History was made last night when Bengali singer Arijit Singh performed before more than 40,000 fans at Tottenham Hotspur Stadium in London. The venue, which has hosted global stars such as Beyoncé, Kendrick Lamar and Imagine Dragons, became the stage for Singh’s landmark appearance as the first South Asian artist to headline a major UK stadium.

“He’s doing this to show the sheer power of him as an artist, but it’s also an incredible statement of Indian culture in the west,” South Asian BBC presenter Nihal Arthanayake said.

Though not a household name in the west, Singh is one of the most listened-to artists on Spotify, boasting nearly 50m monthly streams. His relative anonymity outside of South Asia is often attributed to his lyrics being performed in Hindi and Bengali, as well as his reserved personality that keeps him away from the media spotlight.

Singh was born in Jiaganj, West Bengal, into a family of musicians and began playing music at the age of three. His breakthrough came in 2013 with “Tum Hi Ho,” the lead track for the Bollywood romance Aashiqui 2. The ballad dominated charts across India, cementing Singh’s status as one of the country’s most important voices.

As a playback singer, Singh belongs to a central tradition in Bollywood, lending his voice to songs that actors later perform on screen. This unique role has given him an unmatched reach, with his voice tied to many of India’s most memorable films of the past decade.

During the performance, Singh included “Sapphire”, a multilingual track co-written with Ed Sheeran. Though Sheeran was not present at the concert, the song marked a notable moment in Singh’s set, highlighting his expanding global reach and cross-cultural collaborations.

Their partnership has drawn international attention, with Sheeran previously sharing that he was first captivated by Singh’s voice after hearing his 2013 hit “Tum Hi Ho.” He later described Singh as “one of the most soulful artists I’ve ever heard.”

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The concert lasted more than three hours, with Singh moving fluidly between styles and instruments. He performed a retro rendition of “Saariyya” that caught long-time fans off guard, alongside modern, myth-driven pieces that highlighted his experimental side. His setlist balanced Indian classical instrumentation with contemporary arrangements, showcasing his versatility as both a vocalist and a musician.

The stadium was nearly at full capacity, with the majority of the audience made up of fans from London’s South Asian community. For many, the night was not only a concert but also a rare moment of cultural representation on one of the UK’s largest stages

With his Tottenham show, Singh proved that his artistry transcends language and geography. As Arthanayake put it, the night was as much a celebration of Indian culture in the west as it was a triumph for Singh himself—a once-in-a-generation voice finally recognised on the scale it deserves.

In a statement shared on social media, MOTH Club criticised the fragmented development plans, arguing that splitting the proposed building into two has allowed the developers to bypass the obligation to include social housing. While supporting the need for more affordable housing, the venue expressed concerns about the adverse impact of these specific plans on the area’s cultural fabric. “Building multi-storey blocks towering over an independent venue like MOTH would have devastating consequences for its future,” they said.

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The latest threat involves two separate applications for residential blocks on Morning Lane, one of which includes balconies overlooking MOTH Club’s smoking area and backing onto its stage wall. The venue’s management warns that these developments could lead to conflicts, including noise complaints from residents, which could endanger the club’s ability to operate.

The venue, renowned for its eclectic programming of live music, comedy nights, and film screenings, has hosted performances from acts such as Lady Gaga, King Gizzard & the Lizard Wizard, IDLES, and Jarvis Cocker. It has also played a significant role in supporting emerging artists and maintaining Hackney’s cultural vibrancy.

This marks the second time in recent months that the MOTH Club has called for public support. Earlier this year, the venue opposed a similar application for flats on Morning Lane, referencing potential threats to its long-term viability. The Music Venue Trust (MVT), a national charity that supports grassroots music spaces, previously described the situation as indicative of broader pressures facing independent venues across the UK.

The MVT recently flagged that 350 grassroots venues are at risk of imminent closure due to rising operational costs, declining revenue, and conflicts stemming from urban development. The trust’s initiatives, including the #OwnOurVenues campaign and The Artist Pledge, aim to secure the future of such spaces.

MOTH Club’s management has urged fans and local residents to oppose the latest applications by signing a petition and contacting Hackney Council, which can be signed here. “We’re calling on everyone to stand with MOTH Club and oppose these plans,” they wrote. At the time of writing, over 1,200 people have signed the petition in support.

The challenges faced by MOTH Club echo similar threats to other venues, such as Studio 338 in Greenwich, which opposed a residential development nearby at the same time as MOTH Club’s original appeal in September. The problem shows no sign as abating as urban redevelopment continues across London, which pits the need for preserving cultural institutions against the ongoing push to meet housing demands.

DiFranco, a trailblazer in the independent music scene, is renowned for both her music and activism. Her genre-bleding work fuses elements of punk, folk, jazz, and electronica, while displaying a DIY ethos. DiFranco founded her label, Righteous Babe Records, in 1990, about which she told BandWagon, “I realized a label wasn’t something that aligned with my purpose. A label meant moulding my image to fit someone else’s definition of my music. F*** all of that”. Over her three-decade career, DiFranco has released 23 albums, collaborated with artists as varied as R&B saxophonist Maceo Parker and folk legend Utah Phillips, and carved out a space for politically conscious, genre-defying music.

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Her 2025 show comes on the back of Unprecedented Sh!t, DiFranco’s 23rd studio album, which landed in May to critical acclaim. The album garnered notable attention for its bold sonic experimentation, largely thanks to producer BJ Burton’s innovative contributions. As HotPress noted, the album reflects DiFranco’s signature willingness to explore diverse sounds, blending elements like electro-inspired backdrops with her soulful vocals and thoughtful lyrics. The title track itself has been described as a “manifesto” in which DiFranco addresses concerns about the socio-political climate in the U.S. Burton’s avant-garde production adds an unexpected and fresh dimension to DiFranco’s style.

Stereoboard highlighted tracks like “You Forgot to Speak,” where DiFranco’s layered vocals and Burton’s rich production showcase a mesmerizing blend of folk and experimental sounds. The review praised the use of backward samples and unusual textures that give the album a distinctively avant-garde feel while maintaining DiFranco’s strong lyricism and message-driven songwriting​.

While Mitchell is perhaps best known for Hadestown, her roots lie in the folk tradition. She has released several solo albums that have drawn comparisons to the likes of Bob Dylan and Joni Mitchell. Her work, including the widely praised Young Man in America and The Brightness, explores deeply personal themes with a sharp eye for the political landscape.

Tickets will be available from October 11, with a presale beginning on October 10.

The group, known for their vibrant blend of indie pop and alternative rock, will launch their tour on February 20 in Bristol, with dates running until March 1. The tour includes a prominent stop at London’s O2 Shepherd’s Bush Empire, one of the band’s biggest venues to date. Other cities on the schedule include Bournemouth and Birmingham, underscoring the group’s steady rise in popularity.

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These dates follow a high-profile conclusion to 2024 for the band, which includes a three-night residency at Manchester Academy on December 27, 28, and 29. The shows will set the stage for their busy 2025 itinerary, with the band also confirmed as part of the line-up for the Isle of Wight Festival. They are expected to feature at numerous UK festivals throughout the year, although additional appearances are yet to be confirmed.

Lottery Winners will also be supporting fellow UK indie acts Jamie Webster and Blossoms on selected dates across Australia, Europe, and the UK. This series of support slots will precede their own headline tour, ensuring that the first quarter of 2025 will be an active period for the band, both domestically and internationally.

 

 

 

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In their announcement of the tour, made via social media on October 7, the band expressed excitement tinged with nervousness about playing what they called their “biggest ever venues.”

The new album Koko marks a follow-up to their previous release, Anxiety Replacement Therapy (2023), which was widely praised for its collaborations with high-profile figures like Shaun Ryder, Boy George, and Frank Turner. The album helped solidify the band’s reputation as one of the most versatile acts in the UK indie scene, combining upbeat melodies with reflective, occasionally melancholic lyrics. NME hailed the album as “a rich and varied record that shows Lottery Winners are unafraid to take creative risks and succeed at every turn.”

Formed in Leigh, Greater Manchester, Lottery Winners have slowly built a reputation as a hard-working band with a loyal fan base. They began playing small venues in the North of England before gradually moving to larger stages, supported by a string of well-received releases. Their self-titled debut album in 2020 was a breakthrough, but it was Anxiety Replacement Therapy that brought them wider recognition. Their collaborations with Ryder and Turner added credibility to their status as an act capable of outstripping indie-pop conventions while maintaining an approachable, often playful sound.

Pre-orders for Koko are currently available through the band’s official store, with a presale for tour tickets accessible to fans who secure the album in advance. General ticket sales will begin on October 11, 2024.

The Last Dinner Party, a band that has quickly garnered a dedicated following, announced the cancellation on their Instagram story, expressing deep regret for the inconvenience caused. “With great regret, tonight’s performance at the Cardiff Tramshed is cancelled due to illness. We are truly sorry for those of you that were looking forward to the show,” they wrote in a story.

The cancellation in Cardiff comes hot on the heels of another last-minute axing at Lincoln’s Engine Shed on September 28th. Fans there were also left in the lurch after two support acts had already performed. The venue confirmed on social media that the show had to be pulled last minute “due to a band member falling ill,” and assured fans they were “working to confirm a new date.”

Fuck. Tour is ELECTRIC See you soon Sheffield pic.twitter.com/kb8MyTlA9Q

— The Last Dinner Party (@lastdinnerparty) September 25, 2024

The band is still riding the coattails of several recent accolades. They are currently on a sold-out UK and Ireland headline tour in support of their debut album Prelude To Ecstasy, which was nominated for the prestigious 2024 Mercury Prize. The album achieved a remarkable milestone by becoming the biggest UK Number One debut in nine years, topping the charts with critical acclaim from major publications such as NME, Pitchfork, and Rolling Stone.

Critics have praised the album for its innovative sound and lyrical depth, with standout tracks frequently highlighted in year-end lists. Fans took to social media to vent their frustrations, with many expressing disappointment over the late notices. One described it as an “odd evening” at the Engine Shed, saying he had waited an hour before the show was officially cancelled. “I’m now the owner of a t-shirt for a gig that wasn’t,” he lamented. Another fan voiced her dismay, saying: “Cancelled at last minute with no notice very disappointed tonight.”

not a single word of apology issued to the thousand people stood in the engine shed that were expecting you at 9pm last night and no announcement was made until 9:30? appalling pic.twitter.com/dqazRhVT32

— freya! (@junegloomtoo) September 29, 2024

“Not a single word of apology issued to the thousand people stood in the engine shed that were expecting you at 9pm last night and no announcement was made until 9:30? Appalling.”

Despite the setbacks, the band assured fans that they are working to reschedule the cancelled shows. “Please keep a hold of your tickets and a further announcement will be made as soon as possible,” they wrote, promising that the show would eventually go on.

The announcement, made via their official Instagram and Twitter pages, has been met with widespread acclaim. Frontman Jason Williamson addressed fans in his typical understated manner: “Morning, £5 low income tickets go on sale this Friday (September 27) at 10am. You’ve got to sign up to the mailing list so you can get a ticket link. So these tickets are for people on low incomes so please, and I know you won’t, but please don’t take the piss. Thank you very much. We look forward to seeing you for a bit of fitness!”

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The duo’s upcoming show at the Eventim Apollo in Hammersmith on November 15 is part of their broader European tour. Full-price tickets for the London gig are available for £29, but a portion of the tickets will be sold at the significantly reduced price of £5. Williamson urged those who can afford the full-price tickets to purchase them, allowing those on lower incomes to benefit from the discounted rate. “If you can afford the full-price ticket, please buy the full-price one,” Williamson said in a video posted to the band’s Twitter page. “And allow space for those that are on a low income to get the five quid ticket.”

The decision comes as a refreshing contrast against the backdrop of recent controversy about dynamic pricing and middleman companies inflating prices of tickets for live music, most notably in the case of Oasis‘ hotly anticipated reunion tour next year, which saw some fans pay thousands for tickets. In contrast, veteran rockers Iron Maiden recently promised their fans there would be no dynamic pricing for their upcoming 50th anniversary tour.

Dynamic pricing alone is not the only cause of the rising cost of seeing live music, however, with the BBC finding that the average ticket price for the top 100 tours around the world was £101 last year.

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The band, consisting of Williamson’s fierce vocal delivery and Andrew Fearn’s minimalist beats, have always centered their music around social issues and everyday realism. Their music often delves into themes of government cutbacks and the struggles of the working class, with their 2013 album Austerity Dogs is a prime example of their politically charged lyrics and their disdain for the socio-economic policies that marginalise the less fortunate. Sleaford Mods’ latest album, Eton Alive, released in February, continues this tradition of hard-hitting social commentary and class-conscious critique.

“If you can afford the full-price ticket, please buy the full-price one,” Williamson said in the video posted to the band’s Instagram page. “And allow space for those that are on a low income to get the five quid ticket,” he added.

The £5 tickets will be available from 10am on Friday, April 12, with the link shared on the band’s Twitter page. These tickets will be non-transferable and must be picked up on the day of the gig at the Eventim Apollo box office, ensuring that they reach the intended audience.

Hackney’s MOTH Club, a former servicemen’s club turned eclectic venue for live music, comedy, and film nights, has issued a call to arms. The venue, which has been a cultural staple since 1972, is urging fans to object to a planning application for new flats on Morning Lane. The proposed development, they argue, poses a “serious threat” to their operations.

In a statement on Instagram, MOTH Club highlighted the venue’s historical significance and its ongoing role as a community hub. Management emphasised that the new builds could disrupt their activities and endanger the venue’s unique charm, with the club’s iconic gold ceiling potentially under threat. The club has asked Hackney residents to voice their objections to the council, quoting reference number 2024/1260.

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This plea comes at a time when the UK’s independent music venues are under significant pressure. The Music Venue Trust has warned that the country could lose 10% of its independent venues by the end of 2023. Initiatives like the #OwnOurVenues campaign and The Artist Pledge, which encourages major acts to support grassroots venues, are crucial in this fight. The campaign recently received a boost when Coldplay announced it would donate a portion of their tour proceeds to the  Trust.

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The announcement comes just weeks after drummer, Daniel Platzman, quit the band after switching gears to focus on film scoring and composing.  In a social media statement, Platzman said: “After an incredible journey of over a decade, I will be departing the amazing band that is Imagine Dragons. I wanted to share my deepest gratitude to you, the fans, for your unwavering support and sharing in the joy of music with me.” 

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Platzman who has featured on five of the band’s six albums, was not credited on their newest album LOOM – which the upcoming tour is promoting –  which features songs such as ‘Wake Up’, ‘Nice To Meet You’ and ‘Eyes Closed’. For the album, the band teamed up with Swedish hitmakers and frequent collaborators Mattman and Robin to craft a record that honours their signature sound while showcasing their current musical direction. 

Prior heading to Europe, the group will close the North American leg of the Loom World Tour at the Hollywood Bowl on 27 October. A one-night-only show will feature the LA Film Orchestra with special arrangements by renowned game composer Inon Zur. The show will also feature a live debut of ‘Children of the Sky (A Starfield Song)’, a song the Las Vegas-based trio recorded for the open-world video game Starfield. 

Imagine Dragons look to bring the song’s title to life as they are set to become the first band to have a song broadcast from the moon. Billboard reports# that “Children of the Sky” will be “transmitted back to Earth from the surface of the Moon as part of Lonestar’s Freedom Mission flying with Intuitive Machines to the South Lunar Pole in early 2025.”

Whilst Imagine Dragons’ UK show may not reach lunar heights, the band, who have sold over 74 million albums worldwide, recognises that they are “at a strange point now where it’s bigger outside the U.S. than it is even in the U.S.” Talking to Forbes, frontman Reynolds says “our live shows are really our bread and butter […] All of the guys are really great musicians or went to Berklee School of Music for jazz originally. So, we really have fun with these songs live.” 

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And, with the record really being about “a relationship: the end of it, the beginning, the middle” and the album cover being “a sunset or a sunrise – and not knowing if it’s the end of something or the beginning of something”, UK fans can expect something special for the last show of the tour.  

Tickets will be on sale this Friday (13 September) but Tottenham Hotspur Season Ticket Holders, One Hotspur Members, and local residents will have priority ticket access with an exclusive pre-sale starting at 10am on Thursday, 12th September 2024, and ending at 11:59pm that day. Fans can visit here to buy tickets.

According to reports, the European Commission has said that “such a deal is impossible because it would require rewriting the EU-UK Trade And Cooperation Agreement”, as well as making changes to EU rules on customs, road haulage and services.”

Despite individual countries tweaking their visa policies post-Brexit, artists are still grappling with hefty costs and bureaucratic obstacles. The challenges span from securing cultural performance Visas to obtaining transport permits for their gear.

In theory, 21 European countries allow some form of Visa-free touring for UK artists, time windows for touring are limited to at most 90 days touring every six months. Certain countries have implemented their own particular restrictions, for example France requiring musicians to be employed by a registered venue.

“There remains uncertainty and possibly a need for bilateral deals with six other member states in relation to work permits for musicians and performers for any commercial music performance or artists and crew face costly and time-consuming visa and work permit applications,” advocacy group UK Music says.

Labour must do everything they can do ensure the music industry isn’t left behind in the wake of Brexit.https://t.co/L4S2UQBOwj

— European Movement UK (@euromove) September 4, 2024

European Movement UK runs a campaign  called Face The Music, which urges the government to address the plight of musicians and other artists trying to work and tour in the EU. Labour pledged back in May before coming to power that it would work to fix the “European touring crisis”, by negotiating, ‘an agreement on touring visas’.

Dr Mike Galsworthy, Chair of European Movement UK, said: “ We really need him to be more ambitious on this front and open up conversations about mobility in general, which is what the British public want to see.”

“Remember, it’s not just musicians, it’s theatre groups, fashion photographers, dancers, comedians and British culture in all of its wonderful dimensions. Brexit has boxed them in and it’s time to tear down these walls,” he added.

In July, the Musician’s Union conducted a survey of 200 artists who had previously performed in the EU, in which 75% polled musicians reported that their bookings in the EU had declined, while 59% said that touring in the EU was no longer financially viable  54% of artist who said their merchandise sales had been affected, as well as13% of respondents who experienced all or part of their fees being withheld due to complications in connection with tax and national insurance.

“Although over half of surveyed musicians told us that touring the EU was no longer financially viable for them, we have been working with the new Labour Government to address the concerns raised, and are hopeful that the barriers can be addressed,” the Musician’s Union said in July.