The Sun Newspaper

BEFORE making his most ambitious album Cosmic Opera Act I, Labrinth reached a crossroads: Was he chasing fame or authenticity?

He says: “Am I on a journey to be famous or am I on another journey where creative fulfilment doesn’t always mean being super-successful?”

The album, he explains, came from choosing the latter — and finally being at peace with that decision.

Labrinth has had hits and won major awards since being discovered and signed to Simon Cowell’s Syco label in 2010.

I thought it was weird that I wasn’t obsessed with awards and accolades, and I questioned if I was in the right industry

Labrinth

These include MOBO and Brit Awards for collaborations with Tinie Tempah, an Ivor Novello, an Emmy for his Euphoria soundtrack, alongside Grammy nominations for work with The Weeknd, Beyonce and Billie Eilish.

Chatting on a video call from a studio in LA, the singer and producer says: “There were moments in my career where I found myself more focused on novelty and gold.

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“There are artists who want to be at the Grammys in three years — that’s their focus. They want to be successful and famous within a certain time and organise all of that in their head.

“For me, I was more focused on the music than the fame. I’d be obsessed with a guitar sounding like a Chuck Berry record and I started to question if I was in the right place. Should I be chasing success?

“I thought it was weird that I wasn’t obsessed with awards and accolades, and I questioned if I was in the right industry.”

On his recent single, the hip-hop confessional Implosion, Labrinth says: “I was losing my mind. It was ripping away from my ego.

“When you taste success, it’s an addictive drug, and you don’t know you’re obsessed. It’s chasing dopamine. You don’t know you’re addicted until you try to pull away.

“If you need success to be validated or to be fulfilled, then there’s something wrong. And that’s where the implosion for me was. I needed to evolve beyond these urges and needs. Then I got an ADHD diagnosis and everything made sense.”

That was two years ago, when the artist born Timothy McKenzie finally got an answer that explained his behaviour.

He says: “I was lucky and went to see a doctor in the US.

“It can take months, even years, to get answers. I went to see Dr Amen, who is a celebrity doctor, and he did a scan of my brain.

“He could literally point things out like where I’d hit my head when I was ten. He did a real deep dive into how my brain works. And after that, it allowed me to be a lot more forgiving with myself.”

The idea for Cosmic Opera Act I came from the inner turmoil Labrinth had experienced with his mental health in the entertainment business while trying to define his own success plus his love for films like Star Wars.

“I still haven’t been to an opera — I know that sounds insane,” he says with a laugh.

“The opera is connected to drama and deep emotion.

“Then the cosmic part was after reading an article which said there are as many connections in our brain as there are stars in our universe.

“So that was the perspective of the title — with mental health the subject.

“I’ve always been a fan of opera from a distance, and I’ve always enjoyed the idea of exploring it.

“Also, I grew up with films from the Eighties like Indiana Jones and Star Wars. Those film scores stuck in my mind and I wanted to make an album that incorporated and explored their sound.

“Of course, me working in film and TV pushed me further into that direction.”

I wrote that song to show how I had evolved from the pain and confusion about my dad. I looked at myself as being a mini Luke Skywalker coming out of his demons

Labrinth

Labrinth’s love of Star Wars was also the inspiration behind one of the many standout songs on the album, S.W.M.F. (Star Wars Motherf***er), the singer feeling at peace with his demons.

It was a battle that helped him agree to soundtracking the Christmas John Lewis advert, a remake of 1990 rave classic Where Love Lives with original vocalist Alison Limerick.

“The John Lewis song was the finish line of dealing with demons for me — which was my relationship with my father.

“The John Lewis storyline was about a father and son’s relationship, so me doing the ad was like me saying, ‘Hey, Dad, I get it’.”

He adds: “Our relationship wasn’t great. My dad, who has passed, was violent and not present. He’d had a horrible childhood with an extremely violent stepfather, and that affected the way he was a father to me.

“I saw him occasionally. He was a bit of a ladies’ man, and I don’t think he knew how to be present enough for me as a kid. He didn’t do stuff like taking me to the park or giving me advice.

“Also, he was violent with me, trying to knock me for six when I was very young.

“So I had to face those demons and it made me think about my own anger or frustration. But when I look back, I feel pity for him, because he didn’t have the tools that I have today.

“It was the same with ADHD — I wanted to understand my brain and the way it works, so that I could be the best father I can be to my three young kids. And, in that journey, it made me think of my dad compared to my relationship with my kids and the moments they needed me — because I never had that.

“So I wrote that song to show how I had evolved from the pain and confusion about my dad. I looked at myself as being a mini Luke Skywalker coming out of his demons.”

God Spoke is a special gospel-influenced track inspired by Labrinth’s struggles with religion.

He says: “I grew up very religious. My grandad is a reverend and my mum is a devout Christian. She came over for Christmas to be with her grandkids, and we had loads of talks about religion.

I had a really bad temper. I would be kicked out of class all the time and I’d end up in the music room

Labrinth

“I’m spiritual, but I don’t follow a practice. I have all the respect for those who do follow a religion but I see God as unlimited and infinite and in a lot more places than a room or a structure — that’s why, to me, it’s bigger than one religion or one place.

“So God Spoke is like a homage to my grandad. When I was a kid, a lot of people would come to church for redemption. So I wrote that I’m at the end of being the old me, and I’m ready to grow and morph into the new me.”

Burn out

Labrinth says music was his saviour as a child and he would spend hours making music after being excluded.

“I got in a lot of trouble at school,” he says.

“I had a really bad temper. I would be kicked out of class all the time and I’d end up in the music room.

“Eventually it got to the point where I would get in trouble purposely, just so I could go there, because it was the easiest place for me to be, and the most peaceful.”

Labrinth says there is still not enough help with artists and their mental health in the entertainment industry.

He says: “RSD — Rejection Sensitive Dysphoria — is associated with ADHD and there are many artists in the music industry with this.

“Artists don’t learn how to manage their careers or their mental health. When they get a deal, they can burn out because they don’t have the tools to support the way their brain works.

“A lot of artists can end up in drug abuse, because they don’t have the skills to deal with a song not working.

“There isn’t a support system in the music industry — and it’s needed.”

In April Labrinth will take Cosmic Opera Act I to Coachella festival in California.

He says: “I am still working on how that looks, because it’s not cheap to do what is on the record. But I have big ideas and big visions for how I want to present the music and what I want to explore sonically.”

The Hackney-born star last played the festival in 2023 and was the talk of the weekend, with surprise guests Billie Eilish and Zendaya — in her first live show in over seven years, performing I’m Tired and All For Us from Euphoria on the second weekend.

“Zendaya was not planned at all,” says Labrinth. “Billie was the first week but Zendaya, who was on a film set, said she couldn’t make it.

“Then she called me to say she was going to Vegas to watch Usher and would be passing by. So it was literally last minute.”

Labrinth is looking forward to working on the score for Euphoria season three because Oscar-winning composer Hans Zimmer has joined the show’s production team.

He says: “The show is special because it speaks to the language of this era. That’s what inspired me.

“And this time, having Hans Zimmer involved — an experienced genius — makes a difference. I’ve always wanted to work with him, so this is my chance to do so.

If I could work with anyone next I’d say David Attenborough

Labrinth

“Gladiator was the film that got me on to Hans, and True Romance is another I love.

“He and Beyonce picked my song [Spirit] for Lion King so then I was like, ‘Well, I need to meet this guy’. It seems like life is trying to pull us together.”

Labrinth has learned a lot from working with superstars.

He says: “Beyonce has been a fan for a long time, because she’s checked out a lot of my records. She’s very kind, and treats people with respect, and is a real professional.

“Abel [The Weeknd] was like an animal in the studio. He knows what he wants and then it goes crazy when he releases something.

“If I could work with anyone next I’d say David Attenborough. I know he’s not a musician, but I love his voice and I’ve always wanted to put him on a record. Morgan Freeman and him — their voices are musical instruments to me.

“But next I’m in London working with Skepta. The UK has some special artists and I’m dying to get over there to perform.”

LABRINTH Cosmic Opera Act I

★★★★☆

PHOTO op queen Sydney Sweeney appears to have gone all camera shy — but then it was all an act to promote her underwear range.

The Euphoria actress, 28, chose a paparazzi-theme to show off the Seduction Bra and String You Along thong from her brand Syrn.

Another photo showed her in a fantasy lace halter bodysuit.

And fans appear to be falling for the hype.

One would-be buyer on social media was disappointed to find it was sold out, adding: “So sad.”

Another commented: “How is it all gone already?”

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Among the items which were snapped up was the $89 fantasy lace halter bodysuit and the “String You Along” lace thong costing $19.

Sydney previously revealed Syrn will offer designs split into four “personas” — seductress, romantic, playful and comfy — with 44 sizes between 30B and 42DDD.

She said: “The secret is finally out . . . this is lingerie you wear for YOU, no explanation, no apology.

“I wanted to create a place where women can move between all the different versions of who we are.

“I love working on cars, I go water skiing, I’ll dress up for the red carpet then go home to snuggle my dogs.

“I’m not one thing, no woman is.”

ACTRESS Margot Robbie hits a Hollywood height at her new film’s premiere — wearing a £6million necklace once owned by Elizabeth Taylor. 

The Taj Mahal diamond is a heart-shaped gold pendant set in jade and hanging from a gold, ruby and diamond chain made by Cartier. 

It was given to Elizabeth by fifth hubby Richard Burton for her 40th in 1972. 

Margot wore it to the world ­premiere of Wuthering Heights in Los Angeles, where she was earlier joined by co-star Jacob Elordi and singer Charli XCX, who recorded the film’s soundtrack. 

The actress, Cathy in the adaptation of Emily Bronte’s 1847 novel, said the necklace was poignant as it had “a lot of romantic history”. 

She said: “It’s our big Hollywood world premiere — we’ve got to go all out. 

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“This is Elizabeth Taylor’s necklace. It’s the Taj Mahal diamond that Richard ­Burton gave to her. 

“There’s something kind of Cathy and Heathcliff about ­Richard Burton and Elizabeth Taylor in my mind, so it felt appropriate.” 

The diamond was created for a 17th century Mughal emperor who ­commissioned the Taj Mahal.

It was later acquired by Cartier, with Burton buying it from them to give to Elizabeth. 

Following her death in 2011, it was sold at ­auction for £6million to an anonymous buyer. 

TWO years ago, Take That’s Howard Donald delivered 52 tapes to Netflix in an enormous Ikea bag.

He had spent the past 35 years quietly filming the band as they transformed from working-class lads into bona fide global stars.

“Are you sure it wasn’t a Prada bag?” Howard teases as I interview the group to celebrate the release of a three-part Netflix docuseries based on that footage.

Jokes aside, Howard, Gary Barlow, Jason Orange, Mark Owen and Robbie Williams handed full editorial control to director David Soutar to tell their story with zero interference.

It was a bold move given the much-publicised trials and tribulations of one of Britain’s biggest bands, who have landed 12 No1 singles in their 35-year career.

The series features candid new interviews with current members Gary, 55, Howard, 57, and Mark, 54, alongside never-before-seen footage and photographs.

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Robbie, 51, and Jason, 55, allowed archive chats with them to be used to narrate their part in the story.

In one emotionally-charged interview, Gary talks about his struggle with bulimia, which started following Take That’s split in 1996 and his rivalry with Robbie.

Taunts from Robbie are replayed during the documentary, with footage showing him saying: “My problem always was with Gary, I wanted to crush him. “I wanted to crush the memory of the band and I didn’t let go. Even when he was down I didn’t let go.”

Speaking at the premiere of the documentary at Battersea Power Station in South London on Monday night, Gary admits it was tough to watch.

‘Butt of the joke’’

He said: “It’s a narrative that I haven’t thought about for years and years. When we had our reunion we spent a lot of time talking about it and I remember leaving on one particular day and we’d discussed everything. And I remember leaving and my shoulders were light.

“And I’d not thought about it since because I’d not needed to. And it brought it all back. Tricky times they were.”

In the documentary, Gary shares previously unseen photographs of him as he struggled to find his purpose and says: “You’re the butt of the joke. It was so excruciating you just want to crawl into a hole.

“There was a period of 13 months where I didn’t leave the house once. I’d also started to put weight on.

“The more weight I put on the less people would recognise me and I thought, ‘This is good. This is what I have been waiting for. This is a normal life’.

“So I went on this mission then, if the food passed me I would just eat it. And I’d killed the pop star.

“I would have these nights and I would eat and eat and eat but however I felt about myself, I felt ten times worse the day after.”

At his heaviest, Gary, who has three children with his wife Dawn, weighed just over 17 stone.

He explained: “One day I thought, I have been out, it’s 10 o’clock, I have eaten too much, I need to get rid of this food.

It only took a few years to get that low, but it took me years to get back to who I wanted to be. Ten years probably.

Gary Barlow

“You just go off to a dark corner of the house and you make yourself sick. You think it’s only once and all of a sudden you’re walking down that corridor again and again.

“Is this it? Is this what I am going to be doing forever?”

By 2003, Gary turned his life around, and he said: “I just went, ‘No, I’m not having this any more, I’m going to change. I want to change and I’m determined that this is not who I’ve become’.

“It only took a few years to get that low, but it took me years to get back to who I wanted to be. Ten years probably.”

Discussing his recovery with The Sun in 2021, he explained: “I’ve been very strong-minded about how I live and what I eat.

“In general, I work on a 90/10 — 90 per cent sensible-choice food and ten per cent fun choices.

“Buy a nice little writing book, one you’ll feel good about holding and keeping on you at all times. Do a food diary every day, and look down and you’ll see what you’re doing wrong.

“A food diary will also show you what you’re missing in your diet. If you want to get serious and go to a dietician or to a friend and seek help, you can show them the diary.”

Howard is also painfully honest about how hard life was following the end of Take That.

In the documentary, Howard recalls returning home and says: “I felt like I was the only one who didn’t grow up, even though I was the eldest.

“I was a nobody in school, I didn’t go to university, I didn’t think I’d do anything but I felt like a superhero up on that stage.

“It was going towards a depressive state. I decided to go to the Thames.

“I was seriously thinking I was going to kill myself but I was too much of a s**tbag to do it.”

Speaking backstage at the premiere, Howard explains that the band did not want to hide the painful parts of their journey.

He said: “I think it is such a true documentary. You can easily do a documentary and take out all the bits that you feel uncomfortable with — and there are quite a lot of uncomfortable bits in there.

“But it’s true of the last 35 years of Take That. There is a lot of footage people have never seen. It’s good for people to see.”

Mark is also seen struggling to cope with life after the band, who landed their first Top Ten hit with a cover of Tavares’ It Only Takes A Minute in 1992.

He said backstage: “We were working hard, playing all these gigs and things got very hard — but then we got back together. Maybe miss out on the middle bit.”

‘I got a lot of stick’

Like Robbie and Gary, Mark attempted to launch a solo career, but was dropped by his label in 1997, a year after Take That split.

He added: “You start to feel very negative about yourself.”

Robbie and Jason’s clashes with the band’s former manager, Nigel Martin-Smith, are also discussed in the doc.

Robbie says: “Nigel as a manager, he never managed me, he managed Gary Barlow. I wanted him to love me but he never did.”

Jason adds: “When I was in Take That the first time around I was the dancer and I accepted that at the time.

“I don’t know if this is the time or place to say, I was told not to bother singing, ever.”

After the group came back as a four-piece without Robbie in 2005, they ceased working with Nigel and found new representation.

Of the change, Jason says: “Robbie and I got a lot of stick from Nigel. He made us all feel insecure.

“I could feel worthless in the band and I didn’t deserve to feel that. I didn’t want to feel that any more.

“We had chosen our own management, we had chosen our own people, we were in control.”

Director David admits there was some trepidation when it came to showing the three episodes for the first time.

In about 25 minutes we’d put things to bed that had haunted us for years.

Gary on Robbie feud

Speaking backstage alongside producer Gabe Turner, David said: “We talked long and hard about how to do it.

“There is some really hard stuff in there for them, it was a tricky thing for them to watch and it was nervy for us to watch it with them.

“They allowed us to push them to that place. We asked them to lay down their story and they allowed us to take them to that place.”

Gabe added: “Episode two is punchy. With a lot of documentaries you are building that relationship for the first time, you’re working on the fly, but these guys know us and know what we want to do.

“I felt really positive about how little they wanted to see it. They handed us the keys and said, ‘Do you thing’.”

As well as the tough times, Take That fans get a front seat to the inner workings of the group’s comeback with Robbie in 2011.

‘Haunted us for years’

Opening up about healing their old wounds, Robbie says: “I needed Gary to listen to my truth.”

Gary continues: “There were things around people not being supportive of his songwriting and his weight. I’d called him Blobby rather than Robbie one day, which I shouldn’t have done.

“Then I hit him with things he had done to me that I didn’t like

“In about 25 minutes we’d put things to bed that had haunted us for years.”

As well as hearing original demos on the series, fans also get treated to a new single, You’re A Superstar, at the end of the third episode.

The track, taken from their tenth album, is expected to be released later this year.

We’ve got the first steps, we’ve got the Netflix documentary, then we’ve got the Circus tour, then there will be new music.

Gary

Backstage at the screening in London, Howard said the trio have spent months working on the material, adding: “It’s going really well.

“We’ve all been writing separately, writing together and I think we’ve got a really good choice of really good songs.

“We are really proud of them and we just can’t wait for people to hear them.

“We’ve got the first steps, we’ve got the Netflix documentary, then we’ve got the Circus tour, then there will be new music.”

Mark continued: “The tenth album feels quite special. I am really excited about what I am hearing.

“It’s given us a boost, the songs that are coming through and the fact it’s our tenth record, it’s like ‘Go on guys!’.”

Ahead of their 17-date Circus Tour, which kicks off at St Mary’s Stadium in Southampton on May 29, fans will be wondering now if history will repeat itself — and Robbie will rejoin again.

And Gary for one is hopeful, saying yesterday: “At some point it’s going to happen.

“And that’s one of the wonderful things about our band — you never know what’s around the corner.”

• Netflix’s Take That is available to stream now.

TAKE That get taken back to some of their best days at the premiere of a three-part series on them, starting on Netflix today.

Gary Barlow, 55, Mark Owen, 53, and Howard Donald, 57, admitted some of the footage was “moving” at ­Battersea Power Station cinema in London last night.

It tells of their rise, split and comeback. Gary said: “It’s very emotional.”

The trio also performed Back For Good and Shine.

It comes after Gary Barlow welcomes the Brit Awards moving to Manchester claiming the music industry is ‘not just about London’.

The annual British music awards ceremony will be hosted in the North West for the first time after being held in the capital for its near 50-year history.

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Barlow said: “Manchester’s now such a place for media, we’ve got Media City there.

“People who were trained in like camera work were never trained in areas like that. So it’s such a massive thing for the country.

“It doesn’t surprise me at all the Brits are there, in fact it should have been there five years ago just because it’s not just about London, the music industry.

“In fact, London’s probably down the list you know, it’s so much regional talent.

“Look back in history and see where bands and artists have come from all over the country, not just in London.

On how to further spotlight regional talent, Barlow added: “I think we are.

“I think that’s one of the benefits of having an internet-based industry now, is that you can be anywhere. Doesn’t matter where you are.

“Even as artists working we can be anywhere. We can be songwriters and live anywhere now because the world’s a smaller place.”

Formed in 1989 in Manchester, Take That were originally made up of Barlow, Howard Donald, Mark Owen, Jason Orange and Robbie Williams.

The band broke up in 1996 after Williams’ departure with the four remaining band members reuniting in 2005 until Orange left in 2014.

I’VE been waiting ten years for this moment.

Ever since my first gondola ride — a short jaunt around The Venetian hotel in Las Vegas — I’ve wanted to experience the real thing, in Venice.

Now I am with a group of fellow journalists, so it’s not as romantic as it could be, but two Italians in stripy shirts and wide-brimmed hats are rowing me across the Floating City. Bucket list: tick.

Venice is a place you need to see at least once in your life.

From the breathtaking Piazza San Marco to the mesmerising mosaics of St Mark’s Basilica, astounding architecture of the Doge’s Palace and view from the 323ft high Campanile di San Marco bell tower, your phone’s battery will pay the price as you snap the spectacular sights.

From this Saturday to February 17 the historic Venice Carnival will burst on to the streets — this year’s theme is Olympus, The Origins Of The Game, in honour of the Winter Olympics being hosted in Milan and Cortina.

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Expect masks and dressing up everywhere as locals and visitors embrace the festival, plus parades, performances and themed shows.

Festival aside, winter and spring are brilliant times to explore the city without the crowds.

A tour of the bacari, or wine bars, is a great way to delve into the alleys between the canals and waterways. Over three hours we stop at four wine bars for cicchetti — Italian tapas — washed down with local wines or spritz cocktails.

The latter feature Aperol, Campari or, in Venetian style, Select — a spirit made using juniper berries.

A Bellini in Harry’s bar, though almost £20, is a must — this was Ernest Hemingway’s favourite bar, where the cocktail was invented.

Hawaiian rituals

Then a 25-minute water-taxi ride across the lagoon and a 20-minute cab journey take us to our 5H resort, Falkensteiner Hotel & Spa on the Lido di Jesolo — a purpose-built seaside resort on Italy’s Adriatic coast, with nine-mile sandy beach and vibrant promenade.

I’m staying in one of 50 huge suites, which have one, two and three-bedroom options, with separate bathrooms, living and kitchen areas, TVs and sea-view balconies.

The smell from the ground-floor restaurant is oh, so Italian — pizza, pasta and risotto. With buffet breakfasts and Michelin-starred dinners at the poolside restaurant, luckily I can run along the promenade to work it off.

Or there’s a gym at the hotel, and yoga and fitness classes. But I’m on holiday to relax, so it’s off to the Acqua Pura spa, which has a panoramic sauna with privacy glass, meaning I can take in the sea view.

An hour-long massage inspired by Hawaiian rituals, which starts with meditation, is, and I don’t say this lightly, the best I’ve ever had.

There is a babysitting service, plus a play room, kids’ pool area and playground on the beach.

Bicycles are available at the hotel, and cycle lanes throughout the town lead us to Europe’s longest shopping street, the Via Bafile — all eight miles of it.

This is a wonderfully relaxing beachside break in a traditional Italian town — as well as a bucket-list trip to the city of romance.

What’s not to love?