The collaboration, which ultimately became a celebration of resilience and positivity, almost didn’t happen. On the day Israel invaded Gaza, John was deeply affected by the news and questioned whether it was right to continue recording. “Brandi was staying at her house next door, and I had all the newspapers on the table. I said, ‘Why are we doing an album when all this is going on? It seems inhumane to be recording,’” he recalled.

However, Carlile quickly countered his doubts with a heartfelt response. “We’re going to see the positive,” she told him. “We musicians need to bring the world together. That’s our purpose.” Her words resonated with John, sparking a shift in perspective. She went on to write ‘A Little Light’, a song inspired by her belief in music’s ability to uplift and connect people.

John credited that moment as a turning point for the entire album. “That really turned the album around,” he said. From that point on, the project gained momentum, with a renewed sense of purpose driving the music.

When first envisioning the album, John was adamant that he and Carlile avoid the predictable route of dramatic power ballads. “I didn’t want it to be one line her, one line me,” he explained. “I wanted it to be harmonies. I wanted it to be a proper duet record.”

Carlile echoed that sentiment, sharing how John’s determination to defy expectations inspired their creative process. “We kept the ballads to a minimum because he was like, ‘Everybody will expect us to get together and do power ballads. Let’s do uptempo, positive, uplifting songs,’” she said. “And I was like, ‘Well, that’s kind of an amazing assignment.’”

With longtime collaborator Bernie Taupin contributing lyrics and Andrew Watt handling production, the team hit their stride quickly. John described the energy in the studio as electric. “I didn’t want to go back and make an album I’ve done before. I wanted to push Brandi, and she pushed me, and Andrew pushed both of us to an intense degree. Bernie as well,” he said. “And in the end, we were just roaring. We were recording a track a day, and instant first takes.”

The result is an album that captures both artists’ passion and belief in the power of music. Though the world remains uncertain, ‘Who Believes in Angels?’ stands as a testament to resilience and hope — a reminder that even in the darkest moments, creativity can serve as a unifying force.

The lawsuit, filed by Larball Publishing Company and Sandy Linzer Productions, accused Lipa of copying elements from ‘Wiggle and Giggle All Night’ by Cory Daye and ‘Don Diablo’ by Miguel Bosé. The plaintiffs claimed ‘Levitating’ unlawfully used a distinctive musical phrase from their songs. However, U.S. District Judge Katherine Polk Failla rejected these claims in her ruling on Thursday.

In her decision, Judge Failla concluded that the alleged similarities involved “five groupings of repeated 16th notes descending on a B minor scale in ‘Levitating’, compared to a D major scale in ‘Don Diablo‘.” She determined that this descending scale pattern, along with a single additional note described as a “signature melody,” was not subject to copyright protection.

“The Court ultimately concludes that there can be no substantial similarity (and thus no copyright violation) as a matter of law because the similarity between the works concerns only non-copyrightable elements,” Judge Failla wrote.

The case included notable co-defendants alongside Lipa, such as major music publishers Sony Music Publishing, Universal Music Corporation, and Warner Records Inc., as well as her ‘Levitating‘ co-writers Clarence Coffee, Jr., Sarah Hudson, and Stephen Kozmeniuk.

| — @DUALIPA reacting on winning her 2nd & final lawsuit against “Levitating” via Instagram Stories! pic.twitter.com/adlW8CFVVN

— Dua Lipa Hungary (@dlipahungary) March 28, 2025

A key factor in the court’s decision was the precedent set by Ed Sheeran’s victory in a copyright case in November 2024. In Structured Asset Sales, LLC v. Sheeran, the Second Circuit ruled that fundamental musical elements, like notes, rhythms, and chords, are generally not protected under copyright law. While plaintiffs can claim protection over an original arrangement of these elements, the court found that Lipa’s use of a common musical scale did not meet that standard.

Judge Failla also dismissed the plaintiffs’ argument that the pattern style of singing, a pop with a disco feel musical style, and the song’s tempo were evidence of copying. The court noted that such elements are commonplace and not eligible for copyright protection. Additionally, Failla highlighted historical examples, pointing out that the patter style has been used for centuries in the operatic works of Mozart, Rossini, and Gilbert and Sullivan.

The ruling further rejected the notion that protecting such broad musical characteristics would stifle creativity. “To hold otherwise would be to completely foreclose the further development of music in that genre or for that purpose,” Failla stated.

In addition to dismissing the copyright infringement claim, the judge also rejected the plaintiffs’ requests for declaratory relief and an accounting of profits, as those claims were rendered irrelevant by the primary ruling.

This legal win solidifies Lipa’s standing in the industry and reinforces the precedent that fundamental musical elements remain accessible to all artists. For Lipa, the victory means she can continue celebrating the success of ‘Levitating‘ without legal concerns — a resounding conclusion to a contentious battle.

The milestone moment occurred at the Palacio De Los Deportes, where Malik kicked off his ‘Stairway To The Sky’ tour with his first-ever solo arena show. Choosing ‘Night Changes’ as the opening track, the singer stood in awe as the crowd sang along, visibly moved by the overwhelming response.

It was an especially poignant performance, almost exactly a decade after Malik’s departure from One Direction in March 2015. Addressing the audience mid-show, Malik shared his feelings, reportedly saying, “I haven’t sung this song in 10 years. Thank you, that was amazing, I almost cried.”

Beyond the emotional opener, Malik treated fans to a setlist packed with solo material, including tracks like ‘Pillowtalk’, ‘Lied To’, and ‘Shoot At Will’. He also surprised the crowd with a heartfelt cover of Paolo Nutini’s ‘Last Request’. The full setlist from the night is as follows:

1. ‘Night Changes’ (One Direction)

2. ‘My Woman’

3. ‘Birds on a Cloud’

4. ‘Dreamin’

5. ‘Lied To’

6. ‘In the Bag’

7. ‘Ignorance Ain’t Bliss’

8. ‘Scripted’

9. ‘Sweat’

10. ‘BoRdErZ’

11. ‘iT’s YoU’

12. ‘Shoot at Will’

13. ‘Last Request’ (Paolo Nutini cover)

14. ‘PILLOWTALK’

15. ‘Concrete Kisses’

16. ‘What I Am’

17. ‘Alienated’

18. ‘Gates of Hell’

The Mexico City concert followed a difficult period for Malik. In late 2024, his Newcastle show was unexpectedly canceled just moments before it was set to begin. In a statement, the cancellation was announced with an apology for the short notice. Malik later explained via Instagram Stories that his voice wasn’t in good condition, saying, “I’m so sorry to do this but my voice just isn’t there at all tonight and without it, there’s no show. I’m truly sorry to let you down.”

Adding to the emotional weight of the tour, Malik had previously postponed his US concert dates in the wake of the tragic passing of his former bandmate, Liam Payne. Payne died on October 16 after falling from the third floor of a hotel in Buenos Aires, Argentina.

When Malik resumed his UK tour in Leeds on November 23, he closed the show with a touching tribute to Payne. The screen behind him displayed Payne’s birth and death years, accompanied by the heartfelt message: “Love you bro.”

Despite the hardships, Malik’s return to the stage and his powerful performance of ‘Night Changes’ served as a moving reminder of his enduring connection to his One Direction roots. Fans can expect the postponed US tour dates to take place in January 2025, as Malik continues his journey as a solo artist.

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Frith shared his discovery on social media, writing, “I picked up this tape years ago that said ‘Beatles Demos’ on it. I just figured it was a tape off a bootleg record. After hearing it last night for the first time, it sounds like a master tape. The quality is unreal. How is this even possible to have, what sounds like a Beatles 15-song Decca tapes master?”

The tape, recorded on January 1st, 1962, features a youthful Beatles lineup with Pete Best on drums. The band had auditioned for Decca Records in London, only to be famously rejected. Decca’s decision is often cited as one of the biggest blunders in music history, as The Beatles would go on to sign with Parlophone Records and release ‘Please Please Me‘, launching their legendary career.

In an interview with CBC, Frith described the surreal moment of discovering the tape’s authenticity. “I thought it was just a reel-to-reel tape that somebody had put bootleg things on,” he said. However, after listening closely and consulting with Beatles experts, it became clear the recording was a genuine piece of music history. “It felt like the Beatles were right in the room,” Frith added.

Following the revelation, Frith was connected with Jack Herschorn, the former owner of Vancouver’s Mushroom Records, who originally brought the tape to Canada. Herschorn had obtained it in the 1970s during a trip to London when a producer gifted him the recording. Despite being encouraged to sell copies, he ultimately chose not to.

“I took it back and I thought about it quite a bit,” Herschorn explained to CBC. “I didn’t want to put it out because I didn’t think it was a totally moral thing to do.” Recognizing the Beatles’ immense legacy, he believed they deserved proper credit and royalties for their work. “It deserves to come out properly,” he added.

Frith, too, has no immediate plans to profit from the tape. Instead, he has made a generous offer to Decca Records, giving them the opportunity to release the recording if they choose. Additionally, he extended a personal invitation to Paul McCartney, suggesting the former Beatle visit Neptoon Records in Vancouver to receive the tape in person.

The discovery of this long-lost Beatles recording has reignited fascination with the band’s early days, serving as a powerful reminder of their humble beginnings before they became global icons.

The unannounced show attracted a mix of devoted fans and well-known faces, including Paul Weller, Noel Gallagher, Gary Kemp, and Bobby Gillespie. Leading the charge was Frank Carter, former frontman of Gallows and Rattlesnakes, who stepped in for John Lydon. Lydon’s absence stems from an ongoing feud with the band over the use of their music in the Disney+ series Pistol, based on guitarist Steve Jones’ autobiography. Despite Lydon’s legal challenge, Jones, drummer Paul Cook, and bassist Glen Matlock reunited for a setlist packed with punk anthems.

Launching into ‘Pretty Vacant’, ‘God Save the Queen’, ‘Holidays in the Sun’, and ‘Anarchy in the UK’, the band’s performance was electric. Carter’s fierce stage presence channeled the raw energy the Sex Pistols are known for, while the remaining members proved their chemistry was as sharp as ever. Following last year’s successful reunion shows at Bush Hall, the positive reception from both fans and critics has now paved the way for a full-scale world tour.

@glennmatchett ♬ original sound – Glenn Matchett

Friday’s show may have embraced nostalgia, but Sunday’s Albert Hall performance brought a sense of rebellion to an unexpected setting. The grandeur of the 150-year-old venue, originally opened by Queen Victoria, provided a surreal backdrop for the anarchic spirit of punk. Once symbols of defiance, the Sex Pistols now stood on one of Britain’s most prestigious stages, making the moment feel both ironic and iconic.

The audience included punk pioneers like The Clash’s Paul Simonon, alongside modern artists such as Chrissie Hynde and Yungblud. Witnessing the Pistols blast through their set beneath the venue’s ornate domes was a testament to punk’s lasting influence.

While Lydon dismissed the new line-up as the “karaoke Sex Pistols,” the band’s undeniable energy and tight sound told a different story. Jones’ guitar snarled through the speakers, Cook’s relentless drumming drove each track, and Matlock’s signature basslines pulsed with vigor. Carter’s gritty vocals may have surprised some, but his presence won over both fans and skeptics.

But the Sex Pistols’ return is about more than nostalgia. It’s a deliberate reminder of their power as a live band. For Jones, Cook, and Matlock, these shows are an opportunity to challenge the caricature that the band became under the influence of former manager Malcolm McLaren. Instead, they are proving that the Pistols were never just a product of punk mythology — they were a force of musical rebellion.

Closing with the furious chords of ‘Anarchy in the UK’, the Sex Pistols left no doubt that their legacy endures. Nearly 50 years on, their sound remains as fierce and relevant as ever.

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Following the Brighton gig, the band was set to take the stage at London’s Moth Club last night (March 24), where demand for tickets has resulted in a waiting list. The comeback shows hint at the arrival of fresh material from Wet Leg, who have been dropping subtle teasers about new music in recent weeks. Their performance in Brighton featured an 11-song set, with the band sporting black wigs in homage to Thurman’s iconic look. This marks their first live showcase of new material since they teased a snippet of music earlier in the week—their first in three years.  

Wet Leg has also announced two upcoming performances in the United States, with gigs scheduled for Brooklyn’s Market Hotel on March 31 and The River in Los Angeles on April 8. Their last album, a self-titled 2022 release, earned widespread acclaim, securing two Grammy Awards for Best Alternative Music Album and Best Alternative Music Performance, as well as a BRIT Award for Best British Group in 2023.

NME’s Rhian Daly lauded their debut album with a five-star review, describing it as a whirlwind of witty and energetic fun, comparing its vibrant essence to a chaotic yet exhilarating amusement park ride.   Beyond their secret gigs, Wet Leg has a packed festival season ahead, with appearances confirmed at Glastonbury, Green Man, Roskilde Festival, Shaky Knees Festival, Wilderness Festival, Boardmasters, Øya Festival, and more.  

Sharing their excitement on Instagram, the band wrote: “Hey there neighbor, been a while hasn’t it? Why don’t u come on down to the bottom of our garden? It’s about time we had ourselves a little gathering… just a couple of special nights in NYC US and LA US.”    

 

 

 

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Fans eager to secure tickets for the upcoming shows can sign up for the pre-sale, which begins on March 28.

Here is the full set list from the band’s secret show:

‘Fists’ (live debut)
‘Jen Bod’ (live debut)
‘Too Late Now’
‘Lovestruck’ (live debut)
‘I Don’t Wanna Go Out’
‘Dave Nah’ (live debut)
‘Dragonfart’ (live debut)
‘Beans’ (live debut)
‘Angelica’
‘Being in Love’
‘C3PR’ (live debut)

]]> https://www.mxdwn.co.uk/news/wet-leg-unveils-seven-new-tracks-at-intimate-brighton-show/feed/ 0 https://www.mxdwn.co.uk/news/brandi-carlile-and-elton-john-give-advice-to-new-artists/ https://www.mxdwn.co.uk/news/brandi-carlile-and-elton-john-give-advice-to-new-artists/#comments Sat, 22 Mar 2025 20:22:46 +0000 http://www.mxdwn.co.uk/?p=108016 Elton John and Brandi Carlile are the stars of the latest Rolling Stone UK cover, and in their feature, the music icons offer valuable advice for up-and-coming artists. Alongside discussing their highly anticipated collaborative album, ‘Who Believes In Angels?’, set to drop later this month, they reflect on the experiences that have shaped their careers. With heartfelt reflections and practical wisdom, John and Carlile’s insights offer invaluable guidance for artists hoping to carve their own paths in the music industry.

For John, the key to musical growth lies in live performance. Drawing from his own journey, he emphasized how playing live gave him the resilience needed for long-term success.

“That experience stood me in great stead for when I became Elton John because I had backbone. And backbone is so important,” he said. “The worst thing that can happen to you in the industry are things like X Factor and instant fame on television where you have no experience of playing live. You get put on stage, you go, and you can’t do it. That’s the worst thing. American Idol — just the worst. Take risks. Go and play in a pub.”

Carlile, meanwhile, believes building a supportive network is essential, saying: “Honestly, make friends,” she advised, “Get a community around you.”

Elton also reflected on the transformative power of music in his life: “I can’t live without music. It nearly killed me, but it also kept me alive, and it keeps me alive today. But not the music of the past so much. Although I do listen to jazz and stuff like that, it’s the music of the future that keeps me alive,” he said.

When it comes to his relationship with Carlile, John’s admiration is evident: “I love her so much and not just as a person, but I love what’s inside of her musically and creatively,” he said. “It hasn’t really touched the surface. I think it’s beginning to, but it’s got so much further to go. She’s like an embryo at the moment, and she’s done a hell of a lot to be an embryo, but she’s going to just burst.”

For aspiring musicians, John reiterated the importance of perseverance: “Just keep trying to play live. That’s the way you improve as a musician and songwriter. It doesn’t matter if you’re playing to 40 people. The more experience you get playing to nobody, the better. Because when I played in Musicology, we played to hardly anybody sometimes,” he said.

John and Carlile’s new collaboration album will arrive later this month.

Guitarist Conor Curley shed light on why they chose to tackle Bring Me The Horizon’s track, which originally appeared on the Sempiternal album. “It was Grian’s idea from the start,” Curley explained, referring to frontman Grian Chatten. “The electronic elements and overall mood of the song felt aligned with what we explored on our last album, ‘Romance‘, so it made sense as a starting point. Plus, it’s a moody, beautiful song.”

As for incorporating ‘Heart-Shaped Box’, Curley revealed that Nirvana’s 1993 classic holds a personal significance for him. “It was probably one of the first songs I learned on guitar in drop D [tuning],” he shared. Interestingly, the band briefly considered swapping the Bring Me The Horizon track entirely for ‘Heart-Shaped Box’, before ultimately deciding to fuse the two. “Grian just started playing it during soundcheck, and we thought, ‘Do we switch to that instead?’” Curley recalled.

Unfortunately, Fontaines D.C. had to cancel their planned South American tour, which was set to follow their Australia and New Zealand dates. Frontman Grian Chatten suffered a herniated disc, forcing the band to pull out of shows across Mexico, Chile, Argentina, Brazil, and Colombia.

Expressing his disappointment, Chatten shared a statement at the time: “I’ve been looking forward to playing in these incredible countries for years, and it’s heartbreaking to be here in Mexico City and not be able to take the stage. But today, I was advised that I need urgent medical attention. We deeply appreciate your support, and from the bottom of my heart, I’m sorry I can’t perform for you.”

Despite the setback, the band’s Like A Version session stands as a powerful testament to their ability to reimagine music in their own distinctive style.

The band’s latest album ‘Romance‘ recently peaked at number two on UK charts. Their previous release ‘Skinty Fia‘, was published in 2022 and peaked at number one.

The rumors gained traction when Resident Advisor reported on a recent fire relief auction held by Palisades High School in Los Angeles. Among the auction items was a unique offer from Radiohead’s management, operating under the pseudonym “Blueyed Pictures, Inc.” The prize? Four tickets to any Radiohead concert of the winner’s choosing. Notably, the listing mentioned that the choice would be based on the band’s tour schedule — a strong indication that live shows are on the horizon.

Adding further credibility, an anonymous source close to the band revealed to Resident Advisor that Radiohead has reserved venues in select European cities for a series of residency performances this fall.

While official announcements remain elusive, Radiohead members have kept busy with other projects, most notably Thom Yorke and Jonny Greenwood’s band, the Smile. Still, bassist Colin Greenwood did mention last September that the band had convened for rehearsals where they played older tracks and enjoyed themselves.

A 2025 tour would align perfectly with a significant milestone: the 30th anniversary of their iconic sophomore album, ‘The Bends’. To mark the occasion, the band recently shared a throwback video of Yorke’s solo performance in Toronto from March 28, 1995, found on an old VHS tape.

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“We found this VHS tape of Thom performing,” they wrote, sparking curiosity about what other archival treasures might emerge. With such nostalgic energy in the air, perhaps an official tour announcement is just around the corner.

​Radiohead’s most recent UK tour occurred in 2017, following the release of their ninth studio album, ‘A Moon Shaped Pool’. The band performed a series of shows across Europe, including several dates in the United Kingdom. Notably, they headlined the Glastonbury Festival on June 23, 2017, delivering a critically acclaimed performance.​

In 2018, while Radiohead did not tour the UK, frontman Thom Yorke embarked on a solo European tour. This tour featured three UK dates: Usher Hall, Edinburgh​, Roundhouse, London​ and Palace Theatre, Manchester​.

He added, “It would be nice to create something new. I wouldn’t dismiss the idea. Adam has told us, ‘If you ever want me to sing on something…’ So if the three of us agree to go for it, I’d absolutely be on board.”

The collaboration between May, Taylor, and Adam Lambert dates back to American Idol in May 2009, when they performed “We Are The Champions” together. They reunited in 2011 at the MTV European Music Awards in Belfast, Ireland, delivering a high-energy eight-minute performance of “The Show Must Go On,” “We Will Rock You,” and “We Are The Champions.” By the summer of 2012, Lambert had taken the stage with QUEEN for a series of European shows, including performances in Russia, Ukraine, and Poland. Since then, they have toured extensively, headlining major festivals across the globe.

Despite their success as a live act, Lambert has previously expressed reservations about recording new music with QUEEN. In a 2019 interview with Hunger magazine, he admitted: “People always ask if we want to record together, but I’m not sure it would make total sense. To me, QUEEN is Freddie. What I love most is collaborating, putting these concerts together, and creating on stage—it’s incredibly rewarding. When I bring new ideas to these two legends and they like them, that’s the best part.”

May has previously praised Lambert as the only singer capable of doing justice to QUEEN’s extensive catalog since Freddie Mercury’s passing in 1991 due to AIDS-related complications. “Adam is the first person we’ve worked with who can handle the entire QUEEN catalog without hesitation,” May stated. “He is a gift from God.” Taylor echoed those sentiments, saying: “He’s incredibly musical, and we certainly take anything he says very seriously.”

For his part, Lambert has always been careful to differentiate himself from Mercury. “There’s never going to be another, and I’m not replacing him,” he explained. “That’s not what this is about. I want to keep his memory alive and remind people of how incredible he was—without trying to imitate him. My goal is to show audiences just how much he inspired me.”

Five years ago, in an interview with Classic Rock magazine, May and Taylor admitted that they had attempted to record a song with Lambert but ultimately decided against releasing it. “We did record a song that we never actually finished,” Taylor revealed at the time. “I can’t even remember what it was called. I think we were still debating the name.” May added, “It was a track we tried adapting from a friend’s original idea. It had potential, but we just couldn’t quite crack it.”

Taylor has remained open to the idea of a new QUEEN album featuring Lambert. Meanwhile, in 2022, QUEEN released a rediscovered song, “Face It Alone,” which featured Mercury’s vocals.