In an emotional, dramatic declaration and in true Morrissey fashion he took to his website to explain why he has put his shares up for grabs.

Morrissey said “I am burnt out by any and all connections to Marr, Rourke, Joyce. I have had enough of malicious associations. With my entire life I have paid my rightful dues to these songs and these images. I would now like to live disassociated from those who wish me nothing but ill-will and destruction, and this is the only resolution. The songs are me – they are no one else – but they bring with them business communications that go to excessive lengths to create as much dread and spite year after year. I must now protect myself, especially my health.”

Morrissey’s listed stakes include:

1. The name ‘The Smiths’, as created by Morrissey.
2. All Smiths artwork, as created by Morrissey.
3. All Smiths merchandising rights.
4. All Smiths songs lyrically / musically.
5. All synchronisation rights.
6. All Smiths recordings.
7. All contractual rights for Smiths publishing.

The tension between Morrissey and the band, namely Johnny Marr has been present for decades. In 1987 the members of The Smiths went their separate ways after one of Britain’s greatest ever guitarists, Johnny Marr, quit the band. He even recently revealed that he has turned down the chance to reform the band and tour on the ‘Stick To Football podcast.

He said: “We got made an offer recently, but I said no… it was a little bit about principles, but I’m not an idiot, I just think the vibe’s not right… It was an eye-watering amount of money, but also, I really like what I’m doing now, which makes it a lot easier.”

After the sad passing of bassist Andy Rourke 2023, and the flare between Marr and Morrissey, most notably on political opinion, this is most definitely the final nail in the coffin for any fans hoping to see The Smiths together on stage again. Not that hopes were very high before this statement, it must be said.

It’s certainly a different way to advertise shares in a band, it will certainly be intriguing to follow what happens as a result of this. Especially considering that some of what Morrissey has listed, Marr would claim he has no right to.

Speaking to The Guardian, Marr has previously stated that he controls half of their publishing activities and exclusively owns the related trademarks, which will have a direct impact on merchandising sales to name one of many items. 

Morrissey has been touring this year, successfully at that, even selling out the Manchester Co-Op Arena. It just feels like it was never enough for Morrissey, and like the first lover you never get over, he left a piece of him in the grave with ‘The Smiths’.

The statement ends as follows: “Any serious investors should make contact: eaves7760@gmail.com”

Anyone fancy it?

Joyce’s memoir arrives as the final member of the band to share his story, following frontman Morrissey’s ‘Autobiography’ (2013) and guitarist Johnny Marr’s ‘Set the Boy Free’ (2016). The late bassist Andy Rourke, who passed away in 2023, never penned a memoir.

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Described by the publisher as “no-holds barred,” ‘The Drums’ promises more than a recitation of well known events. Instead, Joyce aims to evoke the emotional truth of his time with the band, not iconic moments, but what it felt like to be a member of The Smiths. According to MusicRadar, he and Rourke often pondered, “Where did it all go right?”, a reflective question at the heart of his narrative. 

A significant part of the memoir is Joyce’s personal account of the infamous 1996 High Court case, where he and Rourke sued Morrissey and Marr over royalties. The dispute stemmed from disproportionate earnings, Morrissey and Marr had been taking 80% between them, leaving only 10% each to Joyce and Rourke. The court ruled in Joyce’s favour, awarding him approximately £1 million in back royalties and a 25% share going forward. A judge notably called Morrissey “truculent and unreliable” in the ruling

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The memoir also reflects on why a reunion of The Smiths remains unlikely. Marr has reportedly dismissed recent offers, citing principle and a sense that “the vibe’s not right,” while Joyce has declared reforming the band would be “impossible” without Rourke.

Joyce is now largely retired from active performance but has recently been making guest appearances playing with Pete Doherty’s band on his most recent tour. On stage, Joyce and Doherty delivered memorable renditions of The Smiths classics. Notably, they closed shows with a full-band performance of “Panic”, and occasionally mixed in a segment of “How Soon Is Now?”, the latter intertwined with Doherty’s own song “The Last of the English Roses”

His writing promises warmth, wit, and vulnerability, from the perspective of a Fallowfield lad who found himself at the beating heart of one of the most influential bands of the 1980s.

The songwriter and guitarist appeared on Gary Neville’s Stick to Football podcast where he talked about his love for Manchester City FC and all things music.

News broke last year – following the news of the Oasis reunion tour – that Marr and Morrissey had been offered millions of pounds to get the band back together for the first time since the late 1980s.

Morrissey all but confirmed the opportunity to reunite last year. He released a statement claiming that he was extremely interested in taking the offer, but that it fell through after “Marr ignored the offer”. The ‘Suedehead’ singer also claimed that Marr had blocked the release of a greatest hits album and acquired the trademark rights to The Smiths without informing him.

Marr, however, was quick to respond when he said he didn’t “ignore” the offer, instead he outright “said no”. 

pic.twitter.com/78kD509vqZ

— Johnny Marr (@Johnny_Marr) September 17, 2024

Speaking on Stick to Football Marr revealed his reasons behind turning it down, saying: “We got made an offer recently, but I said no. It was a little bit about principles, but I’m not an idiot, I just think the vibe’s not right.

“It was an eye-watering amount of money, but also, I really like what I’m doing now which makes it a lot easier. I like where I’m at. I still want to write the best song I’ve ever written. I want to be a better performer.”

Marr left the band back in 1987 aged just 24. He has since made a career for himself through solo work as well as working with bands such as The Pretenders, The Cribs and The The. 

Speaking on Neville’s podcast, he opened up about how he was “exhausted” and “miserable”  after the bands quick rise, which led to his decision to quit: “We were all dead young, we weren’t a bunch of mates from school… I wanted to put a band together, so I went and found the member. We learned to love each other very quickly and we became really tight, but we didn’t really know each other.

“Five years later, when we’re playing to 10,000 people I was 23! I’m sitting in a meeting with accountants being told tax laws that I didn’t understand, I was having a great time until I wasn’t. I got miserable. I thought The Smiths were the best band in the world at the time. I was so proud of us and I loved the music we were making. I love the guys, but relationships break down and that’s life.”

For those of you holding out for a reunion, don’t get too excited. The unfortunate death of bassist Andy Rourke in 2023 has made the idea “impossible” for drummer Mike Joyce.

He told NME after the bassist’s death: “Other people will have other ideas but, as far as I’m concerned, with Andy not being here, it’s impossible to have a reunion of The Smiths.”

Check out Johnny Marr’s full interview on Stick to Football above.

The singer-songwriter has released the third single from his upcoming solo album, ‘Felt Better Alive’, which is accompanied by a gothic music video filmed at Doherty’s house in Normandy, France.

Staring Doherty and his wife Katia deVidas, the breathless video features The Libertines frontman as ‘The Baron’ whilst deVidas plays ‘The Lady’. Check it out below.

The new release follows on from the first two previews of his fifth solo album, the title track ‘Felt Better Alive’ and the serene single ‘Calvados’.

Speaking of ‘The Day The Baron Died’, Doherty said: “I always thought it was a weird jazz number, with a silly, catchy little melody.

“It’s kind of a homage to John Lennon’s ‘Instant Karma’, not the lyrics but the weird off time drum fill in the chorus. And I’m not gonna explain what the song’s about because I’m working on a follow up!”

The upcoming album promises to be full of craftsmanship and character, with Doherty taking much inspiration from his now subdued life in the North of France. 

Speaking on the inspiration of the second single, ‘Calvados’, Doherty said: “Where I live there’s a fellow in town, he’s got a shop that specialises in Calvados and ciders; the apple juice becomes cider becomes Calvados.

“He took me on a tour of all the old Calvados makers, in his van, place to place, staying with them. It’s that story.” said the Babyshambles singer-songwriter.

Doherty has also announced the exciting news that his live band will be joined for multiple dates this summer by The Smiths drummer Mike Joyce.

The musician is set to appear as an “extra special guest” at numerous gigs, including Doherty’s shows at The Great Escape in Brighton, Southend’s Lazydays Festival, Port Talbot’s In It Together Festival and more including dates in Europe.

Doherty will be looking to continue his success in recent years after The Libertines topped the charts with their fourth studio album ‘All Quiet On The Eastern Esplanade’ in 2024.

Speaking to NME in January, Doherty explained how this album came about after the songs “didn’t seem right” for The Libertines, saying: “They were all written around the same time; around the time I was working on The Libertines’ new album but they didn’t seem right for it.

“It’s not that they were rejected by the band, but in order for it to be a Libertines song, it has to be really me and Carl [Barât]. These are songs that are me, really.”

‘Felt Better Alive’ is set to be released on Friday 16 May and is available to pre-order here.

Doherty will be performing at numerous festivals in the UK this summer, as well as marking the albums release on an already sold out in-store tour, including stops in Leeds, Liverpool, Nantwich, Kingston and London.

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Celebrating Marr, as well as local record stores, a plaque for the 61-year old has been unveiled at one of the musician’s regular haunts. Located in Manchester’s Northern Quarter, and just a short walk from Afflecks Palace, Piccadilly Records became one of the most important record stores in the country in the post-punk boom that came out of the North West, and has been Marr’s record store of choice for almost 50 years.  

The former Smiths guitarist used the opportunity to highlight just how important independent record shops are, saying, “Going out to a record store, it’s a nice pastime. It’s a part of the culture; if they were to completely disappear, the high street or the city centre would be a much worse off place. There’s something about the presence of a record store. It’s a magical thing. I’ve known the staff in Piccadilly Records for 20 years…this plaque is a very nice thing to be associated with.”

@recordstoreday Announcing @Johnny Marr Official as the official Record Store Legend 2025 This award was presented to Johnny Marr at his favourite indie record shop #PiccadillyRecords by @Record Store Day US and Record Store Day UK for both his influence on music and his unwavering support of indie record shops worldwide. “There’s something about the presence of a record store. It’s a magical thing. I’ve known the staff in Picadilly Records for 20 years…this plaque is a very nice thing to be associated with.’’ – Johnny Marr Marr has consistently championed record stores worldwide across multiple album campaigns and will be celebrating #RecordStoreDay ♬ original sound – Record Store Day UK

Andy McQueen, who has worked at Piccadilly Records for over 30 years, said, “Johnny Marr is our favourite living artist, and his music has soundtracked our lives for over forty years. To be associated with him in this beautiful way; well, the pleasure, the privilege is ours.” Speaking to Mancunian Matters in 2015, McQueen described Record Store Day as “brilliant, saying “It brings in a whole new load of customers. I love the spirit of the day.”

Marr will be one of over 400 artists to be participating in this year’s Record Store Day offerings, releasing an exclusive orange double LP called ‘Look Out Live!’. The album will be a live record, recorded at his Hammersmith Apollo show in 2024, and will be released alongside the countless other records on 12 April. According to the Record Store Day website, the album “encapsulates the magic of the culmination of his 2024 Spirit Power tour”, and features tracks from across his impressive 40 year career. Those include ‘This Charming Man’, ‘Getting Away With It’, and ‘Armatopia’. The full track listing can be found here.

2025 won’t be Marr’s first collaboration with the celebratory event, having previously participated in 2015 with his single, ‘I Feel You’, in 2022 with Vince Clarke’s remix of Marr’s ‘Spirit Power and Soul’, as well as various releases from The Smiths and Electronic.

In February, MXDWN UK previewed Record Store Day 2025, highlighting the most sought after records of this year’s edition. Among them are Taylor Swift’s ‘Fortnight’, an Oasis greatest hits compilation titled ‘Times Flies’, two Charlie xcx records, including her collaboration with Billie Eilish, ‘Guess’, and Sam Fender’s EP, ‘Me and the Dog’.

The Oasis Time Flies Record Store Day UK reissue has landed! We even opened one up to show it off a bit. Available in store from 8am Saturday 12th April, first come, first served!@recordstoredayuk.bsky.social

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— Bear Tree Records (@beartreerecords.bsky.social) 2 April 2025 at 20:05

 For Marr, this isn’t just another trophy in a cabinet full of awards, it is recognition for being part of a wave that has seen the record store revived. In 2024, vinyl sales accounted for £196 million of physical sales, compared to £126 million in CD sales. Considering Marr’s place in post-punk history, Piccadilly Records is a fitting home for his plaque.

Banks, known for her enticing lyrical flow and club-worthy anthems, has always been outspoken when it comes to voicing her opinion on the music industry and acts within it. This time, Glastonbury’s lineup was in the firing line when the singer took to X (formerly Twitter) to slam a few names on the bill, even going to the extent to provide her own worthy choices for the event.

In what world are the 1975 billed higher than Franz Ferdinand & The libertines in England? In what world is charli xcx billed higher than the Deftones?? billed higher than Pink Pantheress? In the UK???? Where is FLO? WHY WOULD THEY BOOK THE KAISER CHIEFS AND NOT BOOK *KEANE* or… https://t.co/XKli7okIVC

— Azealia Banks (@azealiaslacewig) March 15, 2025

The iconic Somerset five-day festival will welcome the likes of Olivia Rodrigo, RAYE, Loyle Carner, Biffy Clyro and more onto their stages this year. Although many artists on the lineup remained unscathed, one act definitely didn’t: Friday night headliners and Alt-Indie group, The 1975.

Beginning her online rant, the ‘Liquorice’ artist shared: “In what world are the 1975 billed higher than Franz Ferdinand & The Libertines in England?”

Banks’ attention to the 1975’s headline slot comes at no surprise given a heated exchange between Banks and 1975 frontman, Matty Healy back in December of last year. The singer made comments on Charli xcx (1975 drummer, George Daniel’s fiancé) and Gabbriette (Matty’s fiancé) which saw the 1975 frontman run to their defence; “allegedly making violent threats and derogatory comments about Banks and her physical appearance” in retaliation. The online spat caused Healy to deactivate his X account and subsequently caused Banks to result to legal action against the ‘Somebody Else’ singer.

In a separate post, Banks reiterated her dislike for Healy, stating: “Matty Healy is really just SO F***ING UGLY and that band as a unit has zero aesthetic.”

High key, every mother fucker who speaks ill of me unwarranted ultimately suffers the same fate lol. Matt Healy is really just SO FUCKING UGLY and that band as a unit has zero aesthetic. What is it with the uk that yall love yall an ugly crackhead? Pete Doherty now this? What is… https://t.co/vioTDl5QcJ

— Azealia Banks (@azealiaslacewig) March 15, 2025

The ‘Luxury’ singer continued with her thoughts: “In what would is charli xcx billed higher than the Deftones?? Billed higher than Pink Pantheress? In the UK????”

In her rant Banks provided suggestions with some acts that would’ve been in her personal lineup. The 33-year-old put a case forward for the following acts: Skunk Anansie, Central Cee (following the success of his debut LP), Shygirl, Basement Jaxx, Dido and MIKA. She even expressed some bewilderment towards Rod Stewart’s legend slot, expressing her desire for a (very unlikely) Smiths reunion with Morrissey and Johnny Marr.

Concluding: “Glastonbury is kinda cooked,” it seems Glastonbury have some making up to do with Banks especially within their second instalment of acts set to be announced soon.

Tickets available here https://t.co/FZsjN7CIkK

— Mozarmy (@Mozarmy) February 27, 2025

Taking place on 9 and 10 May, the festival is one of the more unique fan gatherings in Manchester and beyond. This year marks a significant change in the organisation of the event, as George Allen of the Morrissey and Wine podcast, steps in to take over as the lead organiser Julie Hammill, who ran the event for the past 11 years. Posting a farewell message on Tumblr, Hammill reflected on the festival’s spirit, saying, “The meet is inclusive and it always will be. It is welcoming. It is open. It is equal. To feel that we belong to something is what makes humanity bloom.”  

The two nights of the event will be held at the Star & Garter, with the first night being a MozArmy meet at the Morrissey Smiths Disco night on Friday 9 May, though it is not included in the price of Saturday’s ticket. Adorned with a mural of Joy Division’s Ian Curtis, the 200-capacity Grade II-listed venue had fallen upon hard times in the past 10 years, though it was confirmed in January that it was under new operatorship who have pledged to preserve the atmosphere and invest in structural improvements. 

 

 

 

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Following Friday’s disco, Saturday will see a variety of acts and performances, ranging from tribute band Frankly, The Smiths, musician Conor McLoughlin, a live recording of Morrissey and Wine, Mozeoke (Morrissey + karaoke), and a Morrissey look alike competition. Saturday night’s events are expected to carry on late into the following morning. 

Proceeds from the events will be donated to Feed My City, a Sikh-led charity providing emergency vegetarian meals across Greater Manchester. The charity has earned various awards, including the King’s Award for Voluntary Service (equivalent to an MBE), and a special recognition award from the High Sheriff of Greater Manchester for providing over 300,000 warm meals and promoting religious and social harmony.

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On the festival, Allen said, “If you’ve never been before, this year is the time to do it. You’ll find a lovely environment, cheap drinks and some great live music. It’s also a great chance to support the Star & Garter. They’ve been running the monthly Morrissey Smiths Disco for decades and hold a very special place in the hearts of fans. It’s the perfect home for MozArmy.”

The festival forms just a small part of a wider vibrant music tourism scene in Manchester. Music brings over 800,000 visitors to the city each year, supporting 6,800 jobs, and contributing over £300 million to the local economy according to a Manchester City Council report.

With a rich sense of community and belonging, the unique makeup of the MozArmy Meet offers fans a chance to celebrate the ongoing legacy of Morrissey and The Smiths, all while supporting a small music venue and a local charity. Tickets for the event are £22, including booking fee, and are available here.

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Two weeks after his last US show, the singer will be appearing at Dublin’s 3Arena on 31 May, his third visit to the venue after performances in 2014 and 2018. He will then head to Glasgow’s O2 Academy for a two-night residency on 4 and 5 June. The short tour will conclude in Manchester with a show on 7 June, his first show in his hometown since 2022.

pic.twitter.com/78kD509vqZ

— Johnny Marr (@Johnny_Marr) September 17, 2024

Morrissey made headlines last year over his public disputes with former bandmate Johnny Marr. The ‘Panic’ singer revealed that Marr had refused to tour with him under the name of The Smiths, as well as claiming that the guitarist had attempted to claim 100% of the ownership rights of the iconic 80s band. Marr, however, countered by stating that he had offered co-ownership to Morrissey twice—most recently in January 2024—but received no response, meaning the rights defaulted to him.

The venues on the 2025 tour vary in capacity, from a meager 3000 at the O2 Academy all the way up to a staggering 23,500 at Co-op LIVE – Europe’s largest indoor arena. Given that Morrissey’s recent shows have seen him performing at smaller venues, some fans on Reddit are unsure if the singer will be able to sell out his Manchester date.

Comment
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Morrissey teased the show in a cryptic post on his website, Morrissey Central, on Monday, simply saying, “Announcement. 5pm. GMT.” As the clocks hit 5pm, his website and social media accounts revealed the tour dates, as well as his support act, Brigitte Calls Me Baby.

The Chicago-based band will support the singer in Dublin and Manchester, but will miss out on the two Glasgow dates. The partnership comes after comparisons between the two in an NME review of the newcomers, describing their frontman, Wes Leavins, as a “direct descendent of Morrissey”.

With no new material to promote, Morrissey’s 2024 setlists were made up of fan favourites, spanning his work in The Smiths, his early solo material and the odd track from one of his more recent albums. Among the tracks played most were ‘Shoplifters of the World Unite’, ‘You’re the One for Me, Fatty’, and ‘Speedway’.

Morrissey hasn’t released a new studio album since ‘I Am Not A Dog On A Chain’, released in 2020. He had an album due to be released in 2023 called ‘Bonfire of Teenagers’, which the singer claimed was some of his best work ever. The record was shelved after the artist left his label, and has since claimed that “idiot culture” has made it impossible to release.

Tickets for Morrissey’s UK and Ireland tour go on general sale this Friday (14 February), available through Ticketmaster here.

The gig was hosted by Factory International’s Aviva Studios in Manchester, the city home to Marr, making his appearance alongside the ‘Take Me Out’ rockers even more legendary.

Marr has impressive credentials during his time in the industry, not only as the guitarist and co-songwriter in the angst-indie group The Smiths during the 1980s, but his contributions to Modest Mouse, The Pretenders, The The, The Cribs and his very own solo career.

The appearance of the now 61-year-old at the Amazon Music gig was marked with excitement as the iconic guitarist graced the stage.

“Do You Want To”

One of the best @Franz_Ferdinand singled … and tonight with @Johnny_Marr at Aviva Studios Manchester pic.twitter.com/wbs2DUZUPS

— Altrincham HQ – Social Media Marketing in Manc (@altrinchamhq) January 18, 2025

The gig placed Franz Ferdinand’s sixth studio album ‘The Human Fear’ at the forefront, which released January 10. The group teamed up with Marr for a total of three songs on the night. The first being ‘Build It Up’, the fifth track from their latest release. Marr’s contributions to the live rendition of the track were electrifying and captivating, seeming almost effortless to the guitarist.

‘Build It Up’ was followed by ‘Do You Want To’, a track with almost 100 million streams on Spotify, which stands as the second track on the band’s second album ‘You Could Have It So Much Better’.  

Wow@Franz_Ferdinand and @Johnny_Marr at Aviva Studios Manchester “Bigmouth Strikes Again” pic.twitter.com/8iV1HgrJBu — Altrincham HQ – Social Media Marketing in Manc (@altrinchamhq) January 18, 2025

Perhaps the most unforgettable of the three tracks was saved to last, as the indie rockers covered a Smiths classic, ‘Bigmouth Strikes Again’, from their iconic but provocative third LP ‘The Queen Is Dead’, released in 1986. During the collaboration Marr looked at home, as Franz Ferdinand frontman Alex Kapranos and Marr bonded over their desire to create an unforgettable experience for the audience.

After Marr’s appearance alongside the band, the guitarist reminisced on the collaboration, writing on Instagram: “Love and best to my friends @franz_ferdinand for a great time and great show”.

 

 

 

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As the exclusive on-stage collaboration came to an end, the Scottish rock band commenced with possibly one of their most notable tracks, ‘Take Me Out’ from their 2004 debut LP of the same name. With it’s infectious instrumentation, gripping melodies and memorable lyrics, the band provided gig-goers with a performance rife with energy, despite being over 20 years since the track’s initial release.

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Although the gig took place at Aviva Studios, fans unable to attend were able to witness the show from the comfort of their own homes through livestreams on both Prime Video and Twitch, as a result of the concert being the latest edition of Amazon Music’s City Sessions series.

Franz Ferdinand setlist:

‘The Doctor’

‘No You Girls’

‘Night Or Day’

‘Walk Away’

‘Audacious’

‘Stand On The Horizon’

‘The Dark Of The Matinee’

‘Bar Lonely’

‘Love Illumination’

‘Build It Up’ (with Johnny Marr)

‘Do You Want To’ (with Johnny Marr)

‘Bigmouth Strikes Again’ (with Johnny Marr)

‘Take Me Out’

‘Hooked’

‘The Birds’

Released in 1986, ‘The Queen Is Dead’ marked a pivotal moment for The Smiths. Not only did the band receive commercial success, with the LP charting for 22 weeks and peaking at the Number 2 position on the UK Charts, it evidently resonated with listeners due to its evocative lyricism, socially aware (and anti-monarchist) themes alongside its experimental and engaging instrumentation – all quintessential themes of Smiths discography. The album with the notable tracks: ‘There Is A Light That Never Goes Out’, ‘Bigmouth Strikes Again’ and ‘Frankly, Mr Shankly’, pathed the way for The Smiths to enter new territory in the industry, whilst rather unexpectedly planting their musical content at the forefront of media controversy.

Despite the disbandment of the group in 1987, over the years Morrissey has been subject to scrutiny due to his often outlandish remarks that are often captured in the media. The unreleased album, ‘Bonfire Of Teenagers’ which he likens to ‘The Queen Is Dead’ has been held under wraps for a few years due to disagreements between Morrissey and his former label, Capitol.

The LP was given its name after the Manchester terror attack at an Ariana Grande concert back in 2017, which resulted in 22 people tragically losing their lives. The album and the title track (which made its live debut in 2022) was said to address the incident alongside other culturally relevant themes from Morrissey’s perspective, giving listeners a unifying experience. However, once the record was completed in 2021, the ‘Suedehead’ singer parted ways with Capitol following a lengthy dispute, which forced him to buy back the rights to the album and his 2014 release ‘World Peace Is None Of Your Business’.

Since then, Morrissey has labelled this exact album as ‘unreleasable’ amidst his controversial claim of the so-called “Idiot Culture” in the industry which prohibits the use of free speech in arts.

Speaking at a concert in Newark, New Jersey back in mid-November, the singer declared to the crowd during his 20-song set: “As you know, nobody will release my music anymore… As you know because I’m chief exponent of free speech. In England at least, it’s not criminalised. You cannot speak freely in England. If you don’t believe me, go there. Express an opinion, you’ll be sent to prison. It’s very, very difficult”.

The ‘Everyday Is Like Sunday’ performer inferred the lack of free speech readily available to artists permeates throughout the industry’s “Idiot Culture” and has subsequently caused delay after delay with ‘Bonfire Of Teenagers’. These delays were in reference to the cancellation of the album’s February 2023 release date, partly due to Miley Cyrus withdrawing her vocal contribution from one of its tracks, ‘I Am Veronica’.

Morrissey’s sentiment as to why ‘Bonfire Of Teenagers’ may never see the light of day follows the lack of backing from record labels, who have fallen at the hands of cancel culture causing the music industry to inevitably become “childlike” and “frightened” when releasing music.

The concerns Morrissey raises about the lack of free speech, 21^st Century cancel culture and the lack of support from record labels makes it hard to determine whether ‘Bonfire of Teenagers’ will ever be released in the future.