Lily Allen recently shared her thoughts on the impacts of motherhood on stardom. In a podcast interview with the Radio Times, she reported that having her two children, Ethel and Marnie, “totally ruined” her career in the music industry. She had her first daughter in November, 2011 with her ex-husband Sam Cooper, named Ethel Mary Cooper (12 years old) and two years later, Marnie Rose Cooper (11 years old) was born in January. Although, it must be stated that of course Lily Allen only said this in playful, joking terms. She was asked if she’d ever reconsider her career after having her daughters, and she responded comically, “Yes, my children ruined my career.”  and added to her response sharing that, “I love them and they complete me, but in terms of pop stardom, they totally ruined it.” Ultimately, she prioritised motherhood over career progression because she 100% wanted to focus on raising her daughters.

This ambition stemmed from her own feelings of neglect that she experienced whilst growing up. Her parents are actor Keith Allen and film producer Alison Owen, whose careers clearly overshadowed Lily Allen’s adolescence. She shared that she felt her Mother and Father were “quite absent,” as she grew up. She continued to extend on this feeling of isolation and why it led to her to make a career sacrifice because it was her parental prerogative. Her neglect “left some nasty scars that I’m not willing to repeat on mine.”

Allen of course has no regrets in this decision. She took a break from the world of music in 2014 after she released her album ‘Sheezus.’ Followed by her final farewell album which marked her exiting from the music world to pursue her ambition of dedicated motherhood, was released in 2018 and is entitled ‘No Shame.’

However, Lily Allen’s career in the limelight is by no means over yet! Since her marriage to ‘Stranger Things’ actor David Harbour on September 7th, 2020 in Las Vegas, she has entered the world of acting. A force to be reckoned with and a golden talent as she received an Olivier Award nomination in 2022 for her performance in the play ‘2:22 A Ghost Story,’ which broadcasted in the West End of London.

Kneecap posted on their Instagram that their cancellation is in direct correlation to the Israel-Gaza conflict, as they are “in solidarity with the people of Palestine.” For this reason, according to BBC,  they cannot perform “in good conscience”. Despite the financial sacrifice it is incomparable to the “unimaginable suffering” occurring in Gaza.

The Northern Ireland trio answer to their stage names: Mo Chara, Móglaí Bap and DJ Próvaí. They are a fresh and politically aware band who use their platform to voice their support for republicanism through their lyrics, in which they sing in both English and Irish. They first released their unique sound in 2017, with a song titled ‘C.E.A.R.T.A,” which translates to “Rights” in Irish. This first song was inspired by the time when Móglaí Bap was spray-painting and wrote “Cearta” on a bustop the day before the Irish Language Act march in Belfast. He managed to escape an arrest, whilst the friend he was spray painting with was caught, and refused to speak English in his cell without a translator. This story inspired their first song, which snowballed into further ambitions to continue developing their sound after their popularity spiked. They clearly had a strong intent to rally for human rights by making it the title of their first song, and it is also clear through another single titled “Get Your Brits Out.” Their first song was banned from Irish radio ‘RTÉ Raidió na Gaeltachta’ (RnaG) for drug references and swearing. Their fans were inspired by their bold defiance and petitioned 700 signatures to get the song back on the radio. Kneecap defended themselves also, and said it’s “a satirical take on life for young people, particularly in west Belfast”, according to the Belfast Telegraph. 

The group are not alone in their protest, as other artists involved in the festival’s line-up have pulled out. These acts include Brighton’s ‘Lambrini Girls,’ who announced to BBC on Saturday March 9th, that their boycott is a way to keep their “moral integrity intact.“ Similarly, other acts silently protesting include Sprints, Scowl, Gel, and Squirrel Flower. ‘Okay Shalom’ shared on Instagram that this sacrifice “cost a dream,” but regardless, refuses to go along with something that is “fundamentally wrong.” All of the acts pulling out of the event have one thing in common, and that is that their moral stances overrule anything else, and this decision to pull out required no hesitation.

He recently announced on Saturday, March 9th, 2024, that he “doesn’t want to go on tour anymore. I want to stay home now.” The desire to stay at home is not the predicted burnout and subsequent retirement from the craziness that the music industry brings, but rather it is because all of his attention is now focused on his new rescue dog called Buttons. He adopted Buttons from a sanctuary in Thailand. The story began when he contracted the sanctuary called ‘Happy Doggo’, after hearing the puppy had been abandoned by its owners in a jungle. Buttons was only 5 months old, and was apparently left to fend for himself for “not being cute enough,” according to NME. 

When going through the adopting application process in regards to selecting Button’s next owner, the dog rescuer Niall Harbison shared his utter disbelief upon coming across the legends name. According to Sky News, he was unable to fathom or believe it was a legitimate application. He shared with Sky News that “The name on the form was Liam Gallagher, but I thought that’s obviously not him.” Obviously, all disbelief was suspended after the video call, which was the second step in the adoption process after he cleared checks on the google form. 

The final step saw Buttons embarking on a 6,000 mile journey to meet her new adorning owner in Gallagher’s UK home, and the rest is history. A full link to a video story posted by Niall Harbison on ‘X’ can be found here.

In other news, the new ‘Definitely Oasis’ 2024/2025 UK tour is set to commence on April the 5th, and the first show will taking place in their hometown in Manchester. A link to the ticket homepage can be found here. Overall, it is highly unlikely that Liam Gallagher will disappoint his loyal fans by cancelling, but maybe he may compromise and bring Buttons with him!

A rippling wave has been triggered as more and more female musicians have spoken up in solidarity. Chloe Little, the other half of the duo ‘Wings of Desire’, shares some unsettling stories that all have a common theme of gaslighting. At age 19, she sent a notable producer her music. After he expressed his enthusiasm, he invited her to work with him. The producer, a man double her age, invited her not to a professional location, but to his hotel room in Mayfair to collect the music. The fear of confronting him at her young age played a big role, along with the manipulation that she would have to “prove” she was good enough and to do so, this was the “normal” protocol.

The British singer and songwriter Katie Waissel, who rose to fame on season seven of The X Factor, spoke up on the 30th of January, 2024. The 38 year old interviewed with Sky News, and stated that her time within the industry was a “frightening place to be.” Like Chloe, as young as sixteen, most of the time Waissel was “unsure of what (was) actually happening.” She reported to The Sun that X Factor “ruined her life,” and in early 2023, she was planning a legal battle against one of the companies that run X Factor: Simon Cowell’s Syco Entertainment. 

Despite great changes that have occurred, it hasn’t changed the toxicity behind closed doors. Men in powerful positions often use the vocabulary related to female mental health to mask misogyny. A stomach-churning method that has worked because the public have sympathised with this vocabulary, which has driven “change”.

The root of Katie’s reluctance to speak out was the fear of losing her job because of the “zero-transparency” non–disclosure agreements (NDAs) which were left unsigned. These contracts were shown to her without receiving any guidance. She described that every speck of the music industry was led by powerful male figures who operated within the same circle. Interviewee of Sky News describes it as a “boys club.” All of which,  “swim in the same pond.” The music industry is “A very small pond – with fish that believe they are large.” (Waissel) This hierarchy of figureheads, whether these are leaders of PR / marketing firms, or record labels, possess a style of behaviour that resembles a cardboard cut-out of one another. She describes this replication of behaviour as a “trickle-down effect”. The bosses behaviour sets a precedent which is subsequently seen as socially acceptable.

This is a tremendously important conversation because, as Waissel states, she has “finally found the confidence” to contribute to the conversation, and she expresses her disbelief that this “hysteric behaviour has been going on for so many years…” She was motivated to speak up after the Women and Equalities Committee spoke out in early January, 2024. MPs have outwardly stated that misogyny and discrimination is endemic in the industry. The Committee has gathered that women are holistically underrepresented in key roles of the industry. 

It appears men have copied one another’s behaviour because of the underrepresentation of women within the industry which has created a toxic power imbalance. As a response, and new mother of one, Katie has pursued a career into protecting artists within the creative sector. She is now the founder of the OWHL Foundation which offers support to female artists – a service she wished she had access to during her time within the “pond” that is the music industry. She is “turning poison to medicine,” states Waissel. She is contributing to an important time in music history, something that has potential to reach the successful heights gained by the “MeToo” movement in 2017. More and more artists are speaking up about the darkness behind the previously pristine and glamorous face of the UK Music Industry.

According to the BBC, musicians of all varieties were lining up to audition two days ago (4/3/2024). London’s rich tapestry of cultural diversity is certainly being reflected in the 280 people that auditioned this week in the Busking competition. This reported audition on the 4th March took place at Southwark station and was judged by three expert music industry judges. The other judges (unofficial of course) include the passing public who are intrigued and pulled to the vibrating musical tunes that echo through the underground. Auditioners are judged on their technique, overall performance and unique style. According to the TfL, the ‘shortlisted musicians will perform to a panel of musical experts and TfL operational staff in a busy station environment and judged on technical ability and audience response.’

The busking auditions have been a 20 year tradition and it is particularly exciting this year because it is happening for the first time since 2018, due to the Covid19 pandemic. To name a few auditioners, there is 19 year old Macy O from Shropshire, and Andrew Bruell the garage / R&B saxophone player, and Fabio, also known as the “Pianist Without Borders”. According to the BBC, Fabio is one of the 200 buskers registered for the Busking Scheme. He’s been busking for 20 years and wants to continue to do so forever. He busks 7 days a week and compares playing the piano in the underground to “meditation for 5 hours a day”. His love for busking began through a story that can only be defined as divine intervention. He took the bus in the wrong direction at 1am in Leicester Square, and his attention was gravitated towards buskers playing the drums and he instantly fell in love with it. He has been living like this for 20 years believing that “the more you give, the more you receive.” He compares the competition to “X-factor,” as they play for 4-5 judges, then they send an email saying if they will take you and give provide you with a license. There is a community underground. Fabio mentioned a lady who gives him an “amazing sandwich” daily, and has done so for years. Despite this community, each contestant wants the same thing – the prize. The BBC reports that you “can smell the competition in the air.” The prize is not a record deal, or cash, but it is a license to busk on the London Underground. The successful singers will join 200 buskers on the Tube, London Overground and Elizabeth Line. 

What we can compare to Britain’s Got Talent, is ‘TfL’s Got Talent.’ TfL stands for Transport for London, and they are working with ‘Found in Music’. The auditions are coordinated by ‘Found in Music’, a program supported by the Mayor of London (Sadiq Khan) and they run the Busk in London. According to the Music Programme Director Kate Jones: “Found in Music is delighted to be working with TfL on the audition process for the iconic London Underground Busking Scheme.”

Overall, it is clear that “London’s Calling” (The Clash) from the Underground, where there is over 100,000 hours of music on an annual basis. It is an exciting and unique time in London’s Underground. Emma Strain, the TfL’s Customer Director, said: “As we enter our busking programme’s twentieth year, I can’t wait to hear the songs of a whole new generation of buskers. It is a vibrant part of London culture and we’re proud to celebrate 20 years since we introduced the busking scheme on our network by opening auditions again…”

The ultimate goal is to secure a Number 1 Single spot. Olly hopes to continue the tradition of successfully making the Official Singles Chart where other UK entries have been listed in previous years. Such as Sam Ryder, who reportedly just missed out when he was just beaten by Harry Styles’ ‘As It Was’ in 2022. According to Will Wilkin, who is the BBC’s Music Commissioning Executive, this is clearly the one and only goal:

“Our ambition is to win and for the single to go to Number 1, and for it to be another watershed moment for Eurovision for the UK.”

When interviewed on The Euro Trip podcast back in January, Wilkin said that they must prepare for the worst case scenario, however “we are going there to win it with a single that is an incredibly commercially successful single.”

Although, this does not seem to be the philosophy adopted by Olly, as when interviewed with Graham Norton, the U.K’s Eurovision commentator on March 1st, 2024, he shared that his love for Eurovision trumps the concept of whether he ‘wins’ or ‘looses’. He communicated his sincere excitement and pure admiration for the contest by stating that “even if you come last, it’s iconic.”

Upon hearing that his song got confirmed he immediately called his mom, his boyfriend, and talked to his cats about the good news! “I’ve always loved Eurovision. There’s just nothing else like Eurovision…  a chaotic mix of fun and all these different musical styles, all these amazing performances.” Graham asked Olly’s favourite Eurovision performances in the past, and they have been Loreen’s “Euphoria,” Chanel’s “SloMo,’ and his top favourite is Pastora Soler with “Quédate conmigo.” 

What was Olly’s path that led him to the prestigious Eurovision event? Olly achieved 10 UK Top 40 singles and as a member of Years & Years (a British pop band that formed in 2010) he earnt three Top 10 albums. So, it can be gathered that to have the opportunity to represent his country is more than a dream come true. 

According to Official Charts, his passion is unparalleled, as during his interview on the BRIT’s red carpet on March 2nd, he couldn’t contain his excitement: “I’m really happy it’s out, I’m excited to perform the song!” For the show he has something ‘unexpected, memorable, and enchanting’ planned. He wants his performance to leave a remarkable impression and to leave people surprised. The ingredients he believes will drive this effect are drama and emotion, which aided Olly to title the song as it is.

Eurovision is the competition known world over for bringing the harmonies, melodies, and symphonies of Europe together in one place. An opportunity to gravitate people together through the oasis of song, and one of these songs will be ‘Dizzy’ by Olly Alexander.

The event was formerly recognised as the MTV European Music Awards when it was first held on November 24th, 1994 to honour European artists who have made their mark on the pop culture scene. It first came to fruition as an alternative event to the United State’s MTV Video Music Awards (VMAs), which stretches beyond Europe’s borders.  

It is the first time this prestigious and globally renowned ceremony is taking place in Manchester and will be presented by Paramount International Networks. According to The Guardian, the leader of the Manchester city council, Bev Craig, has expressed his excitement: “With the expertise, experience and reputation we also have for delivering successful, world-class events, we’re confident Manchester will provide a superb platform for the best MTV EMAs yet.”

Manchester is not the only British venue to host the event. The locations in the UK that have been home to the ceremony in the past include: London, Liverpool, Belfast, Edinburgh and Glasgow. Thus, this year is an exciting event for two reasons: Firstly, it has not been hosted in the UK for a total of seven years. Secondly, anticipation has been building since the ceremony was cancelled in 2023. It was set to be held in Paris but the show did not go on due to the Israel-Hamas conflict which continues to send ripples of devastation on an international scale. In the year prior (2022) it was hosted in Düsseldorf, Germany.

However, there has been controversy rising in regards to the details of the event as the clock ticks and the calendar counts down. ASM Global, the operator of AO Arena in Manchester; also referred to as the “enemy” of the soon to be functional Co-op Live Arena, is not being shy in sharing their (not so subtle) concerns about the arena’s operating licence. According to The Guardian, ASM are arguing in order to “safeguard public safety…”  and to ensure “the prevention of public nuisance”.  The chief operating officer of Oak View Group and owner of Co-op Live, Mark Donnelly, is reportedly “quite disappointed to see [ASM] are trying to put conditions on us when they operate with an unrestricted licence. We feel these are competition-based.”

On a lighter note, Manchester seems to be the perfect location, as music is in its DNA and is at the heart of its creative and vibrant city centre. It is the historical home of musical legends, such as New Order, The Stone Roses and Oasis. It is a prosperous and booming city, and will be even more so with the multi-million pound boost that this event is predicted to provide for it. It’s an exciting future ahead, especially on November 10th!

It is the UK’s largest festival that celebrates African and Caribbean music and culture. In the spirit of celebrating Oye’s philosophy, which is considered to be: ‘free and open to all’, the event will be free of charge. Their funding partners are officially listed and they include the Arts Council England and Liverpool City Council.

The festival originally began in 1992 in the form of small performances in the heart of Liverpool’s city centre, and over the decades it has risen in popularity. To account for the growing audience, the festival moved to Sefton Park in 2002.

Headlining Acts

It was announced 3 days ago (27th February) that the two headlining acts will be Les Amazones d’Afrique and Julian Marley. Les Amazones d’Afrique are an all female, contemporary world-music group who embrace international voices to blur cultural boundaries, and will close the show on the 22nd. Julian Marley, the ninth son of the beloved and late Bob Marley (1945-1981) who helped introduce Reggae music to the world, will perform the following day. He will be glistening in his post-Grammy glow for Best Reggae Album which was awarded to him on February 5th, 2024. More of the main stage artists are yet to revealed, but will be very soon. 

According to BBC, the art director of the festival, Paul Duhaney, said: 

“Les Amazones d’Afrique are the definition of a supergroup – so much talent coming together to create something really special … And with Julian Marley you’ve got a reggae superstar who has truly emerged from his father’s shadow … You don’t win Grammys without being an incredible talent in your own right and it’ll be a Sunday night for the history books when he closes the festival this year”.

Transcending Cultural Boundaries

This festival is more than a tribute to African culture. It will challenge misrepresentations of African culture, which in the narrow Eurocentric view is attached to images of war, poverty, famine and diseases. (It can also be understood as a way to challenge Bob Geldof’s representation of famine in Band Aid’s 1984 Christmas classic ‘Do They Know It’s Christmas?’) Therefore, the festival aims to challenge these images and assumptions of reality through their beautiful and eclectic abundance of foods, intricate cultures, artists and music. There will be a total of 90 stalls which will sell the most popular African food and drinks, as well as fashion and arts and crafts.

According to The Sunday Times: “This isn’t just the largest festival of African and Caribbean music in Britain, it’s the best.” 

Overall, Liverpool is the place to be this summer season. This festival is more than a performance of international voices, but sets an intention to transcend assumptions and celebrate multi-culturalism without geographical boundaries.

When these four names stand alone they are indistinguishable from any other. But, put these four names together, side by side, and they are a historical artefact that transformed the world of music history. The four Liverpudlian lads transformed music forever on the fateful day when 15 year old Paul McCartney met 16 year old John Lennon at St. Peter’s, Woolton’s Parish Church. A new generation searching for a breath of fresh air with the decline of conservatism, found it in the revolution of ‘BeatleMania’. The life-changing melodies sent vibrations of the feeling of togetherness and love for all throughout the heart of Liverpool. The pride in being a working class man triggered the blur of class prejudice and was sent into teenagers dancing shoes and twisting hips. A cultural revival was born and it all began with their first performance in the Cavern Club – the soul of Mathew Street, on the 9th of February, 1961. 

No wonder the fans of today are in uproar over the recent announcement that the beloved annual Mathew Street Festival, which honours these unforgettable names, is not taking place in Mathew Street. 

The Liverpool Street Festival has finally been revived after ten years. It will take place across the August Bank Holiday weekend from Friday 23rd – Monday 26th August, 2024. Each day will host a different genre of music. Day one (Friday 23rd) has been deemed the “Liverpool Legends” day. The following day (Saturday 24th) will see big international acts grace the stage and they will be announced next week. Day three (Sunday 25th) is a tribute to honour the festival’s cultural heritage, and finally, the final day (Monday 26th) will be taken over by the Cavern Club to honour the four men who made history.

However, controversy over various social media platforms spiked over the announcement that it will take place on the Waterfront Pier of Liverpool, beneath the Liver building, following the success of 2023 Eurovision, rather than Mathew Street. More controversy is building over the fact that the ticket is not open to all, as people under the age of 18 are prohibited, and it is ticketed at £25 from March 1st. As a result, numerous venues dotted along Mathew Street are hosting tribute acts as a solution to memorialise the sanctity of the old festival and to pay tribute to the four gentlemen who changed music history, and whose statues line the cobbled street. For more information about the line-up for the International Beatles Week, a link can be found here. The venues in the Cavern Quarter participating include: Sgt Peppers, Reminisce, Revolver, McCooleys, Scruffy Murphy, The Grapes, Hardy’s, White Star, O’Briens, Rubber Soul, Eric’s, King John, Kaiserkeller, Heaven, The White Star, Flanagan’s Apple, Kabannas, Legends and Wall of Fame.

According to BBC News, organiser Liam Spence says that: “Having a safe and secure environment down on the Pier Head is definitely the way forward,” because sadly the days of bands on the streets are a distant memory of the past.

The festival was originally created in 1993 to celebrate Merseybeat and the Beatles. However, it was cancelled in 2013 due to expenses, criticism for causing unwanted chaos and the changing landscape which made it difficult to set up stages in the city’s centre. Therefore, the event was replaced with the Liverpool International Music Festival in Sefton Park. This event will take place from August 15- August 31, 2024. It will see over 200 acts representing 20 countries, with over 150 hours of live music.

The event will celebrate the timeline of music, from Liverpudlian Legends, upcoming local talent, renowned international superstars and tribute acts. The event will see people “Come Together” (no pun intended) and the struggles of “Yesterday” will suddenly dissipate when fans are joined in the oasis of music. A protective bubble will wrap itself around viewers who will be joined in the melodies of the past and the present.