The show is being promoted by the Manchester-based promoter Now Wave, and is expected to attract a good number fans from across the North West. Known for their fusion of punk, funk and electronic influences, Warmduscher have built a strong reputation for chaotic, high-energy performances since forming in London in 2014.

Warmduscher was born out London’s alternative scene through a loose collective of musicians involved in several underground bands. Initially formed as a one-off collaboration for a New Year’s Eve performance, the project quickly developed into a permanent group with a distinctive sound.

The band released their debut album ‘Khaki Tears’ in 2015, introducing listeners to their raw, experimental approach. Subsequent releases expanded their musical range. Their 2018 album ‘Whale City’ incorporated funk grooves and more polished production, while ‘Tainted Lunch’ (2019) featured collaborations with established artists including Iggy Pop and Kool Keith, which lead to further collaborators such as Irvine Welsh on their 2024 album ‘Too Cold To Hold’.

While the band’s recorded output has come to much critical acclaim, Warmduscher are widely regarded as a group best experienced live. Their performances often feature extended improvisations, electronic elements and strong audience participation. The band’s shows have become known for their lively atmosphere.

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The choice of venue for the upcoming Manchester show is likely to appeal to fans familiar with the region’s underground music scene. The White Hotel, located on an industrial estate in Salford, opened as a performance venue in 2015. Originally a vehicle repair garage, the space has since become known for hosting experimental music, electronic club nights and alternative shows.

With a relatively small capacity, The White Hotel offers an intimate setting compared with larger venues in Manchester, like the O2 Ritz, where Warmduscher played back in later 2024. The venue’s warehouse-style interior, minimal lighting and powerful sound system make it a popular venue for artists seeking more of a rough-round-the-edges feel.

Door and curfew times for the May 21 show are yet to be announced and support acts are likely to be announced closer to the event. With the venue’s extended license, it could be expected that the band may run an extended show with support acts before and DJs after the band’s performance – similar to what they did at The Troxy in London a couple of years back. Tickets are anticipated to sell quickly given the band’s popularity in Manchester and the venue’s limited capacity.

Tickets are available here.

The tribute will celebrate Bowie’s enduring influence on music and culture, with 2026 marking ten years since the legendary singer’s death in January 2016. Organisers aim to create an event that honours his remarkable career and highlights how his work continues to inspire generations of artists around the world.

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The concert is expected to take place at The O2 Arena in London and feature a lineup of some of today’s most prominent performers. It is said that a number of leading young musicians are currently being approached to take part, with the intention of showcasing artists who have been influenced by Bowie’s music and creative vision. 

The event is set to include an all-star backing band alongside the Royal Philharmonic Orchestra. This combination of contemporary artists and orchestral arrangements is a fitting tribute to the theatre and spectacle that characterised Bowie’s own performances throughout his career. The BBC is said to be investing significant effort and resources into the project, seeing it as a centrepiece of its summer music programming.

As well as celebrating Bowie’s artistic legacy, the concert will also support charitable causes that were important to the him during his lifetime. All proceeds from the event are expected to be donated to Teenage Cancer Trust and Nordoff and Robbins, a music therapy charity with which Bowie had a long-standing relationship. The fundraising element reflects Bowie’s history of using his influence to benefit charitable initiatives.

Despite Bowie’s enormous cultural impact, live tributes to the singer have remained fairly sparse. The closest comparable event occurred in 2016 at Carnegie Hall in New York, just months after his death. That performance featured appearances from artists including Cyndi Lauper, Debbie Harry and the Pixies, but it was smaller in scope than the event now being planned in London.

Bowie remains one of the most innovative figures in popular music history. Over the course of several decades, he constantly reinvented his sound and visual identity, helping shape genres ranging from glam rock to electronic music. His ability to merge art, fashion and performance helped redefine what a pop star could be, influencing countless performers who followed.

The upcoming tribute concert is therefore expected to act not only as a memorial but also as a celebration of Bowie’s continuing impact on modern music. If the plans go ahead as expected, the broadcast could become one of the BBC’s most ambitious musical events in recent years – an evening dedicated to honouring one of Britain’s most iconic and progressive artists.

The recent enforcement actions are part of a broader campaign by Hungarian authorities targeting nightlife establishments. Since late 2025, police have carried out raids, investigations and arrests across multiple venues in Budapest, claiming the operations are necessary to combat drug distribution in clubs and music venues. The measures have raised concern among promoters, artists and venue owners about the impact on the city’s nightlife ecosystem.

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One of the most notable closures involves Arzenál, one of Hungary’s largest indoor nightclubs. The venue is located in a converted industrial building that was once a gun factory and confirmed it had been ordered to close for two months following a series of drug-related arrests. Authorities reportedly detained a 22-year-old man on suspicion of trafficking after discovering dozens of ecstasy pills during a search. Following the decision, Arzenál announced that it would suspend events until late April while complying with the order. In a public statement, the club said the shutdown would cause significant harm to its team, artists and partners. Management stressed that the venue maintains a strict zero-tolerance policy toward drugs, but argued that event spaces cannot fully prevent illegal behaviour by individuals. According to the club, the forced closure threatens years of work and the livelihoods of around 50 employees. To help cover financial losses during the shutdown, the venue has asked supporters and the local community for assistance.

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Another venue affected by the crackdown is the Turbina Cultural Centre, an underground arts and music space in central Budapest. Police ordered Turbina to close after an investigation into alleged drug sales connected to the venue. Authorities claim that visitors purchased substances such as marijuana, amphetamine powder and ecstasy tablets from an individual suspected of dealing drugs.

However, Turbina strongly disputes the allegations. In a statement, the venue said police had monitored the space for weeks as part of an undercover operation and had not identified any violations during that time. According to the venue, officers even indicated that they were satisfied with its security and operational procedures. Management argues that the closure is instead based on testimony in an ongoing investigation rather than evidence gathered directly at the club.

As the closures continue, the future of several nightlife venues remain uncertain. For Budapest’s music community, the closure show the growing tension between authorities seeking stricter drug enforcement and a nightlife culture concerned about the survival of its spaces.

The mix series features recordings taken during real events at the Oxford Road venue, offering an authentic feel of the atmosphere inside the club. According to the team behind Amber’s, the project is intended to document some of the most memorable sets performed in the space since it first opened its doors.

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The first instalment of ‘In Amber’ debuted on February 4 and features a set from Manchester DJ and producer Mr. Scruff alongside longtime collaborator MC Kwasi. The recording was taken from their performance during the club’s opening night celebrations in December 2024, and captures a lot of the excitement that surrounded the opening of a new, sonically-curated club in Manchester.

Following the debut episode, Amber’s released a second entry featuring residents Aletha and Zuri performing a back-to-back set. Recorded during an event on January 11, the mix demonstrates the club’s  range of in-house talent and their ability to put on quality productions without the need for big guest DJs.

Conversely, the third and most recent instalment of the series highlights a performance from Detroit techno pioneer Kevin Saunderson, which goes to show the level of artist Ambers is capable of drawing with their consistent success. Kevin Saunderson is one of the biggest names on the scene and the decision to record his performance will be a deliberate one; having his name on the wall is quite an accolade for such a new club.

Amber’s opened in December 2024 as a multi-room music venue in central Manchester with a capacity of about 1,000 people. The club includes a larger main room capable of hosting hundreds of dancers alongside a smaller second room designed for more intimate events and performances. 

The venue has quickly built a reputation for its music-focused ethos. A strict no-phones policy on the dancefloor and unannounced line-ups encourages attendees to remain present in the moment rather than filming performances. This approach is designed to prioritise the experience of the music and the interaction between DJs and the crowd. Because of this, the ‘In Amber’ series serves as some of the only recorded audio footage from within the club.

The ‘In Amber’ mix series shows the venue’s efforts to build a strong musical identity by documenting performances from residents, local artists and global figures alike, the series provides a look inside the evolving sound of the club and the wider Manchester scene.

Listeners can stream the first three instalments of ‘In Amber’ online, with more editions expected to follow as the venue continues to host new events and visiting DJs throughout the year.  All mixes are available to listen to here.

Ngonda first gained widespread success with his debut album ‘Come Around and Love Me’ in 2023. That record, despite being remarkably reminiscent of late-’60s and early-’70s soul and R&B, earned praise from critics and listeners across the world, helping establish him as a rising star in the “soul revival” movement.

The album blends mid-60s New Orleans R&B with the grit of Chicago and Detroit soul, resulting in a sound that does still feel nostalgic, but nodding to the grittier sounds of black 60s music, that is often overlooked by other artists, keeps it feeling fresh. According to Ngonda, the concept behind the record is guided by a philosophy he describes as “every thought and action should be guided first by compassion for others, because love is the highest measure of human worth.”

The announcement of ‘Doctrine of Love’ was accompanied by the release of its title track and the full trackless for the record. The tracklist reads as follows:

1. Anyone in Love

2. Doctrine of Love

3. Mr. Train Conductor

4. Burning Temptation

5. Love Is Gone

6. I Can’t Ever Leave You

7. Hannah, What’s the Matter?

8. Good Good Love

9. Hang It On the Shelf

10. Taken Out of the Picture

In the three years since his debut, Ngonda’s profile has continued to grow. His appearances at Radio 2’s Piano Room and Glastonbury Festival are some of his most notable and have earned his the recognition of some of the industry’s biggest artists, namely, Paul Weller, who spoke recently of his fondness for Jalen Ngonda in the latest issue of Detail magazine.

A tour has also been announced to promote of ‘Doctrine of Love’, which will take Ngonda across the UK, Europe and beyond later in 2026. he spring leg includes shows in York, Oxford, Margate, Leicester and Leeds, bringing his vintage-infused soul sound to some of the UK’s best venues. Over the summer, he is also set to appear at Love Supreme Festival in Lewes, one of the country’s premier soul and jazz gatherings, as well as Mostly Jazz Funk & Soul Festival in Birmingham.

The new record is available for pre-order on physical formats here, as well as tickets for the upcoming tour here.

Squarepusher first became well known in the late 1990s for mixing breaks with jazz, funk, and experimental sounds. Albums like ‘Feed Me Weird Things’ helped define a style that was both technical and emotive. Since then, he has released music that ranges from intense, high-speed electronic tracks to quiet, thoughtful bass guitar pieces. Regardless of the genre, his music demonstrates his ability as both a producer and a live musician.

‘Kammerkonzert’, which means “chamber concert” in German, has a definite classical influence. This time round, Squarepusher blends his usual electronic beats with sounds inspired by chamber music – a form of classical music written for small instrumental ensembles. Despite the classical influence on this record, Jenkinson’s TR-808 still takes on a pretty prominent role in tracks like ‘K2 Central’ – a welcome familiarity for fans of his more technical, electronic work.

The record features 14 tracks, each with titles that begin with the letter “K.” While the names may seem simple, the music itself is carefully arranged. The songs mix electronic programming with careful arrangement which leads the record away from the club setting, and towards more of a contemporary classical atmosphere. Even so, fans will still appreciate the rhythm and high-production value that have always been part of Squarepusher’s sound. The record feels both futuristic and traditional at the same time.

However, this will come as no surprise to fans of Jenkins’ work as throughout his career, Squarepusher has refused to stay in one lane. From IDM breakbeats to jazz-inspired bass playing and more abstract electronic projects, he constantly pushes the envelope and his technical proficiency has landed him in the same ilk as Aphex Twin, Venetian Snares and Autechre.. This new album continues is no dfifferent. It shows Jenkins is still willing to experiment, even after decades in the industry.

‘Kammerkonzert’ is officially set for release on April 10 on Warp Records. However, the record is available for pre-order on both CD and vinyl, including a 4 panel remus wallet and a 2LP gatefold. Warp Records often offers special editions or limited pressings for fans through their own shop and partner stores, so fans may be expecting more formats to be announced.

Roan, known for chart-hits like ‘Pink Pony Club’ and her charismatic public presence, announced in an Instagram statement that she is “no longer represented by Wasserman, the talent agency led by Casey Wasserman.” She framed the decision not only as a professional one but a moral one too, emphasising that “no artist, agent or employee should ever be expected to defend or overlook actions that conflict so deeply with our own moral values.” Roan added that artists deserve representation that “aligns with their values and supports their safety and dignity,” and that meaningful change in the industry depends on accountability and trustworthy leadership. 

The controversy is based on Casey Wasserman’s appearance in a number of related to Jeffrey Epstein and his close associate Ghislaine Maxwell. The released files include emails exchanged between Wasserman and Maxwell in the early 2000s, before her conviction in the Epstein sex-trafficking case. Though Wasserman has strongly denied any personal or business relationship with Epstein and has apologized for the correspondence.

For Roan, the decision to leave appears rooted first in her concern for her team. “I hold my teams to the highest standards and have a duty to protect them,” she wrote, expressing gratitude for the agents and staff who have worked with her while making clear her unwillingness to “passively stand by” amid the controversy.

Others in the music community have also voiced discontent, with people like Bethany Cosentino of Best Coast and indie act Wednesday calling for changes in leadership or opting out of the agency entirely. Some agents within Wasserman have reportedly even sought to buy out the music division or urged Wasserman to step down as CEO.

Universal Music is releasing the ‘Café Bleu’ Special Edition, a package that expands the record beyond its original 43-minute runtime. Initially penned for a January release, the special edition has been subject to a recall and delayed until May 15 following issues with early pressings, but the extra wait is likely to be worthwhile given the breadth of material included.

The reissue centers around a 6-CD collection that curates the original album as well as a huge archive of additional recordings spanning singles, B-sides, demos, alternate takes, BBC session recordings and live performances. Among the archivaes are early versions of fan favourites like “Long Hot Summer” and “Summertime Song,” as well as the first official appearance of the track “Boy Hairdresser”, which finds its way onto a Style Council release for the first time with vocals from Weller.

The first CD presents an expanded edition of 1983’s ‘Introducing… The Style Council’ - previously a Dutch import; the second disc houses the original UK ‘Café Bleu’ tracklist; later discs gather the group’s singles, remixes and B-sides. New sleeve notes by BBC broadcaster and long-time Style Council supporter Gary Crowley accompany the set, offering fresh context and insight into the creation and legacy of the music.

The reissue is structured as follows:

• CD 1 expands the band’s earliest work with extended and club mixes.
• CD 2 preserves the original UK album sequence.
• CD 3 gathers singles and remixes that followed the album’s release.
• CD 4 offers deep cuts, demos and rarities.
• CD 5 & 6 immerse listeners in live and BBC session performances, capturing the band’s energy on stage.

Alongside the 6-CD box, there’s also a 3-LP vinyl edition for collectors who prefer analogue formats. Though not as extensive as its CD counterpart, the vinyl reissue still widens the scope of the original album with expanded ‘Introducing…’ material and selected extras from the CD reissue’s content.

Ultimately, the ‘Café Bleu’ Special Edition is more than a reissue, it’s a retrospective that celebrates The Style Council’s artistic boldness and offers an insight into one of the most innovative British albums of the 1980s. Whether you approach it as nostalgia or discovery, the reissue solidifies ‘Café Bleu’s place in pop history and offers something new for even the most devoted fans.

All variants of the reissue are available for purchase here.

After half a decade away from full-length albums since ‘Night Network’ (2020), ‘Selling a Vibe’  welcomes the return of the signature guitar-lead sound of Wakefield brothers: Gary, Ryan and Ross Jarman.

Since forming in the early 2000s, The Cribs have remained a steady presence in British indie music. Over the years, they have experienced changes in the music industry, shifts in popular taste, and long periods of touring and recording. After the release of ‘Night Network’ in 2020, the band took time away from releasing new material, but still played the odd show here and there after the tour – to mixed reviews. Some fans have said the band’s drunkenness took away from some live performances, but I suppose the Jarman brothers have never been the poster-boys for clean living.

The album was recorded with producer Patrick Wimberly (MGMT, Caroline Polachek, Beyonce). Working with an outside producer gave the band a fresh perspective while still allowing them to stay true to the sound that shaped the band’s early success.

The album has been well received by critics, many of whom have praised its honesty and consistency. Reviewers have noted that The Cribs are not trying to chase trends or repeat past successes. Instead, they are focusing on making music that reflects their current lives and experiences. The album also reached number five on the UK album charts, showing that the band still has a loyal and engaged audience.

To support the release of ‘Selling a Vibe’, The Cribs have announced a major worldwide tour that will run through 2026. The tour marks their most extensive run of live shows in several years. The tour begins in the UK, where The Cribs will play a full headline run across England, Scotland and Wales. These shows include performances in: London, Manchester, Leeds, Birmingham, Glasgow and Cardiff, alongside appearances in smaller regional venues.

Following the UK leg, the band will travel across mainland Europe, with dates planned in countries including France, Germany, the Netherlands, Belgium, Italy and Spain. These shows continue The Cribs’ long-standing relationship with European audiences and include a mix of club venues and festival appearances during the spring and summer months.

The tour will then extend to North America, where The Cribs are set to perform shows in both the United States and Canada. Cities expected on the itinerary include New York, Chicago, Los Angeles, Seattle and Toronto.

Tickets for all tour dates are available here.

Recorded over a week in November 2025 at Abbey Road Studios in London, ‘HELP(2)’ was produced by acclaimed musician and producer James Ford, whose vision helped collate an eclectic group of artists across genres and generations. Every contributor donated their time without fee, in alignment with the cause at the heart of the project: raising funds and awareness for War Child’s work supporting children in conflict zones such as Ukraine, Gaza, Yemen, and Sudan.

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The album opens with Arctic Monkeys’ “Opening Night”, a new track marking the band’s first release since their 2022 album ‘The Car’. Written by frontman Alex Turner and produced by Ford, the song sets a poignant tone for the compilation.

From there, ‘HELP(2)’ hosts some of the music industry’s biggest names. Contributors include iconic and contemporary talents such as Damon Albarn (with Grian Chatten and Kae Tempest), Depeche Mode, Olivia Rodrigo, Pulp, Beck, Sampha, Foals, Wet Leg, Beth Gibbons, and Fontaines D.C. Among the collaborations are some interesting pairings and reinterpretations that reflect the diversity of the project’s artistry: from Arooj Aftab’s ethereal contributions to a collaborative performance between Ezra Collective & Greentea Peng.

In all, the album contains 23 tracks, each to support War Child’s mission and inspire its listeners to engage with the realities facing millions of children in war zones today. The compilation is as much of a call to action as it is a body of music; War Child once again using their influence in the arts for good.

The project also reflects on its roots. The original ‘Help’ album – recorded in just one day in 1995 and featuring artists like Radiohead, Oasis, and Blur – raised more than £1.2 million for War Child, providing critical assistance to children affected by the Bosnian conflict. ‘HELP(2)’ honours that legacy while acknowledging that the scale of need has only grown. Today, around one in five children worldwide live in areas affected by armed conflict.

‘HELP(2)’ is available for pre-order on vinyl, CD, and digital formats now, The record stands as a testament to the enduring power of music to bring people together and make a tangible difference in matters of much more importance than the creative industries.