He may never have strayed far from the minds of many music fans, but with his biopic A Complete Unknown hitting UK cinemas on January 17 and heartthrob Timothée Chalamet in the lead role, Bob Dylan may be about to gain an entirely new audience.
Despite having, as a researcher of songwriting, something of a penchant for Dylan’s idiosyncratic and character-filled style, here are six covers of his songs which I believe outperform his versions.
Another view would be that the guitars are out of time and the vocals are under-rehearsed – and the same shortcomings are on display during the song’s performance on the Johnny Cash show. Far superior in my humble opinion is the 2005 version by alt-rock band Eels.
Girl from the North Country by Eels.
The band performed the song for their Eels with Strings: Live at Town Hall DVD and album. Band leader Mark Everett switched it from acoustic guitar to piano. His gentle arpeggiated playing complemented his gruff yet tender vocals and drew every drop of emotion out of the lyrics and melody. He keeps in time, too.
2. Mr Tambourine Man by The Byrds
A masterclass in lyric writing, Mr Tambourine Man (1965) saw Dylan flexing his linguistic muscles to reel off dozens of intricate internal and end rhymes, including my personal favourite:
Though I know that evening’s empire has returned into sand
Vanished from my hand
Left me blindly here to stand, but still not sleeping.
The Byrds’ version, released in the same year and hitting number one in both the US and the UK, isn’t better than the brilliant original (how could it be?) but it is brilliantly different.
The Byrds’ version of Mr Tambourine Man.
Abridging Dylan’s version in order to make for a more palatable running time for the singles market, what it lacks in lyrics it more than makes up for in melody. The harmonies in the chorus add to Dylan’s main vocal line. It was an era-defining moment that launched the folk-rock genre.
3. All Along The Watchtower by The Jimi Hendrix Experience
Dylan may have released the original version of All Along The Watchtower on his John Wesley Harding album in 1967, but it was The Jimi Hendrix Experience’s cover, released just six months later, which has largely been accepted as the definitive recording.
All Along the Watchtower performed by Jimi Hendrix.
Taking Dylan’s gentle acoustic guitar and harmonica number and feeding it through his legendary white Strat, Hendrix rocks seven shades of summer out of the song until it takes on a completely new life.
So great was his reinterpretation (it seems derisive to merely label it a “cover”) that as well as being ranked at number 40 in Rolling Stone’s 500 Greatest Songs of All Time list, Dylan amended the song’s structure for later live performances in order for it to be more like Hendrix’s.
4. If Not For You by George Harrison
Granted, I only heard Dylan’s recording of If Not For You after already being familiar with George Harrison’s version included on his 1970 album All Things Must Pass for several years, so it was always going to feel slightly foreign to me.
George Harrison performs If Not For You.
What I wasn’t expecting, though, was how unimpressive and strangely flat it seems compared to Harrison’s recording. Dylan’s run-together vocal lines were backed by oddly jaunty and accented side-stick drumming (with the snare struck on the second beat but then a quaver before the fourth instead of on the fourth itself) and punctuated with glockenspiel. It all adds up to a slightly confused and messy arrangement, which takes attention away from the sincerity of the lyrics.
5. If Not For You by Olivia Newton John
When Olivia Newton-John issued her own cover of If Not For You in 1971, she wisely opted for the same arrangement as Harrison’s, thankfully, minus Phil Spector’s muddy over-production – and scored an international hit with it in the process.
If Not For You performed by Olivia Newton John.
To my mind If Not For You remains one of Dylan’s most simplistic, beautiful songs – so long as he’s not singing it.
6. Ballad of Hollis Brown by David Lynch
Appearing on The Times They Are A-Changin’ (1964), Dylan presents the five-minute Ballad of Hollis Brown as its title suggests, as a traditional ballad in both form and theme. His voice is backed by a lone acoustic guitar, minus even his ever-present harmonica.
The Ballad of Hollis Brown by David Lynch.
Nearly half a century later, director David Lynch took time out from his day job to reimagine the song as drum-heavy claustrophobia, twisting the original until it would have been unrecognisable if not for its title and lyrics. Dylan diehards may want to give this one a miss, but for those of us who enjoyed the music from the Roadhouse in Twin Peaks series three, this is a winner.
Pop superstar JADE kicks off 2025 with the release of her highly anticipated song ‘IT girl’.
‘IT girl’ is a bass-heavy, bold, tongue-in-cheek electro pop track. Written by JADE with Cirkut and Lostboy (Charli XCX, Lady Gaga), alongside Lauren Aquilina and J Hart, the sharp lyrics reflect her experiences in the music industry and the often ruthless and complex nature of fame.
The boisterous song has been highly anticipated by fans since it was first teased at the end of the music video for ‘Angel of My Dreams’, with many demanding the full release of the track.
JADE says: “IT girl is the c**nty little sister to ‘Angel of My Dreams’. There’s still so much that people don’t know about me, so I was eager to surprise people and prod the bear a bit. I have to write about my experiences in my own melodramatic way. I’m not going to sugarcoat it.”
JADE finished 2024 by winning the Trailblazer Award at The Rolling Stone UK Awards and appearing on the cover of the magazine. She was also included on many of the end of year ‘Best Of’ lists. ‘Angel Of My Dreams’ was named the No.1 song of 2024 by DIY Magazine and a Top 10 song by The Guardian, DORK, Clash and NME. In addition Dazed named JADE video of the year.
‘Angel Of My Dreams’ has also been a huge commercial success. The track has accumulated over 80 million streams to date, entering the UK Official Singles Chart at No.7, the third highest new entry for a British artist this year. The accompanying video was a No.1 YouTube trending video for 10 days and has had 10 million views. The song remained in the Official UK Singles Chart Top 20 for two months. Since then JADE has dropped two more tracks, ‘Midnight Cowboy’. a sultry, understated bass heavy bop about owning your sexuality and the sleek disco-tinged ‘Fantasy’, complete with a video directed by the iconic David LaChapelle.
Albion Nights Kitchen Sessions presents… Isamya performing ‘Lemonade’. The second instalment in a series of stripped-back performances recorded at Albion Nights.
Vocals: Isamya
Acoustic Guitar: Nathan Hawdon
Rhodes: Harry Edwards
Host: Helen McGrath
Camera and Edit: Paul Thompson
Camera Operators: Hal Jones & Jonty Rea
Audio: Fifth Elementz
Photography: Helen Anderson
With thanks to everybody that made this possible, special mentions to @PopScoopOrg @Wordplaymag and @sEElectronicsofficial .
Sex Pistols members Paul Cook, Steve Jones and Glen Matlock alongside Frank Carte
Rock for People, Europe’s most dynamic and increasingly popular alternative festival, has unveiled more headliners among 40+ new names, and added an extra day to the weekend for its 30th-anniversary celebration from 11 to 15 June 2025!
Joining previously announced Slipknot, Linkin Park and Avenged Sevenfold, Sex Pistols featuring Frank Carter complete the festival’s headline bill from Wednesday to Saturday, with Guns N’ Roses set to close out the weekend with a massive extra day on Sunday.
Legends of the punk-rock subculture Sex Pistols make their Rock for People debut at Park 360 in Hradec Králové and their first show in Czechia since 1996. Celebrating half a century since bursting onto the scene, the influential band perform with an old-new line-up comprised of original and founding Sex Pistols members Paul Cook, Steve Jones and Glen Matlock alongside Frank Carter (of Frank Carter and the Rattlesnakes and Gallows). One of the most surprising and admired musical returns, this celebrated new partnership brings an album of vital tracks like ‘Anarchy In The UK’ and ‘God Save the Queen’ back to life in the most iconic fashion.
As part of this milestone edition, Rock for People will offer something truly extraordinary: an exclusive extra day on Sunday, 15th June, headlined by none other than Guns N’ Roses. Fans can add this special day as part of a monster 5-day weekend ticket, for a unique opportunity to see one of the most influential rock bands of all time. With anthems like ‘Sweet Child O’ Mine’, ‘November Rain’ and ‘Paradise City’ the Guns N’ Roses legacy is undeniable. For a day also featuring the likes of Rival Sons and more to be announced, all full-festival 4-day festival ticket holders have the opportunity to purchase Sunday’s programme at a discounted price.
In addition to the final headliners, Rock for People announced over 40 more acts and revealed the day splits from Wednesday to Sunday for their first-ever 5-day weekend. Visitors can look forward to Scottish rock behemoths Biffy Clyro, Belfast rap trio Kneecap, L.A. rock band AWOLNATION, the singular talent that is Marc Rebillet, Norwegian star Sigrid, New Jersey deathcore band Lorna Shore, Australian cult metal septet Battlesnake, Swedish hardcore punks Refused on their farewell run, plus Eagles Of Death Metal, Circa Waves, The Ghost Inside, Deafheaven, Kim Dracula, RØRY, Imminence, Mallrat, DVNE, Bad Nerves, Imminence, DVNE, Sylosis, Lake Malice, The Haunt, Urne and many more.
These new names will be joining the jaw-dropping line-up featuring Wednesday headliners Avenged Sevenfold, Thursday headliners Slipknot, Saturday headliners Linkin Park, alongside the likes of Fontaines D.C., IDLES, In Flames, Motionless In White, Poppy, Skillet, Alice in Chains’ Jerry Cantrell, and many more besides.
Rock for People has built a reputation for curating a varied line-up that delights fans of alternative, metal, indie, and punk music, making it an unmissable event for UK festival fans looking for a unique and international experience combining unbeatable value, flawless production, and a welcoming atmosphere.
Each year Rock for People brings several days of high quality energetic music as well as additional supporting programming in the form of performances, dance, stand up comedy and engaging discussions, with even more to be announced in the coming months.
Some of the festival tickets are already sold out, such as the one-day Saturday tickets with headliner Linkin Park. More information and ticket sales can be found on the festival’s brand new website: https://rockforpeople.cz/en/.
Festival founder Michal Thomes said: “I dare say the lineup we’ve managed to put together for this year’s show is truly exceptional. The bar for the festival is once again being raised and we are seeing a huge demand for tickets that we have never seen before. We are enlarging the venue, moving the Fat Lady main stage further away, while strengthening the infrastructure of Park 360 and other services to maintain the comfort that visitors are used to. Despite this, six months before the event, 90% of the capacity of full-festival tickets is sold out already.”
Since 1995, Rock for People has been delivering world-class experiences, ever-committed to driving forward the new generation of modern rock in all its forms. Held in the unique location of Park 360 in the historic city of Hradec Králové, Czechia, two iconic outdoor main stages and big tops are surrounded by a complex of ex-military airport bunkers, now playing host to incredible food & drink arenas, expansive merch stalls, late-night parties, and more. The festival offers great value, with affordable travel and accommodation options, making it an increasingly popular choice for UK music fans. With its 30th-anniversary edition, Rock for People promises to go bigger than ever.
Rock for People takes place 11–15th June 2025 at Park 360, Hradec Králové, Czechia. With more to be announced, information and tickets are available now via: https://rockforpeople.cz/en/
LINEUP & DAY SPLITS ANNOUNCED SO FAR
Wednesday 11. 6.
Avenged Sevenfold
Awolnation, Grandson, Kneecap, Poppy
Archars, Bad Nerves, Currents, Karen Dió, Kittie, Mallrat, House Of Protection, Polaris, SiM, Sylosis, The Haunt, The Southern River Band, Trophy Eyes, Vowws
Thursday 12. 6.
Slipknot, Lorna Shore
IDLES, Marc Rebillet, The Ghost Inside
Arrows In Action, Castle Rat, Dayseeker, Dead Poet Society, Dream State, DVNE, Eagles Of Death Metal, Floya, Halocene, Kim Dracula, The K’s, TX2, Static Dress, Superheaven, Unprocessed, Yard, Zebrahead
Friday 13. 6.
Sex Pistols ft. Frank Carter, Skillet
In Flames, Jerry Cantrell
6arelyhuman, Amira Elfeky, Cam Cole, Circa Waves, Deafheaven, Ewa Farna, Imminence, Horkýže Slíže, Kadavar, Lake Malice, Nothing More, Paleface Swiss, RUWORR!ED, Seven Hour After Violet, The Living Tombstone
Saturday 14. 6.
Linkin Park, Biffy Clyro
Fontaines D.C., Motionless In White, Sigrid
Battlesnake, Creeper, DZ Deathrays, Fickle Friends, French Police, Refused, RØRY, Sawyer Hill, Thrice, URNE, ZillaKami
Birthday RFP, Sunday 15. 6.
Guns N’ Roses, Rival Sons and many more
It’s the most wonderful time of the year – a time for carolling and concerts, trees and tinsel, mulled wine, open fires and, of course, The Rock (aka Dwayne Johnson). Or at least, that is, according to Hollywood. The action star’s latest film, Red One, has been playing in cinemas across the world since mid-November. But critically, it’s been regarded as a bit of a stinker.
For those who missed it, the film was conceived as the first instalment of a Christmas-themed action franchise. It casts Dwayne Johnson as Callum Drift, commander of the North Pole’s Enforcement Logistics and Fortification (ELF) – Santa’s security team.
When Santa is kidnapped on Christmas eve, Drift must team up with a band of Santa soldiers and mercenaries played by action stalwarts like Chris Evans and Lucy Liu, all of whom must punch their way through Lapland to defeat the evil forces attempting to destroy Christmas.
In the words of its own marketing team, Red One sells itself to audiences as a “globe-trotting action packed mission to save Christmas”. But exactly whose Christmas it thinks its saving remains unclear.
Despite the all-too-easy temptation to mock Red One as a clearly ill-conceived project, this is not simply a one-off disaster. On the contrary, Red One is just the latest in a long line of infamous attempts made by Hollywood studios to make a spectacular Christmas action film.
In the 1980s, we had Santa Claus: The Movie (1985), brought to us by the producers of Superman: The Movie (1978). If Superman famously made some viewers believe a man could fly, Santa Claus: The Movie tried to use the same pioneering special effects to make us believe that reindeers could fly, turning Santa’s sleigh ride into the stuff of blockbuster cinema. It was a flop.
In the 1990s, there was Jingle All the Way, an ill-conceived Arnold Schwarzenegger vehicle which, despite being the subject of many festive memes was nevertheless a critical disaster. In 2010, Arthur Christmas, a co-production between Aardman Studios and Sony Pictures, attempted to modernise Santa’s infrastructure to upgrade his sleigh to a rocket ship. Yet again, the film was a box office disappointment, despite earning positive reviews from critics.
Of course there are exceptions to the rule of Christmas action films creating box office bombs. Let us not forget that, for many fans, Die Hard is a Christmas movie. But the history of Hollywood trying to bring together the aesthetics of the action-adventure genre with that of Christmas has almost always ended in failure.
So why does Hollywood persist with this strategy? Largely, because it has boxed itself into a corner. In its heyday, Hollywood produced Christmas classics like Miracle on 34th Street (1947), Meet Me in St Louis (1944) and White Christmas (1954).
These films are cosy, warm and comforting. They established the template not only for the ritual of watching films at Christmas time, but also what that Christmas viewing experience should be. But they were all made before the popularisation of television. And, as home viewing has intensified over the past 75 years, Hollywood has been forced to position itself as a distinctly un-cosy equivalent to the armchair and roaring fire.
Watching films at home is relaxing. When we picture our cinematic Christmas routines, I suspect many of us are imagining being surrounded by loved ones, in comfy pyjamas, enjoying a cosy night in together watching Home Alone, The Muppet Christmas Carol or Love Actually with some mulled wine and a tin of Quality Street.
Going to the cinema, however, is supposed to be spectacular. It is loud, booming, thrilling and visceral. All of that feels a bit intimidating and unnecessary when you’re sitting in your jim-jams with a nice turkey mayo sandwich and cup of tea.
If we don’t want our Christmas movies to look like Red One, we should perhaps ask ourselves what we do want from our seasonal viewing experiences. Statistics show that Christmas is still the time of the year that people are most likely to go the cinema. But the core audience needed to keep cinemas afloat is a younger demographic, that prefers the big superhero, action and science-fiction franchises.
The rest of us, however, are left yearning for a Christmas viewing experience that now seems to have been taken over by the likes of the Hallmark channel and Netflix, which even has a dedicated Christmas section. This is great news for Lindsay Lohan, who seems to be experiencing something of a career renaissance by executive-producing and starring in some questionable Christmas “classics” like Falling for Christmas (2022) and, most recently, Our Little Secret.
These films might be cheesier than a festive baked Camembert, but there’s a reason they’re popular. They remind us of the ghosts of Christmas movies past that big film studios seem unable or unwilling to make today.
The movie industry needs to think hard about the kinds of films it hopes to contribute to the Christmas film tradition in future. But we too need to accept that we might be asking Hollywood for something that even Santa would struggle to deliver.
Following the announcement of Ministry of Sound Classical earlier this month, Newmarket Nights is thrilled to be welcoming another dance music icon next Summer. Faithless will perform a full headline live set after racing on Friday 8th August.
It’s been almost three decades since their debut album ‘Reverence’ was released, and in that time the legendary UK act has made an unparalleled impact on the dance music landscape. One of the most influential electronic artists of the 21st century, they’ve sold over 20 million albums including seventeen Top 40 singles, including the juggernaut ‘Insomnia’, six Top 10 albums (three at #1) and amassed over a billion combined streams to date.
The band’s cultural significance is unparalleled – leading the charge of dance acts cutting through on
a global level and demonstrating electronic music deserves its place on the main stages. Throughout their incredible career, Faithless have continued to prove it’s possible to achieve critical and commercial success while delivering boundary pushing dance music immersed in feeling and integrity.
Earlier this year, and eight years on since their final live performance, Faithless returned to the global stage with a triumphant headline set at Glastonbury. With a 7-piece band, they have entered an exciting new era to continue their reign at the forefront of dance music.
Sophie Able, Newmarket Racecourses and International Director, said
“Dance music is an integral part of Newmarket Nights, and we always look forward to hosting the biggest names of the genre each year. We’re elated that Faithless will be making their live debut at the racecourse this Summer.”
Faithless said: “2024 has been a landmark year for the group, returning to live performances after an eight-year break. We had the best time at festivals this Summer and can’t wait to party the night away with you all at Newmarket Nights on Friday 8thAugust!”
The award-winning Newmarket Nights series continues to be the premier entertainment destination for the East. The concerts stage some of the nation’s biggest music talents for a full headline set after racing, with recent headliners including Bastille, Olly Murs, Busted and Becky Hill. In addition to world-class live music and an electric evening at the races, the events provide a selection of culinary delights for all, ranging from street food to Newmarket’s array of exceptional restaurants.
Tickets for Faithless at Newmarket Racecourses will be on sale at 10am on Friday 20th December via thejockeyclublive.co.uk, with a presale available to customers at 10am on Wednesday 18th December.
Finn Doherty debuts a stunning acoustic rendition of his track “Call It Off” as part of a special series of stripped-back performances at Albion Nights called the Kitchen Sessions.
Taken from his recently released EP “If You’re Bored of This City”, the intimate performance showcases Doherty’s raw talent, accompanied by the beautiful tones of Miles Lavelle Golding on Rhodes. Filmed in the warm, homely setting of Albion Nights, the video captures a stripped-down, heartfelt performance that beautifully reflects the mood and vibe of the sessions.
Finn Doherty with Miles Lavelle Golding on the Rhodes
Watch the full video below and follow the Albion Nights YouTube channel to see the next instalment in this series.
This production wouldn’t have been possible without the collaboration and support of the incredible team involved.
Pop singer and songwriter JESSIA continues her meteoric rise with the release of her new single, “I’m Not Gonna Cry.” Fresh off her first-ever headline tour, which wowed audiences across the US and Canada, JESSIA delivers a track that perfectly encapsulates her signature blend of infectious pop melodies and heartfelt lyricism.
“I’m Not Gonna Cry” is an anthem of resilience and self-empowerment. “This song is about the will to keep showing up for yourself, even when life gets tough,” JESSIA explains. “It’s choosing to celebrate the good things instead of dwelling on the negative. I want it to pick the listener up, dust them off, and get them ready for their busy day or their girls’ night out.” With its vibrant production and uplifting message, the track is tailor-made for blasting on repeat.
Since her debut in 2021, JESSIA has captivated the world with her raw talent, dazzling pop melodies, and deeply personal storytelling. Originally from Vancouver and now based in Los Angeles, she quickly became a global sensation with her viral breakout hit, “I’m not Pretty.” Her debut EP, How Are You?, garnered widespread acclaim and cemented her as a powerful voice in pop, earning her the prestigious Breakthrough Artist Award at the 2022 Juno Awards.
With over 400 million streams across her catalog, JESSIA’s music captures life’s highs and lows, delivering songs that can make you laugh, cry, and believe in better days. Her sophomore EP, Okay With Every Part, released independently in 2024, marked a bold new chapter in her career. This creative freedom fueled her headline tour, where she showcased her powerhouse vocals and dynamic stage presence.
JESSIA’s fearless spirit and unwavering authenticity continue to set her apart. With “I’m Not Gonna Cry,” she adds another anthemic track to her growing repertoire, solidifying her place as one of pop’s most exciting and relatable voices.
“I’m Not Gonna Cry” will be out on all streaming platforms on December 13th.
Making its much-anticipated racecourse debut next summer, Ministry of Sound Classical will transform Newmarket Nights into the legendary home of dance music on Friday 20th June.
Clubs do not come more iconic than Ministry of Sound. The prominent London venue was at the heart of the huge house scene of the ‘90s and is one of the biggest global brands in dance music. In their hugely acclaimed Ministry of Sound Classical show, a breathtaking 30-piece orchestra recreates and celebrates the very best hand-picked tunes from the genre’s history.
Joined by top DJs, stunning vocalists and a sound and light experience like no other, expect to hear your favourite dance tracks re-imagined and re-lived. With the setlist including the ultimate dance hits from the 90s from acts such as The Chemical Brothers, Dario G, Faithless, Fatboy Slim plus many more, Friday 20th June will be an unmissable night for any dance music fan.
Sophie Able, Newmarket Racecourses and International Director, said
“The music of the white isle has a very special place at Newmarket and we can’t wait to welcome the exceptional show from Ministry of Sound Classical on Friday 20th June. With tickets on sale now for Richard Ashcroft, we’re excited to reveal soon further acts joining next Summer’s line-up. Keep your eyes peeled!!”
Ministry of Sound Classical said
“This ain’t no DJ set! We’re excited to bring our show to you all next summer, packed full of dance anthems as you’ve never heard them before. Take a break from the ordinary and immerse yourself in the extraordinary with us!”
The award-winning Newmarket Nights series continues to be the premier entertainment destination for the East. The concerts stage some of the nation’s biggest music talents for a full headline set after racing, with recent headliners including Bastille, Olly Murs, Busted and Becky Hill. In addition to world-class live music and an electric evening at the races, the events provide a selection of culinary delights for all, ranging from street food to Newmarket’s array of exceptional restaurants.
Tickets for Ministry of Sound Classical at Newmarket Racecourses will be on sale at 10am on Friday 13th December via thejockeyclublive.co.uk, with a presale available to customers at 10am on Wednesday 11th December.
Sign up to The Jockey Club Live’s mailing list to secure the best price by buying in advance during the presale window. Tickets are priced starting from £28 for presale, and from £33 general sale. There will be hospitality packages available to suit all budgets.
The Jockey Club Live will be hosting live concerts after racing at racecourses across the country including Sandown Park, Market Rasen, Carlisle, Warwick, Newmarket, Aintree and Haydock Park in 2025.
This marks the only European appearance of Travis Scott in 2025
The Reading and Leeds Festival has officially revealed its four headline acts for the August Bank Holiday weekend for 2025. With this first line up announcement, Reading and Leeds Festivals welcome the most dynamic and essential names across multiple genres to the festival weekend, between 21st-24th August 2025.
As announced by BBC Radio 1’s New Music Show with Jack Saunders today, Travis Scott, Chappell Roan, Bring Me The Horizon and Hozier have been revealed as the headliners for 2025. Alongside the likes of AJ Tracey, Becky Hill, Sammy Viriji, Trippie Redd, Amyl and The Sniffers, Conan Gray, The Kooks, The Dare, Bloc Party, Enter Shikari, Wallows, Sea Girls, Mannequin Pussy, SOFT PLAY, Lambrini Girls, DJ EZ and many more announced today.
Synonymous with modern culture, Reading and Leeds Festival never stands still. A pivotal platform for shaping the careers of countless artists and delivering some of the most iconic moments in global music history. With the first look at next summer’s line up, 2025 is set to move things forward again, shaping the cultural landscape of the here and now. Following the Three and Festival Pre-Sale, Day and Weekend Tickets for the 2025 edition will go on sale Monday 9th December at www.readingfestival.com/tickets and www.leedsfestival.com/tickets.
When you think of defining figures in modern culture right now, you think of Chappell Roan. Taking the planet by storm with one of the most stratospheric breakthroughs of the decade so far, the release of Chappell’s debut album ‘The Rise And Fall Of A Midwest Princess’ ushered in a generation-defining talent that has seen mammoth crowds gather to witness an artist like no other. A global must-see artist, her headline performance debut at Reading & Leeds is set to be a true moment of celebration, showcasing her bold vision for the future of pop music with 2025’s must-see headline show ready to etch another chapter in Reading & Leeds history.
One of the most influential and dynamic artists of this generation, Travis Scott will head to Reading & Leeds with a European Exclusive performance. From his breakout album ‘Rodeo’ to his latest masterpiece ‘Utopia’, this rapper-turned-visionary has one of the most astronomical back catalogues of the last decade. Culturally relevant in every continent, audiences across the world have been swept up in the hypnotic energy of his live sets and larger-than-life production. His debut headline turn at Reading & Leeds promises to be an epic celebration that can only be found over the August Bank Holiday weekend.
Bring Me The Horizon’s explosive return is a moment fans have been eagerly awaiting. Fresh from the release of their monumental seventh studio album ‘Post Human: Nex Gen’, Bring Me The Horizon are experts in reinvention and reimagination, taking each iteration of the band to a new level every time. With frontman Oli Sykes at the helm, Bring Me The Horizon have been responsible for opening up the worlds of metalcore, rock and electronic genres to so many. Their last appearance at Reading & Leeds saw a surprise appearance from Ed Sheeran and earned a glowing-five-star review from NME. Next summer as a UK Festival Exclusive, Bring Me The Horizon put a marker in the sand for why they sit as one of the biggest and most influential bands of the 21st century.
Bring Me The Horizon’s frontman Oli Sykes said: “We are beyond excited to be returning to Reading & Leeds for our first fully fledged headline slot. We are going to bring hands down the greatest show of our careers. It’s going to be our only UK performance next year and the final European show of the NEX GEN campaign before the band take time away, so if you want to see BMTH next year, this truly is your only chance. Can’t wait.”
Headlining a UK Festival for the very first time, Hozier brings his universal tales to Reading & Leeds in 2025. One of the most distinctive and powerful voices in contemporary music, he has spearheaded a new generation of modern folk to become an undeniable global leader. His latest album ‘Unreal Unearth’ gave him his first-ever UK number-one album, outselling the entire UK Top 5 in its release week, and also topped the charts in Ireland. Continuing a string of career-defining milestones, his first-ever UK number-one single, ‘Too Sweet’, racked up 1.6 billion global streams. Hozier solidified his place among musical greats this summer, selling out major outdoor shows including London’s Finsbury Park. First appearing at Reading & Leeds in 2014, his headline slot at Reading & Leeds in 2025 as a UK Festival Exclusive performance promises to be a stunning showcase for an artist constantly looking forward and standing for more.
Joining the Reading & Leeds line-up today is two-time BRIT Award winner Becky Hill, whose powerhouse vocals and genre-blending style have established her as one of the UK’s most exciting dance pop stars. From chart-topping singles to electrifying festival sets and sellout arena shows, her seamless mix of chart-topping dance and pop hits guarantee a standout performance. AJ Tracey, a leading light in UK rap with hits like ‘Ladbroke Grove’ and ‘Rain’, this moment will see him continue to evolve and lift the scene. Rising star Sammy Virji brings his infectious energy and innovative blend of house, garage, and grime to the line-up, marking him as one of the most exciting new voices in UK dance music.
Widely acclaimed American songwriter Conan Gray is announced off the back of new album ‘Found Heaven’ and sold out shows at Madison Square Garden and Wembley Arena. SOFT PLAY will be returning to Reading and Leeds stages after successfully re-staking their claim for the top with potent new album ‘Heavy Jelly’, whilst US rap sensation Trippie Redd takes to the stage to show why he sits as one of the most popular names in modern hip-hop. Also confirmed are genre-blending pioneers Enter Shikari. Known for their politically charged lyrics, the group have used Reading and Leeds’ stages before as their platform for making statements to the world. Joining them are Melbourne’s unapologetic punks Amyl and the Sniffers, set to unleash their full ferocity at Reading & Leeds in the wake of their acclaimed new record ‘Cartoon Darkness’.
Bloc Party have been announced to play the inaugural Icon Slot at R&L 2025, which will celebrate the defining acts synonymous with the festival. Bloc Party, one of the most iconic bands of the century, has forged a historic relationship with Reading & Leeds Festival and are set to play a special set. Their previous performances, following the release of their acclaimed debut album ‘Silent Alarm’, cemented them as festival favourites. From 2005 to 2009, they delivered consecutive electrifying sets that helped define the era and their enduring presence through to 2022 album ‘Alpha Games’ and recent tours alongside acts like Paramore, has brought in a new generation of fans.
The Kooks will serve a dose of absolute glee to Reading & Leeds audiences, bringing feel-good indie nostalgia to an eager new generation of fans. One of the most successful drum and bass acts from the last decade, Rudim3ntal bring their hard-hitting visual heavy DJ show to the fields next summer.
Offering a launchpad that propels emerging acts from rising stars to household names, today’s first line up announcement presents a broad array of the most exhilarating emerging artists from all around the world, all in one place. Mixing the hotly-tipped High Vis and The Dare, with pure Australian punk spirit of The Chats and one of the hottest bands in the UK right now: Wunderhorse – the line-up spans genres and continents. From Philadelphia’s explosive Mannequin Pussy and Brighton’s fierce Lambrini Girls, to the Brooklyn indie pop project Del Water Gap, the eclectic mix continues with must-see talents Suki Waterhouse, Nieve Ella, Luvcat, and Sofia Isella. Adding to the mix are the soaring pop-rock stylings of Pale Waves, South London drill and Afroswing pioneer Blanco, and East London rapper Lancey Foux. Dancefloor icons DJ EZ and UKG revivalists Girls Don’t Sync share the bill with South Korean collective Balming Tiger, American country-metalcore outfit Bilmuri, Detroit electro-pop duo Snow Strippers, and Toronto indie-rock band Good Kid. Also featured are Antony Szmierek’s poetic blend of spoken word and indie hip-hop, Reading’s own Songer, alt-rock favorites Wallows, indie mainstays Sea Girls, sunny indie pop duo Royel Otis and much more.
Six covers of Bob Dylan songs that were better than the original
By Glenn Fosbraey, University of Winchester
He may never have strayed far from the minds of many music fans, but with his biopic A Complete Unknown hitting UK cinemas on January 17 and heartthrob Timothée Chalamet in the lead role, Bob Dylan may be about to gain an entirely new audience.
Considered by many to be the greatest songwriter of all time, Dylan’s influence on music can’t be understated. His voice, however, has divided listeners over the decades. Some find it “mesmeric” and others have likened it to that of “a dog with his leg caught in barbed wire”.
Despite having, as a researcher of songwriting, something of a penchant for Dylan’s idiosyncratic and character-filled style, here are six covers of his songs which I believe outperform his versions.
1. Girl from the North Country by Eels
Girl from the North Country first appeared on Dylan’s 1963 album The Freewheelin’ Bob Dylan. But it featured again on Nashville Skyline in 1969 as a duet with Johnny Cash. That version has been praised for the skip and groove of the acoustic guitar performances and how Dylan and Cash’s vocals are instinctive and spontaneous.
Another view would be that the guitars are out of time and the vocals are under-rehearsed – and the same shortcomings are on display during the song’s performance on the Johnny Cash show. Far superior in my humble opinion is the 2005 version by alt-rock band Eels.
The band performed the song for their Eels with Strings: Live at Town Hall DVD and album. Band leader Mark Everett switched it from acoustic guitar to piano. His gentle arpeggiated playing complemented his gruff yet tender vocals and drew every drop of emotion out of the lyrics and melody. He keeps in time, too.
2. Mr Tambourine Man by The Byrds
A masterclass in lyric writing, Mr Tambourine Man (1965) saw Dylan flexing his linguistic muscles to reel off dozens of intricate internal and end rhymes, including my personal favourite:
The Byrds’ version, released in the same year and hitting number one in both the US and the UK, isn’t better than the brilliant original (how could it be?) but it is brilliantly different.
Abridging Dylan’s version in order to make for a more palatable running time for the singles market, what it lacks in lyrics it more than makes up for in melody. The harmonies in the chorus add to Dylan’s main vocal line. It was an era-defining moment that launched the folk-rock genre.
3. All Along The Watchtower by The Jimi Hendrix Experience
Dylan may have released the original version of All Along The Watchtower on his John Wesley Harding album in 1967, but it was The Jimi Hendrix Experience’s cover, released just six months later, which has largely been accepted as the definitive recording.
Taking Dylan’s gentle acoustic guitar and harmonica number and feeding it through his legendary white Strat, Hendrix rocks seven shades of summer out of the song until it takes on a completely new life.
So great was his reinterpretation (it seems derisive to merely label it a “cover”) that as well as being ranked at number 40 in Rolling Stone’s 500 Greatest Songs of All Time list, Dylan amended the song’s structure for later live performances in order for it to be more like Hendrix’s.
4. If Not For You by George Harrison
Granted, I only heard Dylan’s recording of If Not For You after already being familiar with George Harrison’s version included on his 1970 album All Things Must Pass for several years, so it was always going to feel slightly foreign to me.
What I wasn’t expecting, though, was how unimpressive and strangely flat it seems compared to Harrison’s recording. Dylan’s run-together vocal lines were backed by oddly jaunty and accented side-stick drumming (with the snare struck on the second beat but then a quaver before the fourth instead of on the fourth itself) and punctuated with glockenspiel. It all adds up to a slightly confused and messy arrangement, which takes attention away from the sincerity of the lyrics.
5. If Not For You by Olivia Newton John
When Olivia Newton-John issued her own cover of If Not For You in 1971, she wisely opted for the same arrangement as Harrison’s, thankfully, minus Phil Spector’s muddy over-production – and scored an international hit with it in the process.
To my mind If Not For You remains one of Dylan’s most simplistic, beautiful songs – so long as he’s not singing it.
6. Ballad of Hollis Brown by David Lynch
Appearing on The Times They Are A-Changin’ (1964), Dylan presents the five-minute Ballad of Hollis Brown as its title suggests, as a traditional ballad in both form and theme. His voice is backed by a lone acoustic guitar, minus even his ever-present harmonica.
Nearly half a century later, director David Lynch took time out from his day job to reimagine the song as drum-heavy claustrophobia, twisting the original until it would have been unrecognisable if not for its title and lyrics. Dylan diehards may want to give this one a miss, but for those of us who enjoyed the music from the Roadhouse in Twin Peaks series three, this is a winner.
Glenn Fosbraey, Associate Dean of Humanities and Social Sciences, University of Winchester
This article is republished from The Conversation under a Creative Commons license. Read the original article.