It’s perhaps no wonder that Moses Boyd’s debut solo album draws on an eclectic range of influences. Growing up in Catford, south London, Boyd’s music-loving family played everything from gospel, soul and funk to experimental, rock and reggae. On any given day, Boyd said it was normal to hear Björk, Debussy, N.E.R.D., Tupac, Nas and Youssou N’Dour in his childhood home. At school, meanwhile, Boyd was already swapping beats with his grime-loving classmates in his first year and later, after taking up the drums aged 13...

A storm may have been raging in the north of England last night, but you wouldn’t have known once inside the tropical-tinged interior of Manchester’s Gorilla. Transformed into a summery paradise, the stage at the intimate 600-capacity venue is adorned with palm trees, pineapples and sun-kissed lighting as Glass Animals made a welcome – and emotive – return to touring. It’s been a traumatic 18 months for the Oxford quartet, following the serious injury of drummer Joe Seaward after a road accident in Dublin...

It has been six years since Elly Jackson, aka La Roux, released her masterful second album and five years since she last toured — an eternity in pop years. So it was little wonder Jackson’s loyal fan base raised the roof when she appeared on stage last night. Against a tropical-themed, neon backdrop, Jackson beamed as she bridged the gap between her absence and return with material from 2014’s ‘Trouble in Paradise’...

“I made exactly the record I want, and it feels very me,” Mackenzie Scott – aka Torres – has said of her latest, ‘Silver Tongue’. Her first entirely self-produced outing, the Brooklyn-based singer-songwriter’s fourth album dispenses with the multiple personas she adopted on her last, 2017’s ‘Three Futures’, and the nervous first-person narratives of both her self-titled 2013 debut and its follow up, ‘Sprinter.’ ‘Silver Tongue’ is a candid, real-time account of Scott’s relationship in the here-and-now."

Slipknot frontman Corey Taylor was in a reflective mood as the group arrived in London. “The first time we played here was actually at the Astoria...that place only held...like 300,” he reminisced, recalling the story of their first tiny gig in the capital. Stood in front of a sold-out 20,000-strong crowd at the O2, Taylor paused to gather his emotions. “The legend of that show... got us here.”

“I’m falling apart… I thought I was passed this but I’m losing it,” Sarah Mary Chadwick’s cracking voice howls over a skeletal piano ballad on ‘When Will Death Come’, the opening track to her new album. The listener is thrown into the stream-of-conscious narrative of an artist coming to terms with the recent death of her father: it’s a harrowing and painfully desperate opening. Recalling the intimate lyricism of the late Daniel Johnston, Chadwick’s private, heartbreaking pain is conveyed emotively from the offset..."

The band’s career has spanned 15 years and five albums, but the lyrics on the first track of Holy Fuck’s new album, ‘Deleter’, propose a bold change in direction. Recorded on New Year’s Eve at Jack White’s Third Man Studio in Nashville, the song celebrates the catharsis that comes with starting anew – especially on the eve of a new year. “I want to scrap all of this / And start over again,” guest vocalist Alexis Taylor of Hot Chip sings on one of the most hopeful and assertive opening tracks to greet a Holy Fuck album in years.

On the cover of Loraine James’ latest album, For You And I, the past and the present blur as the London-born producer holds up a photo from 2006 of the high rise block of flats she grew up in against a picture of the flats as they are now. On the newer picture, there are three towers – one blue, one green and one purple – the latter being the one where James grew up. On the older photo, a fourth, yellow building is missing...

Beck and Pharrell first discussed the idea of working together in 1999, but it’s taken almost 20 years to finally bring the two together. Speaking to NME recently, Beck revealed that Pharrell asked him to initially work on the new N.E.R.D. record; from there, the two began sharing songs and, soon, a body of work emerged. A full collaboration ensued and ‘Hyperspace’, Beck’s 14th album, was born. Elsewhere, the record sees guest appearances from Coldplay’s Chris Martin, Sky Ferreira, Paul Epworth and Greg Kurstin on what is Beck’s most collaborative work for years.

“It’s remorseless,” Ken Loach says with a weary sigh, as talks about the poverty besieging the UK that he and Paul Laverty, his long-term writing partner, witnessed whilst researching his latest film. Sorry We Missed You is the follow-up to 2016’s I, Daniel Blake, and sees the veteran director return to Newcastle-upon-Tyne to document the plight of low-paid workers on zero-hour contracts. What he and Laverty discovered, he says, rivalled the shocking conditions he first documented 53 years ago in the game-changing Cathy Come Home.

“I’ve always said, even when I was a young woman, I said I don’t worry about the variety of roles available for women on screen. I worry about roles for women in real life. As we see women enter into major roles in real life, drama will follow. There are still not enough roles yet, but they’re coming. The unfairness and the prejudice of the lack of roles for women has always driven me crazy, it’s enraging. But things are slowly changing.”

“The only support tonight in London ... will be emotional!” Tegan and Sara deadpanned on social media, hours before their appearance in London at the Shepherd’s Bush Empire. There may have been no support act, but there was indeed plenty of emotional support from an audience captivated by this unique, intimate and deeply personal show. The identical twin sisters created an immersive gig experience from the offset. Phones and cameras weren’t allowed until close to the end, meaning fans were inve

Kele Okereke is no stranger to politics. He recently wrote music to accompany the anti-Brexit play Leave to Remain, and this extremely outspoken new album follows suit. Where its predecessor, 2017’s ‘Fatherland’, saw the Bloc Party singer anticipating becoming a father for the first time. Here Okereke has gone back to his fierce experimental roots; the folk leanings of ‘Fatherland’ feel like a distant echo. The assured sonics on ‘2042’ mirror the commanding social commentary, as he scrutinises the fractured world his children (he has a second on the way) will inherit. Okereke explores what it means to be black, British and gay in 2019.

Looking ahead even as he evokes the work of greats as such as Bill Withers and Gil Scott-Heron, Michael Kiwanuka's bravura self-titled record sees him fiercely reclaim his identity “Are you really giving up? Are you really going to stop right now?” Michael Kiwanuka asks on new track ‘Living in Denial’, the lyrics from his self-titled latest feeling like pages from his diary five years ago. An artist well known for his struggles with self-confidence, Kiwanuka may well have spoken those words to

“I’m 73, what’s your grandma doing tonight?” a beaming Cher bellowed to the O2 Arena last night, moments after a career-spanning montage reminded the audience of her extraordinary 50 years in showbusiness. With multiple costume changes and a fearsome energy many younger performers would struggle to match, Cher commanded the sold-out audience throughout with a breathless, hit-filled set. Her candid political views emerged early on too after she termed Donald Trump an “asshole”, before adding to loud cheers: “Boris isn’t much better.”

An extraordinary, unsettling film that will stay with you long after the final credits Stories of humanity raging against the elements (and going a little mad with it) have long dotted film and literature – Melville’s Moby Dick, Stevenson’s Treasure Island, Coleridge’s The Rhyme of the Ancient Mariner to name a few. Now, via The Witch director Robert Eggers, there is another, The Lighthouse, in which William Dafoe and Robert Pattinson battle nature as its most ferocious and wild. Playing two li

Like C.S. Lewis’ 'A Grief Observed', this devastating album is the work of an artist attempting to make sense of loss. "Peace will come," Nick Cave assures us, although it never really does The last few years have seen Nick Cave engage with fans more directly and openly than ever before. “You can ask me anything,” was the simple and direct message he posted to fans on the launch of his Red Hand Files website. Over the past 12 months, Cave answered questions from fans on everything from the bana

As album titles go, naming your latest after a classical symphony that redefined the entirety of Western music is, well, ballsy. “I think it’s audacious and sincere,” singer Jeff Tweedy said of Wilco’s choice to borrow the title of their eleventh studio album from Ludwig van Beethoven’s 1824 ‘Ode to Joy’...

Bloc Party’s Kele Okereke opens up about Brexit Britain, Brandon Flowers' comments on Morrissey, the artists failing to fight far right rhetoric, and his ambitious new album '2042' On the face of it, Bloc Party’s Kele Okereke has a lot to celebrate. He’s soon to become a father for the second time, his anti-Brexit soundtrack and play ‘Leave to Remain‘ premiered to rave reviews earlier this year, and the first two single releases from his upcoming fourth solo album ‘2042’ have been praised as em

The sold-out audience at BBC Radio 2’s Festival in a Day were surprised yesterday as an Indian summer unexpectedly descended, basking Hyde Park in glorious sunshine. Simply Red’s Mick Hucknall came more prepared than most during his opening set of the day, clad in a short-sleeved shirt and shades and armed with a host of summer-tinged hits. The joy progressed with Bananarama whose mix of breathless Eighties disco and warm humour brought buckets of fun to the afternoon.