Honorary doctorates are regularly awarded to major figures in culture. Stars such as Usher, Stormzy and Lulu have all been recognised in recent years, placing Cave among a diverse list of musicians and artists acknowledged for their influence and body of work.

This will not be 67 year old singer’s first award for artistic service. In July 2025 Cave was honoured in Arles, France, where he was invested as a Chevalier des Arts et des Lettres and received the City of Arles Medal. The awards recognised his decades of artistic work and his lasting influence across music, literature and film. Cave has often spoken of the inspiration he has drawn from French poets such as Charles Baudelaire and Arthur Rimbaud, making the recognition a fitting tribute to his creative relationship with French culture.

The upcoming British doctorate will be presented by RCA Chancellor Sir Jony Ive. The college describes the degree as the highest recognition it can bestow, celebrating exceptional accomplishments. Cave will be honoured alongside graduating students in a ceremony at Royal Festival Hall in London.

It has been a busy couple of years for Cave. The singer’s 18th studio album with The Bad Seeds, ‘Wild God’, was preceded by singles including:  ‘Wild God’, ‘Frogs’, and ‘Long Dark Night’. Around the same time, Cave also teased a large-scale hometown performance in Brighton for 2026, while a newly released video for the classic track ‘Tupelo’—directed by Andrew Dominik and featuring an AI-generated Elvis Presley which sparked debate over the role of generative technology in music. Cave himself condemned the use of artificial intelligence in songwriting in an interview, calling it “unbelievably disturbing” and warning of its “humiliating effect” on human creativity.

Looking ahead, Cave has announced a solo tour across his homeland of Australia in 2026. In addition, an eight-part television series based on his novel The Death of Bunny Munro is in development, starring Matt Smith in the lead role with Cave and Warren Ellis scoring the project.  A preview screening and discussion will take place later this year at the London Literature Festival.

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Between French honours, a new album, a major doctorate and upcoming projects for screen and stage, the singer’s recognition from the Royal College of Art reinforces his standing as one of the most significant cultural figures of his generation. His influence extending far beyond his music, inspiring generations of artists, writers and filmmakers who cite his lyrical intensity and dark romanticism as key influences. His ongoing collaborations and cultural presence continue to cement his status as one of contemporary music’s most enduring figures.

The ‘Train Dreams’ soundtrack is set for release on November 7, ahead of the film’s Netflix premiere on November 21. Adapted from Denis Johnson’s acclaimed novella, the film stars Joel Edgerton as Robert Grainier, a logger and railroad worker navigating a life of quiet profundity in the rapidly changing America of the early 20th century.

Director Clint Bentley spoke about the collaboration with Bad Seeds singer Nick Cave in a press release: “When we started thinking about making a song for the film, Nick felt like the perfect artist to do it. It turns out that Train Dreams is one of his all-time favourite books, but he initially feared there wouldn’t be time to do something because he was getting ready to go on tour. Then he watched the film and was inspired to write something and the whole thing came together really quickly.

He continued “There’s a deep poeticism alongside rock and roll. And that just felt like the perfect fit for a film like this that’s telling the story of this person who lived a beautiful resonant life, even if it did include heartache and pain”.

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On hearing the song for the first time, Bentley said: “I was blown away. It surpassed anything I felt like it might be. It took all the feelings that I was trying to communicate at the end of the movie and expanded them into another place. I was so struck by how the song builds to the end when other voices start to drift in, as if on the wind. His lyrics are so evocative and there’s a deep mystery to the song, especially when thinking about Grainier’s story. Every time I listen to it, I’m more moved by it”.

‘Train Dream’s marks another addition to Cave’s growing list of film and television collaborations. Earlier this month, it was confirmed that he and long-time creative partner Warren Ellis will score the new TV adaptation of his 2009 novel ‘The Death of Bunny Munroe’. In case you missed it, MXDWN’s earlier coverage of this can be read here.

The series stars Matt Smith (Doctor Who, The Crown) in the lead role as Bunny Munro – a deeply flawed, sex-addicted door-to-door salesman who embarks on a chaotic road trip along the Sussex coast with his son Junior following the suicide of his wife, Libby. As Bunny desperately attempts to maintain a grip on his fractured life – peddling beauty products while pursuing a series of disastrous romantic escapades – his son Junior wrestles with grief, often communicating with the ghost of his mother. The road trip becomes a reckoning for Bunny as he is ultimately forced to confront the kind of man, and father, he truly is.

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The adaptation has been written by Pete Jackson, the BAFTA-winning screenwriter behind Somewhere Boy, and directed by Isabella Eklöf, known for her critically acclaimed work on Holiday. While a release date for the series has yet to be announced, a special preview screening will take place at Southbank Centre’s London Literature Festival on October 30 at the Royal Festival Hall. The evening will feature a screening of the first two episodes followed by an exclusive live Q&A with Nick Cave and Matt Smith.

Nick Cave – the mind behind the story of The Death Of Bunny Munro is also set to create the musical score for the series alongside long-time collaborator Warren Ellis. The duo previously collaborated on soundtracks for The Proposition (2005), The Road (2009), Wind River (2017), Blonde (2022), Monster: The Jeffrey Dahmer Story (2022), and most recently Back to Black (2024), the Amy Winehouse biopic.

According to Sky, the score for The Death of Bunny Munro was recorded at Soundtree Music in East London and engineered by Juis Almau. The music is said to reflect the raw and unruly energy of the narrative, capturing the emotional volatility, dark humour, and surreal undertones that characterise both the novel and the screen adaptation.

Tickets for the October 30 preview event at Southbank Centre go on general sale at 10am BST on Thursday, August 7. More information can be found via the Southbank Centre website.

Back in 2022, Cave also another son, his eldest, Jethro Lazenby, who passed away after being diagnosed with schizophrenia at the age of 31.

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The singer famously owns a website called Red Hand Files, on which he sincerely and unapologetically answers questions from his fans. One of the most recent questions asked to Cave was about how he copes with his grief and he and his wife have learned from their loss.

The Australian singer responded to the fans in a heart-warming posts, sharing: “Dear Carlos and Emma,

The pain remains, but I have found that it evolves over time. Grief blossoms with age, becoming less a personal affront, less a cosmic betrayal, and more a poetic quality of being as we learn to surrender to it. As we are confronted with the intolerable injustice of death, what seems unbearable ultimately turns out not to be unbearable at all. Sorrow grows richer, deeper, and more textured. It feels more interesting, creative, and lovely.”

“To my great surprise, I discovered that I was part of a common human story. I began to recognise the immense value and potential of our humanness while simultaneously acknowledging, at my core, our terrifyingly perilous situation. I learned we all actually die. I realised that although each of us is special and unique, our pain and brokenness is not. Over time, Susie and I came to understand that the world is not indifferent or cruel, but precious and loving – indeed, lovely – tilting ever toward good.”

“I discovered that the initial trauma of Arthur’s death was the coded cypher through which God spoke, and that God had less to do with faith or belief, and more to do with a way of seeing. I came to understand that God was a form of perception, a means of being alert to the poetic resonance of being. I found God to be woven into all things, even the greatest evils and our deepest despair. Sometimes I feel the world pulsating with a rich, lyrical energy, at other times it feels flat, void, and malevolent. I came to realise that God was present and active in both experiences.”

“These days, I am neither distrustful nor suspicious of the world, even though my heart breaks for it, and I am not despairing, depressed or embittered. Indeed, I see heartbreak as the most proportional response to the state of the world – to say I love you is to say my heart breaks for you, and this sentiment resonates within all things, bringing a clarity to both the world before us and the world beyond the veil. Sorrow becomes a way of life, part laughter, part tears, with very little space between. It is a way of conducting oneself in the world, of loving it, of worshipping it.”

“I read this letter to Susie, and she agreed that things get better in time. She reminded me that her dreams of Arthur from ten years ago were terrible, scorched-earth affairs, full of shame and weeping. She said Arthur still visits her every week. He is always the same age, around ten years old. Nothing much happens, he simply sits with her. Sometimes she laces his shoes. Sometimes she combs his hair. Sometimes he crawls into her lap and wraps his arms around her neck. She told me that she recently had a dream in which Arthur had a button for a nose, and when she pressed it a little blue light blinked on. There is no despair or remorse in these dreams. They are, instead, an uncomplicated joy.”

“I’m not sure what else I’ve learned, Carlos, except that here we still are, a decade later, living within the radiant heart of the trauma, the place where all thoughts and dreams converge and where all hope and sorrow reside, the bright and teary eye of the storm – this whirling boy who is God, like every other thing.

We remember him today.

Love, Nick”

Cave spoke to NME in 2023 about his regrets, where he talked about releasing music in what felt like it was too soon after his son’s death and how he somehow had become repelled by work. “That idea that art trounces everything, it just doesn’t apply to me anymore. Rather than making me bitter, it did the opposite in some way. It made me much more connected to people in general. I don’t know about the music, but these days I feel a more urgent need to connect with people. That there’s a kind of duty in that, that maybe I didn’t feel before. That I have at my disposal something that’s very valuable: to make music, and I don’t want to squander that opportunity in phoning in gigs or doing half-hearted attempts. Every one is as important as each other.”

Check out that full interview here.

Since its inception in 2018, following the tragic death of his son, Cave has used The Red Hand Files as a direct line of communication with fans. Each edition features Cave’s thoughtful replies to questions on topics ranging from grief and spirituality to art and the human condition.

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In the 328th edition, published in June 2025, a fan named Hadiyah from New Jersey asked, “How’s your relationship with Morrissey?” Cave’s response was candid. He disclosed that the former Smiths frontman had approached him in 2024 with a song, inviting him to contribute vocals. While Cave initially found the piece “quite lovely,” he ultimately declined after realising Morrissey’s intention was for him to deliver what Cave described as “an unnecessarily provocative and slightly silly anti-woke screed” over “an irrelevant Greek bouzouki intro.”

Though he admitted to sharing aspects of Morrissey’s perspective, Cave explained that he prefers to keep his personal or political views separate from his music: “I try to keep politics, cultural or otherwise, out of the music I am involved with. I find that it has a diminishing effect and is antithetical to whatever it is I am trying to achieve.”

Addressing Morrissey more broadly, Cave offered a nuanced take: “I like him. He is undeniably a complex and divisive figure, someone who takes more than a little pleasure in pissing people off. As enjoyable as some may find this, it holds little interest for me, but for the fact that Morrissey is probably the best lyricist of his generation – certainly the strangest, funniest, most sophisticated, and most subtle.”

Despite declining the collaboration, Cave still spoke admiringly of Morrissey’s artistry: “We feel complete when we listen to music we love, while being guided towards the goodness of things. I find that Morrissey’s music, regardless of how jaundiced and disaffected the songs may sometimes seem, does precisely that – ushers us toward what is true.”

Cave’s decision to distance himself from Morrissey’s latest work underscores his ongoing commitment to artistic integrity and emotional depth over provocation or ideology. While the collaboration never came to be, his thoughtful reflections highlight the mutual respect between two of music’s most distinctive voices – even as their creative paths continue to diverge.

Nick Cave recently released his latest album ‘Wild God’ with the Bad Seeds ahead of their upcoming worldwide tour. Morrissey has not released a new record since 2020’s ‘I Am Not a Dog on a Chain’, which he described as “the best album of his life.” The former Smith’s frontman has recently completed UK and Ireland tour dates which MXDWN’s recent coverage of can be read about here. Cave is currently on a solo tour across Europe, which is set to conclude in Luxembourg this September. For more on his solo performances, check out MXDWN’s recent coverage of the Bad Seeds frontman’s European tour here.

Known for his haunting lyricism and compelling stage presence, the revered Australian artist will perform 27 shows across the continent, spanning Switzerland, Germany, Italy, France, Norway, Latvia, and Bulgaria.

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This tour sees Cave delivering a more intimate solo experience. Accompanying him on stage is Colin Greenwood, bassist for the legendary band Radiohead, whose presence is expected to add a textured emotional weight to the live arrangements.

The tour sees Cave stepping away from his long-time collaborators The Bad Seeds, whose Wild God Tour concluded in San Francisco on May 14th. The 2024 album ‘Wild God’ was the band’s eighteenth studio album, and was widely praised by critics and fans alike. Reflecting on the record, Cave described it as uncompromising and transcendent: “There’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it.” The Guardian hailed the album as “a masterpiece that will make you fall back in love with life,” underlining its cultural and emotional resonance.

Nick Cave’s musical journey began in the early 1980s with the post-punk group The Birthday Party. Following their dissolution in 1983, he founded Nick Cave and the Bad Seeds, a band that would go on to become one of the most influential and critically lauded groups of their generation. Their sound – a brooding blend of post-punk, blues, gothic rock, and experimental elements – served as the perfect vehicle for Cave’s poetic storytelling and existential themes.

Often referred to as the dark poet of rock, Cave is renowned for his lyrical exploration of love, faith, violence, loss, and redemption and is often steeped in biblical allusion. With lyrics closer to literary prose than standard song writing, his music is both timeless and ethereal. His solo work, while maintaining the emotional gravitas of his work with The Bad Seeds, leans more heavily into gospel, country, and minimalistic arrangements. Albums such as ‘Murder Ballads’ and ‘The Boatman’s Call’ remain enduring examples of his ability to transcribe human vulnerability into musical brilliance.

The 2025 solo tour marks the third of its kind for Cave. His first, Conversations with Nick Cave, debuted in 2018 and featured raw, unfiltered performances interwoven with candid storytelling. That tour, prompted by the tragic loss of his son Arthur, provided a space for catharsis and connection, as Cave spoke openly about grief, healing, and art. He returned in 2022 with a second stripped-down tour, performing sparse renditions of beloved tracks from Ghosteen, Carnage, and earlier Bad Seeds classics. Greenwood joined him then as well, their chemistry forming a cornerstone of the show’s emotional intensity.

This new series of performances promises to build on that legacy, offering fans a rare opportunity to experience Cave’s work in its purest, most vulnerable form. Joined once more by Greenwood, the tour is expected to blend minimalism and depth in Cave’s typical and magical way.

While the majority of shows are already sold out, some remaining tickets are still available. The full list of tour dates and ticket information can be accessed here.

For those who missed it, our original coverage of the tour’s announcement earlier this year can be found here.

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Fay’s career was characterised by its unconventional trajectory. He released two albums in the early 1970s, ‘Bill Fay‘ (1969) and ‘Time of the Last Persecution‘ (1971), before fading into obscurity. Despite their initial commercial failure, these records gained a cult following over the years, appreciated for their melancholic beauty and spiritual depth. His music, often likened to that of Nick Drake and Leonard Cohen, blended folk, rock, and orchestral elements with deeply personal lyrics. Whilst Bill Fay’s music did not achieve significant commercial success during his early career, his 2012 album ‘Life Is People‘ marked a notable milestone, reaching number 56 on the UK Albums Chart. This achievement reflects the growing recognition of his work in later years.

Fay’s songs often explored themes of humanity, faith, and resilience. In later years, he spoke about faith in broad, universal terms, emphasising kindness, compassion, and the search for meaning rather than rigid dogma. His music resonated with both secular and religious listeners due to its introspective and humanistic approach. Whilst faith was a significant part of his songwriting, he wasn’t part of the 1970s ‘Jesus freak’ movement in the way some rock and folk musicians of the time were.

Fay’s mystique was further enhanced by his reclusive nature. He spent decades away from the industry, working ordinary jobs while his music quietly influenced new generations. His ability to craft songs filled with wisdom, melancholy, and understated beauty made him a singular voice in British music, ensuring his legacy would live on long after his passing. Nick Cave has spoken highly of Bill Fay’s music, recognising his songwriting talent and emotional depth, and Fay’s resurgence in the 2000s was partly due to recognition from artists like Cave. 

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Fay’s contributions to music were recognised by both fans and fellow musicians. Though he remained a largely private figure, his recordings gained respect for their craftsmanship and lyrical depth. His passing marks the end of a career that, whilst unconventional, left a lasting imprint on the folk and alternative music landscape.

The tour begins June 10 in Zurich, Switzerland, and winds its way through Germany, Italy, France, Norway, Latvia, and Bulgaria, culminating in a final, spellbinding performance at the ancient Plovdiv Amphitheater on August 19. Tickets go on sale Friday, January 31 at 10 AM local time on Cave’s website.  

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Nick Cave’s concerts have long been considered as more than just gigs—they’re spiritual experiences. Whether he’s whispering at the piano or unleashing his full fury, his performances are a communion between artist and audience, where every lyric feels carved from the depths of his soul.

His musical style is a haunting blend of gothic rock, blues, and post-punk, but it’s his ability to turn every song into a narrative that truly sets him apart. His lyrics, often steeped in biblical allusion and steeped in a kind of fevered mysticism, are more akin to literary prose than standard songwriting. He sings of love, death, violence, and redemption with a delivery that moves from sultry crooning to full-throated, manic rants. His early work with The Bad Seeds pulsed with raw, chaotic energy, but as his career evolved, so did his sound. Cave’s later albums lean toward lush orchestration and minimalistic piano ballads, creating a sound as simply heartbreaking as it is sweepingly cinematic. His music is both timeless and otherworldly, a space where the shadows of old gospel, blues, and noir cinema collide in a whirlpool of dark intensity.

Cave has only undertaken two solo tours before, making his upcoming tour his highly anticipated third. The first, Conversations with Nick Cave (2018-2020), was an intimate, unscripted experience where Cave performed solo on piano and shared personal stories, including his grief after the loss of his son, Arthur. A film, recorded at the Ally Pally, was released in September 2020. In 2022, Cave returned for his second solo tour, joined by Radiohead’s Colin Greenwood on bass, with minimalist performances that mixed Bad Seeds classics and newer material from Ghosteen and Carnage.

This solo tour follows his North American run with St. Vincent and comes just months after the release of ‘Wild God,’ his latest album with The Bad Seeds. Known for his ability to reimagine his catalog with each new tour, Cave may surprise fans with stripped-down versions of both old classics and new masterpieces.

While no official setlist has been revealed, Cave’s solo shows often include deeply personal, piano-driven favourites. ‘Into My Arms’—written during his time in rehab—seems inevitable, as does ‘O Children,’ a track discovered by a new generation after its inclusion in Harry Potter and the Deathly Hallows. Songs like ‘Jubilee Street’ and ‘The Mercy Seat’ have taken on mythic status in his live repertoire, and with ‘Wild God’ still fresh, tracks like ‘Joy’ or ‘The Break’ could take on even greater emotional weight in this stripped-back format.

This tour’s venues are as much a part of the experience as the music itself. From the grand Elbphilharmonie in Hamburg to the ruins of Pompei’s amphitheater, every space has been carefully chosen to amplify Cave’s dark magic. Expect candlelit intensity, whispered prayers, and a sense that for a few hours, the outside world has ceased to exist.

JUNE
10 – Zurich, Switzerland @ Theater 11
11 – Zurich, Switzerland @ Theater 11
21 – Hamburg, Germany @ Elbphilharmonie

JULY
17 – Lucca, Italy @ Piazza Napoleone
19 – Pompei, Italy @ Anfiteatro di Pompei
21 – Rome, Italy @ Auditorium Cavea
22 – Rome, Italy @ Auditorium Cavea
24 – Cannes, France @ Palais des Festivals de Cannes
26 – Arles, France @ Théâtre Antique

AUGUST
6 – Bergen, Norway @ Grieghallen
7 – Bergen, Norway @ Grieghallen
12 – Sigulda, Latvia @ Sigulda Castle
19 – Plovdiv, Bulgaria @ Plovdiv Ancient Theatre

This isn’t just a concert—it’s a once-in-a-lifetime chance to witness Nick Cave at his most vulnerable, powerful, and transcendent. Tickets go on sale January 31 at nickcave.com/tour-dates.

When asked his thoughts on the recent advancements in AI platforms, the 76-year-old expressed his fear on it’s potential impact and how he thinks AI could change the music industry for the worse.

May told the magazine, “My major concern with it now is in the artistic area. I think by this time next year the landscape will be completely different. We won’t know which way is up. We won’t know what’s been created by AI and what’s been created by humans,”

He continued, “Everything is going to get very blurred and very confusing, and I think we might look back on 2023 as the last year when humans really dominated the music scene. I really think it could be that serious, and that doesn’t fill me with joy. It makes me feel apprehensive, and I’m preparing to feel sad about this.”

Whilst the English rock legend claims that “a lot of great stuff will come from AI, because it is going to increase the powers of humans to solve problems”, he is still apprehensive about the technological advance, stating “I think the whole thing is massively scary. It’s much more far-reaching than anybody realised — well, certainly than I realised”.

The notion of using computers to generate music is definitely not new, however, recent leaps in AI technology have expanded the possibilities of what computers can do in the music industry. For example, AI platforms such as ChatGPT are now able to replicate songwriting and music production to create entirely computer generated music, therefore eliminating the whole writing and recording process artists go through.

Brian May is not the first musician to share their thoughts on AI’s impact on the music industry, and he definitely won’t be the last.

Nick Cave revealed in his blog, The Red Hand Files, that he believes AI songwriting to be a “grotesque mockery of what it is to be human”, while Sting told the BBC that he isn’t impressed by AI, and songwriters will have to fight to protect “our human capital against AI”.

Some artists however, are seemingly big fans of the way technology is evolving in the music industry. For example, Canadian singer-songwriter Grimes is allowing fans to use her voice in AI generated songs, so long as they share the royalties with her.

I’ll split 50% royalties on any successful AI generated song that uses my voice. Same deal as I would with any artist i collab with. Feel free to use my voice without penalty. I have no label and no legal bindings. pic.twitter.com/KIY60B5uqt

— Grimes (@Grimezsz) April 24, 2023

Brian May‘s conversation with Guitar Player magazine is set to feature in the October 2023 issue, however, you can read the interview online here.

The coronation has been a controversial event at best, with multiple artists including Adele, Elton John, Harry Styles and The Spice Girls all declining to perform at the Coronation Concert, set to take place on 7th May 2023. Excuses ranged from scheduling conflicts to simply “no comment“, sparking discussions around the popularity of the Royal Family and what it would mean for the PR of the celebrities who seemed to be in support of the Royals.

Whilst Nick Cave was not invited to perform at the Coronation Concert, he did attend the coronation itself. Cave’s newsletter, The Red Hand Files, included his defense of his acceptance of an invitation.

He wrote, “I am not a monarchist, nor am I a royalist, nor am I an ardent republican for that matter; what I am also not is so spectacularly incurious about the world and the way it works, so ideologically captured, so damn grouchy, as to refuse an invitation to what will more than likely be the most important historical event in the UK of our age. Not just the most important, but the strangest, the weirdest.”

Cave went on to attempt to define his relationship to the Royals, saying, “When I watched the Queen’s funeral on the television last year I found, to my bafflement, that I was weeping myself as the coffin was stripped of the crown, orb and sceptre and lowered through the floor of St George’s Chapel.”

He continued, “I guess what I am trying to say is that, beyond the interminable but necessary debates about the abolition of the monarchy, I hold an inexplicable emotional attachment to the royals – the strangeness of them, the deeply eccentric nature of the whole affair that so perfectly reflects the unique weirdness of Britain itself. I’m just drawn to that kind of thing – the bizarre, the uncanny, the stupefyingly spectacular, the awe-inspiring.”

A fan wrote to Cave, saying, “Nick Cave going to the coronation??! What would the young Nick Cave have thought of that?!” with Cave replying, “as for what the young Nick Cave would have thought – well, the young Nick Cave was, in all due respect to the young Nick Cave, young, and like many young people, mostly demented, so I’m a little cautious around using him as a benchmark for what I should or should not do. He was cute though, I’ll give him that. Deranged, but cute.”

Prior to attending, Cave’s final comment on the matter was “So, with all that in mind, I am looking forward to going the Coronation. I think I’ll wear a suit.“

Nick Cave was one of many celebrities in attendance, including Katy Perry, Lionel Richie, Dame Emma Thompson and Dame Judi Dench.

My #idol set is a little different today #CoronationConcert pic.twitter.com/827k7Lq9hw

— KATY PERRY (@katyperry) May 8, 2023

Lionel Richie says he feels like ‘kid at Christmas time’ ahead of the coronation concert, adding that the performance will be ‘a once-in-a-lifetime opportunity’

Latest: https://t.co/gELyhGXZyw pic.twitter.com/0Rk8jPEdWZ

— Sky News (@SkyNews) May 3, 2023

The celebrations are set to continue until 8th May, culminating in The Big Help Out. Further details can be found here.