfiltered — but I think our friendship meant a lot to him. 

“He was always my best friend, right from when we started out.” 

Despite Brian’s well-documented struggles with mental health, Jardine insists that his old buddy never lost his passion for music. 

“His reputation remains solid,” he adds, before supplying an answer to his own question: “What’s the term? Legend.  

“His work will be appreciated for centuries to come. He had his own style. Just listen to his arrangements and his chord changes — they’re just so unusual.  

“His brother Dennis actually said it first, ‘Brian is The Beach Boys’. He created our sound and, as Mike Love would say, he heard things we couldn’t hear.” 

Of his last visit to Brian, Love says: “A couple of weeks before he passed away, I was able to go and see him. 

“We had a great time. We sang together, actually, which was a lot of fun.” 

Love leads the latest incarnation of The Beach Boys, keeping their songs alive in concert, including Pet Sounds classics God Only Knows, Wouldn’t It Be Nice and Sloop John B.  

“Brian’s still with us every night in that music,” he affirms 

If Brian, younger brothers Carl and Dennis, Mike and Al started out by singing about surfing, girls and open-top cars in the California sun, it was the elder Wilson sibling who took things to the next level with Pet Sounds. 

A themed song cycle employing pioneering production techniques, sublime harmonies, divine melodies and darker, soul-searching lyrics, it is regarded as Brian’s masterpiece.

He had been impressed with The Beatles’ sonic adventures on Rubber Soul — now he was pushing The Beach Boys to raise the bar higher, in turn inspiring their chart rivals to make Sgt. Pepper’s Lonely Hearts Club Band. 

Paul McCartney maintains that God Only Knows is his favourite song and that Pet Sounds is among his top three albums.  

He once enthused: “The musical invention on that is, like, ‘Wow!’  

“I just thought, ‘Oh dear me, this is THE album of all time, what the hell are we gonna do?’” 

To mark its 60th anniversary, The Pet Sounds Sessions — including demos, alternate takes and outtakes — are receiving digital, CD and vinyl editions. They feature a host of a cappella tracks shining the spotlight on the breathtaking harmonies.  

Which is why I’m speaking to Brian’s bandmates via video calls that seem entirely appropriate for singers who epitomise California’s sunny beach vibes.  

As we’re connected, Love, 85, reports that he’s “driving down the Pacific Coast Highway outside of Malibu”. 

In a separate call, Jardine, 83, is sitting in his solarium under clear blue skies in Monterey, gateway to the rugged Big Sur coastal region. 

First, Love gives me insights into his Beach Boys journey, leading up to the groundbreaking Pet Sounds.  

His mother Glee was the sister of Murry Wilson, father of Brian, Carl and Dennis, “so every holiday — Thanksgiving, Christmas, New Year’s, Fourth of July — and birthday was celebrated with music. 

“When Brian and I were teens, we’d get together and sing or listen to the radio, hearing groups like The Everly Brothers.” 

When they formed The Beach Boys, the clean-cut image involving surfing, sun and girls was, he says, “environmental because we lived a few miles from the sea”. 

Love continues: “We would often go to the beach for family outings. There, you’d find people who dressed a certain way, talked a certain way and had a certain attitude.  

“They were the surfers who inspired our first song, Surfin’ [released in 1961].” 

As to whether The Beach Boys joined the craze, he adds: “Dennis, Al and I had surfboards but we weren’t the greatest athletes. We appreciated it though, and we gave it a shot. 

“I’m not sure Brian ever tried it. He could only hear out of one ear and didn’t have much balance. You need all the balance you can get when you’re surfing.” 

Love recalls how he would “sit down at the piano with Brian while he figured out chord progressions, tempos and melodies.  

“I felt it was up to me to come up with lyrics and sing lead on songs we were working on together such as Surfin’ USA, I Get Around and Fun Fun Fun.” 

Jardine, who currently fronts The Pet Sounds Band of ace Brian Wilson associates, also casts his mind back to the early days but is interrupted by “actual pet sounds”. 

“Hang on a second, we have a little dog outside and he’s barking — I gotta shut him up,” he reports.  

When calm returns, I ask Jardine how he came to form a band with three brothers and their cousin in 1961.  

He answers: “Well, Brian and I were classmates in high school but didn’t really know each other. 

“We were on the football team — he was quarterback and I was full back. He would call the plays, either pitching the ball to me or somebody else. 

“But we didn’t interact until we went to college. I’d heard him in concert and, in our second year, I bumped into him on campus and said, ‘We gotta start a band’.  

“We walked over to the music room and started playing music for each other.  

“I’d already been in a folk group and, when he heard me sing, he realised I had a gift. 

“Then he said, ‘I’ve got my little brothers and my cousin, Mike. I’ll introduce you to them. I rented instruments from a local music store but we didn’t know how to express ourselves at first, so we just sang a cappella. 

“Once we finally got around the piano, we were off and running. 

“I soon realised that Brian was a fine-tuned instrument. He had a great voice, a great knack for composition and already had a duet thing going on with Mike.” 

As for the surfer image, Jardine credits Dennis Wilson, the family rebel who played the drums. He says: “Dennis was a surfer and the rest of us were land lovers. He taught me how to surf but I sank like a stone. 

“But surfing was the craze so we put lyrics to our first song and called it Surfin’.” 

In 1964, Brian dropped the bombshell that he was stepping back from touring to concentrate on studio work.  

Love provides this insight into his cousin’s state of mind: “Brian wasn’t comfortable on the road — he got nervous and unhappy. He missed home and he missed the studio. 

“It was a drag to see him leave the live group but it was in his best interests.” 

Afforded fewer distractions, Brian applied himself to Pet Sounds and, in tandem with it, the sophisticated sonic miracle Good Vibrations — a standalone hit deemed not a good fit for the album. 

This period coincided with his experiments with LSD and marijuana.  

He once stated that drugs helped him achieve a deeper level of creativity but later expressed regrets over the damage to his mental health. 

Because of the complexity, Brian needed longer than usual to finish Pet Sounds so The Beach Boys released a stopgap party album, yielding one of their biggest hits, Barbara Ann. 

Then, after a tour of Japan in January 1966, with Bruce Johnston taking Brian’s place, Carl, Dennis, Mike, Al and Bruce returned for the momentous sessions.  

In their absence, Brian had employed lyricist Tony Asher and crack session musicians the Wrecking Crew, including, among many, Glen Campbell on guitar and banjo. 

Love says: “The tracks Brian had done were completely amazing. Our main job was to finish them vocally and we worked very hard.” 

One of the songs was God Only Knows, which he says was “sung so beautifully by my cousin Carl”. 

“We lost him many years ago to lung cancer. For concerts these days, my son Christian sings lead.” 

So what was Carl like? “He was our musical director on stage and the most proficient musician in the group,” replies Love. 

Jardine adds: “Carl could knock it out of the park. He was right in the centre of our harmonies with Mike’s baritone below and me higher, with Brian higher still.” 

And what about Dennis, who had a wild reputation and later befriended cult leader and killer Charles Manson? 

Love says: “He lived a dangerous life because of the alcohol and drugs he got involved with. He died [from drowning] in 1983.” 

Jardine adds: “Dennis was our Keith Moon. Oh boy, all he had to do was just stand up on stage and the crowd would go nuts.” 

It was self-confessed folkie Jardine who brought Bahamian sea shanty Sloop John B to Brian. He says: “I was a Kingston Trio fan. They were big Capitol Records guys, same label as us, and they wore striped shirts.  

“Learning all their songs was my musical training. When the time came to start The Beach Boys, I went out and bought striped shirts for us. 

“Sloop John B was my idea. I said, ‘Brian, if we add one major and one minor chord, it’ll sound like us instead of The Kingston Trio’. 

“He put it to good use. It became Pet Sounds’ lead single. Capitol always wanted a hit to sell an album.” 

Recalling the sessions, Jardine says that Brian’s abilities had been “growing exponentially” while they’d been away. 

“In spite of our jet lag, we were in the studio the day after we got home from Japan. We were extremely impressed with Brian’s arrangements. 

“People forget that he was a masterful producer. He knew the language. He could go into a studio and the studio became an instrument for him.” 

That said, it wasn’t all plain sailing, as Jardine explains: “Mike didn’t like the lyrics on some songs so he insisted on changing a couple around.  

“He thought a song called Hang On To Your Ego was too sophisticated for our crowd so he changed it to I Know There’s An Answer.” 

The story of Pet Sounds wouldn’t be complete without mention of the album title and cover shot of the boys among the goats at San Diego Zoo. Love says: “Brian didn’t know what to call the album.

“At the end [of final track Caroline, No], you hear a train going by and dogs are barking.  

“Those were Brian and [first wife] Marilyn’s dogs. So I said, ‘Why don’t we call it Pet Sounds? It was a double entendre, of course — and it stuck.” 

Jardine picks up the story of the photo shoot: “It was a total mystery to me.  

“We had to drive to San Diego, which was 200 miles away. We had our own zoo in Los Angeles, for God’s sake!” 

The resulting album cover has a quaint charm but it’s not exactly up there with Sgt Pepper’s iconic Peter Blake design. 

Love smiles at the memory and says: “I was in India at the Maharishi’s place when Paul McCartney and I had a conversation one night. 

“He was saying, ‘Mike, you ought to take more care with your album covers’. 

“So I told him, ‘Paul, you’re absolutely right.

We should’. 

“But we always felt that what went into the sleeve was more important than the cover itself.” 

And speaking of goats, to many including Macca, Pet Sounds is the GOAT. 

THE BEACH BOYS 

The Pet Sounds Session Highlights 

★★★★★