Radiohead were formed by five school-friends in 1985, consisting of frontman Thom Yorke, guitarist Ed O’Brien, drummer Philip Selway, guitarist Johnny Greenwood, and his brother bassist Colin Greenwood. The music they make is incredibly hard to label, a fluid brand of alternative rock spliced with limitless other genres and influences. Their career has seen them release nine studio albums, (scoring Official UK Number One Album with six of them,) headline Glastonbury Festival three times, and make their induction to the Rock and Roll Hall of Fame in 2019. The Oxfordshire quintet have won six Grammys and four Ivor Novello awards, while all five members have also enjoyed successful careers away from the band.

Following a seven year break from live shows, Radiohead went back on the road in 2025, with a novel approach to touring. Instead of hitting 20 cities, they played five 4-night mini-residencies in Madrid, Bologna, London, Copenhagen and Berlin. Their four sold-out shows at London’s O2 arena broke the 20,000 capacity venue’s attendance record with a new maximum of 22,355 crowd members. They also chose to keep a flexible setlist for each night to keep both the band and fans interested, which Colin Greenwood described as a “busking attitude” – their entire catalogue was whittled down to 70 songs from which they would select a list of in any order.

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According to Ed O’Brien, this may shape the way they consider their tours in the future. Speaking to Rolling Stone, he confirmed that the band intends to tour again, albeit not in 2026, saying “We won’t do anything this year, but we’ll do something next year.” He also clarified that they will keep the same tour structure as last year, but on a global scale, saying “What we’re going to do is, every year we’re going to do a different continent, and we’re going to do 20 shows each year. No more, no less.”

While limiting your entire tour schedule for a year to 20 shows in a single part of the world sounds quite restrictive, O’Brien gives an insight into the thinking behind it. “We want to give absolutely everything each night. We do not ever want it to be like we’re going through the motions or we’re having to run on empty. We’ve got to be able to do it. And you know what? We’re not spring chickens any more.”

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With a year off before their prospective live shows, the members are finding success in their solo ventures. Johnny Greenwood’s turn in writing Hollywood movie scores including ‘There Will Be Blood’ and ‘Phantom Thread’ have seen him win his own Ivor Novello Awards, with his ‘One Battle After Another’ soundtrack losing out to Ludwig Göransson’s work on ‘Sinners’ in this weekend’s Academy Awards’ Best Music category. Today, Ed O’Brien announced his second solo album and follow-up to 2020’s ‘Earth’, ‘Blue Morpho’, alongside the release of its title track.

The hypnotic single ‘Blue Morpho’ and its music video can be found here, with O’Brien announcing a companion film and tour dates releasing later in the year. The album will release on the 22nd of May, with the film dropping earlier in March, showing in London on the 24th, Paris on the 25th and Oxford on the 26th. Follow this link for pre-order and pre-save options, as well as updates on Radiohead news for 2026 and beyond.

Marty Healy simply soundtracked the lives of countless teen Tumblr users back in 2016. His voice echoing through wired headphones comforted thousands of individuals throughout they day-today routine, and countless fans look back at this iconic era with a heart full of love.

Over the span of the records 17 exemplary tracks, the Manchester born and raised band claimed to have drawn inspiration from My Bloody Valentine, D’Angelo, Christina Aguilara, and Terry Lewis. A genre fusion madness, the albums sound avoids slotting into one box however it maintains elements of pop, new wave, indie rock, synth-pop and soul throughout its lifespan. A real mix, but a perfect introductory piece for anyone looking to get into The 1975.

This album along with the bands debut self-titled record, truly solidified their spot in the indie music scene as legitimate musicians who were here to stay. By the time that the bands second album made an appearance, The 1975 had accumulated a dedicated, ever-growing fanbase. Pre-release, each band member, Healy, George Daniel, Ross MacDonald, and Adam Hann deleted their social media users. Fans scrambled and were sent into frenzy believing their favourite band had split, but the best was simply yet come in the form of rectangles, Dr Martens and pink neon lights.

The band worked closely with English art-director, Samuel Burgess-Johnson to create the iconic album artwork. A glowing pink rectangle, a sister print of their self titled cover, a glowing white rectangle over a black background. The band would go on to create individual pink neon signs photographed in a variety of locations as a promotion tactic for each song. Undoubtedly countless fans now think of heart-tugging lyrics when they see the colour pink out and about.

7 singles were released prior to the album in order to build momentum, the first of these being the iconic, ‘Love Me.’ A critique of fame itself littered with egotistical lyrics, this record is Healy fleshing out his pretentious mastermind that countless individuals grew to love.

Upon its release the album was beloved by critics and fans alike, even urging more people to give The 1975 a try. Rolling Stone, Pitchfork and The Guardian, all deemed ‘I Like it When You Sleep For You Are So Beautiful Yet So Unaware Of It’, one of the greatest albums of 2016. Not only was it highly praised by reviews, but the record topped both the UK and the United States charts.

The albums aesthetic drew light onto the initial desaturated, dark birth of The 1975. ‘I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It,’ displays The 1975 embracing their boyband tendencies with a wide grin on their faces. A bubblegum pink lens thrown over everyone’s favourite edgy, poster boys. The 1975’s legendary second studio album is an absolute necessity for any music fan.

Upon the albums original 2008 release, fans and critics alike were not entirely fond of the band’s stylistic departure from their pop-punk roots. The album was viewed as a sort of taboo among fans and was the last project before the band took a hiatus shortly after.

Fans were desperate to cake their eyes in eyeliner, lace up their converse and scream along to Pete Wentz shouting slam poetry at the end of new songs, safe to say that is far from what they received.

‘Folie à Deux’ adapted a much more experimental and operatic sound in comparison to the rustic riffs featured on ‘From Under The Cork Tree’ and ‘Infinity On High’. Fans were extremely open about their distaste toward the record, booing during shows, demands to play earlier songs, arguments online and all in all creating an overly hostile environment for the band, it’s no mystery as to why the band decided to depart from the limelight shortly after such a negative outpouring.

Looking through a lens of older age and growth, fans have now reclaimed the album and many dub it their favourite release, shamefully it took far too long for Folie á Deux to receive the kudos it deserved however at least it is now finally appreciated.

If anything, the experimentation aspects, and advanced sound that occurred during the production of the album brought the band to where they are today and boosted their longevity. Fall Out Boy continue to have no trouble selling out arena tours and amounting close to 30 million listeners on Spotify each month. Something that in the dark 2008 days they could have never dreamt of.

For artists to grow, it is crucial they embark on a range of stylistic ventures, however scene and emo kids would not dare to part from the marriage between Fall Out Boy and their edgier beginning.

A notorious track from the album, ‘What a Catch, Donnie’ was viewed as the bands potential swan song. There were rumours bustling around that this would be their last music video, with such melancholy lyrics guaranteed to pull on heartstrings, maybe fans were starting to feel remorse for their critical treatment towards the guys.

‘I don’t care’, is also an instant classic, a tongue in cheek confident ballad potentially mocking famous people surrounding the band at the time, attempting to piggyback off their success.

The band shared a celebratory instagram post captioned, ‘17 years with Folie à Deux’. Followers rapidly flooding the comments with their praise and appreciation of the record 17 years on.

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In the year 2025, ‘Folie à Deux’ is rightfully treasured and now is looked upon with a warming nostalgia and welcomed with open arms. There is no need to compare the album to what came before or after, it reigns high among the hearts of many. Fall Out Boy continues to expand their sound, leaning into a more pop-fueled musical journey.

The album was written and recorded in a tight ten-day sprint in Los Angeles last December, with finishing touches added in London and New York earlier this year. Helping bring it to life were Blue May (longtime collaborator and musical director), along with executive producers Seb Chew and Kito. A small, tight unit, which probably helped keep things honest.

Allen hasn’t given much away in terms of sound or singles just yet, but she’s made one thing clear: this isn’t a polished pop comeback. “I’m nervous,” she said, “The record is vulnerable in a way that my music perhaps hasn’t been before, certainly not over the course of a whole album.” That’s a strong statement from someone who’s never exactly been guarded on record.

She goes on to say the album reflects her time in a new city, and the personal mess that got her there:

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“Why we humans behave as we do.” It’s described as a mix of fact and fiction, which suggests she’s not playing this one straight down the middle. Instead, expect blurred lines, character sketches, maybe even some emotional misdirection.

“At the same time, I’ve used shared experiences as the basis for songs which try to delve into why we humans behave as we do, so the record is a mixture of fact and fiction which I hope serves as a reminder of how stoic yet also how frail we humans can be. In that respect I think it’s very much an album about the complexities of relationships and how we all navigate them. It’s a story.”

In many ways, this feels like a natural extension of ‘No Shame’. That record ditched the big hooks and leaned into something more intimate… divorce, addiction, parenthood. All handled with a kind of resigned honesty. But even then, Allen never fully dropped the armour. This time, it sounds like she might be leaving it at the door.

It’s also worth pointing out the speed at which West End Girl came together. Ten days to write and record a full album is intense, even for someone as sharp as Allen. That time pressure could mean a looser, more instinctive sound.

We could see this record with less focus on the radio edit, more about capturing a mood.

There’s no official tracklist yet, and no promo single in sight, which makes the whole thing feel pleasingly uncalculated, and very characteristic of Lily Allen.

No campaign, no rollout, just the music. 

West End Girl’ is out October 24. You can pre-order it here

The track list for the album will look like this.

01 The Mountain [ft. Dennis Hopper, Ajay Prasanna, Anoushka Shankar, Amaan Ali
Bangash and Ayaan Ali Bangash]
02 The Moon Cave [ft. Asha Puthli, Bobby Womack, Dave Jolicoeur, Jalen Ngonda
and Black Thought]
03 The Happy Dictator [ft. Sparks]
04 The Hardest Thing [ft. Tony Allen]
05 Orange County [ft. Bizarrap, Kara Jackson and Anoushka Shankar]
06 The God of Lying [ft. Idles]
07 The Empty Dream Machine [ft. Black Thought, Johnny Marr and Anoushka
Shankar]
08 The Manifesto [ft. Trueno and Proof]
09 The Plastic Guru [ft. Johnny Marr and Anoushka Shankar]
10 Delirium [ft. Mark E. Smith]
11 Damascus [ft. Omar Souleyman and Yasiin Bey]
12 The Shadowy Light [ft. Asha Bhosle, Gruff Rhys, Ajay Prasanna, Amaan Ali
Bangash and Ayaan Ali Bangash]
13 Casablanca [ft. Paul Simonon and Johny Marr]
14 The Sweet Prince [ft. Ajay Prasanna, Johnny Marr and Anoushka Shankar]
15 The Sad God [ft. Black Thought, Ajay Prasanna and Anoushka Shankar]

Damon Albarn created Gorillaz in 1998 as a project with artist Jamie Hewlett. The band is said to be sprung out of the duo’s disdain for the popular music at the time and its fictitious portrayal of life amongst celebrities.

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The group also allowed the Blur frontman to experiment away from the britpop blanket he got comfortable underneath in the 90s and you can really see how diverse his approach to music can be, throughout their discography.

Out of hatred for superficiality, Gorillaz was born. A fictitious band (besides Albarn himself) featuring 4 animated members: 2-D, vocalist and keyboardist; Murdoc Niccals, Bassist; Noodle – guitar, keyboard and vocals; and Russel Hobbs, the drummer. 

It must be said that this isn’t just any silly side project. The band has sold millions of albums worldwide, won a Grammy, multiple Brit Awards and received a Mercury prize nomination. This may be a spawn of curiosity, but it’s captured the hearts of many, and deserves the attention it commands.

The fabricated sensation returned to the stage earlier this month, for a show where phones were banned, and their new music was on display for fans at the London Copper Box Arena. The ‘mystery gig’ turned out to be their new album back to front which featured some familiar faces. 

Special guests Johnny Marr, Joe Talbot and Sparks joined the band on stage, in a spectacle of secrecy and brilliance.

Gorillaz have since treated us to a taste of their new album by releasing ‘The Happy Dictator’ featuring Sparks. It’s a beautifully nostalgic critique of the hypocrisy of modern day society and likely the higher powers within.

The oxymoronic title is echoed in the lyricism of the song. “Everything is slowing down yet everything is faster… oh what a happy land we live in’ is a standout statement. It displays a clear confusion with modern life, and ironically proclaims it’s a happy land, when evidently it seems Albarn thinks otherwise.

According to NME: ‘The Mountain’ “includes collaborations with Black Thought, Omar Souleyman, Asha Puthli, Asha Bhosle, Sparks, Gruff Rhys, Kara Jackson, Yasiin Bey, Paul Simonon, IDLES‘ Joe Talbot, Johnny Marr, Ajay Prasanna, Trueno and Anoushka Shankar.

The London Arab Orchestra, Demon Strings, Chris Storr, James Copus and Matthew Gunner also served as featured musicians, while deceased acts like Dennis Hopper, Bobby Womack, De La Soul‘s Dave Jolicoeur, Tony Allen, Proof and the late Mark E Smith of The Fall are billed as Voices from Elsewhere.’

The Album is set for release on March 20 2026. The dates and locations for ‘The Mountain Tour’ are as follows: 

March:

21 – Co-op Live, Manchester
22 – BP Pulse Live, Birmingham
24 – OVO Hydro, Glasgow (support from Trueno)
25 – First Direct Arena, Leeds
27 – Utilitia Arena, Cardiff (support from Trueno)
28 – Motorpoint Arena, Nottingham (support from Trueno)
29 – M&S Bank Arena, Liverpool (support from Trueno)
31 – SSE Arena, Belfast

April 1

3Arena, Dublin (support from Trueno)

June 20

Tottenham Hotspur Stadium, London (support from Sparks and Trueno)

Ticket information can be accessed here.

The album was recorded in one day in that year, and released a week later. It was a rapid response co-ordinated by charity War Child UK, which you can now get your hands on 30 years down the line. 

In a statement on their website, the charity said:

“To mark the 30th anniversary of the iconic ‘HELP’ album, War Child Records are releasing a limited edition 7” box set of the original release. Limited to 1000 units, each hand numbered and including unseen images, this is the ultimate collectors edition.”

“The HELP album was the music industry’s response to the Yugoslavian civil war, inspired by John Lennon’s approach to recording ‘Instant Karma’, the ‘HELP’ album was recorded in a single day, mixed and mastered by Brian Eno and released five days later.”

“The album raised over £1.25million and is still widely regarded as the greatest charity album of all time.”

The album was an instantaneous display of how music and its artists can come together at the drop of a hat and rally to help those in need. It displayed the compassionate and delicate tendencies of the industry’s phenoms in the 1990s and set a precedent for future fundraising. 

Most importantly, alongside the money raised for the cause, It increased the awareness of the Yugoslav war at a time of political tension, when social media didn’t brandish the news of the world in front of our helpless eyes. The high profile names and the quality and class of the record made it a global success, drawing eyes to Yugoslavia, which would’ve otherwise turned unknowingly blind. 

The tracklist for the album:

Disc 1
A1. Oasis – Fade Away
B1. The Boo Radleys – Oh Brother

DISC 2
A1. The Stone Roses – Love Spreads
B1. Radiohead – Lucky

DISC 3
A1. Orbital – Adnan
B1. Portishead – Mourning Air 

DISC 4
A1. Massive Attack – Fake the Aroma
B1. Suede – Shipbuilding

DISC 5
A1. The Charlatans & The Chemical Brothers – Time For Livin’
B1. Stereo MC’s – Sweetest Truth (Show No Fear) 

DISC 6
A1. Sinéad O’Connor – Ode to Billy Joe
B1. The Levellers – Searchlights 

DISC 7
A1. Manic Street Preachers – Raindrops Keep Fallin’ on My Head
B1. Terrorvision – Tom Petty Loves Veruca Salt 

DISC 8
A1. The Massed Pipes And Drums Of The Children’s Free Revolutionary Volunteer Guard & The One World Orchestra – The Magnificent
B1. Planet 4 Folk Quartet – Message To Crommie 

DISC 9
A1. Terry Hall & Salad – Dream A Little Dream
B1. Neneh Cherry & Trout – 1, 2, 3, 4, 5 

DISC 10
A1. Blur – Eine Kleine Lift Musik
B1. The Smokin’ Mojo Filters – Come Together

“Help- 30th Anniversary Box-Set” is set for release on October 17

“All proceeds will support War Child’s work protecting, educating and standing up for children living through conflict today.”

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You can pre-order the album now by clicking here.

Speaking to NME, frontman Charlie Steen implied modern Britain’s need for positivity and defiance. “Cutthroat is a joyride”, said the vocalist, “It’s for the inexperienced driver. The one who wants to go fast for no reason other than it’s fun,” he added. “It’s driven by hunger. Hunger for something better. For something you’ve been told you don’t deserve.”

The album definitely represents a new path for the band, whether they stay on it is another thing, but it’s stylistically and lyrically very different from their earlier work. Namely ‘Songs of Praise’ (2018) and ‘Drunk Tank Pink’ (2021) were more pensive and introspective displays of their obvious talent. The records explore themes of sorrow and discontent, and are majorly guitar led, fitting somewhere in the borders of post-punk and rock.

This album maintains that same raw feel that the group are so iconic for, but it is reborn with an increased precision. This is especially impressive considering the bravery in the approach. The album distances Shame from continuity and pushes the boat on the genre and sound connotations fans have come to expect.

Exploring electronic sound and synthetic textures, the new approach separates their live performances from their studio sound far more than their previous work. The lyrics take a tone of defiance, which Steen describes as being “not poor me, but about f*ck you”. Both compliment each other fantastically to create a concoction of excellence.

Shame, despite their brilliance and mass following, have never been able to break into the mainstream. Extraordinarily and fairly uniquely, Shame boast one of the most impressive lists of acts who have supported them, and gone on to huge success: Fontaines DC, Wet Leg, English Teacher and The Murder Capital to name just a few. Their influence on this era of guitar music is as mammoth as it is under-appreciated.

Despite this, In an emotional Instagram post caption, the band explained why they are still going after years in the game: “We did it because it’s what we love. Even after all these years knowing each other it’s still the only thing that makes sense.”

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But maybe this will be the one, Shame have been making very good music for a very long time, perhaps all it needed was a shine of polish and a hint of optimism.

Shame will take the album on tour around the UK and Europe later this month, starting in Paris and ending with a curtain call in London at the end of November.

Tickets can be found here.

The release is set to include newly mixed live tracks from the 1979 tour, never before heard live versions of sensational eponymous track ‘WhoAre You’ and candid recordings of the band rehearsing in the 70s.

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Released in 1978, ‘WHO ARE YOU’ is the final album from the band that features legendary drummer Keith Moon, who passed away in the weeks following the album’s release in August of that year. This led to the album tour being postponed to the following year.  

It is a significant album for The Who. In the changing era of the 70s, it was important to change if relevancy was your goal. Punk was on the rise in the late 70s and early 80s and this record at least somewhat gave a nod to the changing face of music and specifically the punk genre.

Bands like The Sex Pistols, The Clash and The Buzzcocks were all at the peak of their powers during this era, all revelling in an anti establishment mentality which the people really correlated with.

Tracks like ‘Music Must Change’ and ‘New Song’, explore the influence of punk and are heavily critical of the banality of music at the time due to the older bands not making way for the younger. This was despite them being aging rockstars in a changing world.

‘WHO ARE YOU’ peaked at #2 on the US Billboard and achieved double platinum status. It’s often praised for its ambition, and demonstration of songwriter Pete Townshend’s open-mindedness, but also is widely seen as lacking the power and gusto of their earlier albums.  

The band are currently touring North America on what has been touted as their last. Vocalist Roger Daltrey has confirmed this, although hasn’t ruled out the band performing again on select occasions in an interview with ‘American Songwriter.‘ The man is 81 years old after all… they can’t go on forever !

The album will also be released as a deluxe 4-LP box set, a 2-CD deluxe edition, and limited-edition coloured and half-speed master vinyl editions.

It will be available for purchase from October 31.

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The tour which will come along with the release will include stops in Dublin, Belfast, Brighton, Manchester, Glasgow, Leeds, Birmingham and Newcastle, before wrapping up at London’s Roundhouse. Jade said: “This album has been years in the making, so I’m beyond excited that I can finally let everyone know when it’s coming out. I’m very proud of ‘That’s Showbiz Baby!’ as a body of work and can’t wait to share it with the world. To be able to perform the album live later this year is also a dream come true. See you all on tour!”

The title ‘That’s Showbiz Baby!’ has a lot of meaning for the singer as she has always been quite candid about her career. Indeed, the Brit was only a teenager when she saw herself rise to fame after winning famous show The X Factor with her girl band Little Mix, formerly including Perrie Edwards, Leigh-Anne Pinnock and Jesy Nelson.

Opening up during an episode of The Assembly, a major new entertainment series where celebrities are questioned by a remarkable group of inquisitive interviewers who are autistic, neurodivergent and/or learning disabled,  she answered a question asking her if she felt like she had “sold her soul” saying: “You’ve trumped me?…? Maybe a little bit in the beginning. I was so young and I just signed on the dotted line. But as the years have gone by I’ve learned more and more about the industry. I’ve been collecting — a bit like [Marvel superhero] Thanos with the stones — I’ve been collecting parts of my soul back as I’ve gained more creative freedom.” The ‘Angel Of My Dreams’ singer songwriter admitted she thinks this is the end of shows like the one that made her famous, as they can’t see them going anywhere.  “I think it’s the end of that kind of TV show or music label. I think it’s the end of that era. But I don’t know if Simon Cowell specifically has ended.”  

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Speculations came all around Jade after the release of her single and who the lyrics were about, many people thinking they were about music mogul Simon Cowell.

She told Beat magazine: “It’s not specifically about that. But I wanted the song to be my journey, from entering the music business to now, and what that’s felt like. That’s why the song feels so chaotic. The opening is like the music to that montage bit on The X Factor after you’ve won, and you’re just catapulted into the industry.”

She added: “I don’t want to sit here and bash the last 13 years of my life. I’m very happy and content. But like with any job, there are highs and lows. That’s just life, and it’s my reality, but it’s about writing it in a way that’s not woe is me.”

You can pre-order ‘That’s Showbiz Baby!’ at Jade’s official website.  The tour pre-sale begins on May 21, with general on sale on May 23.

Jade’s 2025 tour dates:

OCTOBER

8  – Dublin 3Olympia Theatre

9  – Belfast Ulster Hall

11  – Brighton Dome

12  – Manchester Academy 1

13  – Glasgow O2 Academy

15  – Leeds O2 Academy

16  – Birmingham O2 Academy 1

18  – Newcastle O2 City Hall

19  – London Roundhouse

It was a night of nostalgia and reinvention as both bands secured wins. The Beatles took home Best Rock Performance for ‘Now and Then,’ the long-awaited “final” Beatles song, pieced together using an unfinished John Lennon demo, with contributions from Paul McCartney, Ringo Starr, and even a recording of the late George Harrison’s guitar work.

Meanwhile, The Rolling Stones claimed Best Rock Album for ‘Hackney Diamonds,’ their first album of original material in nearly two decades. The record, featuring guest appearances from Paul McCartney, Lady Gaga, and Elton John, reaffirmed the Stones’ staying power in a genre they helped define.

The resurgence of these two titans of rock wasn’t just a coincidence. The Beatles harnessed the power of AI to bring ‘Now and Then’ to life, blending the past and present in a way no one had ever quite done before. Meanwhile, The Rolling Stones embraced their blues-rock roots while pushing forward with fresh material, proving that their swagger and grit remain intact. A collaboration with Lady Gaga gave the album a tantalisingly modern twist. 

It’s rare for both bands to be celebrated at the same Grammys, let alone to win in the same night. The Beatles’ last Grammy nomination was in 1997, making this their first in 28 years. The Stones, while having been nominated 12 times, had not won a Grammy since 1995. This moment marked a reunion of sorts—not just for fans of either band but for the ongoing debate of Beatles vs. Stones that has fueled rock discourse for six decades.

Sixty years on from the peak of their rumoured rivalry, The Beatles and The Rolling Stones are still shaping the music world. Their victories at the 2025 Grammys aren’t just about nostalgia—they’re about relevance, innovation, and the lasting impact of truly great music. As Paul McCartney reminds us with his repeated warnings against AI having too much power in the music industry, the world is constantly evolving, and there is something comforting, even poetic, about seeing these legends of a simpler time back at the top, reminding us that rock and roll never dies—it just gets better with age.