The Struts have just released the official music video for their brand new single ‘Can’t Stop Talking’. Out now on all platforms via Big Machine Rock, frontman Luke Spiller details how the band took a cue from The Mighty Boosh when crafting the new tune.
“By the time the choruses were written for the song, it reminded me of The Mighty Boosh episode ‘Jungle’”, Spiller explains. “There’s a scene where these ‘Mod Wolves’ show up and dance to this song that really had the same vibe to it. I was a big Boosh fan growing up – still am – and that was enough for me to know it was great.”
The instantly fun track is a throwback to the best of mod-inspired British rock as frontman Luke Spiller details escapades he’s gotten himself into (and out of) for his lack of filter. It’s a new sound and era for the acclaimed band, further cementing their reputation for being equally timeless and trendsetting.
“Arriving into the studio that day, I really wanted to try something that the band had never done before. It was very off the cuff, and everyone in the room was laughing a lot. Sometimes that’s a great sign,” Spiller explains. “What’s the point in not enjoying the process? I think that’s why we can get away with a song that is beautifully bizarre. It’s because I actually mean the lyrics, even if they do come across light-hearted. Believe me. I lived through that character in the song many times.”
The Struts have been a live sensation since they first erupted onto the scene with their US certified-Platinum anthem, ‘Could Have Been Me’, hitting the Top 5 on US radio charts and introducing the world to their triumphant, timeless rock sound.
Following the release of their critically acclaimed debut, 2016’s Everybody Wants, the British rockers set out on the road, bringing their energetic tracks to the stage with larger-than-life performances and cementing their reputation as a must-see live act. Lead vocalist Luke Spiller, guitarist Adam Slack, bassist Jed Elliott, and drummer Gethin Davies have continued to prove themselves worthy of that distinction since first coming together in Derby, England back in 2012. They’ve opened for the likes of The Rolling Stones, Foo Fighters, and Guns N’ Roses, while selling out shows across the globe and leaving a trail of unbridled rock collections, including 2018’s Young & Dangerous and 2020’s Strange Days, in their wake.
Their on-stage prowess and perpetual musicality have allowed them to reach the No. 1 Spot on Spotify’s Viral Top 50, garner more than 850M on-demand streams, and put them in the studio collaborating with Robbie Williams, Kesha, Tom Morello, Def Leppard, and more.
Charting a new era with their 2023 debut Big Machine album, Pretty Vicious, the band earned praise from across the board and made a triumphant return to the main stage at Download Festival earlier this summer. Now, the LA-based rockers return to continue upon their recent success with the instantly fun new single, ‘Can’t Stop Talking’, currently available on all platforms.
Michael Kiwanuka has shared a new single, ‘Rebel Soul’, the fourth taster from his forthcoming new album, Small Changes. The new album is released on 22nd November via Polydor Records.
‘Rebel Soul’ is the latest introductory serving from Michael’s fourth record, and a slow-build mood-setter that crescendos with Michael’s own vocal weaving in and out of focus, dripping with soul.
Further to Michael’s recently announced (and near sell out) UK/European tour for next Spring, he is excited to announce details of an intimate, stripped-back live run in support of UK record stores next month. The six dates offer fans a chance to hear the new music in much closer confines ahead of the full electric tour next year. The new dates call at Birmingham, Liverpool, Leeds, Nottingham, Kingston Upon Thames, concluding in Southampton. Tickets for these dates go on sale tomorrow (25th October) via the links listed below.
Driving conversations between producer Brian Burton (Danger Mouse) and Michael about the direction of the album and particularly ‘The Rest Of Me’, the album’s penultimate track, was the desire to make an album that transcends any notion of what is or isn’t deemed “cool”. He recalls, “We were trying to shoot for something that might have made it onto a Bill Withers album or a Sade album.” Indeed, Sade is the case in point on this new track, as Michael remembers afternoons as a child in the back of his aunt’s car, “where Diamond Life was rarely out of the tape machine.”
Listen to the returning single Floating Parade.
Listen to Lowdown (part i) and Lowdown (part ii)
Listen to The Rest Of Me
Michael has just returned to the UK following a rotating headline tour across the US with Brittany Howard.
Memorial for Liam Payne in La Ramblas, Barcelona - Aniol, CC0, via Wikimedia Commons
By Polly Rippon
When someone famous dies, particularly if they are young or it was unexpected, it is natural for their fans to want to know what happened. But, as the reporting on the tragic death of singer Liam Payne shows, the media does not always handle this appropriately or ethically.
The singer, 31, fell to his death from the third floor of a hotel in Buenos Aires while under the influence of “drugs or alcohol”, local police said. LA-based celebrity news website TMZ initially reported the story alongside graphic images of Payne’s body.
After a backlash, TMZ removed the photos, but executive editor Michael Babock defended publication, claiming the site was “trying to confirm reports Liam had died before police had established his identity”.
Other mainstream outlets published transcripts or recordings of a 911 call made to police shortly before Payne was found, and an Argentinian newspaper published images of Payne’s hotel room which included images of drugs paraphernalia.
This is certainly not the first time the media, and TMZ in particular, has come under fire for insensitive or harmful reporting of celebrity deaths. When basketball great Kobe Bryant died in a helicopter crash in January 2020, TMZ shared the news before police were able to notify his family. Bryant’s widow later testified that she learned of her husband and daughter’s deaths through social media. This breaches the UK’s journalism codes of practice.
In their quest to get a scoop, what precautions and sensitivities do journalists have to respect when it comes to reporting sudden and tragic deaths?
Fans gathered in front of the Hotel “Casa Sur”, where Liam Payne passed away. Palermo neighborhood, Buenos Aires, Argentina – Photo by: Roberto Fiadone, CC BY 4.0
Media guidelines and ethics
The ethical standards and guidelines vary from country to country. In the UK,
these are set out by the Independent Press Standards Organisation (Ipso) and independent press monitor Impress for print media, and by Ofcom for broadcasters.
An Ipso clause around intrusion into grief and shock says journalists should make enquiries with “sympathy and discretion” and publication should be handled “sensitively”.
Ofcom has similar guidelines for broadcasters. The section on privacy states: “When people are caught up in events which are covered by the news they still have a right to privacy.”
This can be infringed if “warranted”, says Ofcom, for example if it is in the public interest. This could include revealing or detecting crime, protecting public health or safety, exposing misleading claims or disclosing incompetence. But a tragic death, even of a high profile person, is unlikely to meet this standard.
Broadcasters should not interview or film people who have experienced a personal tragedy unless it is “warranted” or they have given consent. And journalists are advised not to “reveal the identity of someone who has died unless it is clear that the next of kin have been informed”.
Impress, which regulates more independent journalism, has released a statement condemning the reporting of Payne’s death.
It said: “The defence of publishing in the public interest does not give outlets carte blanche to report the most intimate details of a celebrity’s life, or their death.”
It is important to state at this stage that what happened prior to Payne’s tragic death and his intentions at the time are unknown. It is the job of the coroner to investigate and come to a conclusion at his inquest.
The effect of reporting on tragedy
Beyond accuracy and respect for the victim of a tragedy and their family, there are wider concerns that journalists should take into account.
Research conducted by the World Health Organization (WHO) has shown irresponsible media reporting of celebrity deaths, particularly suicides, can increase suicide rates.
One study examining patterns of suicide and media coverage found that in the five months following comic Robin Williams’ death in 2014, there were 1,841 more deaths from suicide in the USA compared to the same period the previous year – a 9.85% rise.
The WHO’s international guidelines for reporting suicide urge the media to avoid sensationalism. Journalists should not provide details about methods, and should include information about mental health resources in stories.
Analysis of over 100 academic studies found repeated coverage and high-profile news stories were most strongly associated with copycat behaviour.
The WHO states: “Such stories can inadvertently function as celebrity endorsements of suicidal behaviour and it is known that celebrity endorsements can have an impact on behaviour of the public.”
Sensitive reporting can reduce the risk of copycat suicides. Providing context in relation to mental health challenges and offering resources for support is vital.
In the UK, guidelines were first drawn up by the Samaritans charity in 1994 to improve reporting on suicide and prevent copycat attempts. These are taught to journalism students on courses accredited by the National Council for the Training of Journalists.
Guidance includes avoiding “dramatic” headlines, emotive or sensational pictures or video footage and excessive amounts of coverage. Not speculating about the trigger or cause is urged, because it can oversimplify the issue.
“Coverage that reflects the wider issues around suicide, including that it is preventable, can help reduce the risk of suicidal behaviour”, the guidelines state. “Include clear and direct references to resources and support organisations.”
Making a change
Despite all of these guidelines, many media outlets flout them in the race for clicks. It is heartening that there has been so much outrage at the publication of the images of Payne, but some members of the public still seem to have an insatiable appetite for it. Nothing, it seems, is off limits.
We need to take collective responsibility. Journalists and editors should reacquaint themselves with responsible reporting guidelines and put themselves in the bereaved family’s shoes. Members of the public can also do their bit by not clicking on or sharing this kind of material, so editorial priorities change.
Ultimately, our thoughts must be with Payne and his loved ones. A death so young is a real tragedy and those who loved him will be affected for the rest of their lives.
If you’re struggling with suicidal thoughts, the following services can provide you with support:
In the UK and Ireland – call Samaritans UK at 116 123.
In the US – call the National Suicide Prevention Lifeline at 1-800-273-TALK (8255) or IMAlive at 1-800-784-2433.
In Australia – call Lifeline Australia at 13 11 14.
In other countries – visit IASP or Suicide.org to find a helpline in your country.
Global sensation aespa affirms their status as one of K-pop’s hottest girl groups right now with their latest release, “Whiplash – The 5th Mini Album” – out now via SM Entertainment / Virgin Records. Listen below.
The new six-track EP builds on a phenomenal year that has seen aespa launch their first full-length album “Armageddon” and kick off their second world tour, which hits North America and Europe in 2025. The “2024 – 25 aespa LIVE TOUR – SYNK : PARALLEL LINE” takes over London’s OVO Arena Wembley on 2 March. Full dates below.
Title track ‘Whiplash’ is a sassy house record with a punchy bass beat and lyrics that ooze the ‘it girl’ confidence befitting of a K-Pop group that has been smashing records all summer. The infectious track is co-produced by British DJ and producer Shift K3Y, who has also worked with Becky Hill. Watch the music video.
The accompanying tracks hear aespa deliver their signature confident anthems while also expanding their sonic palette to embrace different genres.
‘Kill It’ brings out their unapologetic side on a hip-hop/dance fusion track, using bristling metallic synths and aespa’s powerful vocals to convey a warning to anyone sending hate to the group. ‘Flights, Not Feelings’ slows the EP down to an R&B mid-tempo pace, highlighting the group’s effortlessly ethereal vocals. The uplifting lyrics encourage listeners to leave behind bad feelings, live freely and enjoy life.
‘Pink Hoodie’ delivers classic aespa, with syncopated synths and a deep, resounding bassline. The lyrics continue the theme of confidence, playing on a metaphor of feeling comfortable in yourself like a well-loved pink hoodie.
‘Flowers’ is an alt-R&B track with a refined guitar riff and sensual lyrics drawing on floral imagery to describe falling in love. The EP ends on ‘Just Another Girl’, a bouncy pop-rock song with grungy guitars that contrasts their clear, bright vocals. Despite the upbeat, anthemic feeling, the song follows the story of love’s betrayal and knowing your own worth – even if it means enduring heartache in the short-term.
“Whiplash – The 5th Mini Album” follows aespa’s monumental first full-length album “Armageddon”, which saw the already hugely successful girl group solidify their legendary status in Korea and beyond. ‘Supernova’, their first single off the LP, spent 15 consecutive weeks at No. 1 on Korea’s domestic music streaming platforms Melon and Genie – setting a record on Melon for the longest-running number one in the platform’s history.
Following their most successful year ever in 2024 attended by 60,000 people, the UK’s biggest pop music festival Mighty Hoopla today announces a phenomenal line up for 2025.
BRIT award-winning, multi-platinum-selling rapper Aitch delivers brand new single, ‘FWG’.
Following the momentum of his latest release ‘Maybach Wallet’, the Manchester-born artist continues to mark a bold return to his grime roots with the release of ‘FWG’. Accompanied with visuals directed by Aaron Fitzmaurice the music video is partly shot in the home of Manchester United Football Club, The Old Trafford and at the latest Drama Call giveaway that took over Manchester City Centre. Aitch’s new single is fuelled by his distinctive flow and lyrical swagger reaffirms his place as a leading voice at the forefront of the UK rap music scene.
Following his ‘FTA Freestyle’ and D-Block Europe collaboration ‘Gold Mine’ , Aitch kicked off this year with ‘Famous Girl’ which was launched as Jack Saunders’ ‘Hottest Record’ on his BBC Radio 1 show. He later reunited with German rapper Luciano for their Euros-inspired track, ‘Baddies’ and made appearances on tracks by D-Block Europe, Yung Filly, Clavish and Headie One. Aitch returned to Capital FM’s Summertime Ball and BBC Radio 1’s Big Weekend’s main stage, where he announced that he will climb Mount Kilimanjaro next January to raise funds and awareness for the Down’s Syndrome Association.
Not stopping there, Aitch also appeared as a special guest for Anne-Marie and D-Block Europe’s sets at Glastonbury this year. Not only is Aitch a talented rapper, but he’s also making waves in the business world – this year marks the launch of his flavoured fizzy water brand, SYPS. This successful venture has now added the title of ‘entrepreneur’ to his already impressive resume. Additionally, Aitch has made his return to Twitch, live streaming for ‘Girth n Turf’ with EA’s new game FC25.
Janet Jackson - Together Again EU Tour - Photo credit: Solaiman Fazel
The atmosphere inside the O2 Arena was nothing short of electric on Saturday night, as Janet Jackson graced the stage. From the moment she appeared, the audience was immediately captivated by her due to her seamless choreography and commanding stage presence.
The setlist for the night was a testament to Janet’s incredible career, spanning several decades of iconic hits that have defined pop culture. These classics included hits like ‘Rhythm Nation,’ ‘Control,’ and ‘All For You.’ Each song was performed with the same passion and energy as when they first debuted, which reminded everyone of her incredible staying power.
The standout moment of the night for me came during Janet’s emotional tribute to her brother, the legendary Michael Jackson. During a rendition of ‘Scream,’ she paid homage to their iconic collaboration, and the arena was filled with nostalgia as the famous music video played in the background. This tribute wasn’t just a nod to her brother’s legacy, but was a testament to Janet’s amazing ability to channel such raw emotion into her performances.
Janet Jackson – Together Again EU Tour – Photo credit: Solaiman Fazel
Another endearing aspect was Janet’s interaction with her audience, as she maintained a personal connection with her fans throughout the show. Her trademark smile, and her gentle nature was on full display in between songs. Several times during the evening, she paused to address the crowd, expressing heartfelt gratitude to her fans for their support over the years. These moments of interaction felt special, as if she was personally acknowledging every single person in the room.
As a long-time fan myself, this concert felt like the ultimate celebration of Janet’s extraordinary career, and it was clear that Janet Jackson still has the same zest for performing, and she certainly hasn’t not lost her touch when it comes to delivering an unforgettable live experience.
By the end of the night, there was no doubt that Janet had once again cemented her status as a living legend. Her performance at the O2 was more than just a concert – it was a testament to her legacy, a celebration of her music, and a night her fans will never forget. For those of us who have followed her journey for years, it was a very rewarding experience that was a pleasure to witness.
Janet Jackson – Together Again EU Tour – Photo credit: Solaiman Fazel
Michael Kiwanuka has shared details of a European/UK headline tour for Spring 2025. The 12-date run will be Michael’s first headline dates in the UK/Europe since 2022, and the first opportunity to hear tracks from his forthcoming fourth album, Small Changes. The dates will include March dates in Wolverhampton, London’s Eventim Apollo, Edinburgh, concluding on 13th March at the O2 Apollo in Manchester.
Tickets for the tour go on general sale from Friday 11th October. Fans who pre-order the record through Michael’s website from now (3rd Oct) through to 5pm on Tuesday 8th October will receive early access to tickets to all dates from 10am on Wednesday 9th October, ahead of general sale.
Small Changes is released on 15th November through Polydor Records. A third preview of the record is shared today in new track, “The Rest Of Me” – streaming now, and with a beautifully shot video by Yout – watch.
Driving conversations between producer Brian Burton (Danger Mouse) and Michael about the direction of the album and particularly The Rest Of Me, the album’s penultimate track, was the desire to make an album that transcends any notion of what is or isn’t deemed “cool”. He recalls, “We were trying to shoot for something that might have made it onto a Bill Withers album or a Sadé album.” Indeed, Sadé is the case in point on this new track, as Michael remembers afternoons as a child in the back of his aunt’s car, “where Diamond Life was rarely out of the tape machine.”
Listen to the returning single Floating Parade Listen to Lowdown (part i) and Lowdown (part ii)HERE
Michael is currently out on a rotating headline tour across the US with Brittany Howard.
Michael Kiwanuka Live (US Dates):
3rd October – Summerstage In Central Park, New York (w/ Brittany Howard)
5th October – The Chicago Theatre, Chicago (w/ Brittany Howard)
6th October – Palace Theatre, Saint Paul (w/ Brittany Howard)
8th October – The Mission Ballroom, Denver (w/ Brittany Howard)
10th October – Idaho Botanical Garden: Outlaw Field, Boise (w/ Brittany Howard)
11th October – Edgefield Concerts, Troutdale (w/ Brittany Howard)
12th October – Queen Elizabeth Theatre, Vancouver (w/ Brittany Howard)
14th October – Britt Festival Pavilion, Jacksonville (w/ Brittany Howard)
15th October – Paramount Theatre, Seattle (w/ Brittany Howard)
17th October – The Greek Theatre, Berkeley (w/ Brittany Howard)
18th October – Greek Theatre, Los Angeles (w/ Brittany Howard)
19th October – Vina Robles Amphitheatre, Paso Robles (w/ Brittany Howard)
Michael Kiwanuka Live (Europe/UK):
25th February – Sporthalle, Hamburg
26th February – AFAS Live, Amsterdam
28th February – Le Zénith, Paris
1st March – Forest National, Brussels
3rd March – Alcatraz, Milan
4th March – Halle 622, Zurich
6th March – Zenith, Munich
7th March – Jahrhunderthalle, Frankfurt
9th March – Civic Hall, Wolverhampton
10th March – Eventim Apollo, London
12th March – Usher Hall, Edinburgh
13th March – O2 Apollo, Manchester
Following the release of her ferocious new single, ‘Ganni Top (She Gets What She Needs)’ from the forthcoming EP, Watch It Ache and Bleed, out 17th September via AWAL Recordings, Nieve Ella has announced a new headline UK tour for March 2025. Tickets for all dates go on sale at 10am on Friday 4th October.
Five-time Grammy Award-winning Rock and Roll Hall of Fame®️ Inductee Janet Jackson kicked off the eagerly anticipated European leg of her “Together Again Tour” in Paris last night.
The global icon delivered an electrifying performance at the Accor Arena, Paris, on the first stop of her tour on the continent, which was extended following a highly successful and sold-out 35-date North American leg in summer.
Ms. Jackson will bring her electrifying show to the UK next, performing at Birmingham’s Utilita Arena tomorrow night (27 September), followed by two nights at London’s O2 Arena this weekend (28 and 29 September). The show picks up next week at Manchester’s Co-Op Live on 1 October before heading to Belgium, Germany and Amsterdam, Netherlands; and wraps in Glasgow’s OVO Hydro on 13 October. Tickets are available now at janetjackson.com.
With a relentless 39-song setlist, blending international hits and fan favourites across the 80s, 90s and 2000s; The “Together Again Tour” offers everyone the chance to finally reunite with Ms. Jackson in celebration of her 50th anniversary in entertainment. The tour also spotlights the milestone for one of her most critically acclaimed albums – 35 years of “Rhythm Nation” featuring her biggest chart-topping hits. This tour builds on the colossal success of her 2023 run, which earned the icon the highest selling trek of her career.
Ms. Jackson will bring her all-new Las Vegas residency and venue debut at Resorts World Theatre at Resorts World Las Vegas launching New Year’s Week. “Janet Jackson: Las Vegas” takes place in the one-of-a-kind venue for back-to-back performances beginning Monday, 30 December 2024, and on New Year’s Eve, Tuesday, 31 December 2024, with eight additional performances set for 2025 including Valentine’s Day Weekend. To purchase tickets and for more information on these performances visit AXS.com and rwlasvegas.com/entertainment.
