The track carries the kind of dark, urgent tone Massive Attack have long made their trademark. Framed as a response to social and political disorder, it continues the band’s history of pairing music with pointed visual and political commentary. The release is accompanied by a music video featuring imagery assembled by Massive Attack, underlining the group’s long-standing interest in using art to sharpen the message around their work.

The collaboration with Tom Waits gives the single added weight. Waits’s involvement is notable as it marks his first original recording in years, while for Massive Attack it represents a rare new release after a relatively quiet period. The pairing also plays to the strengths of both artists: Waits’s distinctive voice and songwriting style sit alongside Massive Attack’s brooding, atmospheric production, creating a release that feels both unexpected and fitting.

The single is being issued digitally and will also appear on 12-inch vinyl, with an exclusive B-side titled “The Fly.” Massive Attack have also said the physical release is being handled with an eco-conscious pressing and packaging process, a detail that fits with the group’s long-standing awareness of the wider issues surrounding their work.

Del Naja’s arrest has added another layer of political attention around the band. He was detained on 11 April 2026 during a protest connected to Palestine Action, with police saying he was arrested on suspicion of showing support for a proscribed organisation. BBC News reported that more than 200 people were arrested at the demonstration in Trafalgar Square, where protesters were opposing the government’s ban on the group.

Massive Attack have often been linked with activism and public political statements, so the arrest sits within a broader pattern rather than standing apart from it. In that sense, the week’s events have reinforced the extent to which the band’s music and politics continue to intersect. ‘Boots on the Ground’ goes beyond a comeback single, arriving as part of a moment that brings together new music, collaboration and protest in the same frame.

Bowie’s Glastonbury appearance came during his Mini Tour, with a band that included Earl Slick on lead guitar, Mark Plati on guitar and bass duties, Gail Ann Dorsey on bass, guitar and vocals, Sterling Campbell on drums, and Mike Garson on keyboards, alongside additional players Holly Palmer and Emm Gryner. The 2000 Glastonbury show has only grown in significance over time. It was later issued as a live album in 2018, further cementing the gig’s reputation to a wider audience. Emily Eavis, well-known Glastonbury festival organiser, has previously singled it out as one of the best sets she has seen at the festival, highlighting the show’s lasting place in Glastonbury history.

The reunion will take place at Cameron House on the banks of Loch Lomond in Scotland on 7 and 8 November 2026, in an event titled Bowie: Live on the Loch. The two-day charity weekend will raise money for Save the Children and bring together Bowie’s Glastonbury 2000 house band for a live performance, rare footage, an exhibition, and a charity auction, making the location part of the event’s appeal as well as its tribute to Bowie’s lasting connection with Scotland.

A charity concert built around that legacy would also tap into a wider appetite for Bowie-related tributes, especially in the years since his death in 2016.  This one-of-a-kind, rememorative show would not just be nostalgic, but a chance to reconnect audiences with the sound and energy of one of Bowie’s most admired live chapters. What made that night in 2000 special was not just Bowie’s presence, but the chemistry around him. The band gave shape and lift to songs that already carried enormous cultural weight, turning the set into a communal event as much as a headline performance. More than two decades later, that bond still has the power to resonate.

Tickets can be purchased here.

The new single offers a familiar reminder of what Vile does best: laid-back guitar work, a gently ramshackle feel and songwriting that drifts between introspection and sly humour. It is accompanied by a video shot in Philadelphia, reinforcing the sense that this project is deeply rooted in the city that has shaped much of his musical identity. The album title itself points to that connection, with Vile describing the record as something of a homecoming: “bringing it all back home to Philly“.

According to early reports, Philadelphia’s Been Good to Me includes 11 tracks, among them “Zoom 97,” “99 BPM,” “Rock ’o Stone” and “You Don’t Know Cuz It’s My Life”.

Vile shared his intentions for the project: “I’m treating it like my last record. I put everything into it. It’s my best vocal record. It’s my best electric guitar record. It’s my most organic record, made in the comfort of my own zone”.

The teasing single is accompanied by an official video filmed in Philadelphia, including scenes shot at Kung Fu Necktie in Fishtown. That location choice also ties the rollout to the city that Vile references in the record title, along with the catchy chorus line: “You got a chance to bleed now. With that old time, lo-fi, DIY, rock n’ roll… nights”. 

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The song also features backing vocals from Natalie Hoffmann of NOTS and Optic Sink, Greg Cartwright of Reigning Sound and the Oblivians, and Ethan Buckler of King Kong and Slint. The music video, which dropped alongside the April 7 single release, also featured a cameo from comedian/musician/subtle cultural icon Jim E. Brown. 

Kurt Vile’s set to play a series of UK shows in 2026 as follows:

3 September 2026 — End of the Road Festival

5 November 2026 — Concorde 2, Brighton

6 November 2026 — O2 Shepherd’s Bush Empire, London

7 November 2026 — O2 Shepherd’s Bush Empire, London.

8 November 2026 — St Philips Gate, Bristol.

9 November 2026 — The Crossing, Birmingham.

10 November 2026 — Albert Hall, Manchester.

11 November 2026 — O2 Academy, Leeds.

13 November 2026 — O2 ABC, Glasgow.

Listen to ‘Chance To Bleed’ here.

After the global sensation of her album ‘BRAT‘ in 2024, Charli shifted to a more gothic, dark musical lens with her soundtrack album ‘Wuthering Heights’, created for Emerald Fennell’s 2026 film adaptation of Emily Brontë’s novel. The album dropped alongside the film on 13 February 2026, which became a major box office success, significantly grossing their original filming budget.

The controversy began when Ferreira replied to a meme about Charli “getting Sky Ferreira in the studio for Wuthering Heights,” writing: “To record my old songs******”. She later responded to claims that the intro to Charli’s ‘Chains of Love’ was lifted from her 2018 demo ‘Ancient Idols’, and that ‘Altars’ was based on a 2015 Ferreira demo. In follow-up comments, Ferreira said the fan’s “industry insider” was “wrong,” but added, “I’m not going to get into it but it was definitely more than an intro. I have proof of everything with dates”.

Charli’s team denied the suggestion that she copied Ferreira’s material and said Charli “always shares credits fairly and appropriately, and values her collaborators tremendously”. In a statement cited by Billboard, the team said a “standard review process” was carried out before the Wuthering Heights release, involving managers, legal representatives, artists and producers, along with a review of archival materials and demo recordings. They also said all relevant parties were consulted, songwriting credits and splits were agreed collectively in writing, and all credits were formally approved before release.

In a statement to Billboard, Charli’s team said: “Charli has made seven albums, four mixtapes and one EP, and has written countless songs for other artists throughout her career. She began as a songwriter with ‘I Love It,’ and her work has been recorded by and pitched to multiple artists. She has her own personal history with publishing and production negotiations and because of this, she always shares credits fairly and appropriately, and values her collaborators tremendously.“

Ferreira is already credited on ‘Wuthering Heights’ as a featured artist, co-writer and vocal producer on ‘Eyes of the World’, one of the tracks on the album Charli released in February alongside Emerald Fennell’s film of the same name. The two artists have worked together before, including on Charli’s 2019 single ‘Cross You Out’. Charli has also publicly supported Ferreira in the past, which makes the dispute especially notable within their shared history.

]]> https://www.mxdwn.co.uk/news/charli-xcxs-team-responds-to-sky-ferreira-acussing-her-of-recording-part-of-her-old-songs/feed/ 0 https://www.mxdwn.co.uk/news/raye-issues-apology-to-fans-who-purchased-her-latest-album-on-vinyl/ https://www.mxdwn.co.uk/news/raye-issues-apology-to-fans-who-purchased-her-latest-album-on-vinyl/#comments Sun, 05 Apr 2026 11:12:57 +0000 http://www.mxdwn.co.uk/?p=118513 RAYE has apologised to fans who bought the vinyl edition of her latest album, ‘This Music May Contain Hope’, after revealing that the record was pressed before the final mix was completed. She said the vinyl is “a first edition” and stressed that it is “not a fraudulent album,” but acknowledged that the digital versions of some songs are different.

The apology came during an interview with Zane Lowe on Apple Music, where RAYE discussed the difficult process of finishing the album. She said she wanted listeners to understand that the vinyl reflects an earlier stage of the project, and that she had tried her best to get the record right.

RAYE’s rise has been marked by a series of major milestones. She broke records at the BRIT Awards in 2024 after winning six trophies in one night, a moment that cemented her status as one of British pop’s leading names. The momentum continued into 2026, with an earth-shattering performance at The Brits, debuting her latest album with the track ‘Nightingale Lane’.

Her recent single ‘Where Is My Husband!’ also added to that success, becoming one of her strongest commercial moments of the year. The track was released in September 2025, went Silver in the UK within weeks, and later reached Platinum, showing that her audience continues to grow beyond the critics’ approval.

According to reports, the issue affects the vinyl format rather than the digital release. The artist’s comments have sparked attention because the album was presented as a major creative statement, with RAYE taking a central role in its making.

In her remarks, RAYE described the process of completing the record as “beautiful” but “agonising,” suggesting the final stages of the album’s production were especially demanding. Her apology was directed at fans who had purchased the vinyl expecting it to match the later digital versions.

That makes the vinyl issue particularly frustrating for both the artist and her fans. Physical formats remain an important part of RAYE’s release strategy, especially for collectors who value the artwork, packaging and exclusivity that come with special editions. For many listeners, buying the vinyl is about more than just owning the music; it is a way of supporting the artist directly.

By addressing the problem openly, she has tried to reassure fans that the issue was unintentional and that the album’s final form is still available in digital and other formats. Even so, the incident is a reminder of how closely fans follow every detail of a major release.

You can stream ‘This Music May Contain Hope’ here.

In an official announcement released this week, the BBC confirmed that Mills is no longer part of its Radio 2 presenting team. The corporation did not provide further details, stating only that the matter concerned “personal conduct”. No public statement has been issued by Mills himself or his representatives.

After taking over his BBC Radio 2 show from Zoe Ball back in January 2025, on Tuesday, 24 March 2026, Mills ended the programme at 9:30 am, originally stating he’d return the following day. The following morning, however, DJ Gary Davies hosted Mills’ usual show, stating that he was “in for Scott Mills“.

This news was first reported by The Mirror, which stated the belief it was to do with “a historic relationship“.

Mills joined BBC Radio 2 in 2022, taking over the weekday afternoon show previously hosted by Steve Wright. His move followed more than two decades with BBC Radio 1, where he became one of the station’s most recognisable presenters. Known for his upbeat delivery and long-standing collaboration with producer and co-host Chris Stark, Mills played a central role in shaping the tone of mainstream BBC radio entertainment throughout the 2000s and 2010s.

Before joining the BBC, Mills began his career in local radio and quickly built a national profile. Over the years, he also appeared on television projects linked to BBC radio, including coverage of live music events and charity broadcasts.

Radio industry observers have described Mills’ departure as one of the most significant changes to Radio 2’s schedule in recent years. The station is expected to fill the weekday afternoon slot with temporary cover until a permanent replacement is confirmed.

No internal details have been made public regarding the review or timeline of events leading up to the dismissal. The BBC has not elaborated on the nature or specifics of the conduct involved, stating that it does not comment on individual staffing matters.

Listeners have widely discussed the announcement on social media, reflecting on Mills’ contribution to BBC radio and his role in defining daytime programming over the past two decades. Many noted his distinctive broadcasting style and the long-running rapport he built with audiences during his time at both Radio 1 and Radio 2.

Mills’ departure brings an end to a 25-year career within the BBC, marking a major shift for the Radio 2 schedule.

Further updates on programming and scheduling decisions are expected to follow from the broadcaster in the coming days.

In her complaint, the artist, born Tahliah Barnett, asks a US court to declare that her stage name, FKA twigs, does not infringe the band’s rights and that she can continue to use it without interference. The filing outlines a history stretching back to the early 2010s, when the twin‑sister act behind The Twigs became aware of Barnett’s rising profile and began challenging her use of the name. Barnett’s lawyers describe a pattern of escalating pushback, including cease‑and‑desist correspondence and attempts to assert control over the “twigs” branding.

According to reports on the case, Barnett previously tried to resolve the conflict out of court, at one point offering a financial settlement so both acts could coexist under their respective names. That effort did not end the dispute, and the tension has resurfaced repeatedly as FKA Twigs’ global visibility has grown. The new lawsuit frames her move as a defensive step to secure a court‑backed ruling after years of uncertainty rather than a bid to silence a smaller act.

A key part of Barnett’s argument is the gulf between the two projects’ careers and audiences. Over the last decade, FKA twigs has become a critically acclaimed, internationally recognised artist with major label releases, festival headlines, and a strong digital presence. Since emerging with early EPs in the 2010s, FKA twigs has become one of the UK’s most acclaimed experimental pop artists, known for fusing electronic production, R&B, and avant‑garde visuals. Her debut album ‘LP1‘ earned a Mercury Prize nomination and widespread critical praise, establishing her as a boundary‑pushing voice in contemporary music. Her first of two 2025 album releases, ‘Eusexua‘, was nominated for the Mercury Prize last year, showing her long-standing, established success as an artist.

The Twigs, by contrast, are portrayed in the legal papers and coverage as a far more low‑profile outfit, with limited recent activity and a comparatively modest reach. Rollingstone reports that they “have 67 subscribers and 19,332 views on YouTube, 705 followers on Instagram, and 25 monthly listeners on Spotify” compared to Barnett’s “3.2 million monthly listeners on Spotify and more than 300 million views on YouTube“. Barnett’s team contends that, in practice, fans and industry partners are not confusing the two acts, despite the shared word in their names.

Beyond the courtroom, the case has sparked debate among musicians and commentators about how far artists should go to defend their monikers, especially when those names predate their commercial breakthrough. Many see Barnett’s move as a necessary attempt to protect a hard‑won identity; others worry about the message it sends to smaller, older acts with similar branding. What’s clear is that the outcome will be watched closely by artists navigating modern music, where a name is both a creative choice and a valuable part of intellectual property.

The UK spin-off of Saturday Night Live will air weekly on Sky Max and stream on NOW, bringing the long-running American format firmly into the British TV landscape. Produced as a six-part series, the show will stick to the familiar mix of topical sketches, celebrity hosts and live music, but is being promoted as “reimagined through a distinctly British lens”. Episodes will go out live on Saturday nights, maintaining the franchise’s reputation for last-minute rewrites, surprises and the occasional on-air chaos.

For UK music fans, Wet Leg’s booking as the debut musical guest feels like a statement of intent. The guitar band, led by Rhian Teasdale and Hester Chambers, have been one of the UK’s most significant breakout acts of the past few years, first exploding with viral single ‘Chaise Longue’. They have already had major TV appearances on both sides of the Atlantic, performing on Later… with Jools Holland, Late Night With Seth Meyers and The Tonight Show Starring Jimmy Fallon. Landing the first performance slot on SNL UK cements their move from cult favourites to mainstream fixtures.

Legendary US actress Tina Fey’s involvement gives the British version an immediate connection to the original in New York. The comedian and writer is a former cast member, writer and anchor, remaining one of the most recognisable alumni of the US show. Her hosting the London debut has been framed in reports as a symbolic, passing-of-the-baton moment from the American home to its UK counterpart.

The first episode’s line-up sets a precedent to blend international star power with homegrown music. Jamie Dornan will host the second episode, backed by BRIT-winning band Wolf Alice as musical guests, while the third show pairs host Riz Ahmed with Leicester rock veterans Kasabian. For British artists, the series offers a new, high-profile live TV slot that sits alongside Jools Holland, the BRITs and Glastonbury coverage as a key showcase moment. With Wet Leg leading off on opening night, SNL UK is setting out its stall as a prime-time home for the country’s most talked-about bands

Wet Leg’s upcoming UK shows are as follows:

Isle of Wight Festival, Isle of Wight – Jun 18

Seaclose Park, Newport  -Jun 18

Seaclose Park, Newport – Jun 19

Bellahouston Park, Glasgow- Jun 30

Castlefield Bowl, Manchester- Jul 8

Millennium Square, Leeds- Jul 9

Alexandra Palace, London- Jul 10

Henham Park, Southwold- Jul 23

Hillsborough Park, Sheffield- Jul 24

Henham Park, Southwold0 Jul 25

Hillsborough Park, Sheffield- Jul 26

Clifton Down, Bristol Aug 29

Clifton Down, Bristol- Aug 30 

The Bristol-based festival has always pitched itself as a city festival with a conscience, pairing heavyweight headliners with conversations about culture, community and social change. Early signs suggest 2026 will be no different, with the first wave of names balancing chart‑storming success and genre diversity.

For Little Simz, Forwards 2026 appears to be a victory lap. Having already collected a Mercury Prize and BRIT Awards for her generational run of records, Simz has evolved into one of British rap’s most commanding live performers, known for staging that folds orchestral heft into razor‑sharp lyricism. A late‑August headline in Bristol should find her in full control of a catalogue that runs from the widescreen ambition of ‘Sometimes I Might Be Introvert‘ to the steely minimalism of more recent work.

Wet Leg’s inclusion brings festival‑tailored chaos back to the Downs. The Isle of Wight duo have graduated from viral beginnings to bona fide indie heavyweights, surfing deadpan humour with jagged guitars. They’ve since landed BRIT‑red‑carpet notoriety. With their second album maturing their sound without sanding off their edginess, a Forwards slot promises the kind of mass sing‑along that turns a hillside into a chorus.

On the other end of the spectrum, Australian punks Amyl and the Sniffers are poised to deliver the most feral set of the weekend. Fronted by the endlessly charismatic Amy Taylor, the band’s shows are notorious for ascending into mosh‑pit mayhem, powered by hard-hitting riffs and shout‑along hooks. Their presence fits in perfectly with Forwards’ legacy of loud, physical, cathartic performances that still carry a political charge.

Beyond the marquee names, Forwards has made a habit of threading rising talent and global voices through its lineups, previously hosting everyone from LCD Soundsystem and Loyle Carner to Olivia Dean and Barry Can’t Swim.

Further 2026 headliners announced include Tems and Dijon, who will join Wet Leg as the Friday headliners, marking a tone that swerves from alt‑R&B elegance to intimate indie songwriting. Self Esteem joins Amyl and the Sniffers and Little Simz on Saturday, promising a closing run that stitches together sharp pop theatre alongside punk-rock and heavyweight hip‑hop, making for one of the most exciting closing stretches the Downs has seen yet. Other major names on the latest line-up include Kraftwerk, Goldie, Viagra Boys, Oklou, and Tricky. See the full line-up so far here.

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