sound

ADELE is gearing up to end her musical hiatus, and I can exclusively reveal the details of her much-anticipated comeback.

Last week our newspaper told you the superstar was on the brink of announcing her fifth album, and now my music mole has spilled all on what the record will sound like.

The 38-year-old is tipped to release the follow-up to her fourth album next summer, and I’m told the working title is 39.

The name would follow the pattern of her previous albums, from 19 and 21 through to 25 and 30.

My source explained: “Adele is gearing up for a huge comeback and feels ready to start a new chapter musically.

“She’s been away from performing for a while, but music has never been far from her mind.

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“The album is being tipped for next summer, although the release plans are still being worked through. The working title being discussed is 39.”

Adele stepped back from the stage after her Las Vegas residency ended in November 2024, and has spent the time away focusing on her family.

But I’m told she has been writing the whole time.

My insider said: “She’s spent the past couple of years prioritising her family and enjoying some time away from the pressure of being in the spotlight, but she’s also been thinking about music constantly.

“She’s been writing throughout her break. She famously finds the fame side of her career difficult, so stepping away has been important for her.

“She now feels creatively revived and has come back to the music with a fresh perspective.”

As revealed last week, Adele has been secretly recording at the famous Church Studios in Crouch End, North London, which is owned by producer Paul Epworth.

And my source says he is on board for the new record.

They said: “Paul Epworth is involved, which is significant given their history together. They’ve made some incredible music in the past, including Skyfall, and there’s a real understanding between them creatively.

“He knows how to bring out the best in Adele while allowing her to experiment.”

The pair won an Oscar together for the Bond theme.

While fans can expect the huge vocals and emotional honesty Adele is known for, I’m told she is keen to move slightly away from her trademark ballads.

The source said: “She doesn’t want to abandon the ballads that made her a global superstar, because that’s such a big part of who she is as an artist.

“But she’s also looking at how she can evolve. She wants the record to feel fresh and reflect the person she is today, rather than simply repeating what she’s done before.”

Never one to shy away from honesty, Adele will also tackle the darker side of fame on the album.

My insider said: “There are songs exploring the more difficult side of fame and what it’s like to live so much of your life in the public eye.

“Adele has always been very honest in her music, and this record will continue that, including some of the struggles she’s had with herself and her own image.”

But I’m told that at its heart, it is a love album, and will feature a tribute to fiance Rich Paul.

They said: “She’s keen to include a song dedicated to Rich, because her relationship is an important part of her life and it would be natural for that to find its way into her songwriting.”

Adele’s London roots will also come through in the music, despite her years living in the US.

The source added: “There’s a sense of looking back at her roots and the experiences that shaped her. It’s about recognising how far she’s come while still holding on to the person she was before the fame.”

Fans have also been sent into a spin after Adele briefly changed her YouTube name to her full name, Adele Adkins, last week before switching it back.

My mole says the star knows how closely she is being watched.

They said: “Adele knows that even the smallest change around her online presence will get people talking, but she isn’t going to rush into announcing anything before she’s ready.

“She wants to get everything right, and when she does come back, she wants it to feel like a proper new era rather than a quick announcement followed by a long wait.”

New music is also expected to feature in blockbuster Cry To Heaven, which could help launch her next chapter.

My source said: “It could help introduce audiences to a different side of her creatively and build anticipation for the album itself. It’s about setting the tone for her return and giving people a taste of what’s to come.”

And for those hoping to see her live, a tour is not off the cards.

They said: “A tour is something that could be considered once the album plans become clearer, but nothing is set in stone at this stage.

“She knows how much fans want to see her live again, but if she does decide to tour, it will be because she feels ready for it rather than because she feels pressured to get back on the road.”

Fingers crossed the wait won’t be much longer.

CHERYL TWEEDY has revealed she has a secret TikTok burner account to keep up with pop culture without drawing attention to herself.

The singer said: “I like scrolling TikTok as people are funny and fun and they are a bit more relaxed.

“They don’t care about taking the mick out of themselves.

“I’m a secret scroller. A burner.”

NOT TOO SHABBY

RISING music star Shab has come a long way after leaving her native Iran with just a suitcase to her name.

She has toured with The Wanted and JLS and now she is back with a new single, Catch Me If You Can.

In an exclusive chat, she said: “Catch Me If You Can is exactly where my head is at right now.

“I’m done asking permission to be me. I know what I bring, and I’m not chasing anybody to prove it.”

Shab, whose single Perfume VIP Remix peaked at No11 on the Dance Music Charts, also has ambitions to move into fashion.

Last month, she appeared on the runway at a Dallas catwalk show and has now launched her own clothing brand DropTrou.

This is a woman not to be underestimated.

GEORGE FILM A KLASS ACT

MYLEENE KLASS was among the fans at the posh premiere of the new George Michael concert film.

And she was in for a treat, as the late singer is at his bottom-thrusting best in George Michael: The Faith Tour.

The remastered footage from his 1988 run of shows features more than 200 thrusts by the Fastlove singer – with one cinema- goer admitting they were shocked.

“Watching George’s bottom thrusts in IMAX was certainly something,” they told me after watching the film, which   is out next Friday.

“It has to  be seen to be believed.”

SIGN UP FOR COSY U2 GIG

U2 have joined forces with BBC Radio 2 to perform an exclusive, one-off show in London next month.

The concert, which is being recorded in front of a select audience on November 3, will see Bono and his bandmates ­performing tracks from their upcoming album, Carnaval De Luz, as well as hits from their back catalogue.

To be in the crowd, you have until midnight tonight to register on the BBC website under the Shows And Tours section.

The set will air next month in full on BBC Two, while Jo Whiley will welcome the band on to her show on November 30 for an interview, which will also feature songs from the live performance.

MONDAY GIRLS GO PURE POP

REMEMBER MONDAY have finally announced their debut album, Can We Press Rewind?.

The 12-track record, out on January 29, features their new single, Dream Cheat, which is out now.

Insiders told me the three-piece – Charlotte Steele, Holly-Anne Hull and Lauren Byrne – have dug deep for the record.

A source said: “Charlotte, Holly-Anne and Lauren have delved into their own romantic history for this record, and it’s littered with dating disasters and questionable decisions.

“It’s pure pop fun and shows how far they’ve come.”

The album will come out just days before they kick off their I’m Just A Girl tour, which is their biggest run of shows to date.

Remember Monday will start their run in Bristol on February 8, before shows in Birmingham, Portsmouth and Glasgow.

A researcher falls down a rabbit hole of academia in “Chronovisor,” a singular indie that sneaks up on you. Filmmakers Jack Auen and Kevin Walker — who operate under the name Cosmic Salon — make movies in the belief that intellectual pursuits can be both exciting and cinematic. “Chronovisor,” a pleasurably hand-crafted curio, firmly asserts that the sensorial possibilities of film can seem infinite.

That said, the movie opens deceptively: Béatrice (Anne-Laure Sellier), a professor of philosophy at Columbia in New York, is clearly boring her two unseen colleagues over drinks with a monologue about her theories of memory and brain function. Alone afterward, however, with the camera following her as if she were a secret agent and the orchestral swell of Gustav Holst’s “The Planets” lending Hitchcockian tension, the real story begins to unfold in large, ornate libraries.

What draws Béatrice’s attention is a fantastical claim made by a Benedictine monk in an Italian magazine article from the 1970s. He insists he discovered an instrument with the power to pull images and sound from the whole of human history, presenting them on a television screen. With this time-shaping device called the Chronovisor, Father Pellegrino Ernetti professed to have seen footage of the crucified Christ and even enjoyed a lost play staged by an ancient Roman dramatist. At the end of a slow zoom shot, we see the article’s title in Italian until it’s translated for us in English: “A Machine Has Been Invented That Photographs the Past.”

With that, “Chronovisor” and its obsessed protagonist enter a trancelike, analog-heavy state in which obscure texts in myriad languages tease a concealed parascientific history of potentially great importance. In other words, get ready to read a lot and yet, surprisingly, to enjoy the immersion, as one might the hushed thrill of a surveillance sequence. As Béatrice’s amateur detective work pulls her in deeper, the strands begin to suggest a conspiracy, one marked by mysterious disappearances and the clandestine sway of the Vatican.

The question of what’s real and not isn’t only Béatrice’s to unpack — you may wonder yourself whether Auen and Walker have fabricated their esoteric source materials and invented the strange saga of Ernetti. They haven’t. Not entirely, that is, which is part of the woozy enjoyment. Enhanced by cinematographer Leo Zhang’s atmospheric 16mm grain and a natural onscreen performance from first-time actor Sellier (a real-life French scholar in behavioral science), “Chronovisor” hums with deep appreciation for research and evidence. We get both a tantalizing armchair mystery steeped in occult-ish authenticity, but also a sly commentary on our own relationship to the pursuit of curiosity.

If your own interpretation of Béatrice’s quest leads to the realization that this supposedly long-lost technology may already be with us, so be it. The filmmakers surely won’t disabuse you of that notion. They save their most disorienting trick for last: a reality-bending sequence that could qualify as video art. Whether it proves anything is, of course, up for grabs, but it surely helps “Chronovisor” remain wonderfully unclassifiable.

Sept. 30, 2026 3:01 AM PT

Summer mornings in the Hill Tracts region of Bangladesh are a respite from the dissonance of honking cars and construction of the capital city of Dhaka. It was a welcome change to hear chickens and the sound of … wait, was that Julie Andrews’ voice echoing over the hills?

I was visiting my home country when I heard a group of schoolchildren playing ektaras, a traditional string instrument, and singing the “Do-Re-Mi” song for their morning assembly.

I used my phone to show them a picture of Andrews. “Do you know her?” They immediately leaped in excitement. They didn’t know the composer Richard Rodgers or lyricist Oscar Hammerstein II. But they knew Andrews — even though 60 years have passed since “The Sound of Music” and these children live in a remote Bangladeshi village. The recognition is evidence of something extraordinary.

Andrews is turning 91 on Thursday, and there are calls online to bubble wrap her, just in case. She is indeed a global treasure, and she has been earning plaudits and admirers for eight decades.

Andrews trained in the Italian bel canto tradition and from a young age sang challenging coloratura arias with precision, clarity and range. The bright, happy tone, perhaps a subconscious decision rather than anatomical alone, provided her respite from the doodlebug bombs that fell during her childhood in England in World War II. British critics had dubbed her as the “youngest prima donna,” a title usually reserved for opera greats, and it wasn’t undeserved. At just 12, she routinely floated high Fs above the treble staff during live performances.

Yet before opera could claim her, Broadway stepped in. From “The Boy Friend” to “My Fair Lady” and then “Camelot,” she won the hearts of theater goers and creators alike. Lyricist Alan Lerner described her as “an amazingly quick study in music … who meets any challenge with an unabated eyelid that makes you wonder how Britain ever lost the empire.”

Her voice then was so precise that the late maestro André Previn, who led the London Symphony Orchestra, proclaimed: “No one’s diction in any field of singing can come close. … You understand every syllable from the second balcony — I don’t understand how you do that.”

It’s inaccurate to romanticize her legacy in 2026 as simply nostalgic. That would overlook the depth and progressive nature of her characters. She was essentially the first female superhero on the big screen, as Mary Poppins — who could fly and create alternate realities with the snap of her heels, but whose more stunning superpower at the height of the Cold War was to charmingly portray capitalism as dangerous.

In “Victor/Victoria,” she navigated a gender-bending performance that challenged societal norms, playing a woman who impersonates a man impersonating a woman when it was taboo to speak about any layer of that. Her most overlooked and perhaps her best dramatic role was in “Duet for One,” a 1986 film about a musician who suffers from multiple sclerosis. Tragically this became a moment of life imitating art, foreshadowing her own destiny to lose her instrument after throat surgery in 1997.

Rather than retreat, Andrews adjusted and leaned into voice acting with characters like the dominant Queen Lillian in “Shrek” films, Gru’s hilariously villainous mother in “Despicable Me” and the mysterious Lady Whistledown in “Bridgerton,” for which she won an Emmy, twice.

In real life, the flying super governess fought to adopt two babies from Vietnam just after the fall of Saigon, helping to raise awareness of the need for adoptive parents. She then co-founded the Operation USA disaster relief charity and opened the Japanese wing for the United Nations Development Fund for Women.

Whether it was to support UNICEF after the devastating Bhola cyclone hit present-day Bangladesh in 1970 or jetting to Jordan and Senegal to support women’s and children’s activities, she was a quiet champion for the underserved. In her most famous role, in “The Sound of Music,” she was a savior for children being displaced by war.

Andrews is mostly out of the public eye, but her singing is eternal and accessible. YouTube is home to a trove of Andrews performances, including “This Is My Beloved” from “Kismet,” full-voiced “When You Wish Upon a Star,” from pianissimos to fortes, high B-flats and all — her classical skill shines through. These recordings remind us that beyond just the formulaic legato phrasing that singers from the Italian tradition follow, and the clear resonance, her work it set a gold standard for musical storytelling that few have surpassed since.

Julie Andrews is no longer trilling on the Alps, nor is she reprising her role as queen of Genovia in a “Princess Diaries” film, but her voice, and what it represented for more than 80 years, endures. It lives on not just in films and recordings but also ringing in the minds of children and adults alike, from her hometown of Walton-on-Thames to the Hill Tracts of Bangladesh. In an age of doom scrolling (and alarmingly low singing standards), her vast career offers a rare resonance and a continuing masterclass.

Shams-il Arefin Islam, a Yale-Berkeley College associate fellow who works on climate mitigation and adaptation, is a classically trained tenor.