The so-called confusion came after a performance at the Teenage Cancer Trust shows at London’s Royal Albert Hall, during which frontman Roger Daltrey blamed Starkey for a miscued key change, telling the crowd that all he could hear was “boom, boom, boom”. The situation bubbled up earlier this week when the drummer took to Instagram to tell followers that he was about to “get the Zak”, adding that he was facing “formal charges of overplaying.” The band then made an official statement on 15 April confirming the 59-year-old had left the band. The decision was met with confusion by the wider music community, especially considering the various ties between Starkey and the band’s original drummer, Keith Moon. 

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Just as the ordeal seemed to come to an end, The Who did a U-Turn, reversing their earlier decision. Pete Townshend took to social media on 19 April, sharing a post which read “News Flash! Who Backs Zak!”. Less than three hours later, a full statement was released, clarifying the situation and telling fans “Zak is not being asked to step down from The Who,” and blaming the misunderstanding on a “breakdown of communication”.  

“There have been some communication issues, personal and private on all sides, that needed to be dealt with, and these have been aired happily,” the statement read. Penned by Townshend, he shared that the March shows had been “tricky” for him too, following a knee replacement surgery, and asked himself, “Why did I ever think I could land on my knees?”

Starkey’s contribution to the band was praised, and Townshend had confirmed that the drummer agreed to “tighten up his latest evolved drumming style” for shows that didn’t feature an orchestra alongside the band. Having worked together for three decades, the guitarist said, “We are a family. This blew up very quickly and got too much oxygen. It’s over. We move forward now with optimism and fire in our bellies.”  

The full statement was shared on Zak Starkey’s own Instagram page, with the drummer adding his own message. “Very grateful to be part of The Who family. Thanks Roger and Pete xx”.

 

 

 

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Townshend also took the opportunity to address rumours that began to swirl regarding a replacement, with Roger Daltrey’s solo drummer, Scott Devours, being heavily linked with a seat behind the kit. He apologised to Devours for not rubbishing the rumours sooner, adding that the drummer “has been hurt by this” and was owed a long drink and a hug.

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 Despite the reconciliation, some fans on Reddit are sceptical about the reasons behind it. One user wrote “seems to me like Pete had to step in to resolve it after so much support for Zak.” Regardless, Starkey is set to pick up the sticks for The Who once again for their upcoming shows in Italy.

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Released just after Drake’s 21st birthday, his solo effort was produced by Joe Boyd, who had already worked with Pink Floyd, and would go on to produce work by Toots & The Maytals, R.E.M., and Billy Bragg. ‘Five Leaves Left’ went largely unnoticed by the masses during Drake’s lifetime, though is now recognised for its emotional honesty, as well as its delicate string arrangements.  

The collection is split across four discs. The first disc includes Drake’s first Sound Techniques sessions, also known as the Beverley Martyn demo, and was at the centre of a legal row in 2014 over ownership rights. The auction guide at the time said that Drake’s “guitar playing is stronger, more baroque, with the voice smoother and more resonant than the highly produced released versions”. The second disc includes what is being called the “Paul de Rivaz Reel”, featuring recordings from Drake’s time at university, and was only discovered during the 9-year ‘Making of…’ project.

The original album’s engineer, John Wood, has been involved in the remastering process, and the sequence of the album has been deliberate. Where one Reddit user bemoaned two or three versions of songs being placed one after another, another defended the order, arguing that it allows for listeners to hear the creative process and the evolution of songs. 

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 Included in the box set is a 60-page book written by Neil Storey and Richard Morton-Jack which details the story behind Drake’s debut, and the efforts involved in this collection. Storey has defended the release against accusations of recycled material and price gouging, taking to the comments section of Super Deluxe Edition to tell detractors: “I began researching this project over nine years ago and to be tarred with a brush which suggests rip-off shows utter disrespect for Nick, his music and those of us who’ve worked as hard as we have to bring this out into the open.”

At the time of its release in 1969, ‘Five Leaves Left’ received a mixed reception. Drake’s talent was clear for all to see, but reviewers said that his lyrics lacked urgency and directness. The album’s reputation has grown significantly in the five decades since its release, and modern critics have been far more generous in their reviews, with Ian MacDonald calling it “cool and shady amid the celebratory sunshine in the late Sixties”.

Drake would release two more albums in his short career before passing away in 1974 aged 26. Sadly, he would never see how influential his work would become, having been cited as an inspiration by Kate Bush, Robert Smith, George Michael, and many more across a range of musical styles.

 ‘The Making of Five Leaves Left’ is retailing at £94.99 for the 4LP version, and £89.99 for the 4CD version, if bought through the Island Records site. It is the most comprehensive collection of Drake’s earliest works, and will prove to be a treasure trove of one of music’s most enigmatic characters. The album will be released on 25 July.

Insiders quoted by The Daily Mirror claim that the split hasn’t been as amicable as the statement suggests, and Starkey himself made reference to tensions in an Instagram post on 12 April. The drummer joked that he was set for the “Zak”, and that “formal charges of overplaying” were set to be brought against him. The post also seemed to place the blame squarely on frontman Roger Daltrey. In an earlier Instagram post, Starkey shared a photograph of himself and guitarist Pete Townshend saying “What a guy”. 

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Starkey had been playing with The Who since 1996, when he joined them as part of the touring band for a live concert version of their 1973 album, ‘Quadrophenia’. During his 29-year stint, Starkey contributed to two studio albums, ‘Endless Wire’ and ‘Who’, and was described as being the best fit for the band after Keith Moon’s passing by both Daltrey and Townshend. Moon was friends with Starkey’s father, Ringo Starr, and was also Zak Starkey’s godfather, so he felt like a natural fit when he joined the group.   

The split appears to have stemmed from an incident on stage at the Royal Albert Hall. During the show’s finale, Daltrey apparently stopped ‘The Song Is Over’ mid-performance, telling the band and the crowd “To sing that song I do need to hear the key, and I can’t. All I’ve got is drums going boom, boom, boom. I can’t sing to that.” This account of events was backed up by an X user, who said “Daltrey missed the key change and blamed it on the drums. Now he’s fired Zak Starkey.”

The abrupt separation has caused confusion, particularly given Starkey’s prominence in the band. At nearly three decades, the 59-year-old had been part of The Who for twice as long as Moon, becoming part of the furniture. Not only was the quick dismissal surprising, but so were the accusations of “overplaying”. The Who had a reputation for being one of the 60’s loudest and most rebellious bands, almost proto-punk, and Keith Moon once set off an explosive charge in his kick drum while recording a TV show in 1967.  

No replacement has been named, and the rumour mill is relatively quiet. The band’s touring lineup has remained relatively stable, however they will need to find a replacement before their two shows in Italy this summer. Starkey will be kept busy with his group Mantra of the Cosmos, the supergroup featuring Shaun Ryder, Bez, and Andy Bell. The group played the Cavern Club earlier this year, and released a single co-written with Noel Gallagher. 

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 Starkey was also the drummer alongside Gallagher in Oasis, playing with the band between 2004 and 2009. With less than 100 days until their reunion tour kicks off, fans are already speculating about whether we could see Starkey reunite with the band this summer.

The restoration effort uses the original 35mm footage, accompanied with newly mixed audio, courtesy of Steven Wilson. The 2025 version of the film will be the fourth iteration, and with the upcoming film featuring documentary footage of the band working on ‘The Dark Side of the Moon’, it seems it will be a remaster of the 1974 edition, which was the most commercially successful cut too. The accompanying soundtrack album marks the first time that an album has been released alongside a theatrical cut too.

The film was directed by Adrian Maben, who also conceived of the project. Maben envisioned the would-be concert as an “anti-Woodstock”, where the amphitheater itself could be used as an instrument, and the band would play amongst the natural sounds of their environment. Drummer Nick Mason revealed that Maben described the idea as being “where there would be nobody present, and the music and the silence… would mean as much as, if not more than, a crowd of thousands.”

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Filmed in 1971 and released in 1972, the first version of the film featured just the performance. Two years later, at Maben’s suggestion, the film was recut, now including 20 minutes of documentary footage of the band in the studio recording ‘The Dark Side of the Moon’.. In 2002, a special director’s cut was released which introduced new edits, including footage from the Apollo missions, and heavily edited the setlist included from the performance, including omitting some songs entirely.   

The music video for the recently released ‘One Of These Days’ has racked up 300k views on YouTube in four days, and has been noted for its focus on the drumming of Nick Mason. One X user noticed the lack of footage of the rest of the band, which consisted of Roger Waters, David Gilmour, Richard Wright, and Mason. Another Floyd fan responded that the original footage had been lost before the original cut had even been released. Still, the video gives one of rock’s greatest, yet often under-appreciated drummers, his dues.

  Despite the various revisions of the order in which the tracks appear in the film, ‘Echoes’ always bookends the film, with the first part always appearing as one of the opening two tracks, and part two as a finale. The accompanying soundtrack album seems to match the original cut’s track listing, meaning ‘Echoes – Part One’ will play after the opener, ‘Pompeii’. It also appears that all of the tracks have gone under a remastering process too, with all album tracks labeled as ‘2025 Mix’ on streaming platforms.

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Pink Floyd’s performance in the shadow of Mount Vesuvius remains one of the band’s many iconic moments, and has inspired a range of artists, including Radiohead, Beastie Boys (whose inspiration is evident in the music video for ‘Gratitude’), and even David Gilmour, who returned to the venue in 2018. In Nick Mason’s own words, the film is a “rare and unique document of the band performing live in the period prior to ‘The Dark Side of the Moon’”.

The one-off concert was held on July 10 last year, and was the final show of Cypress Hill’s We Legalised It tour, and was their only UK show in 2024. Their tour took them to 24 cities, and concluded at the prestigious Royal Albert Hall, where they played their seminal album, ‘Black Sunday’ in full, as well as tracks such as ‘Cuban Necktie’, and the previously released single, ‘Illusions’.

The rap-classical fusion was led by conductor, musician, and producer Troy Miller. Miller has a diverse background that spans genres, starting out his career touring with the late Roy Ayers before becoming part of Amy Winehouse’s band. More recently, he has worked with Rag’n’Bone Man, and with Diana Ross on her Grammy-nominated album ‘THANK YOU’. Reflecting on the undertaking, Miller said “We made something truly unique and mesmerising. What a sublime collaboration.”

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A concert film of the show was screened in US cinemas between 30 March and 2 April, which earned positive reviews, with one Rotten Tomatoes fan reviewer saying “What an absolute treat! Two genres of music together in an historic hall.” Music videos for both singles feature footage from the performances too, and fan footage can be found on YouTube.

 

 

 

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Speaking during press for the concert film, one half of Cypress Hill’s rap duo, B-Real, gave his own reflections on the project. “It’s a trip to see that hip hop can be done in this form—and at a venue as prestigious as the Royal Albert Hall,” said the 54-year-old. “It was truly an honour and a privilege, and now that experience can be shared.”

Despite ‘Black Sunday’ spending two weeks atop the US charts and going platinum in the UK, Cypress Hill never broke into the UK Top 10 singles chart (though they did have 13 Top 40 hits). Despite this lack of chart-topping in the UK, the Royal Albert Hall show proves they have a keen underground following, willing to watch them take on this genre-blending challenge.

The concert/collaboration has its roots in a throwaway gag from a 1996 episode of the Simpsons, Homerpalooza. In the episode, the band are booked to play with the LSO, and after a back-and-forth social media exchange in 2019, the two parties agreed to make it a reality. “We salute The Simpsons,” said B-Real. “If they had not written that episode, we probably wouldn’t be doing this.”

The LSO has a history of collaboration on projects outside of classical music, such as their work with Frank Zappa in 1983, or 2021’s ‘Promises’, which saw them work with Floating Points and Pharoah Sanders, and was consistently ranked among the best albums of 2021. Still, their work with Cypress Hill may just be their most bizarre project, and the fruits of that partnership will be available for all to hear when the album is released on 6 June.

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  Jarvis Cocker and the rest of the band joined Laverne in the studio on Thursday morning to reveal the news, as well as discussing various aspects of its creation, inspiration, and what the future may hold. Asked “Why now?”, Cocker said, “The live shows were a big influence, and the songs seemed to come back to life. We just thought we’d carry on and see what we can conjure up.”  

Fans of the Stone Roses will understand exactly what the single, ‘Spike Island’, takes its name from. The infamous 1990 gig was already the subject of Pulp’s ‘Sorted for E’s & Whizz’, written by Cocker after hearing the phrase from a girl he met, despite not going to the show. ‘Spike Island’ shares a similar inspiration, written after Jason Buckle recounted a story to Cocker about a DJ who repeated the phrase “Spike Island, come alive” between each song.

Along with the album’s title and first single, we also have the tracklist. According to their Instagram announcement, fans will be treated to 11 new tracks, including ‘Spike Island’, though no order has been confirmed as of yet. The album was recorded in three weeks, produced by James Ford, and has contributions from longtime collaborator and occasional tour member, Richard Hawley. Of the announced tracks, ‘Farmer’s Market’ has already been played to fans, debuting at a September 2024 show in Los Angeles.   

Fans could have predicted the announcement, especially after their planned tour dates for 2025 were revealed in February. They posted six shows in the UK as part of the You Deserve More tour, as well as telling fans that dynamic pricing would not be used, with the band saying “We’re doing our best to make this fair and transparent”. They also revealed plans to play in Korea for the first time, as well as potential Australian shows on BBC Radio 6. The radio show also gave listeners a chance to ask questions, one of which was about a return to Glastonbury, to which Cocker said “Glastonbury has a very important place in our hearts, but there are no plans to play there.”

In other news, the new Pulp single is phenomenal. Great to have them back!

— Iain Jenkins (@iainjenkins.bsky.social) 10 April 2025 at 19:27

‘More’ will be Pulp’s first release since the passing of long-time bassist Steve Mackey, who passed away in March 2023. “People who you’re close to, you never forget them,” Cocker said. “But you can do things to remember them by.” The album is dedicated to Mackey’s memory.

 

 

 

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The upcoming release makes Pulp the third out of the Britpop “big four” to release an album in the 2020’s, following on from Suede’s ‘Autofiction’ in 2022, and Blur’s ‘The Ballad of Darren’ in 2023, both of which were well received. Meanwhile, Oasis are less than 100 days away from embarking on their eagerly-anticipated reunion tour, proving that even 30 years on from those heady days, Britpop is alive and well.

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 The UK leg of the tour will begin on 8 November in Birmingham, before shows in Brighton, London, Cambridge, Bristol and Manchester. Outside of the UK, DeMarco will kick off the tour with 13 dates in the States, starting on 29 August in Los Angeles. He will then travel to Europe and begin a run of 11 shows, starting in Amsterdam on 21 October, before visiting the UK. Following the last show in Manchester, the ‘Ode to Viceroy’ singer will hop across the Irish Sea for two shows in Dublin on 17 and 18 November. The last leg of the tour will see DeMarco play across Canada, ending the tour near his hometown on 19 December in Victoria, BC.  

UK fans of the self-styled ‘jizz-jazz’ musician have found shows hard to come by in the 2020’s, with his only three shows this decade coming in 2023, when he held a three-night residency at Hackney Empire. Before then, he played 19 shows in the UK in 2019, including a Glastonbury set. The increased capacity of the recently announced venues compared to the Hackney Empire seems to indicate an expectation that the shows will face high demand from fans who haven’t seen him for nearly five years.

With the upcoming album shrouded in mystery, fans are left to wonder which DeMarco we will get. His most recent releases show a continued shift towards stripped-back, minimalistic music, but he is still the artist that gave us some of the most iconic alternative songs of the 2010s, including ‘Chamber of Reflection’, ‘Freaking Out the Neighbourhood’, and ‘My Kind of Woman’. The only certainty is to expect the unexpected.  

The announcement video on his Instagram page, @macsrecordlabel, was typical of the musician, who has become known for his surreal humour. Mac uploaded a video of himself contorting his face into something difficult to put into words, before showing two short posters for tour dates. He simply captioned the post “Going on tour. Album out in August. C U THERE.  tickets in bio.” No support acts have been revealed as of yet, but with almost six months to go, there’s plenty of time for announcements to be made.

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 Fan communities, particularly over on the r/MacDeMarco subreddit, have been blowing up with the news, with some of the more astute members pointing out that the tour will align with the 10th anniversary of 2015’s ‘Another One’. Only one track from the album has been regularly played at Mac’s most recent shows, that being the title track, but with a whole album of new material, the setlist will be anyone’s guess. 

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 Currently ranked as the 385th most popular artist on Spotify, tickets for Mac DeMarco are expected to sell out fast, especially outside of London. Even with his upcoming album, Mac always revisits his back catalogue, meaning fans can rest assured that he will play all of his biggest hits.

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  Kicking off at 11am tomorrow, 9 April, and running all the way through to 3pm on 13 April, the marathon effort will involve over 50 DJs, including some huge names from the UK and beyond. The event will be streamed live from Mile End, East London, and will be available via the AllSorts DJ Marathon website, which will also allow viewers to donate to the GoFundMe page.  

For every big name DJ, or mind-blowing set, there is a serious cause underpinning it all: social mobility. All charitable proceeds will be donated to the Zero Gravity Fund, the UK’s largest scholarship initiative, focussing on high-potential students from low-opportunity areas, and helping them to achieve their aspirations. Since launching in 2020, the fund has raised over £1.8 million, directly funded more than 560 students, and assisted thousands more. Zero Gravity doesn’t stop there, assisting students moving into life-changing careers too.  

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“We believe that every young person, regardless of their background, deserves the opportunity to succeed,” says Nick Byrne, co-founder at AllSorts of Tunes. “The AllSorts World Record DJ Marathon is our way of contributing to a more equitable future, where education empowers all.”  

Zero Gravity identifies the top 15% of talented young people from the bottom 40% of socially disadvantaged areas, and provides them with mentoring, masterclasses, careers support, and potential employer connections. This approach ensures that these students have all the help they need, rather than just offering financial aid. According to their website, Zero Gravity has supported a quarter of all current Oxbridge students from disadvantaged backgrounds.

The latest report from the Social Mobility Index showed a slip in students from disadvantaged backgrounds progressing to university, despite schemes such as the Zero Gravity Fund, the Stormzy Scholarship, and the John Lennon Memorial Scholarship, making this event all the more important.  

The current world record for longest marathon DJ live stream is held by Mark Ursa, who set the record in Brazil while locked down during the COVID-19 pandemic, June 2020. That record stands at 51 hours, and AllSorts’ attempt will take it to another level. Not just doubling the current record, the attempt will feature a stellar lineup, captured by four different cameras. A 4K camera will capture the front view, a deck-mounted fish eye lens will take viewers close to the action, a birds eye camera will capture the scene from above, and there will be a side-view camera too.  

“We’re so excited to partner with AllSorts of Tunes on their World Record DJ Marathon to raise funds for Zero Gravity Scholarships,” says Shiv Patel, Head of Scholarships at Zero Gravity. “Music has always brought people together and driven change—and this collaboration is no different.”  

 

 

 

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Among the confirmed acts are Prospa, Tommy Villiers, Michelle Manetti, Kyah Fyah, Scruz, XDBR, Jive Talk, Dutty Moonshine, Cable!, Kenny Blacksmith, and many more. Just this morning, as the timer ticked down to less than 24 hours, another act was confirmed, with edbl now joining the star-studded lineup.

The event has four main sponsors, all of which have presumably supported the event in four key areas. N-EKTA is supplying alcohol-free drinks to keep the DJs going, while RJCC Events, an event production company, has helped with the lighting, visuals, and sound for the mini-festival. They are also sponsored by 5 Minutes to Delhi, a ready-meal company, and ISHO Creative, who specialise in digital marketing.

The AllSorts DJ Marathon is set to be a one-of-a-kind event, all in the name of pushing back against social inequality. With a stacked lineup, the event is akin to a festival, all accessible from the comfort of your own home. The event will be able to streamed here. The link to donate to the GoFundMe page can be found here.

‘Xandri’ is an entirely solo effort, with all tracks written, recorded and produced by Jones. The album feels like bedroom pop, with each track featuring simple acoustic guitar chords, with the occasional subtle electronic flourish. Each element combines to produce an album that is a melting pot of Jones’ efforts, with her solitary approach making the record feel like an intimate portrait of the artist. This feeling is compounded by the self-publicising of the album, with no record label seemingly attached to the release.

Some have taken Jones’ individual approach as an indication of her deliberately trying to distance herself from her famous parents, avoiding any accusations of nepotism and carving out a name of her own. Jones has also earned praise for the quality of the album, with one X user saying, “It’s really interesting. Not at all what I expected.” 

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 Even the artwork for the album cover seems to have been created by the 24-year old, featuring two faces that resemble the tragedy and comedy masks usually associated with theatre. Jones has experience working as a visual artist, and has shared previous creations on her social media and on her website, where her pieces can be bought.   

In the run up to the release of ‘Xandri’, Jones shared snippets of various tracks, often partnered with pictures and videos from her youth. These videos came before any announcement, and were filled with questions about any potential release. Some videos shared to her instagram page, @_p0odle, received backlash for seemingly using generative AI to assist in the animation process despite working as a visual artist herself, and Jones has yet to comment on it.  

I know you posted this before you posted your review but, I wonder if she’s just trying to do everything herself and that’s just kind of how things are done today? Like she’s saying oh I don’t want to hook up with the industry and just do it myself? I look forward to listening.

— Sarafina (@Sarafina7707) April 5, 2025

Though this is her first formal release of music, Jones went viral in 2023 when she sang two of her father’s most famous songs. She covered ‘Starman’ and ‘Life on Mars’ on an Instagram live stream, and was praised for her soft singing voice.

Beyond this album, Jones has shown a creative ambition for years, even releasing a fashion line in 2023. Her website, which the clothing is listed on, also includes a mission statement, emphasising the importance of art in her life. “Art has been a rock in my life for as long as I can remember,” the artist shared. “My hope is to inspire those who come across this body of work to join in on the journey to find something that fuels a passion to find your driving force in life.”

Whether music becomes a permanent outlet for Jones, or she pursues other interests, ‘Xandri’ aligns with her passion for exploring herself through creative endeavors on her own terms.

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Celebrating Marr, as well as local record stores, a plaque for the 61-year old has been unveiled at one of the musician’s regular haunts. Located in Manchester’s Northern Quarter, and just a short walk from Afflecks Palace, Piccadilly Records became one of the most important record stores in the country in the post-punk boom that came out of the North West, and has been Marr’s record store of choice for almost 50 years.  

The former Smiths guitarist used the opportunity to highlight just how important independent record shops are, saying, “Going out to a record store, it’s a nice pastime. It’s a part of the culture; if they were to completely disappear, the high street or the city centre would be a much worse off place. There’s something about the presence of a record store. It’s a magical thing. I’ve known the staff in Piccadilly Records for 20 years…this plaque is a very nice thing to be associated with.”

@recordstoreday Announcing @Johnny Marr Official as the official Record Store Legend 2025 This award was presented to Johnny Marr at his favourite indie record shop #PiccadillyRecords by @Record Store Day US and Record Store Day UK for both his influence on music and his unwavering support of indie record shops worldwide. “There’s something about the presence of a record store. It’s a magical thing. I’ve known the staff in Picadilly Records for 20 years…this plaque is a very nice thing to be associated with.’’ – Johnny Marr Marr has consistently championed record stores worldwide across multiple album campaigns and will be celebrating #RecordStoreDay ♬ original sound – Record Store Day UK

Andy McQueen, who has worked at Piccadilly Records for over 30 years, said, “Johnny Marr is our favourite living artist, and his music has soundtracked our lives for over forty years. To be associated with him in this beautiful way; well, the pleasure, the privilege is ours.” Speaking to Mancunian Matters in 2015, McQueen described Record Store Day as “brilliant, saying “It brings in a whole new load of customers. I love the spirit of the day.”

Marr will be one of over 400 artists to be participating in this year’s Record Store Day offerings, releasing an exclusive orange double LP called ‘Look Out Live!’. The album will be a live record, recorded at his Hammersmith Apollo show in 2024, and will be released alongside the countless other records on 12 April. According to the Record Store Day website, the album “encapsulates the magic of the culmination of his 2024 Spirit Power tour”, and features tracks from across his impressive 40 year career. Those include ‘This Charming Man’, ‘Getting Away With It’, and ‘Armatopia’. The full track listing can be found here.

2025 won’t be Marr’s first collaboration with the celebratory event, having previously participated in 2015 with his single, ‘I Feel You’, in 2022 with Vince Clarke’s remix of Marr’s ‘Spirit Power and Soul’, as well as various releases from The Smiths and Electronic.

In February, MXDWN UK previewed Record Store Day 2025, highlighting the most sought after records of this year’s edition. Among them are Taylor Swift’s ‘Fortnight’, an Oasis greatest hits compilation titled ‘Times Flies’, two Charlie xcx records, including her collaboration with Billie Eilish, ‘Guess’, and Sam Fender’s EP, ‘Me and the Dog’.

The Oasis Time Flies Record Store Day UK reissue has landed! We even opened one up to show it off a bit. Available in store from 8am Saturday 12th April, first come, first served!@recordstoredayuk.bsky.social

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— Bear Tree Records (@beartreerecords.bsky.social) 2 April 2025 at 20:05

 For Marr, this isn’t just another trophy in a cabinet full of awards, it is recognition for being part of a wave that has seen the record store revived. In 2024, vinyl sales accounted for £196 million of physical sales, compared to £126 million in CD sales. Considering Marr’s place in post-punk history, Piccadilly Records is a fitting home for his plaque.