‘In nightclubs, I’d be the dude scribbling lyrics in the corner while everyone else was dancing or copping off’

I had the lyrics to Not Nineteen Forever before the band existed. They were in a little red book of poems and scribbles that got me a place on the creative writing course at the University of Salford. Most of what became the songs for our first album, St Jude, were in that book. As well as uni, I was working in a shop and spending five nights a week at the Night & Day bar in Manchester, but in a nightclub I’d be the dude scribbling in the corner while everyone else was dancing or copping off.

(XL)
This is a beguiling, endlessly inventive and frequently astonishing fifth LP from a group at increasing ease with being the best band of their generation

Fifteen centuries ago, the Byzantine archbishop Theophilus of Adana did first-hand business with the devil for his own superficial betterment. Today, we just blindly tick a little box marked “accept terms and conditions” or let high-street snake oil merchants inject poison into our faces. The Faustian pact has become as depressingly banal as it is endemic and destructive – and unlike Theophilus, we can’t rely on the Virgin Mary to save us now. In the midst of headlines about AI destroying humanity, the idea of listening to music submerged in precisely this shade of doom might sound like, well, hell. If anyone can thread that poisoned needle, it’s Fontaines DC.

When the Dublin band introduced their last album, 2024’s Romance, it came with a surprise new look. Their uncoordinated jeans and shirts had been replaced by neon hair, shiny trousers and bug-eyed sunglasses that split the difference between Korn and the Prodigy. As they faced up to having traded their anonymity to become arena fillers, it wasn’t hard to read this look as a sort of protective cosplay, a cybergoth Sasha Fierce for five fairly low-key Irish lads trying to make peace with leaving their roots behind. Newly melodic and lavishly produced, Romance made no bones about the band’s ambitions and became their first platinum-certified album.

The 85-year-old was helped on stage by actor John Stamos, who shared an emotional message about his ‘musical hero and mentor’

After months of cancelled comeback tours, the Beach Boys have played their first public show since July – with co-founder and frontman Mike Love joining the band on stage in Cincinnati, Ohio, despite “facing serious health challenges”.

Love was helped on to the stage by his son Christian Love and the actor and band member John Stamos, who told the audience at PNC Pavilion on Saturday night that Love has “been going through some health issues … but he would not miss tonight”.

They spent their heyday on yachts, then rolled up their sleeves in the wilderness years. Ahead of a Halloween show at the O2, pop’s great survivors explain their staying power

In 2022, Duran Duran were inducted into the Rock & Roll Hall of Fame. It felt like a big deal, a sweet moment of acknowledgment for the band’s five-decades-long career, the 100m records sold, the string of bulletproof hits: Save a Prayer, Rio, Hungry Like the Wolf, Girls on Film. They were inducted by actor Robert Downey Jr; Drew Barrymore, Naomi Campbell and Gwen Stefani were on hand to pay heartfelt tribute and, as keyboard player Nick Rhodes points out, “It’s a big national live TV broadcast in America that goes out to millions of people,” so the band booked some warm-up shows. “And it so happened that there was a date that came up in Las Vegas on 31 October,” says Rhodes. “And I looked at everyone and said: ‘Well, we can’t do a normal show. Las Vegas on Halloween – surely that’s the opportunity for a little bit of fun?’”

They worked up a set of suitably themed material, including covers of Billie Eilish’s Bury a Friend and Talking Heads’ Psycho Killer. There were, of course, costumes involved, because, as Rhodes drily notes, “When have Duran Duran ever not dressed up?”

The singer shamelessly blasts Lady Gaga in the car and is brought to tears by Portishead – but which song does she have to be careful listening to?

The first song I fell in love with
I remember listening to Sweet Dreams (Are Made of This) by Eurythmics when I was really young. There was something about the line at the beginning that I was completely intoxicated by.

The first download I bought
When I was about 10 or 11, I would put my headphones on and wander through the park all angsty listening to Fake Tales of San Francisco by Arctic Monkeys, my first download on my iPod Nano. I loved the storytelling, the characters and the gritty tableaux they described: it felt so real, even though it was far away from where I grew up.

While some heard the former Black Midi frontman out, others made for the exit as he addressed accusations

When Geordie Greep finally took to the stage in Vancouver this week, noticeably without his band, the crowd was hushed and the atmosphere tense. His lateness, however was the least of his problems.

Greep, a Brit school graduate and the former frontman of Black Midi, had been accused of sexually assaulting a woman while on tour. Flyers had been handed out outside the venue spelling out the allegation against him. “Let him know what Vancouver thinks of rapists,” they read.

His integrity is one reason I’ve stuck with him, says Nick Davey

Elvis Costello has been a role model since I was a bespectacled teen and he appeared on the music scene to provide some credibility for NHS glasses. I no longer keep the scrapbook, but did cut the clipping from the Guardian in 2022 when he nominated his Honest playlist. His integrity as an artist and a human being has been one reason I’ve stuck with him for 49 years. I was delighted, therefore, to see consistency in his picks for his second Honest playlist (4 October), with Georgie Fame as his alpha and Louis Armstrong’s Keepin’ Out of Mischief as his omega. He seems, however, to have forgotten about his teen party listening. And we’d better not ponder the reasons for his change in response to “The best song to have sex to”. Thanks for keeping my hero in the spotlight.
Nick Davey
Chesterfield, Derbyshire

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Drawing from post-hardcore, twee and emo, the Exeter trio’s intoxicating energy feels like an invitation to form your own band

From Exeter, UK
Recommended if you like Boyracer, the Promise Ring, Rites of Spring
Up next Little Bastard EP out now

It’s tempting to view any half-decent scene as either a magical happening or a simple quirk of geography and timing. In reality, they’re more like monuments to the importance of showing up. For that to continue to happen, you need bands like Pushbike. Rattling through four songs in well under 10 minutes, each crooked hook, euphoric yelp and cheesewire guitar lead on their Little Bastard EP feels like an invitation to form a band, draw a flyer, or book a show.

(New West)
Following 2023 breakout Time Ain’t Accidental, the best songs here are when Williamson strips back country music, rebuilding it as something familiar yet different

In her essay Goodbye to All That, Joan Didion writes that she left New York City when “the golden rhythm was broken”. Texas-born alt-country singer Jess Williamson borrows the title for the aching opening track of her sixth solo album, on which she contemplates whether she has had enough of Los Angeles. But while Didion was looking back on leaving the city of her youth behind, Williamson is still in LA, wrestling with competing desires to stay or flee.

This tumultuous love-me, love-me-not is set to Williamson’s most traditional soundscapes to date: “Deep in the woods I feel the hum of the city,” she sings on Hum of the City in her strongest Texas drawl over mournful strings and twiddling banjo. Gone are the iPhone-programmed drums that made her 2023 breakout Time Ain’t Accidental so appealingly offbeat, and while the Americana flourishes give weight to Williamson’s nostalgia for her native Dallas, at times they make the album stodgier and less imaginative than her previous record.

(Interscope)
Adored by the A-list and filling arenas, but without huge smash hits, the Australian singer treads his own distinctive path through pop via shoegaze, Balearic and the Smiths

A few years back, the New York Times reported on the phenomenon of the “middle-class pop star”. The feature bluntly explained that this signified “a pop star who isn’t that popular”, for whom the word signified not commercial dominance, but “a sound, an aesthetic, an attitude”. It isn’t an entirely new phenomenon: you may recall a game late 00s attempt to differentiate critically acclaimed but commercially underground pop artists – Alphabeat, Frankmusik and the Clik Clik among them – from the massed ranks of chart-topping TV talent show graduates by grouping them together under the generic banner of “wonky pop”. But the arrival of social media clearly changed things dramatically, enabling artists who seldom, if ever, encroach on the charts’ upper reaches to develop ferociously loyal – and very online – followings, reliably packed-out shows and a genuine aura of celebrity to go with their good reviews.

Troye Sivan might well be the apotheosis of this phenomenon. Over the last 12 years, his albums have shifted respectable, rather than earth-shattering quantities. Intermittently, the odd single has become a mainstream hit, but their success is vastly outstripped by his profile – arena tours, features in broadsheet newspapers and style magazines, interviews on late night US chatshows – and indeed his standing among huge stars. He has been glowingly written about in Time magazine by Kylie Minogue. Nicole Kidman appears in the video for the title track from She’s the Best. Madonna apparently gave personal approval for him to use a sample from 2000’s Music on another of the album’s singles, Party. He has duetted on hits by Dua Lipa, Ariana Grande and Charli xcx, with whom he co-headlined a US tour just after the release of Brat.

Ahead of the Irish alt-rockers’ highly anticipated fifth album, Dopamine Chamber, we count down their potent, occasionally political, catalogue

A single inspired by the birth of bassist Conor Deegan’s daughter, It’s Amazing to Be Young is a lovely example of Fontaines DC operating in euphoric mode, a relatively recent addition to their emotional mood board: “Sometimes,” offered frontman Grian Chatten, “optimism is a necessary delusion.”

The Aussie trio explain creating their new record sampling kids’ science shows and Tunisian music – and their surreal film with Haley Joel Osment

Last December, Robbie Chater and Tony Di Blasi, the core members of the Aussie disco-pop collagists the Avalanches, found themselves winding through the frosty, mountainous region of Minakami, Japan, with Haley Joel Osment. The pair’s lauded debut album, 2000’s Since I Left You, has become a touchstone in plunderphonics – a genre known for its innovative use of samples – and in the years since its release, the group have amassed an ardent cult following. Osment, the former child star of The Sixth Sense and Forrest Gump, seemed to count himself among their devotees, frequently liking their posts on Instagram, so they decided to reach out and ask him to board their latest project: a 35-minute movie that would accompany their new LP, No Bad Memories.

“We’d never made a film before, so it was like, ‘This could be a complete disaster for him,’” recalls Di Blasi, who is dressed in a black tee and purple cap with the logo for the cult electronic label трип when we meet in Manhattan in mid-September. “We were like, ‘We don’t really have anyone yet … We don’t even know what we’re doing.’” To their surprise, Osment signed on.

Celebrated for his earnest, dextrous voice, Jackson crossed into the pop charts with the hits Rock Me Tonight (For Old Times Sake) and You Are My Lady

Freddie Jackson, the US singer whose smooth and romantic take on R&B found a huge audience in the 1980s, has died aged 70.

A statement from his family on social media reads: “Freddie was more than a legendary voice. He was a kind, generous soul who loved his fans, his family, his friends and his music with everything he had. For decades he gave us the songs that became the soundtrack to our love stories, our celebrations and our most treasured memories. That gift will live on for ever.” No cause of death was given.

After representing society’s dispossessed, Ponder started a music career in her 40s – then faced miscarriage, anxiety and more. She explains her survival instinct

“You can get everything you dreamed of career-wise, and your life can still crumble, and that is what happened to me,” says US singer-songwriter Danielle Ponder.

Five years ago, and five days before her 40th birthday, Ponder left her job as a public defender – a lawyer for those without the means to pay for one – to pursue music full-time. Ponder’s rich, church-reared voice and resonant music quickly lent themselves to cinematic moments: she wrote and performed the theme song for Apple TV+’s Manhunt and her trip-hop-infused track Roll the Credits has been used by adverts, TV shows and video games. Several comments on the YouTube video come from viewers who searched for it thinking she was Nina Simone. Her debut album, Some of Us Are Brave, came out in 2022 and was warmly received by critics, and she appeared on Seth Meyers’ talkshow. Her gamble had paid off. “But personally,” she says, “it felt like everything around me was falling apart”.

The term Afrobeats is applied to all sorts of genres, flattening them into one. Artists, media and the music industry must do better at showing off the richness of African pop

In 2024, South African pop star Tyla won the best Afrobeats award at the MTV VMAs. Beaming in a yellow dress, she began her acceptance speech in a celebratory tone. “This is such a big moment for African music. The global impact of Water,” – her hit single – “proves that African music can be pop music.” But as the audience’s cheers swelled, she became more sombre, describing the moment as bittersweet. “There’s a tendency to group all African music as Afrobeats,” she continued. “Even though Afrobeats has opened so many doors for us, African music is so diverse. I come from South Africa, I represent amapiano”, referring to the country’s rolling, sensual dance subgenre. Her passionate entreaty notwithstanding, months later she’d reprise her win in the Afrobeats category of the American Music Awards.

Tyla is hardly the only African artist to rail against the Afrobeats tag. Tems has spurned the term, describing her music as a cocktail of “Afro, R&B, soul and alternative elements”. Likewise, Burna Boy prefers to call his music Afrofusion, a fitting characterisation of the smorgasbord of sounds that converge in his music. Wizkid, Ckay, King Promise and Davido have also chafed at the term Afrobeats, yet it persists and holds back African music.

The singer-songwriter owes a lot to Georgie Fame and likes the romantic side of Jimi Hendrix – but which ringtone song can put him in a bad mood?

The first song I fell in love with
The Wind Cries Mary by Jimi Hendrix, which came out in 1967 when I was 12. Hendrix was known for outgoing music, but I was a romantic soul, so the emotional side of his music led to that strain in my own writing.

The song I do at karaoke
Karaoke? Certainly not. I do this for a living. Would you have made my great-grandfather dig ditches for fun? I prefer to live vicariously through Bill Murray singing (What’s So Funny ’Bout) Peace, Love and Understanding in Lost in Translation.