Jones’ mark on the music scene has been ongoing and impactful throughout his career claiming thirty six UK top 40 hits. The Welsh born singer has delved into a plethora of genres, including soul, pop, country, R&B, dance and gospel. His most popular tracks revel in sex appeal, with dance-pop ‘She’s a lady’ from 1971 album ‘She’s a lady’ peaking at number 2 on the Billboard Hot 100 chart after its release. Similarly, ‘Sex bomb’ from 1999 album ‘Reload’ showcased the singer’s dance-pop R&B sound.

Otherwise, the singer’s emotional country tracks are equally loved and cherished with ‘Green green grass of home’ remaining a widely loved track since its 1967 release. 

Whilst its release is notably dated, it still strikes a chord with the public and many continue to relish in Jones’ soulful vulnerability. 

Tom, your legendary voice still has that magic! Keep enchanting us! Tom Jones – Green Green Grass of Home pic.twitter.com/1ZuQkx8ODk

— Melody Haven (@Axaxiaa) March 25, 2025

Jones’ proven dance R&B sound and proud country influence has been remarkable throughout his career. The singer has continued to release albums to this high regard and standard of musical integrity with his 38th studio album ‘Praise and Blame’. The release pays tribute to his blues, gospel influence, with heartfelt songs such as ‘Burning Hell’ which has accumulated over 2m listens since its 2010 release. The singer’s UK success compares vastly to his status in the US with hit single ‘It’s not Unusual’ at number 10 in US Billboard Hot 100 and peaking at number one in the UK Billboard charts in 1965.  It will be undoubtedly fascinating to hear from Tom Jones himself how he came to move into multiple musical styles throughout his discography.  Jones still provides for his die-hard fans with an upcoming performance at Greenwich Summer Sounds. Additionally, he will perform at Bute Park, Cardiff this summer, his only Welsh Headline concert as part of the 2025 Defy Explanation Tour. The Tour will showcase his biggest hits as well as latest tracks from his latest 2021 album ‘Surrounded By Time’. The first date of his tour draws closer with the first performance taking place at Fallsview Casino Resort in Niagara Falls.   

 

 

 

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The BBC Documentary will be the third of his films, with his first being the musical film ‘Tom Jones: Live at Cardiff Castle’ premiering in 2002, and following BBC Documentaries ‘Tom Jones’s 1950s: The Decade That Made Me’ and ‘Tom Jones on the 50s: Rock Around The Clock ‘hit me like a tonne of bricks’’, where he discusses his childhood, adolescence and influence from his generation of music. However, the ‘In My Own Words’ series focusses largely on storytelling of artists’ lives, thus viewers should hope to see more of the singer’s upbringing, struggles and triumphs throughout his life and career. The soul singer gears up for his upcoming projects with a post commemorating past performance on R&B classic ‘Tom Jones International’.

Friday Flashback to Tom Jones International #laterwithjoolsholland. Full performance now on my @youtube. Enjoy. https://t.co/UzSbhIQoOi pic.twitter.com/FEJTYBtVAF — Tom Jones (@RealSirTomJones) March 14, 2025

Shot by director Paul Gore, the fresh-faced 20-year-old Winehouse can be seen wandering the halls of a swanky, dimly lit hotel carrying a guitar case, which leads her to eventually join a band of musicians in a grand ballroom. The singer-songwriter is followed in a voyeuristic fashion throughout the hotel, with the lens peering at her through bannisters and capturing her laughing, posing and causing mischief in one of the bedrooms.

However, her famous beehive hairdo is nowhere to be seen as the clips predate her ‘Back to Black’ era. Instead, it captures her in the early days of her 2003 debut album ‘Frank’ for which she received an Ivor Novello award for achievements in songwriting. The album was re-released as a deluxe edition in 2008, and was reissued on vinyl in 2015 following the release of the documentary film about her life the same year, simply titled ‘Amy’.

A new biopic about Winehouse is also set to hit cinemas this April. Directed by Sam Taylor-Johnson, the film ‘Back to Black’ will focus on her rambunctious relationship with ex-husband Blake Fielder-Civil, and how it inspired her to write such a groundbreaking album. The first trailer hit the internet earlier this month to a heavy amount of criticism, with many fans left concerned that the portrayal on screen will not honour her in the way that she deserves.

There is a sense that Winehouse is being presented as a larger-than-life caricature, rather than the vulnerable, complex human being that she was. Others believe that her story should be laid to rest, and that any hardship and pain she suffered should no longer be profited from. Despite the controversy surrounding its release, the Winehouse camp are openly supporting it in its promotion, sharing the trailer across multiple social media channels.

More than a decade on since Winehouse’s tragic death, her presence and significance within music and pop culture is still as prevalent as ever. Last year marked the singer’s 40th birthday, with legendary producer and close friend of Amy, Mark Ronson, paying tribute to her in an Instagram post which featured clips of them working alongside each other in the studio. Her North London stomping ground, Camden, was also the centre of a series of one-off shows celebrating her life, including her original band performing a tribute gig at iconic music venue KOKO last month.

The album features three original songs by the Grammy award-winning jazz and soul performer as well as jazz-age standards and soulful tracks from the 1960s. He mentions “In my writing, there are elements of Bill Withers, there is a song from Stevie Wonder..from Marvin Gaye”. There is also a guest performance from the American, Grammy-winning Samara Joy on Broadway songwriter Frank Loesser’s “What Are You Doing New Year’s Eve”.

Listen to the album here

Following his summer stint playing three sold-out shows at “London’s Most Iconic Venue”, Royal Albert Hall this June, the singer is returning for a fourth and final performance of the year on December 13th – get tickets here (There is only standing availability on offer now). The London show will be part of his current winter tour in both the UK and internationally. 

Described as “a jazz singer of thrilling presence, a booming baritone with a gift for earthy refinement and soaring uplift”, Gregory Porter has become known for many things: his outstanding voice, his ability to bring audiences to joyful tears and ‘lo and behold’ his hat, which he wears every time he performs. 

Porter responded to curiosity about the hat, stating ‘I’ve had some surgery on my skin, so this has been my look for a little while and will continue to be for a while longer. People recognise me by it now. It is what it is.” 

Years later he added that it has become his style. He thought “Actually, this is comfortable, this is a look. I started to sing and people were like, ‘Oh yeah, that’s the guy with the hat.’ So it became a thing.” However, the vocalist reported that he would like his fans to focus on “his heart and sound” rather than the accessory. 

Porter was on ITV’s ‘This Morning’ earlier today, speaking of his first-ever festive album and also joining in some festive cooking. Whilst getting into the Christmas spirit, he showed viewers how he makes his family’s festive favourites,  sweet potato pie with crumbly shortcrust pastry.

Ex-Saturday’s singer and presenter Rochelle Humes questioned him on why he hasn’t put out a Christmas album before. Jestingly, he replied, “I wanted to start my career off with a Christmas album and they didn’t let me!…so now is the time”. He talked about elements of influence on him and his sound “Stylistically I’m using gospel, blues, soul to tell the Christmas story” 

Then on his mum’s influence, the woman who taught him how to sing, he says “There were 8 of us, 5 boys and 3 girls, she would cook food… Turkey, greens… sweet potato pie… filled the table with food. We thought we were gonna eat and we loaded it into the truck and we went around and fed the homeless people” “Then we brought the food back and we ate the leftovers…..she was teaching… she did it from her heart..that’s the kind of thing you do on Christmas day”. 

The soulful songwriter recognised for her “art of weaving narratively compelling lyrics into a melodically cathartic soundscape” trained as a classical vocalist before honing her skills in jazz at Trinity Laban, the top-class, Greenwich-based conservatoire home to  leading jazz and jazz fusion talent including bands Ezra Collective and Kokoroko, musician and saxophonist, Nubya Garcia and vocalist, Cherise.

Camille spoke with Mxdwn about the inspiration for the song stating “This tune focuses on the transition from lovers to friends.… but with the addition of all the emotional baggage and painfully precious memories”. The track’s introspective lyrics are beautifully told with Rose’s clean and melancholy vocals, encapsulating happy memories of a lost relationship. This is further enhanced by the grooving rhythm section, deeply felt horn lines and lush, layered backing vocals.

Regarding how the song came about, Rose mentions that “the track was spontaneously recorded during a 7-piece band session and reworked in production, resulting in that warm, generous, more-ish sound.” This easy-going writing style seems to be a pattern for the South London songbird whose previous work has been described as a “mellifluously rich soundscape that flows with such ease and finesse”.

Hear the latest single on Spotify:

The artist explores nuances in jazz, soul, R&B, funk and blues and takes influence from huge musical icons such as Amy Winehouse, Nina Simone and Stevie Wonders. Once listening to the new single, it is clear to see the impression these classic vocalists have had on the up-and-coming singer.

After the release of her debut mini-EP “Raining in July” two years ago, the emerging singer has been featured on BBC Sounds, played at Priory Live Festival and performed as both band-leader and frontwoman at dynamic new community-based jazz venues such as MAP Studio Cafe and Avalon Cafe as well as within jazz ensembles and small bands as an improviser.

Watch Camille’s live session of “Raining in July” here:

Camille now performs regularly all over London hosting a weekly jazz residency on Saturday nights with guitarist Ed Coma at Cable Cafe, Oval. Other notable venues include Pasta Nostra, Old Street and BeBeMe, Mayfair. She speaks to Mxdwn about her experience with performing live: “I feel lucky that I can make people happy with my voice – get them to stop in the street, enter a bar or cafe, get them to smile, get them to kiss their partner or dance with their friends- and that’s such a blessing and validation for me and my work”. 

Lots more is on the way for this jazz songbird. You can buy Camille’s music on Bandcamp here.

Perhaps known best for their tracks ‘Come On Eileen’ and ‘Geno’, Dexys Midnight Runners were formed in 1978 by ever-present lead vocalist Kevin Rowland and guitarist Kevin Archer. Inspired by punk (Both Rowland and Archer were previously in the punk band The Killjoys) and Northern Soul (indeed, the ‘Dexys’ in their name is short for Dexetrine, a stimulant popular with Northern Soul enthusiasts who used their drug-induced energy to dance all night), Dexys Midnight Runners released their first album, Searching for the Young Soul Rebels, in 1980 to critical acclaim. Their second, Too-Rye-Ay, released in 1982, adding new wave and folk elements to their sound, proved to be an even bigger hit as it reached number two on the UK Albums Chart.

Their third album, Don’t Stand Me Down (1985), was not as popular and preceded a twenty-seven year wait until the release of their next, One Day I’m Going to Soar, released in 2012 under the shortened name Dexys. Their latest release comes seven years after their previous, Let the Record Show: Dexys Do Irish and Country Soul (2016), featuring, as the name suggests, interpretations of Irish compositions. The Feminine Divine therefore marks a highly anticipated return to releasing original material penned by the band itself and is sure to be met with excitement and glee by adoring fans and critics alike.

Watch ‘I’m Going To Get Free‘, a single from the new album, below:

In a press release the band have stated, “After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity”, adding that the new record is evidence of Rowland being “a man whose views have evolved over time ” and an unlearning of “the masculinity he had been raised with”.

Tickets for all tour dates are available to pre-order from April 14th here.

See below for the September tour dates:

05/09/2023 – Barbican – York
07/09 – Philharmonic – Liverpool
08/09 – Bridgewater Hall – Manchester
10/09- O2 City Hall – Newcastle
11/09 – Royal Concert Hall – Glasgow
13/09- St David’s Hall – Cardiff
14/09 – Regent Theatre – Ipswich
16/09 – The Halls- Wolverhampton
17/09 – Cliffs Pavilion – Southend
19/09 – Dome – Brighton
20/09 – Palladium – London
22/09- Forum – Bath
25/09- 3Olympia Theatre – Dublin

(photo credit: Sandra Vijandi)

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 The 22-year-old released her first single “TBC” in 2016 and dropped 3 more singles,” Not always”, “Said it already” and “Lost my home”, before dropping her first project in 2018, a 3 track tape titled DDD. The Project helped her gain over 19 million streams on Spotify and helped her build up a fanbase before dropping her second project in 2019 titled Ama, Who?, a 5 track release that featured Amas stand out track “Northside” which on its own gained over 16 million Spotify streams.

Ama hasn’t released music in nearly 2 years and has left fans desperate for new music, with the comment section on her Instagram flooded with fans demanding new music.

Ama has put these fans to rest with her latest 3 posts, the post were stills from what looked to be a music video, with the captions reading “Link in bio”, ”Trust” and “Nobody”. The track has no official release date but has been available for pre-save and will be titled “Trust Nobody”.

The songstress may have not released a track in what will be two years next month but she has been keeping busy sharing photos of her escapades with her fans via Instagram. The singer has spent a lot of her time in LA working on new music and gaining new life experiences to share with her fans. During Lockdown the singer sat down with Vogue to talk about her journey and her work sharing her strange working conditions with the American lifestyle magazine, “I wake up at 5 a.m. every day, go to the back room in my home, study boards on the wall where I’ve pinned ideas for songs, and listen to music and audiobooks,”.

 

 

 

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Away from music, the 22-year-old has also been dabbling in modelling having worked with brands such as Aime Leon Dore, Bulgari and goat.

A post shared by Ama (@amalougistics)

Amas announcement of new music was met with joy from her fanbase with comments such as “Finally”,” I’ve been waiting” and “Ama found her way from the farm to the studio”. The excitement for her new track is undeniable and will hopefully just be the begging of AMAs return to consistency as fans await for her debut album.

Ama Lou’s new track “Trust Nobody” has no release date but is available for pre-save here.

The EP available on 28^th April will arrive along with the title track ‘Headz Gone West’, with Complex describing the track as “Inspired as much by Erykah Badu as she is by Remarc, jazz, soul, R&B, liquid drum & bass, jungle, late ‘80s rave nostalgia, Jamaican soundsystem culture, UK garage… and yet it all fits together perfectly.” The single also includes a visual courtesy of Delphino Productions, championing her DIY aesthetic as she walks the deserted streets of London drenched in psychedelic effects.

Releasing the same day as the extended play is the visual for one of the unreleased tracks titled ‘Crossroads’. The track is expected to hit the same tone as that of the title track, blending genres in an experimental yet soulful manner. Nia spoke on her process saying “Making the EP was super fun! I had a little DIY set up in my room and I would sit up all night making loads of quick beats for fun… some of them I would end up proper vibesing to and so kept working on them. Overall, the project is massively inspired by my love for breakbeats, jungle and D&B”. With the climate changing and the lockdown restrictions ending, we can hope that Nia Archives music makes its worthy debut in clubs across the country. Whilst we wait for the extended play you can stream her new single Headz Gone West below, with the visual also available here.

Comprising of eighteen tracks and two sides, Greentea herself describes the project as “An extremely personal experience, a gift of ULTRA, natural vibration for the collective (not the culture) …A journey from start to finish”. Slated for a June 4^th release, the album is available to pre-order as of today, with numerous bundles available to suit each listeners needs. Physicals included are a marbled vinyl, standard black LP, CD and cassette, with each item having signed version available for purchase also. Other products in the merch line include the likes of long and short sleeve t-shirts, flavoured incenses and all-natural rolling papers “for all your GREEN TEA sticky needs”.

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The second single for Man Made also saw its arrival on streaming services today. The thought provoking ‘Kali V2’, produced by Earbuds, is the ninth track on the album and is accompanied by trippy visuals to fit the psychedelic sound she has carved her own lane in. The political undertones of the track are accompanied by the hashtag ‘#FACTCHECKTHEFACTCHECKERS’, a statement that can also be found on merch of hers on the store.

This highly anticipated LP comes after a string of two extended plays that garnered Greentea much attention for her drug infused soulful nature, propelling her to the forefront of the UK scene. Stream the new single Kali V2 on Spotify below.

This is not the first major award Ross has been nominated for in his long-running music career, he has also won in many categories he has been nominated in. In 2010, he joined Reznor to win the Academy Award for Best Original Score for their work on The Social Network. In 2013, they teamed up once again to win the Grammy  for Best Score Soundtrack for Visual Media for their work on The Girl with the Dragon Tattoo.

Ross and Reznor have a long history of producing award-winning scores and soundtracks since their collaborations began in 2005 when Ross worked with Reznor’s band Nine Inch Nails. Ross and Reznor developed a kinship through their collaborations and eventually Ross was invited to become an official member in 2016.

Congratulations to Trent Reznor, Atticus Ross, and Jon Batiste on their #GoldenGlobes nomination for Best Original Score! pic.twitter.com/yuqAj3VYHM

— Pixar (@Pixar) February 3, 2021

Ross has been working in film and television scoring for more than a decade when he first worked on the soundtrack for the television series Touching Evil with his wife Claudia Sarne and his brother Leopold Ross. He won his first award for a score, when in 2010 he was given the BMI award and the World Soundtrack Award for his work on The Book of Eli.

This year Ross and Reznor face a varied and talent group of opponents for the award, Other nominees in the Best Score Motion Picture category include Alezandre Desplat, Ludwig Goransson, James Neton Howard, The United States vs. Billie Holiday, Judas and the Black Messiah, The Trial of the Chicago 7, The Life Ahead, One Night in Miami. Mank and Soul will be going up against The Midnight Sky and Tenet among many others.

This year’s Golden Globe Awards will be hosted by Tina Fey and Amy Poehler  this February. 28th, originally scheduled for January but delayed because of saftey concerns surrounding the Covid19 global pandemic. The show will be live-streamed from The Hilton in Beverly Hills, California and will be aired a 8 p.m. Eastern US time on the American network NBC.

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“Hear My Voice” a new song written for the film @trialofchicago7 Directed by Aaron Sorkin Song Written by Myself & Daniel Pemberton it’s out now! I hope you like it. Watch the video now. The film itself is out October 16th on @netflix

A post shared by Celeste (@celeste) on Oct 8, 2020 at 11:03am PDT

Hear My Voice was co-written with Ivor Novello winning composer Daniel Pemberton. It was created to be the final song of the film, something to leave the viewer with a ‘sense of hope and possibility, of light beyond the darkness.’ Pemberton said that he ‘knew straight away that [he] wanted to collaborate with Celeste, as her voice is one of the most magical things [he] has heard in recent times…’.

The film explores the corruption within the Chicago court system, following on from the anti-Vietnam War protest in 1968 at the Democratic National Convention and resulting trial of seven high profile counter-culture figures. Overall, the film is about America’s ‘prickly relationship with dissent’, so ironic for a country that prides itself on ideals of democracy and free speech.

One storyline within this is the mistreatment of the only black man on trial, co-founder of the Black Panther Party, Bobby Seale. In one scene, Seale is shackled and gagged on the orders of the judge. The horrific treatment he receives forces the audience to question whether things are better, or worse, for a black man living in America today.

The pertinence of this subject matter is acknowledged by Pemberton who says that he and Celeste have made a song ‘with a strong, powerful and simple message at its heart that feels as relevant now as it does to the events in Chicago in 1969′. Celeste agreed that the message of both the film and song is ‘important…timely [and] relevant’.

It is incredibly sad that the message of Hear My Voice is still so relevant today, but Celeste and Pemberton manage to inject the song with the ‘sense of hope’ intended. Bright string arrangements and plucky piano chords combine with Celeste’s determined vocals to create a song that is both heart-wrenching and uplifting at the same time.

In the chorus Celeste appeals to the listener: ‘Let us make a world in which in we believe’. The song is a call to action against oppression, a request for unity in overcoming it.