A post was shared to the bands instagram page stating that the demo for the infamous 2005 cheating anthem ‘Lying is the most fun a girl can have without taking her clothes off’ is now available on streaming.

The demo is increasingly raw in comparison to the readily available song we have all known and loved for years. It is wondrously rough around the edges and Urie’s vocals are riddled with disparity. Listening to it with 2020 vision of what the band becomes is simply breathtaking.

Widely acclaimed to be the bands best project, ‘A Fever You Can’t Sweat Out’ is a cabaret classic, dipped in red paint and circus ideology. It is one of two releases that hold the bands original lineup consisting of, guitarist and song writer Ryan Ross, lead singer Brendon Urie, drummer Spencer Smith and bassist Brent Wilson.

There is already a great deal of buzz surrounding the 2005 record as on October 18 and 19 of 2025, Urie, the last standing original member, decided to resurrect the album. Taking the stage at When We Were Young Fest, where the bands new lineup performed the darling record in full.

To put it in perspective the bulk of this album has not been performed live in over 20 years, considering it is a fan favourite people have been starving for a chance to hear these famed songs live.

Following this performance, the band has been increasingly active on social media, announcing that a deluxe version of the album would be available January 23, 2026.

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The post read, “We now present to you: A Fever You Can’t Sweat Out (20th Anniversary Deluxe)”. The album is set to contain a remastered edition of the album, unreleased demos and the bands most famous live show, Live In Denver on streaming and vinyl for the very first time.

In the run up to the January release date the band is slowly but surely releasing old demos, including ‘Lying is the most fun a girl can have without taking her clothes off’. Fans everywhere are speculating that post when we Were Young Fest the band may take on a fully fledged world tour in celebration of the album. The festival announcement received such positive outpouring resulting in an additional date being added. Fingers crossed!

Despite the success of the long-anticipated October festival appearance, countless fans turn their noses up at the sight of Urie performing the album alongside new members. Due to the album being created at the hands of the original band members is it only fair that it is played with them present?

During the set Urie brought out old friend Spencer Smith to perform the famed song, ‘I Write Sins Not Tragedies’. The two playing live together is once again something that has not occurred in over 20 years. This may be a potential nod to the full original lineup making their grand return.

East London-born rapper and poet Kojey Radical, whose real name is Kwadwo Adu Genfi Amponsah, has released his sophomore album ‘Don’t Look Down’. The Independent describe it as an “all-encompassing creative approach makes for one outstanding album”.

The release comes three years after his critically acclaimed debut ‘Reason to Smile’, which earned him a Mercury Prize nomination. That record blended funk and soul while exploring themes of Blackness, women, sex, fatherhood, family and faith. The project established him as one of the UK’s most inventive voices, praised for bringing a painterly sense of detail to rap while keeping his roots in spoken word and performance art.

The 32 year-old artist has become known for mixing a wide range of genres into something uniquely his own. ‘Don’t Look Down’ continues in this style, weaving R&B, funk, soul, and even unexpected flourishes such as a mariachi-inspired trumpet section. Originally intended to be called ‘Life of the Party’, the new record reflects on the highs of success, the pressure of fame, the search for meaning and connection and what it means to stay true to yourself.

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The album opens with a spoken word introduction in which Radical reflects: “You’re supposed to be the life of the party. How many homies didn’t make it? How many times did I count the empty seats, instead of the ones that showed their faces?” This vulnerability sets the tone for the rest of the project, which circles themes of loneliness and the struggle to remain grounded while in the spotlight.

Born in Hoxton to Ghanaian parents, Radical first trained as a visual artist. He studied Fashion Illustration at the London College of Fashion, graduating with First Class Honours. His early music was directly inspired by his coursework illustrations, which explored faith, love and social media.

Leading into the album, Kojey Radical linked with Montreal trio Planet Giza (Tony Stone, Rami B and DoomX) on the sleek single ‘Expensive’. Produced by Swindle, the track leans on warm keys and a floor-ready pulse, with Tony Stone’s falsetto lifting the hook before Radical tightens the focus on verse two. The single appears on ‘Don’t Look Down’ and arrived with an official visualiser, underscoring the record’s cross-Atlantic blend of hip-hop, soul and club textures.

Collaboration has always been central to his work. ‘Don’t Look Down’ features contributions from Ghetts, Bawo, MNEK, Dende, James Vickery, Benjamin A.D, Col3trane, SOLOMON and Victor Ray. He is also joined by Moses Boyd and Femi Koleoso of Ezra Collective, whose frenetic jazz-driven energy gives life to several tracks.

Alongside the album, Radical has created a short film that ties together several songs and videos. Building on his Mercury Prize recognition and FIFA soundtrack success, the East London artist will bring ‘Don’t Look Down’ to life on stage next year, with his UK tour finishing at the Royal Albert Hall in May 2026.

The Tottenham-born rapper Wretch 32, real name Germaine Scott, has long been a pioneer of the evolving UK hip-hop scene. Beginning his career in grime before developing multi-genre fusions, his music has consistently balanced soulful storytelling with sharp social commentary.

His latest album HOME?, released in May 2025, is one of his most ambitious projects to date. Blending grime, afrobeat, reggae, garage, R&B, and spoken word, the record explores the question of what “home” means for a Black British artist raised in Tottenham. Critics praised it as a daring work of social documentation. Rolling Stone UK called it “a piece of social documentation that stretches back generations,” while Hive Magazine described it as “raw, unfiltered and unapologetic artistry.”

Wretch 32 grew up on the Tiverton Estate, situated next to the Broadwater Farm, notorious for the riots of the 1980s. He is the third generation of his family to be raised there, his great-grandparents having emigrated from Jamaica. His upbringing exposed him early to the realities of racial injustice in the UK. His father was active in community activism and frequently appeared on television campaigning for equality. Wretch himself was featured as a baby in the 1988 documentary Scenes from the Farm, filmed in the aftermath of the riots and capturing the lived realities of 1980s Black Britain.

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This background informs much of ‘HOME?’. In “Black and British,” his collaboration with Little Simz and Benjamin AD, he recalls being abused on Black Boy Lane: “On Black Boy Lane I was caught on my own / He told me to go back to my country / I thought I was home.” That kind of raw commentary runs throughout the record, where personal experience intersects with broader cultural questions of belonging and displacement. Speaking to The Guardian earlier this year, he admitted his sense of home remains unsettled: “I feel like it always moves. I feel like it always changes. I’m still trying to put an exact location on it but as it stands it’s more who I’m with. I feel like I could make a home in any house.”

Now, following the release of the album, Wretch 32 will make his National Theatre debut with a dramatized adaptation of ‘HOME?’. Directed by Clint Dyer, the performance will combine music, spoken word, dance, and theatrical staging. Special guests will join him as he explores themes of Black British identity, belonging, and legacy in a production that blurs the line between theatre and live music.

The event is scheduled for one night only, on Thursday, 23 October at 9:00 p.m. at the Olivier Theatre.
It is part of the National Theatre’s autumn season, the first under new creative director Indhu Rubasingham, which signals a fresh and inclusive programming approach that welcomes artists from beyond traditional theatre circles.

As reported by the Daily Mail, the announcement came when Zayn jokingly told Fallon: ‘I’m going on my first-ever solo tour this autumn so maybe when you’re done picking apples with your buds, you can come check out my Stairway To The Sky Tour across the US and UK. Let me know what date you want tickets for.’

Zayn then went on to confirm this in a post to social media on Wednesday September 18th which read: “Appreciate your patience, love, and support. Can’t wait to enjoy great music together. This time I really mean soon see you in 35 days…”

The tour, titled Stairways to the Sky, will consist of only 5 performances in the US and 6 in the UK. The US leg will commence on October 23rd in San Fransisco and will also include stops in Las Vegas, Los Angeles, Washington D.C., and New York. The UK leg will begin on November 20th in Edinburgh, Scotland, followed by dates in Leeds, Manchester, London and Wolverhampton before finishing in Newcastle on December 3rd.

Tickets will go on sale Sunday the 21st of September.

Zayn, previously a member of the hit boy band One Direction, left the group in November of 2015 to pursue a solo career, citing the desire for more creative freedom and personal space. His debut solo album, Mind of Mine, was released in 2016, and its lead single, Pillowtalk, became a global hit.

He has collaborated with various artists, including Taylor Swift on the song I Don’t Wanna Live Forever for the Fifty Shades Darker soundtrack, and Sia on the song Dusk Till Dawn.

The news of Zayn’s first solo tour comes after the release of his latest album, Room Under the Stars, on the 17th of May. The album features 20 tracks, including Dreamin, What I Am, and Stardust. 

This is the fourth studio album Zayn has released, and has been referred to by Pitch Fork as a “coming-clean, back to basics record.” The album contains references to romantic struggles and long-term relationships, with references to his on-again-off-again partner Gigi Hadid.

In the song Shoot at Will, Zayn makes clear references to his ex-partner Hadid with whom he shares a daughter, singing: “When I look at her, all I see is you/When you look at her, do you see me too?” This moment of emotional clarity strips down Zayn’s feelings to reveal the complexities of love and parenthood.

The Rolling Stones described the country music style of the album, saying that “this newfound country change suits him incredibly well.”

Other critics have praised the album for its honesty and authenticity, with Slug Mag stating:  “Zayn grapples with both things he knows and things he doesn’t. Those ideas, which are often hard to put into words, are bracketed by his adaptable vocal range and gentle, lo-fi production.”

Twigs, the English artist formally known as Tahliah Debrett Barnett, has not released anything since her 2022 mixtape, CAPRISONGS, which marked a departure from her previous, more introspective and experimental works like Magdalene (2019) and LP1 (2014). CAPRISONGS is characterised by its eclectic blend of genres, including pop, R&B, and electronic music, showcasing a lighter, more playful side of the artist.

The 2022 mixtape was deeply personal yet accessible, with themes centered around resilience, healing, and self-discovery. It featured collaborations with artists like The Weeknd, Shygirl, and Rema, adding to its diverse soundscape.

In a four-star review of the album, NME said: “After pouring her darkest moments into Magdalene, this varied and playful mixtape represents a moment of release, though it remains to be seen whether Barnett will head further into this direction, or enter a new album era recharged. You suspect, knowing twigs and her crew of chameleon-like collaborators, that she’ll probably continue to do both at once.”

Her last full album, Magdalene, was released in 2019 and was as emotionally charged as it was tender. It was written during a challenging period in twigs’ life, following a public breakup and recovery from fibroid surgery, which heavily influenced the album’s introspective and vulnerable tone.

The album’s title is in reference to Mary Magdalene, a biblical figure who has often been misunderstood and misrepresented throughout history. Twigs uses this figure as a symbol of feminine strength and resilience, reflecting the album’s themes of reclaiming identity and power.

Her newest album, EUSEXUA, comes as the long-awaited follow up to Magdalene. The album was teased to fans on the 16th of January 2024 when twigs released a photo on Discord of her in the music studio alongside electronic musician and past collaborator Koreless. She clarified for fans the relevance of techno for the upcoming album, stating:

I moved to Prague a couple summers ago, fell in love with techno. The album isn’t techno but the spirit is there for real.

As stated by the Rolling Stones, on the 20th of August, FKA twigs reportedly played the new album from start to finish at an intimate listening party on the Lower East Side in New York. New York writer and artist Linux was also in attendance, and shared a post on X, stating that it was “one of the most fab experiences of my life.”

Sitting in a foggy LES basement last night on a full moon chainsmoking cigarettes with FKA Twigs as she played me and Julia Fox her new album from start to finish was one of the most fab experiences I’ve had in my life….this new album is so fucking good you guys are not ready

— Linux (@Linuxlicious) August 20, 2024