The singer-songwriter Buddug (pronounced Bith-ig) is an emerging artist from Brenrefail, North West Wales. At just 18, she released her second single ‘Unfan’ in 2024, following the success of her debut track ‘Dal Dig’. 

Her emotionally rich songwriting has already made waves in the Welsh-language music scene, seeing her perform at major Welsh events, including Yr Eisteddfod, Tafwyl, and Maes B. She is also one of the 34 artists who received money from the Gronfa Lansio Gorwelion – an initiative supported by BBC Cymru Wales and the Arts Council of Wales to develop musical talent in Wales by offering funding and platforms for emerging artists. 

Taran (pronounced Ta-r-an), a dynamic rock band from Cardiff, blend diverse influences into a unique sound. Formed through the Tafwyl/Menter Caerdydd ‘Introducing’ project, they released their debut single ‘Pan Ddaw’r Nos’ in April 2024 which featured on their debut EP ‘Dyweda, Wyt Ti…’

Active in the Welsh music scene, they have performed at several venues and festivals – with an upcoming gig at Gig Lansiad Tafwyl 2025 at the London Welsh Centre on February 28, 2025. 

The final artist, Talulah, is a bilingual Welsh artist from North Wales known for her genre-blending music that fuses percussive elements with jazz-infused melodies and hypnotic harmonies. Her debut EP ‘Solas’ explored themes of power dynamics, language revival, and identity and includes songs both in Welsh and English. 

The EP has earned Talulah recognition, including the Triskel Award at the Welsh Music Prize in 2023 and BBC Radio Cymru’s Artist of the Week. She is next set to perform at The Lower Third in London for a St. David’s Day showcase. ethereal vocals and combines soft, dreamy sounds with jazz and percussive textures. 

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These Welsh artists not only represent the creativity of the Welsh music scene but also reflect the resilience of the Welsh language – one of the oldest languages in Europe. Although excluded from public life by the English government, efforts such as the Bible translation into Welsh in 1588 and the Welsh Language Act of 1967 helped preserve the language.By 1993, Welsh had equal status with English in public services. 

Today, around 538,000 speak welsh, and the number continues to rise particularly by recent increases in exposure in the media. One recent example is Elen’s appearance on The Traitors, which led to a 223% increase in google searches for Welsh lessons. As well as the ‘Welcome to Wrexham’ documentary following Ryan Reynolds’ and Rob McElhenney’s purchase of the North Wales football club. 

Traitors contestant Elen has declared her backing for independence while also causing a spike in searches for Welsh language courseshttps://t.co/gKSG81ktih

— Nation.Cymru (@NationCymru) January 10, 2025

Artists like Buddug, Taran, and Tallulah are at the forefront of promoting the Welsh language through their contemporary music. Their recognition in BBC Radio Cymru’s Sounds of Music 2025 not only celebrates their individual achievements but also highlights the growing influence of Welsh-language music on a national stage.

we’re so excited to announce a run of intimate shows in march, which will be our first shows of 2025.

members of agora, our official fan community, will have priority access to tickets.

tickets will be available to members of agora first, on thursday 13th feb. a very limited… pic.twitter.com/7MYEAwS0LX

— Mumford & Sons (@MumfordAndSons) February 6, 2025

The tour will kick off in Amsterdam on March 5 and will travel through Paris, London, Sydney, Los Angeles, Chicago, and Toronto before wrapping up in New York in March 2025. The confirmed dates are:

March 5 – Melkweg, Amsterdam

March 7 – Elysee Montmatre, Paris

March 9 – Metropol, Berlin

March 11 – O2 Forum Kentish Town, London

March 17 – Sydney Opera House, Sydney

March 20 – The Chicago Theatre, Chicago

March 23 – Massey Hall, Toronto

March 26 – Brooklyn Paramount, New York

Members of Agora – the band’s fan community – will have access to a ticket pre-sale starting Thursday February 13. To participate, register for Agora here before Monday (February 10). General ticket sales will open at 10am on Friday February 14.

Not only does this Tour mark the folk rock band’s first set of gigs in the UK and Europe since 2018, but also highlights their commitment to social change. In partnership with PLUS1, the band will donate $1 from every ticket sold to War Child, an organisation focused on protecting and advocating for children affected by conflict. 

 

 

 

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The tour precedes their upcoming album ‘RUSHMERE’ on March 28, their first album in seven years. Following the debut of the title track, which charted in the Top 100 of the UK Singles Chart, the album will feature tracks like ‘Malibou’, ‘Monochrome’, ‘Truth’, and ‘Blood on the Page’. 

The new LP follows a period of change and innovation for the trio as it is their first since the departure of banjoist Winston Marshall, who left after facing backlash for supporting a book by right-wing US journalist Andy Ngo.

According to a press release, ‘RUSHMERE’ takes the trio back to their roots – reminiscing on the Wimbledon Common pond where the band’s formation began. Produced by Dave Cobb, a nine-time Grammy winner, the album promises to define the next chapter of the band’s sound.

our new album “RUSHMERE” will be released march 28th, first single out friday

co-produced with our legendary friend @davecobb7

we’re excited about this one, first

xxxhttps://t.co/2mhkM1P1eg pic.twitter.com/Tcg5B2eIpv

— Mumford & Sons (@MumfordAndSons) January 15, 2025

The trio have expressed enthusiasm for the release of new material. In 2024, Lovett shared “It just feels so great to be sharing new music again after all these years.” Mumford added “I think we always felt like we knew we were going to release some more music, but we wanted to wait for the right music. We’ve never been in haste, I don’t think. But when this music came around, we had a sense of urgency.”

Ultimately, their intimate global tour sets the stage for ‘RUSHMERE’, an album that promises to launch Mumford and Sons into a fresh and exciting era. The anticipation surrounding the album and the tour highlights the band’s continued relevance and their ability to evolve musically while staying true to their roots.

A report by the Cultural Learning Alliance revealed both a lack of engagement and a lack of staff to facilitate music education in schools across the country, revealing shocking statistics such as a 41% decrease in students enrolling in GCSE Music courses between 2010 and 2023. 

During this same period, student participation continued to decline with A-Level Music entries dropping by 46% since 2010. These trends highlight the urgent need for greater funding and support.  

“The ongoing defunding of music education in state schools in UK is having a corrosive effect on the entire music profession. Early-years education is imperative to ensuring a career in music is a viable option to talented students of all backgrounds.” https://t.co/KbpNZEMbeF.

— Jennifer Johnston (@jjohnstonmezzo) April 21, 2024

Speaking to MXDWN, Undici, a band formed at the BRIT School in 2022, underscores the importance of a structured and supportive music curriculum. The bassist, Campbell, reflected on the stark contrast between his previous schooling and the opportunities at BRIT, which he described as a space that “facilitates discussion and actively wants to help artists evolve.”

The BRIT school is a performing arts school in London, known for producing top talents in music, theatre, film, and digital media, notably Adele, Amy Winehouse, and Tom Holland. 

Undici have made an excellent start to joining these world renowned alumni, winning the 2024 Battle of the Bands Junior competition and developing a distinctive sound. Campbell credits their diverse musical influences for their unique style, saying, “Each member’s vastly different tastes and styles is a key strength of the band, providing us with different viewpoints to share with each other and giving us a unique sound.” 

 

 

 

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Similarly, emerging producer and DJ Oscar McCree, shared his experience as a student at BIMM Institute, a group of colleges specialising in contemporary music education.

With state-of-the-art facilities and promoting industry connections, McCree cites the BIMM as playing a pivotal role in his artistic growth by “pushing him out of his comfort zone” and giving him the freedom to evolve his sound. However, he reflected that his GCSE Music course sparked his passion for music production.

Initially focused on dance music, McCree has shifted towards more ambient sounds, constantly expanding his production abilities. His latest release ‘Alone’ showcases his experimental approach and was released just over a month after his DJ debut in Chelsea, an energy-infused event that marks the beginning of many more for the rising artist. 

While these institutions may not be accessible to all, they can serve as inspiration for the national music curriculum. Their success proves that focus on creative subjects and structured support for emerging talent is vital to sustaining the UK’s creative industries.

Reports such as the Night Time Industries Association study on the importance of electronic music as well as government discussions on AI and copyright policy suggest potential changes in the music industry’s landscape.

The decline of music education in UK state schools presents a significant challenge, not just for aspiring musicians but for the creative industry as a whole. Both Undici and Oscar McCree highlight the significance of creative spaces for supporting artists and connecting them with others in these sectors. The industry is at risk of losing future talent before it has a chance to develop, thus urgent investment in education is vital for its survival. 

The EP, ‘Valentine’s Day’, is a culmination of his work over the past five years, significantly shaped by the artists move to London in pursuit of his musical ambitions and his experience navigating modern dating culture.

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His introspective approach to songwriting is evident in ‘Moon Baby’, the first track on the EP and his debut single, which explores a symbiotic relationship between two individuals, weaving celestial imagery of the moon and the sun.

Valentine described it as encapsulating “the push and pull of being with someone, or wanting to be, bringing your good aspects along with theirs”. Expanding upon the song’s narrative, he reflected “the protagonist of the song is kind of this gothic character who dwells in the night, and kind of sees himself as a batman type person, protecting the other from the dangers that they don’t see, but longing for the light and positivity that they bring into their life” explored over a dark-psych groove foundation and paired with a hint of surf music.

The guitar plays a central role throughout the EP and his love for the instrument traces back to his childhood, where playing Dragonball Z as a kid exposed him to classic rock and 80s songs and sparked his passion.

Reminiscing on this, he shared, “I wouldn’t have heard them and appreciated them otherwise. I guess discovering rock music and being enamoured with getting better at playing the guitar put me on a path where I can’t see myself ever stopping really.”

 

 

 

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Beyond his solo work, Valentine is also the lead guitarist of FEZ, a role which has greatly influenced his individual sound.

He acknowledges that playing in a group has “matured [his] ability to write arrangements” as well as aiding him in developing his guitar melodies. Emphasising the benefits of this collaborative experience, he stated that this allows him to gain a more rounded perspective and ensures that “the art doesn’t become much of an echo chamber”.

FEZ itself has evolved over time, initially rooted in psychedelic rock before incorporating elements of jazz, funk, and harder rock. For Valentine, the essence of 60s and 70s psychedelic rock lies in experimenting with new sounds and taking listeners on a journey – a vision that influences his solo work in which he aims to “facilitate that journey through a classical neo-psychedelic” lens.

As an independent artist, Valentine has complete control over the sound, production and distribution of his EP. This decision aligns with an increasingly popular direction for musicians who are stepping away from record labels including six-time Brit-winner RAYE and R&B pioneer Frank Ocean. He describes this approach as “liberating”, allowing him to craft a project that is entirely true to his artistic vision.

The upcoming release of ‘Valentine’s Day’ this Friday marks an exciting new chapter in Miles Valentine’s journey and exemplifies the creative freedom that defines today’s musical landscape. This deeply personal project blends nostalgic influences with modern storytelling, highlighting him as an artist to watch this year.

Although live music events rising with ticket platforms like Skiddle reporting record-breaking sales of £163 million, and electronic music accounting for the majority, the live music scene remains under pressure.

In 2024, the UK lost a grassroots music venue every fortnight, totalling 25 closures of vital spaces that develop emerging talent.

Plea to save UK’s grassroots music venues as hundreds face closure: ‘We’ll all be poorer for it’ https://t.co/H3a9QGNhmV

— Big Issue (@BigIssue) January 31, 2025

The decline in club culture is also concerning. Night Time Industries Association (NTIA) recently released a report highlighting the number of clubs in the UK dropped from 874 to 851 in 2024 with a 10 million drop in electronic-based club nights.

Speaking to Mixmag about this report, CEO of NTIA Michael Kill, “Electronic music is one of the UK’s most significant cultural exports, contributing an estimated £2.4 billion to the economy in 2024 alone. Yet, despite its undeniable influence and growth, it remains hidden and marginalised by the Department for Culture, Media and Sport (DCMS). This report reinforces the importance of electronic music having a seat at the table – DCMS must recognise this sector as a truly valuable commodity, not an afterthought.”

“For too long, the electronic music industry has been overlooked when it comes to policy and support,” Kill said, demanding for more government invtervention. “It is time for the government to engage meaningfully, acknowledging its vast economic and cultural impact. This is not just about music – it is about jobs, communities, and the UK’s standing on the global stage.”

In response to mounting pressure, the UK government announced a new policy in November 2024 aimed at supporting grassroots venues. Under this initiative, every ticket sold for arena or stadium shows must include a financial contribution to grassroots venues, promoters, and artists. The Music Venue Trust hailed this as “the single most significant shift in over fifty years of British music.”

 

 

 

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While the economic impact of music in the UK is undeniable, ensuring long-term sustainability requires urgent policy changes and greater recognition of the industry’s most vulnerable sectors. If grassroots venues and club culture continue to decline, the country risks undermining the very foundation that made it a global music powerhouse.

The Kaiser Chiefs will return to Latitude to celebrate 20 years since their debut, seven-time platinum album ‘Employment.’ The Leeds-based band burst on the scene in the mid-2000s, becoming one of Britain’s most beloved indie rock bands with their anthemic choruses and high-energy stage presence. Their fan-favourites like ‘I Predict a Riot’ and ‘Ruby’, will bring their dynamic indie rock sound back to the festival.

Leon Bridges, a soul singer-songwriter renowned for his smooth vocals and retro-inspired sound, will perform on the Saturday. Blending classic R&B with a modern twist, Bridges first captured attention with his 2015 debut album, ‘Coming Home’, an album rooted in 1960s soul.

His follow up albums ‘Good Thing’, ‘Gold-Diggers Sound’, and ‘Leon’ solidified his place in the modern soul scene and ensure that his set will be a moving performance. Alongside Latitude, he is set to play various other UK shows in July.

Sunday will see the legendary French-duo Air take the stage, transporting festival-goers to their ethereal soundscapes. N

icolas Godin and Jean-Benoît Dunckel are pioneers of dreamy, retro-futuristic pop and their 1998 debut album ‘Moon Safari’ remains a highlight of their discography. Their live performances are renowned for being deeply immersive and mesmerising with their Latitude 2025 set expected to be a standout performance.

Among these three, the other named additional artists are Alison Moyet, Alessi Rose, Buena Vista All Stars, Example, Feeder, Palace, Pale Waves, Amble, Corto.Alto, Hamish Hawk, Infinity Song, Kingfishr, Lambrini Girls, Låpsley, MRCY, NOFUN!, Scouting for Girls, Sorry, Sprints, The Kiffness, The Royston Club, and The War and Treaty.

Latitude Festival, established in 2006, has built a reputation for its diverse blend of music, comedy, literature, and performing arts. Set in the picturesque Henham Park, the festival offers a unique cultural experience, attracting attendees with its eclectic programming and scenic surroundings.

 The 2025 festival continues this tradition, featuring a mix of established an emerging artists across varying genres. In addition to the musical acts, the comedy lineup includes Greg Davies, Bridgest Christie, Reggie Watts, and Josh Baulf.

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With these additions to Latitude’s lineup, the 2025 festival is set to deliver another unforgettable weekend, celebrating both fresh voices and timeless talent.

The West London rapper released his debut album eight years after his first releases, a career journey marked by eight Top 10 singles, two EPs, six MOBO Awards, and now a No.1 Album. In his track ‘No Introduction’, he reflects that he’s “been on the grind” preparing for this album, a persistent effort that has clearly paid off. 

The 17-track record is a deep dive into the Rap genre, showcasing themes of success, struggle, violence, and love, while offering personal insights into his life before and after fame. Cench’s rise mirrors industry trends where artists achieve stardom at unprecedented speeds, fuelled by social media and viral hooks. He has become renowned for his skill at capitalising on social media’s appetite for catchy, trend-setting music with tracks like ‘Doja’ and ‘Commitment Issues.’

The album features collaborations with notable US rappers, including 21 Savage on ‘GBP’ and Lil Baby with ‘BAND4BAND’, showcasing his ability to break into the American rap scene and establish himself on a global stage.

Yet, he remains loyal to his British roots, which shapes the narrative of the album through tracks like ‘Limitless’ in which he discusses UK gang culture and its lasting impacts on him, even after attaining material success.

One of the most talked-about moments from the album comes from the track ‘5 Star’, where he raps, “I felt like a p**** when I went to the BRITs and they gave the award to a guy called Aitch.” This lyric sparked controversy and a swift response from Manchester rapper Aitch in his bold and witty single, ‘A Guy Called?’

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Beyond the album’s success, two tracks – ‘GBP’ and ‘CRG’ - have soared into the UK Top 10 Singles Chart, with ‘Truth in the Lies’ closely following at No.13.

The album’s impact extends to the 2025 BRIT Awards, to be held in March, as it has earned nominations in three major categories: Song of the Year (‘BAND4BAND’), Artist of the Year, and Best Hip-Hop/Grime/Rap Act.

To commemorate this milestone, he celebrated with a signature rose gold edition of the No.1 award, a recurring motif throughout his album campaign.

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Ultimately, Cench’s No.1 album certification cements the album’s impact on UK and Global Rap. With successful singles, iconic collaborations, a diss track that sparked controversy, and a worldwide tour, this No.1 achievement is the crowning moment in a career-defining week for Central Cee.

These proposals would have permitted AI developers to train their models using artistic work, without the required consent from music creators. Suggested a controversial ‘rights reservation’ system, this framework would require creators to explicitly reserve their rights to prevent AI firms from using their work freely. 

Drawing widespread criticism, many argued that this approach undermines the foundation of copyright law and contradicts international copyright law. 

The @UKHouseofLords has voted to extend #copyright law to cover #AI training, sending a bill back to the commons to be debated again #GenAI #tech https://t.co/SOnb657R5J

— AI Media News (@AI_Media_News) January 30, 2025

Sir Paul McCartney, bass guitarist and pianist for the Beatles, has been one of the loudest voices in the fight against these proposals. Speaking to Laura Kuenssberg in a BBC interview, he shared “You get these artists coming through who write a beautiful song, and they don’t own it, they don’t have anything to do with it, and anybody can rip it off. The truth of it is that the money is going somewhere. When it makes its way onto streaming platforms, somebody is getting the money, and it should be the creator rather than some tech giant.”

Thankfully, in a vote of 145 to 126, the House of Lords passed amendments to the Data (Use and Access) Bill which reinforces copyright protections against unauthorised AI use. 

Crossbench Peer Baroness Kidron, who proposed these amendments, stated, “It surely goes without saying that our United Kingdom copyright law has to counter the increasing theft of intellectual property by artificial intelligence companies.” 

She went on to compare the Government’s approach to a shopkeeper being required to opt out of shoplifting and challenged the claim that AI could contribute £400 billion to the UK economy by 2030, revealing that this figure originated from an AI lobbying group funded by Google.

Paul McCartney Speaks Out on AI and Artist Rights The legendary Beatle urges the UK government to protect creators from AI misuse! McCartney warns that proposed copyright law changes could allow tech companies to exploit artists’ work without fair compensation. … pic.twitter.com/B4pMTlOSVF — TechAmerica (@techamericaofcl) January 25, 2025

McCartney, Kate Bush, and others have long campaigned for stronger AI regulations. A petition he signed last year, calling for stricter AI copyright protections, has garnered over 40,000 signatures including other artists like ABBA’s Bjorn Ulvaeus and Kate Bush. 

Beyond the policy, McCartney warns of AI’s broader impact on artistic expression, stating “If they take the incentive away by not protecting copyrights, I think you’d see a loss of creativity. That’s a great pity because it brings so much joy to the world.”

This issue extends beyond copyright – it’s about the future of music and culture. The UK’s creative sector generates £125 billion annually, which fuels the UK’s soft power and is essential to the nation’s global influence, with these new amendments highlighting the Government’s commitment to protecting the creative industries and putting artists first. 

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This debate brings to light a broader struggle between technological developments and the rights of human creators. While AI presents opportunities for innovation, it must not come at the cost of artistic integrity. Moving forward, a balanced approach – one that fosters AI development while ensuring creators are properly recognised and rewarded – will be crucial in preserving the nation’s culture.

Over the next five weeks, Mayberry will play 24 shows across North America, beginning in San Diego on January 28 and concluding in Los Angeles on March 2. She will then return to her hometown of Glasgow on March 20, followed by 6 additional shows across the UK. 

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Her solo career has steadily been gaining momentum, marked by her US television solo debut last month on Jimmy Kimmel where she performed ‘Something in the Air’ from her debut album ‘Vicious Creature’. 

Mayberry’s music career began as lead singer of CHVRCHES,  an alternative band formed in Glasgow in 2011. Known for their innovative synth-driven sound and introspective lyricism, CHVRCHES quickly became a standout in the indie and electronic music scenes. The band’s debut album, ‘The Bones of What You Believe’ (2013), catapulted them to international fame with hits like ‘The Mother We Share’ and ‘Recover’.

In 2023, Mayberry reflected on the transition from the band to her solo career, telling NME: “For any front person in a band, but especially a woman, as soon as you say the words ‘solo material’ people get very upset with you. I feel like every second sentence is, ‘I’m not breaking up the band, guys, however…” 

“But we’re lucky enough to have fans that care so much that they don’t want it to break up. I feel grateful, but I’m trying to be reassuring to them – just give us a couple more years guys, it’s going to be fine.”

During her set in San Diego, Mayberry delivered a powerful rendition of the iconic anthem by British rock band, The Verve, a song which has sold over 1.2 million copies in the UK. Gradually growing from her piano intro to a full band sound, her vocals soared as she belted the song’s signature “Have you ever been down?”

Performing covers is not unusual for Mayberry, who has previously taken on Nena’s ‘99 Luftballons’, Depeche Mode’s ‘Personal Jesus’, The 1975’s ‘Paris’, and Spice Girls’ ‘Viva Forever’. Her ability to seamlessly transition between electronic anthems and stripped-down performances underscores her versatility as an artist.

As she embarks on this new phase of her career, Mayberry’s commitment to both her solo work and CHVRCHES ensures that fans will continue to experience her artistry in multiple forms. 

The production of the show’s final season recently wrapped, after nearly a year of filming, and is now entering its post-production phase.

Reflecting on the emotional farewell, Ross Duffer shared, “It was definitely sad. We’re not going to tell the story with these characters anymore, with that crew or those actors. We were all exhausted, but at the same time, we all had to take some time to mourn the loss of it.”

That’s a wrap on Stranger Things. See you in 2025 pic.twitter.com/29htbnDf7E

— Stranger Things (@Stranger_Things) December 20, 2024

One of the most iconic moments in the latest season was the use of Kate Bush’s 1985 classic, ‘Running Up That Hill’, which played a crucial role in the storyline of Sadie Sink’s character, Max. Trapped in a dark dimension by the villain Vecna, Max’s friends use the song to help her break free from his influence, believing her favourite music would help her escape.

The scene went viral on social media, not only for its emotional intensity but also for the creative use of a pop song to heighten tension, making it a defining moment in the series.

The impact of the scene extended beyond the show, highlighting how younger audiences are embracing the mix of older and contemporary music.

In his interview with Variety, Matt Duffer commented on this moment, stating: “You can’t really manufacture it. If you try to manufacture it, you’re almost guaranteed for it to not hit. The Kate Bush thing, I thought that episode was cool, and I love Kate Bush. But no, I wasn’t expecting it to resonate with Gen Z in a particular way. But that is one of the fun things about putting it out.”

 

 

 

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The scene also underscores the significant connection between visual storytelling and music, as this pivotal moment reignited interest in Bush’s work.

The song surpassed 1 billion streams, 37 years after its original release, prompting a heartfelt response from the English singer-songwriter, who recognised the achievement with a thank you to fans “for sending this song on such an impossibly astonishing journey.”

Matt Duffer added that these moments often emerge organically, “I know the things we’re excited about, but usually, from the Kate Bush aspect of it, those come out of left field. I’m sure that will happen again. That’s part of the cool thing: You put it out into the world, and it does things that you expect and then it does things that you don’t expect.”

Kate Bush shares rare statement in response to Stranger Things’ “Running Up That Hill” boost.https://t.co/CcUTPBopQ2

— The FADER (@thefader) June 6, 2022

With the conclusion of Stranger Things on the horizon, its legacy and impact on pop culture is undeniable. From its gripping storytelling to unexpected musical revivals, the series has left a mark on both television and music history.

Both Matt and Ross are “working as fast as [they] possibly can” to produce and deliver this final season for all its eager fans.