April 30 @The Finsbury, London

May 2 @Exchange, Bristol

May 4 @Hyde Park Book Club, Leeds 

May 9 @Leaf, Liverpool

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The run of shows follows The Sukis’ sold-out stellar performance at The Jacaranda, Liverpool earlier this month, in support of band Permanent Joy’s EP launch. Taking to Instagram, the band also teased they will be heading to venue Scala, London April 18 to open for punk duo The Molotovs. Tickets for this show are available here. 

In conversation with Mxdwn UK, The Sukis frontman Tige Burns delved into the behind-the-scenes of being in a promising young band on the rise, also expressing his enthusiasm for the upcoming tour, considering it will be the first time the band have ever hit the road. “We’ve never been on tour, it’s our first-ever tour,” he remarked. “We’ve played shows here and there, we’ve only played about six places in the UK, we’ve played Liverpool about 30 times, Manchester a few times, we’ve played London about three times, we’ve played Bedford a few times…Luton. We’ve never done the whole being altogether and what-not, again, it’s money. It’s the fact that some people have the freedom to be able to do that and we just haven’t been able to do that…Now has been the first time when we’ve had time to do it.” 

First releasing music back in 2020, The Sukis burst onto the vibrant Liverpool scene following the release of their most popular single to date ‘Becca’ (2021), amassing over 17 million streams on Spotify. The band have also been featured on BBC Introducing Merseyside in 2023, cementing themselves as one of the most exciting acts within the region. Led by frontman Burns, the band’s line-up (which has altered over the years) currently also consists of Joe Sage (keyboard/backing vocals), James Miller (lead guitar/backing vocals), Freddie Warren (bass), and Ed Haslam (drums). Boasting a ‘beautiful and alternative’ sound, the band have released three EPs so far, including 2023’s ‘A Sense Of Doubt’ via LAB Records – representing The Sukis most developed body of work yet. Featured single ‘Animo’ showcases the band’s signature jangly guitar-driven sound, decorated by the fiercely catchy vocal refrain and stomping drum pattern. Other stand-out Sukis’ tracks include 2021’s ‘Cherryade’ – a dreamy, upbeat song that captures the essence of teenage nostalgia. 

Ahead of the upcoming UK tour, Burns also spoke about the possibility of releasing new music soon, the band’s social media alluding to “special announcements” that are set to happen at the respective shows: “[releasing an LP] that has been the goal. Since ‘Becca’ came out, that has been the template for the album – so everything is around ‘Becca’, because if something can do that well, and people can connect with it that much…I’ve got everything in place, for the album, song-wise, and artistically, like music videos and everything in my head which we are getting on with now.” The enthusiastic lead singer also cited the city of Liverpool for having a profound effect on the band’s ever-evolving approach to music, exposing their growing discography to eclectic influences from funk, soul, and even hip-hop. Hopefully, 2025 signifies a new studio release from The Sukis that fans can look forward to. 

For more information on The Sukis, you’ll be able to find them on Instagram. 

Describing the project, Lex Amor shared in a press statement: “‘FORWARD’ exists in the space between the present and what comes next – where imagination meets reality, where new worlds take shape, and where possibilities begin to unfold. This vision would not have been possible Javon Davis, Caleb Femi, and Charlie Rees, three directors whose distinct creative energies merged to craft something entirely original. Each brought their own perspective, their own beautiful way of transforming emotion into art.” 

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In her reflection on the film, she emphasised the deep sense of collaboration that shaped its creation. The entire team – both behind the scenes and in front of the camera – worked as a unified force, each person bringing their full presence to the project. The result was something far greater than any individual effort could have achieved. The DJ/rap artist delved into the shared energy, love, and collective spirit are embedded in every frame. The film was designed not just as a visual narrative but as both a statement and a question – an invitation to see the world with fresh eyes. It challenges viewers to reconsider what they perceive as fixed, to recognise that everything is constantly shifting, always evolving, always moving forward. 

The film follows vibrant scenes across North-East London’s urban landscape – the childhood home of Lex Amor. The artist has lent her hand to many types of work in the past, spinning tracks as a radio DJ, eventually hosting The Mellowdic Show on Reprezent Radio. Releasing music since 2016 on Soundcloud, Amor has released two albums to date, including 2020’s ‘Governement Tropicana’ which explores themes of duality between being Black British and Black Nigerian. Her latest full-length effort ‘Forward Ever’ (2024) was released to critical acclaim, weaving a hypnotic soundscape that merges hazy electronica with Afrobeat, hip-hop, jazz, jungle, and soul. 

More of Lex Amor’s discography is available on Bandcamp. 

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Brought to life by Australian visual artist Jonathan Zawada, the ‘Tall Tales’ film is set to be an immersive experience that’s been described as a “fairy tale for the modern world; depicting rising tides, kings & queens, amazon logistics and robotic arms under iridescent skies.” Preview the trailer below.

A limited run of zines will also be available at the exclusive event, curated and designed by Zawada, which details the conceptual ideas behind the film and album.

Ahead of its release May 9, fans have so far heard two singles from the record – ‘Back In The Game’ and ‘This Conversation Is Missing Your Voice.’ The upcoming album has already been hailed as a “multi-layered, richly textured record that channels both multiple narratives and multiple genres” which holds promises of demonstrating “Pritchard’s mastery of archaic machines unearthed in synthesiser archives, guiding the music down unexpected and experimental paths,” across its anticipated twelve tracks. The album will be released digitally, along with a standard black vinyl 2LP gatefold edition and a limited-edition black vinyl 2LP version. The limited edition includes a 36-page booklet featuring an extensive collection of project images and full track lyrics, thoughtfully designed by Zawada. Additionally, a standard CD edition will be available, as well as a special limited CD version that comes with the 36-page booklet. ‘Tall Tales’ is available for pre-order here.

The collaborative project between the Radiohead frontman and electronic producer Pritchard marks the first since the 2016 track ‘Beautiful People’. The duo both took to social media earlier last month to tease the first of the new singles, ‘Back In The Game’, later sharing a live version taken from show this month that Yorke played at the Sydney Opera House whilst on his solo tour of Asia, Australia and New Zealand in late 2024. See below for the videoclip.

For more information on the ‘Tall Tales’ exclusive screening, follow the respective link.

In a setback for platforms like Viagogo and StubHub, which legally generate hundreds of millions annually by reselling tickets for music events and more, the Competition and Markets Authority (CMA) has, for the first time, endorsed a cap on secondary ticket prices. While reselling tickets for concerts and theatre performances remains legal, this measure would effectively prohibit the practice. Some touts have previously faced jail time for using fraudulent tactics, though not for reselling itself. 

The UK’s Competition & Markets Authority has endorsed a price cap on ticket resale. That could mean more of the money spent on live events makes it to artists and venues, rather than predatory third parties. pic.twitter.com/XhwTSrSCts

— Future of Music Coalition (@future_of_music) March 24, 2025

Labour included a price cap of up to 10% above face value in its 2024 election manifesto, responding to widespread frustration over professional resellers and ticketing platforms inflating prices for sought-after acts like Ed Sheeran and Oasis.  The proposed policy posed such a significant threat to ticket resellers that many of the UK’s most active touts convened in secret to strategise against it. However, the CMA’s strong endorsement could be a decisive factor in whether the Department for Culture, Media and Sport (DCMS) follows through with implementing the cap. 

 

 

 

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Previously, the CMA had stopped short of recommending strict price controls, instead focusing on enforcing existing consumer protection laws, even taking legal action when necessary. But in a submission to a DCMS consultation, the watchdog highlighted persistent issues in the secondary ticketing market that continue to harm consumers. These include large-scale, sometimes illegal, bulk purchases by touts, failure to provide accurate ticket information, and “speculative selling” – a deceptive practice where sellers list tickets they do n to yet possess, gambling on securing them later. 

These CMA argued that a price cap would “shield consumers from excessive resale prices,” provided it was rigorously enforced. It also emphasised that the government must crack down on violators, including those reselling tickets on social media platforms, where consumer protection laws are often lacking. They also cautioned that resale platforms might respond by raising booking fees to offset lost revenue, stressing that any new legislation must include provisions to prevent this. 

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Adam Webb, from the music industry campaign group FanFair Alliance, described the CMA’s stance as a significant shift in the fight against ticket touting: “They clearly acknowledge that this industry remains plagued by unlawful activities. If properly enforced, a price cap would deal a major setback to Viagogo and its suppliers.” 

A 2019 CMA report revealed that Viagogo and StubHub sold 1.9 million tickets in the UK that year, totalling £350 million in sales, with more than half resold above face value. StubHub International pointed to research from Bradshaw Advisory suggesting that regions enforcing resale bans or price caps – such as Victoria, Australia and Ireland – experience ticket fraud rates nearly four times higher than the UK. It warned that if UK fraud levels rose to match those figures, consumers could face £1.2 billion in annual fraud-related losses. 

Kicking off their opening night with a special set from internationally acclaimed DJ Bob Sinclair, the newly announced lineup also features Nic Fanciulli, Miguelle & Tons, Butch, William Djoko, Jaden Thompson, Rossi, Pete Tong, and Xinobi. 

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Gallery is a fresh and inclusive 400-capacity venue in the heart of West London, brought to life by the visionary team behind the acclaimed and award-winning B Club. Designed for pure sonic and sensory immersion, it features a state-of-the-art d&b audiotechnik sound system – hailed as one of the finest in the industry – complemented by atmospheric lighting and a striking 360 degree central DJ booth. 

At its core, quite literally, sits a bold centrepiece: a DJ booth sculpted from 10 tons of concrete, planted firmly on the dance floor. More than just a design choice, it’s a statement of intent – erasing the barriers between artist and audience to create an electrifying, fully connected clubbing experience. 

Co-Owner and Creative Director of Gallery, Barth Rougier, spoke out on behalf of the club ahead of its opening night: “We are changing the game in West London. No other club of our size has ever committed this much to bringing a proper electronic music program to the area wshle also making events publicly ticketed.” 

More information is available from Gallery’s official website. 

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Released Friday March 21, MARINA, real name Marina Diamandis, took to Instagram to tease the song’s release – a high-energy dance track that swaps out chamber-pop elements for a vibrant, electro-pop groove. The new-release is also accompanied by a visualiser, directed by Los-Angeles based Logan Rice, which depicts the 39-year old singer in a Snow White-esque blue and yellow outfit, putting into action the single’s core theme of a Cupid’s bow and arrow. You can check out the visualiser below.

In conversation with Paper, MARINA reflected on the hopeful aspects of the new song and how that has manifested in her personal life: “I think the sense of what’s right and wrong particularly resonates because it’s taken me a long time to challenge that and be like, ‘The world is not an ideal place,’ and to try and relax that part in myself. Because I so want it to be, and actually it kind of blocks you from seeing people and situations for the way that they actually are, which has taken me really up until this point in my life to be able to do that.” 

Previously known as Marina and The Diamonds, the Welsh songstress has released five studio albums to date, rising to fame on the launch of her 2010 debut ‘The Family Jewels’ which entered the UK Albums Chart at #5, and featured hit-single ‘Hollywood’, earning Diamandis the #12 spot on the UK Singles Chart. Her sophomore album ‘Electra Heart’ (2012) became her first number one album in the UK, producing Diamandis’ most famous singles ‘Primadonna’ and ‘How to Be a Heartbreaker’. This year, the electropop artist is also set to celebrate the ten-year anniversary of her 2015 album ‘FROOT’ with a limited edition red EcoRecord, which will feature the unreleased track ‘I’m Not Hungry Anymore’ and a tropical themed sticker, this special edition is set to drop on July 25. 

New singles ‘Cupid’s Girl’ and ‘Butterfly’ are available for listening now. 

The announcement marks the 65-year old frontman as the successor of series founder and The Who legend Roger Daltrey. Last year, Daltrey announced that he would be stepping down as curator of the Teenage Cancer Trust concert series after 24 years. However, he will continue to serve as the charity’s patron. 

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“It’s an absolute honour and a real thrill to be asked to curate the 2026 shows at the Royal Albert Hall,” said Robert Smith. “Teenage Cancer Trsust does incredible work, and I can promise it will be a truly memorable week!” Roger Daltrey also shared his excitement about Smith taking on the role: “Finding the right person to curate this incredible week of concerts hasn’t been easy, but I’m thrilled to announce that Robert Smith has agreed to take it on for 2026.” Daltrey went on to praise The Cure’s longstanding support for the charity, emphasising that Smith understands the vital work Teenage Cancer Trust does. He noted that the concert series has become a major highlight in the music calendar, featuring some of the world’s greatest artists. In his view, Smith – an iconic musician himself – is the perfect person to carry the tradition forward.  This year’s Teenage Cancer Trust shows will take place from March 24 – 30, featuring an impressive lineup of musical and comedic talent. Confirmed acts include The Who, The Corrs, James Arthur, Frank Carter, Sex Pistols’ Paul Cook, Steve Jones, and Glen Matlock, as well as a comedy night hosted by Micky Flanagan. Additionally, it’s been announced that the renowned Erased Tapes label will take over March 29, presenting performances from Penguin Cafe, Daniel Brandt, Douglas Dare, and Hatis Noit. Tickets are still available here.  Looking ahead to 2026, Jamie Johnson, Head of Music & Entertainment at Teenage Cancer Trust, expressed enthusiasm for both this year’s lineup and the ‘Inbetween Days’ singer’s future involvement. “We are deeply honoured that Robert Smith, one of the most influential artists of our time, has agreed to curate the 2026 concerts,” he shared, “His dedication to the charity and incredible musical vision will make for an unforgettable week, while also raising crucial funds to support young people facing cancer.”  In other news, The Cure have always proved themselves to be advocators of charitable endeavours; most recently, the band teamed up with British producer Four Tet on his remix of their new single ‘Alone’. As per an announcement regarding Record Store Day 2025, royalties from the sale of the ‘Alone (Four Tet Remix)’ 12” will go to charity Médecins Sans Frontières. 

THE @FOURTET REMIX OF ‘ALONE’ WILL BE RELEASED FOR @RSDUK AS AN EXCLUSIVE ONE SIDED BLACK LABEL 12″ VINYL

ALL CURE RECORD ROYALTIES FROM THE SALE OF ‘ALONE (FOUR TET REMIX)’ 12” RELEASE WILL BENEFIT MÉDECINS SANS FRONTIÈRES/DOCTORS WITHOUT BORDERS (MSF) (1/2) pic.twitter.com/KMHOtlzELF — The Cure (@thecure) March 13, 2025

‘Alone’ comes from The Cure’s 14th studio album ‘Songs Of A Lost World’, released late last year. It saw the band earn their first UK Number One album in 32 years, ending a 16 year creative drought. The single has since earned critical acclaim, even landing itself on NME’s Best Songs of 2024.

Reintroducing the initiative, which was originally launched in 2020, its aim supported the reusability of CDs and vinyls, saving them from the devastating impact of landfills. However, the Covid pandemic initially cut the scheme short – but has been reinstated again.

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Independent record stores such as Rough Trade and Sister Ray are set to pilot the new service that welcomes vinyl records, CDs, and their packaging – no matter the size or condition – for eco-friendly recycling. Vinyl records and CDs are crafted from distinct plastics – vinyl from polyvinyl chloride (PVC) and CDs from polycarbonate – both of which can linger in landfills for centuries before breaking down. 

Building on its own insights, Key Production Group has revamped the service in response to the vinyl resurgence and the growing popularity of records among Gen Z – this claim comes from a 2023 study which showed vinyl sales had grown by nearly 15% in the first nine months of the year. Music lovers can easily send their vinyl records and CDs to Key Production Recycling, where they undergo a process known as mechanical recycling. The records and discs are shredded into small fragments, then transported off-site to be melted down. The resulting material is transformed into granules of recycled PVC and polycarbonate, which are then supplied to manufacturers to use in new products. 

The announcement comes in light of an increasing demand for sustainability within the music industry, with vinyl production companies adopting a environmentally-friendly approach. John Service, Strategy and Sustainability Director of Key Production Group commented, “Sustainablity is a vital part of our identity here at Key Production Group and the idea to develop Key Production Recycling was born from our commitment to understanding and managing the lifecycle of physical music products, prompting us to ask: what happens when they can no longer be used. We are so excited to be working with labels and record stores across the country and allow the public to utilise something that is so beneficial in extending a product’s lifespan.” 

Managing Director of Rough Trade, Lawrence Montgomery, continued: “Being able to provide a solution that’s not only sustainable but that will also have a positive impact on the life cycle of a product is really important to us at Rough Trade. Key Production Recycling is and will continue to be beneficial for us at Rough Trade and our facilities and we’re lucky to be able to use this great system!” 

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Record sales are expected to soar again ahead of the 18th edition of Record Store Day April 12. The event will showcase more than 270 independent record shops nationwide, with thousands more participating worldwide. As tradition dictates, the celebration will include a lineup of in-store parties and a tribute to the vibrant culture of indie record stores. 

Taking to Instagram earlier last week, the London trio – comprised of Romy Madley Croft (guitar, vocals), Oliver Sim (bass guitar, vocals) and Jamie Smith, AKA Jamie xx (beats, MPC record production) – posted a slideshow of photos, revealing a recording setup amongst instruments, captioning: “Last week, in the studio.” It was first reported the group were working on their fourth album back in January 2024. Jamie xx later commented on the album recording process, in the lead-up to his since-released second solo album ‘In Waves’. “We’ve been in the studio again recently and it just feels like old times,” he mentioned, “It’s early days [but] we’re having a good time.”

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The interview, which took place with MistaJam on Capital Dance’s evening show, also touched upon the influence that the group members’ respective solo projects would have on their new joint sound. “We’re further apart, I guess, and then when we get back into the studio it is a bit more of a challenge and we have bigger pools to draw from,” added Jamie xx. “I think it’s going to be difficult when we get a bit more into it, but ultimately that is going to make the record better.” 

In 2022, the 36-year old beat maker returned with his first new music in two years, releasing ‘LET’S DO IT AGAIN’, followed by his second album, ‘In Waves’, last September. The record featured contributions from both Croft and Sim and was celebrated with a headline performance at London’s Alexandra Palace on September 26. 

Smith’s solo projects is just one-third of the independent ventures of The xx – Romy Madley Croft released her debut album ‘Mid Air’ in 2023, which received widespread acclaim for its euphoric blend of club-ready beats and emotional lyricism. Her singles, including ‘Strong’ and ‘Enjoy Your Life’, have resonated with fans and critics alike. Meanwhile, Oliver Sim has also made a strong impression as a solo artist with his debut record ‘Hideous Bastard’ (2022), a deeply personal and critically acclaimed project that combines dark, cinematic pop with introspective storytelling. 

Forming in 2005, The xx have been the face of British indie electronic for the past two decades. To date, the group have delivered three studio albums: their 2009 debut ‘xx’, which won the Mercury Music Prize, 2012’s ‘Coexist’, and their most recent release, ‘I See You’, which arrived in 2017. 

Whilst the new announcement has, as of yet, no set release date, Jamie xx told Rolling Stone UK in regards to a 2025 album, that “it would be nice but I’m prone to very long stints of recording so we’ll see.” 

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Operating on the Macmerry Industrial Estate in Tranent, East Lothian, Seabass Vinyl – set up by husband and wife duo, Dave and Dominique Harvey – provides full packaging and artwork services, test pressings, stamper discs, and mastering, in addition to standard pressing runs. The pressing-plant aims to make “meaningful contributions” through its initiatives, co-operating alongside the Sound of Young Scotland Award to “positively impact the Scottish music industry.

The ambitious firm produces its own on-site energy and uses a bio vinyl product made from cooking oil by the Dutch business, Plastchem. This method can reduce carbon footprint of vinyl pressings by up to 90% compared to traditional PVC. Additionally, recycled off-cuts from previous pressings are repurposed, further minimising waste. Most recently, Canadian DJ BLOND:ISH has paved the way in promoting the use of bio material in vinyl production, debuting her sophomore record ‘Never Walk Alone’ (2025) on used cooking oil pressings via BioVinyl.

In conversation with Resident Advisor, Dominique Harvey commented, “Being carbon neutral-certified is a major milestone for us. We’re the first pressing plant in the UK to achieve this and, we think, in the world. It’s important for our customers that we minimise our environmental impact while manufacturing records of the highest quality.”  Last November, the Vinyl Record Manufacturer’s Association and the Vinyl Alliance released a report examining the industry’s carbon footprint. Their findings revealed that producing a 140g vinyl record generates roughly 1kg of CO2e – comparable to the emissions from a single pint of cow’s milk. 

 

 

 

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This equates to the  significant impact that the record industry has on climate change, when all things are considered – including distribution. The organisations behind the research also highlighted vinyl’s longevity, noting that it deteriorates slowly and seldom ends up in landfills. When properly cared for, records can remain playable for generations, preserving both music and material far beyond the lifespan of many other media formats. 

As awareness grows, so does the demand for more sustainable vinyl solutions. A 2024 study by the UK’s largest physical music production broker, Key Production, revealed that 77% of music fans would be willing to pay a premium for records with minimal environmental impact. 

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Seabass Vinyl’s mission expands upon an international approach to sustainable record production. In 2021, Netherlands-based Green Vinyl partnered with UK not-for-profit label Needs on a compilation album ‘NEEDS009’ using environmentally-friendly technologies. 

More information on record sustainability can be found on Seabass Vinyl’s official website.