A daring, rich and funny study of the ordeal of having to invent and reinvent your own teenage sense of self amid confounding changes

Carol Morley’s self-portrait of the artist as a young woman is rich, tender and terribly funny and sad: a study in the chaos of being young and a triptych of childhood, girlhood and youth, with some daring touches of Terence Davies. It is about the ordeal of having to invent and reinvent your own teenage sense of self, even as the things you thought permanent suddenly collapse – including the background stability of your poor old mum and dad. And it’s also about the untold, unacknowledged story of sadness that lay behind the angry blaze of punk and new wave. Watching this I thought of something I’d assumed lost for ever: my own feelings, aged 17, on hearing Buzzcocks’ Sixteen: “… I wish I was 16 again / Then things would be such fun / All the things I’d do would be the same / But they’re much more fun / Than when you’re 21.” Could it be, I thought, that I’m already sad about not being 16?

7 Miles Out is based on Morley’s autobiographical novel of the same title, the once-upon-a-time-in-Stockport story of Ann, played with charm and zing by Lucy Halliday, and as a sweetly innocent young girl by Amelie Hughes. Young Ann pretends to be making a radio programme with her cassette recorder the way so many did in the 1970s, and hero-worships her would-be rock journalist elder brother Scott (Kasper Hilton-Hille) – based on Morley’s brother Paul – who is already plugged into the burgeoning post-punk and new wave scene.

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© Photograph: Cannon and Morley Productions

© Photograph: Cannon and Morley Productions

© Photograph: Cannon and Morley Productions

In this week’s newsletter: Record labels always push music forward into interesting new places. Here’s a celebration of their power by readers and Guardian music writers

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Last week we asked Guide subscribers to tell us about their favourite record labels, and the response was enthusiastic. Clearly, even in this age of streaming services that flatten albums, singles, EPs and mixtapes into one single “feed”, the lure of a label – and its role in identifying, nurturing and developing musical talents – remains.

So this week, a celebration of the record label: along with some readers’ favourites, we’ve asked music writers to share their personal picks. They’ve put together a great list of familiar and off-the-beaten-track labels that might just help you discover your next favourite album (I can already tell I’ll be spinning the Verlaines record recommended by reader James a fair bit!).

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© Photograph: Martin Godwin/The Guardian

© Photograph: Martin Godwin/The Guardian

© Photograph: Martin Godwin/The Guardian

David Tennant wows in the third series of Jimmy McGovern’s harrowing prison drama, and the Dublin band are back with a beguiling fifth album. Here’s the pick of the week’s culture, taken from the Guardian’s best-rated reviews

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© Composite: Ewen Spencer

© Composite: Ewen Spencer

© Composite: Ewen Spencer

A social media star comes a cropper in timely horror, and the Spice Girls ledge takes her disco- and indie-tinged bops out on a short tour

The Influencer Project
Out now
When your career involves constantly posting footage of everything you do to social media, it makes things a cakewalk for stalkers. And lo, the influencer-in-peril horror subgenre was born. British social media star Chiara King plays herself in this chilling iteration, set in Copenhagen.

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© Composite: -

© Composite: -

© Composite: -

Patricia Kopatchinskaja and Fazil Say
(Alpha)
Compositions by both musicians themselves frame works by Szymanowski and Prokofiev

Patricia Kopatchinskaja and Fazil Say have recorded Say’s music together before, but this is their first recording to feature Kopatchinskaja as a composer as well, but this is no vanity project: Say’s and Kopatchinskaja’s pieces make good complements to Szymanowski’s three Mythes and Prokofiev’s Violin Sonata No 1.

Say’s Lost Screams Sonata is driven by repeated piano rhythms, its fierceness tempered by an episode in which Kopatchinskaja plays low, ghostly harmonics and Say gently plucks the strings of the piano so it almost sounds like a second violin. Kopatchinskaja’s three-movement piece UniSolo is an impish work with a searching, thoughtful playfulness that comes from the parallel world to the Kurtág miniatures she plays so well.

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© Photograph: borggreve/Courtesy of Marco Borggreve

© Photograph: borggreve/Courtesy of Marco Borggreve

© Photograph: borggreve/Courtesy of Marco Borggreve

Kali Flanagan was handpicked by Julian Casablancas to support the Strokes – now, at 21, he’s writing songs full of the rushing emotions of youth

From New York
Recommended if you like Cameron Winter, Adrianne Lenker, Alex G
Up next My Piledriver Heart album out now; UK tour beginning 4 November

Making coming-of-age music as a young person can feel strange after a pandemic. So here are a few more curveballs. Imagine the breezy, youthful indie you post online in your early teens gets you a record deal. Covid happens. You move to New York, change your artist name, and then Julian Casablancas eyes you at an open mic and invites you to open for the Strokes in Colorado, aged 18, solo.

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© Photograph: Courtesy of Grace Anthony Schmidt

© Photograph: Courtesy of Grace Anthony Schmidt

© Photograph: Courtesy of Grace Anthony Schmidt

Once scrappy post-punk poets, they’re now one of the biggest bands in the world. As they release new album Dopamine Chamber, fans including Kneecap and Shame explain their sensational rise

When Irish rockers Fontaines DC emerged in 2019, they were a bunch of post-punk poets making abrasive guitar music at a time when Dance Monkey, Drake and The Greatest Showman reigned supreme. But today, as their fifth album Dopamine Chamber is released, the quintet are looking towards a 2027 filled with gigs in UK stadiums, US arenas and headline slots at big European festivals – plus rumours of topping Glastonbury’s Pyramid stage. It’s quite a trajectory.

Their rise has been strangely traditional for a time when social media has culture in a chokehold. Ever more ambitious albums, the support of radio and institutions such as the BBC, and a lot of touring have all played parts. Beyond that, “fact is, they’re one of the best bands in the world,” says fellow countryman Mo Chara, one third of Kneecap.

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© Photograph: Ewen Spencer

© Photograph: Ewen Spencer

© Photograph: Ewen Spencer

Singer and TV presenter who had a UK No 1 hit in 1979 with One Day at a Time

The singer Lena Martell, who has died aged 86, enjoyed a career that took her from dance halls in her native Scotland to cabaret in London and stages in Las Vegas and Australia. She performed on the same bill as Sammy Davis Jr and had her own shows on BBC television.

On record, she was a one-hit wonder in Britain with One Day at a Time, a song written by Marijohn Wilkin and Kris Kristoffersonthat mixed country and gospel. “Lord, for my sake, teach me to take one day at a time,” she sang.

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© Photograph: Dezo Hoffman/Shutterstock

© Photograph: Dezo Hoffman/Shutterstock

© Photograph: Dezo Hoffman/Shutterstock

The lore of Once Upon a Time in Shaolin, once bought by Martin Shkreli, is explored in a rambling film produced by RZA

For every reason except one, Once Upon a Time in Shaolin, the seventh album by the Wu-Tang Clan, should’ve been a commercial hit. The 31-track double album, recorded in secret between 2007 and 2013, reunited all of the remaining members of the hallowed Staten Island rap crew and featured eye-catching collaborators from the standard (Redman, offshoot group Wu-Tang Killa Bees) to the unexpected (Cher, Game of Thrones actor Carice van Houten). The sound, at least according to those involved, harkened back to the glory days of the group’s beginnings in the 90s.

But for years, almost no one heard it. The group only issued a single copy of Once Upon a Time in Shaolin – on CD, ensconced within layers of filigreed silver – with the stipulation, in legalese, that it could not be used for any commercial purposes for 88 years. The decree, either a stunt or a bold artistic statement on streaming’s devaluation of music, depending on your generosity and perhaps your net worth, succeeded in drumming up plenty of hype. And if you were anywhere around the blogosphere or cable news in 2015, you may recall that the beneficiary of that hype – the purchaser and thus single intended listener of this $2m musical treasure – was one Martin Shkreli, the “pharma bro” widely despised for gleefully hiking the costs of prescription drugs for profit.

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© Photograph: Courtesy of Netflix

© Photograph: Courtesy of Netflix

© Photograph: Courtesy of Netflix

(WPDMT)
Bringing back the hyperliterate sound design of their acclaimed 2025 debut, the London duo explore childhood with whimsical humour and terrific musicality

One of last year’s surprise highlights was The Velvet Underground & Rowan, the debut album by the wacky, hyperliterate London duo Worldpeace DMT. That irreverent album title summed up their approach to their references: Leo Fincham and Rowan Miles – also of the Femcels – buttressed nods to Fleetwood Mac and the Beach Boys with a palette straight out of NME circa 2011. If it isn’t a coup to make the sound of Grouplove and Darwin Deez sound cool and urbane in 2025, I don’t know what is.

This year, Worldpeace DMT have changed tack, perhaps in response to suggestions that they’re at the forefront of an emergent genre called “laptop twee”. The duo’s August mixtape Flowers Powers mostly eschewed plunderphonics and heavy sampling in favour of live instrumentation that ran the gamut from Spiritualized to outlaw country; Stick Around for Tea, their second album, brings back a shade of the goofy, Sung Tongs-esque sound design that made their debut such a joy, while pulling Fincham and Miles’ songwriting to the fore.

Stick Around for Tea seems, loosely, to be a concept album about childhood. The inherent whimsy of the Worldpeace DMT project suits these songs, which wring dry humour from lyrics about spiders, tigers and anthropomorphised guitars. Fincham and Miles sing in a self-consciously childish way that belies their taut musicality: a lush, almost Van Dyke Parks jauntiness on Munich Gyaru, for example, or a knack for bulletproof pop structure on the title track. The result is the kind of devastatingly contemporary record that even arch classicists couldn’t possibly turn up their noses at.

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© Photograph: Thomas Connolly

© Photograph: Thomas Connolly

© Photograph: Thomas Connolly

Adored by Madonna and Charli xcx and buoyed by finding true love, the Londoner is branching out into rock and breaking the mainstream. She explains how her working class upbringing made her so fearless

Leaving the important stuff to chance isn’t Shygirl’s style. First aid kit, wind-up radio, batteries: earlier this morning, the singer filled her online shopping basket in preparation for impending disaster. She had read a news article advising households to put together an emergency kit. “I’m that kind of person,” she says, grinning. She woke her boyfriend, who was asleep in bed next to her. “I was like: babe, we’re sorted! I’ve got the water purifying tablets, everything!”

It’s a sticky September afternoon in east London, and the singer, whose real name is Blane Muise, introduces herself as “Shy” and slides into the booth opposite me at an Italian trattoria. She first burst on to the club scene with the naughty, pulsating Want More in 2016, and in the decade since, the singer, rapper and DJ has applied the same rigour to her career as she has to her emergency prepping, going from cult underground artist to rising pop star, opening arenas for Beyoncé and Charli xcx, winning a Mobo award in 2024, and appearing in Madonna’s recent Confessions II – The Film, in which she shared a toilet stall with Arca and Richard E Grant.

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© Photograph: Jessica Madavo

© Photograph: Jessica Madavo

© Photograph: Jessica Madavo

Genuine human creativity takes time, but you know what doesn't? AI slop. There are countless AI models out there that can make something that passes for music, and you might come across those tracks on streaming services without realizing it. Google says it will begin labeling that content in YouTube Music, building on similar disclosures in the main YouTube app.

Google is not outright banning AI music or even speaking ill of it. "Generative AI is opening up new ways for artists to create, experiment, and share music," the company says in a blog post.

However, the company also acknowledges that people want to know if a song was created with generative AI tools. A new label for AI content on YouTube Music is now rolling out in the app and on the website, which looks a lot like a label Google began adding to AI-generated videos on YouTube earlier this year.

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© Google

Musician Hannah Lew has a song out (I think new this year) called "Sunday". Music video. Found via an episode of KEXP's The Runcast which features a live version. Synthpop, melancholy but (to me) inspiring.

Bertrand Chamayou
(Warner Classics)
The pianist brings a singing quality and seeming effortlessness to the complete set of Songs Without Words

Mendelssohn wrote 48 Songs Without Words for solo piano: eight sets of six, mostly under three minutes long, emerging over a 16-year period that spanned most of his short adult life. The handful that still regularly make their way on to recital programmes are only the tip of the iceberg; the complete set hasn’t been recorded as much as you might think, which makes this new release from Bertrand Chamayou still more welcome.

These pieces belong to the world of Schubert Lieder, and Chamayou brings a singing quality to them from the off. The Duetto that rounds off the Op 38 set is beautifully done, the melodic lines alternating like a female and male voice, each lingering just slightly as the other voice takes over. Compared to other interpreters, Chamayou is often softer-edged, his playing a little smoother and more flowing, although there are exceptions: Op 62 No 6 – known as Spring Song, but originally titled Camberwell Green after the then-elegant London suburb where it was written – is given a perky, almost frothy touch in the accompaniment: spring bubbling under like frogspawn in a pond.

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© Photograph: Le Philtre / Parlophone Records Ltd 2026

© Photograph: Le Philtre / Parlophone Records Ltd 2026

© Photograph: Le Philtre / Parlophone Records Ltd 2026

You’re Paul McCartney. So how come you’re still getting het up at a fictional version of you being marginally smaller than a fictional version of John Lennon?

There has been a lot of discourse and conjecture surrounding Sam Mendes’s forthcoming Beatles biopics. Some of this is logical (will people really turn out to see four near-identical films on the same day?), some creative (what animal did they have to shave to make John Lennon’s Abbey Road beard?). At every turn the film has been examined and factchecked and cross-referenced against testimonies from the band’s actual hairdresser.

But until now the remaining Beatles have managed to keep fairly quiet about the whole thing. Last year Ringo Starr mentioned that he’d sat down with Mendes to rework a scene he wasn’t happy with, and Paul McCartney has praised the guitar playing of Paul Mescal, but it appeared that no real red lines had been crossed. Until now.

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© Photograph: John Russo/REX/Shutterstock

© Photograph: John Russo/REX/Shutterstock

© Photograph: John Russo/REX/Shutterstock

As he releases new album Hippies, Thugs and Heroes, the 77-year-old British folk legend answers your questions about Billy Connolly, Californian fish and chips and whether he nearly joined the Eagles

Billy Connolly recalled being in a room with you, Sandy Denny, Nick Drake and John Martyn. Did you feel you were collectively doing something special? poscopy
That might have been at the Royal Festival Hall [in 1969], where Fairport Convention had Nick and John as openers and Billy must have been backstage. He’d have been in the Humblebums with Gerry Rafferty, before he evolved from a banjo player who told jokes into a comedian who played a bit of banjo. He was always a fantastic bloke and we’ve been friends for a long time.

There was a great camaraderie between the stable of acts Joe Boyd produced: Fairport, the Incredible String Band, John Martyn, Chris McGregor. We felt different, not special, and didn’t feel successful because we weren’t. None of these people really sold many records in their lifetimes, but people are still discovering them now. This album is my latest attempt to sell some units.

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© Photograph: Paul Clampin

© Photograph: Paul Clampin

© Photograph: Paul Clampin

(RCA)
Massive in her home nation but less so outside, Angèle is aided by Justice, Soulwax and Caroline Polachek in ​a bold bid for broader appeal – but her resultant album ​can be generic as well as daring

As has often been pointed out, we live in an era where the traditional Anglo-American stranglehold over pop has been broken. Partly because streaming has presented listeners with a far broader choice of music than would once have been imaginable, and partly as a result of social media accounts doing the promotional departments’ job for them, the charts are now as likely to include music made in Seoul or Lagos as London or LA. Spurs’ 62,000-capacity stadium has recently hosted not just Jay-Z, Gorillaz and System of a Down, but India’s Arijit Singh, South Korea’s BTS, BigBang and Stray Kids, and Puerto Rico’s Bad Bunny, who addressed the crowd almost exclusively in Spanish.

Clearly, British audiences’ disinclination to be welded to English-speaking artists is a cheering thing. Equally clearly, there seem to be limits: the same interest hasn’t been afforded Francophone pop. The biggest French-speaking stars in recent memory have either dealt in dance music or acquiesced to recording in English. Belgian rapper Stromae has attracted media interest and co-signs from Kanye West and Lorde without ever progressing beyond cult status in the UK.

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© Photograph: Kenza Le Bas

© Photograph: Kenza Le Bas

© Photograph: Kenza Le Bas

The Back to Black singer’s books, shoes and jigsaw puzzles have gone on display. Elsewhere, a leaky Barbican and some gloriously gloopy sculptures can be viewed in London galleries this week

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© Photograph: Eva Herzog/Courtesy the artist and the Nicoletta Fiorucci Foundation

© Photograph: Eva Herzog/Courtesy the artist and the Nicoletta Fiorucci Foundation

© Photograph: Eva Herzog/Courtesy the artist and the Nicoletta Fiorucci Foundation

What is it about music that makes even non-professionals want to hit the dancefloor, and is it disco, funk or even classical that does it best? Four leading choreographers discuss their theories, with the science to back them up

‘I don’t know what it is about house music that makes me move, but I just can’t help it,” says Faye Stoeser. “And I don’t care what I look like. I just go for it.” “If a Missy [Elliott] track comes on, that’s me, I’m in the zone,” says Dannielle “Rhimes” Lecointe. “With hip-hop it’s something deep within the gut that makes you want to move. It has so many rhythms to it – a heartbeat, a pulse, a ricochet – that you feel in so many different places of your body.”

What is the best music to dance to? Is it house music, it is hip-hop, is it disco or funk? Stoeser and Lecointe should have some insight since, as performers and choreographers, dancing is what they do for a living. When it comes to popular floorfillers, the DJ Intelligence platform found the most-requested track from UK DJs last year was Whitney Houston’s I Wanna Dance With Somebody (with Abba’s Dancing Queen second, and Mr Brightside by the Killers third). In the US, Billboard’s top wedding song is Uptown Funk by Mark Ronson featuring Bruno Mars. A 2013 Mixmag poll named Daft Punk’s One More Time as the ultimate dance track, whereas Radio 2 listeners in 2008 voted for Michael Jackson’s Billie Jean.

But what about those for whom dancing is more than recreation? When it comes to dance on stage, there is plenty that isn’t driven by music at all. Back in the 1940s, the US choreographer Merce Cunningham began to disconnect dance and music in his collaborations with the composer John Cage, rehearsing the dancers in silence. Some choreographers use music to create dance in the studio that is totally different from what they’ll perform to on stage. Dance that’s focused on musical connection definitely went out of fashion for a while, but there are a bunch of shows coming up where music is the absolute driving force.

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© Photograph: Deborah Jaffe

© Photograph: Deborah Jaffe

© Photograph: Deborah Jaffe

Rapper to visit Lincolnshire town 16 years after saying he had never been there in his hit Pass Out

The rapper Tinie Tempah has said he will finally visit Scunthorpe – 16 years after he announced to the world that he had never been to the town in his number one hit Pass Out.

His decision follows a campaign by fans, led by Ben Johns, a Scunthorpe resident, who carried a cardboard cutout of the artist around the Lincolnshire town and encouraged people to pre-save Tempah’s new album.

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© Photograph: Marco Grey/PA

© Photograph: Marco Grey/PA

© Photograph: Marco Grey/PA

Utilita Arena, Birmingham
The opening night of Wonder’s tour marking the 50th anniversary of Songs in the Key of Life leaves jaws on the floor, thanks to sumptuous tracks carrying still-urgent messages

Seated amid a bank of keyboards, Stevie Wonder addresses the audience at the first date of his tour celebrating the 50th anniversary of Songs in the Key of Life, his most celebrated album. He says playing it in full like this was a longstanding ambition: the issue was that it needed so many people to bring it to fruition. He actually fulfilled that ambition a decade ago in North American arenas in 2014 and 2015, gigs from which the 50th anniversary shows take their cue – complete with Superstition added as an encore – but that said, you have to take his point about the number of people involved.

There really are a lot of musicians up there: three percussionists, a string section, five brass players, six backing vocalists, two guitarists, three keyboard players, including Wonder himself, who variously plays a bank of synthesisers both vintage and modern, a grand piano, an upright tack piano and, on Ngiculela/Es Una Historia/I Am Singing, a bizarre stringed instrument called a harpejji that wasn’t actually invented when Stevie Wonder last released an album, let alone when Songs in the Key of Life was made. Harpejii or not, that very much counts as scaling things down dramatically compared to the album’s actual sessions. Made by a man who could pretty much do everything himself, its recording nevertheless involved 108 musicians: eight people are credited for handclaps.

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© Photograph: Katja Ogrin/Getty Images for ABA

© Photograph: Katja Ogrin/Getty Images for ABA

© Photograph: Katja Ogrin/Getty Images for ABA

Corn Exchange, Edinburgh
Irish six-piece embark on their biggest tour yet, turning grisly old stories into a knees-up with politically astute, spit-and-sawdust energy

It’s not often you see crowd surfing during folk songs, let alone songs about murderers-for-hire who targeted priests in the early 1700s. But so it is at a Mary Wallopers show, the Irish trad group with a passionate following for their rowdy folk ragers.

Legs and pints go flying as the six-piece, playing banjo and tin whistle, set about Seán na Sagart, a new track which turns a grisly old story into a knees-up. By its breathless conclusion, the hitman is dead and his victims and clients alike get it in the neck from the band. Singer Charles Hendy grins, savouring the punchline: “You can’t trust the clergy with their holy little bits / And ya won’t be thanked by any god for workin’ with the Brits.”

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© Photograph: Murdo MacLeod/The Guardian

© Photograph: Murdo MacLeod/The Guardian

© Photograph: Murdo MacLeod/The Guardian

Holywell Music Room, Oxford
A perfect example of the Oxford International Song festival’s creative programming, Benjamin Appl’s unforced but focused recital was full of profoundly beautiful music

Over 25 years, the Oxford International Song festival has adopted a creative approach to programming. Benjamin Appl’s pairing of Schubert lieder with spiny miniatures by György Kurtág was a perfect example. Your Schubert crowd isn’t necessarily your Kurtág crew, and yet the 280-year-old Holywell Music Room was packed to the rafters.

Ellen Mawhinney and Daniel Silcock, one of the festival’s Young Artist duos, kicked things off with an aquatic-themed recital that showed off Mawhinney’s powerful soprano and Silcock’s poetic instincts at the piano. From the inspiriting Scottish ballad Kishmul’s Galley to Hamilton Harty’s impassioned Sea Wrack, their smartly curated 15 minutes paved the way for Appl and James Baillieu’s equally satisfying programme, Lines of Life.

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© Photograph: Antonio Olmos/The Guardian

© Photograph: Antonio Olmos/The Guardian

© Photograph: Antonio Olmos/The Guardian

Canada-born singer-songwriter, 82, posts footage of citizenship ceremony to Instagram

Joni Mitchell has become a US citizen, after first moving to the country in the mid-1960s. The Canada-born singer-songwriter, 82, posted footage of her citizenship ceremony on her Instagram account, along with a photo of her next to an American flag, accompanied by the caption: “A journey that began 62 years ago.”

It means that Mitchell can now vote in US elections, something that she had complained she wasn’t able to do.

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© Photograph: Instagram

© Photograph: Instagram

© Photograph: Instagram

A decade after the premiere of his work setting Kane’s hard-hitting play, it’s returning to the Royal Opera House. The composer remembers its fevered beginnings, the sweat and tears shed along the way, and how it changed his life forever

In January 2015, I was on an overnight flight coming back from New York, having attended Prototype, a festival of new opera. I didn’t sleep a wink, but worked without stopping in a packed, dark, sleepy cabin, reading and annotating a book and furiously making notes on my laptop. As if in a fever dream, my mind whirled with text, music, dramaturgy, theatre.

Those six nocturnal hours were some of the most creatively fertile of my life. The book was 4.48 Psychosis; the annotations became the blueprint for an opera. Sarah Kane’s text had unlocked something in me, a fervour, a deluge of ideas. I could barely keep up, noting every impulse, every fantasy, as my mind pinballed around.

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© Photograph: © ROH/Stephen Cummiskey

© Photograph: © ROH/Stephen Cummiskey

© Photograph: © ROH/Stephen Cummiskey

Exclusive: Investigation finds racial inequality in live music industry rife and many genres labelled ‘high risk’ despite lack of evidence

Black and south Asian music events in London face disproportionate cancellations, restrictions and licensing barriers compared with white events, according to a two-year investigation into racial inequality in the capital’s live music industry.

The Race Equality in Music Event Licensing (REMEL) report, led by Black Lives in Music, estimates that cancellations, displacement and events prevented from taking place cost London £127m to £141m annually, with projected losses exceeding £650m over five years.

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© Photograph: Kingsley Davis/Alamy Stock Photo/Alamy Live News.

© Photograph: Kingsley Davis/Alamy Stock Photo/Alamy Live News.

© Photograph: Kingsley Davis/Alamy Stock Photo/Alamy Live News.

Spandau Ballet’s Gary Kemp paid £10k at auction for Epstein’s address book. He then used it to co-author a thrilling account of the swinging 60s – and an intimate portrait of a tormented man whose life was unravelling

The email from Sotheby’s might easily have gone unread. Despite his deep appreciation for the musical heroes who came before him, Gary Kemp is not a collector of rock memorabilia. But there, among the auction lots, was something that caught his eye: a 160x100mm black Twinlock binder that once belonged to the Beatles’ manager, Brian Epstein.

The listing detailed 57 pages containing 404 entries, many handwritten by Epstein himself, cataloguing the social and business network of the Liverpudlian impresario in 1967, the year of his death. Kemp immediately recognised this was much more than simply an address book: it was a who’s who of 60s London at its swinging peak, from David Bailey and David Frost to most of the Rolling Stones. “I just thought, ‘I’ve got to have this. I’ve got to hold it,’” he says. “It’s got DNA on it.”

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© Photograph: John Rodgers/Redferns

© Photograph: John Rodgers/Redferns

© Photograph: John Rodgers/Redferns

‘You don’t get to take a man from his family … and just walk away from it,’ judge says as former gang leader sentenced

• Tupac trial spotlights decades of US police failures in solving the case

Duane “Keffe D” Davis, the former California gang leader convicted of murder for orchestrating the 1996 fatal shooting of rapper Tupac Shakur, has been sentenced to 40 years to life in prison.

“For three years, I’ve heard you say some variation of the same thing … ‘Yeah, I was involved in this. But I’m different. I’ve moved on. I got out of Compton. I’m a grandfather now,’” Judge Carli Kierny said Tuesday as she delivered the sentence.

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© Photograph: Steve Marcus/Reuters

© Photograph: Steve Marcus/Reuters

© Photograph: Steve Marcus/Reuters

Beacon Theatre, New York
Two decades after country music blacklisted the band for their Iraq war protest, the trio celebrate their unapologetic album Taking the Long Way

Last month, with almost no fanfare, the US formally completed its withdrawal of troops from Iraq, after 23 years of violent quagmire. But it was the beginning of that conflict that loomed over New York’s Beacon Theatre on Monday night, where the Chicks played the second of three sold-out shows. In March 2003, eight days before the US invaded Iraq, the country supergroup’s lead singer, Natalie Maines, said on stage in London she was “ashamed” that then president George W Bush was from the trio’s home state of Texas, triggering a swift, self-righteous and scarily prescient backlash.

More than one person at the Beacon wondered aloud where fellow fans were back then, when a single comment, circulated on AM radio and cable news, led to CD-burning protests and death threats. (High school, was a common answer.) I myself was nine, with a child’s stark view of morality and consequence. Our country was at war, I knew, in an impossibly faraway place, and my favorite band bore the cost of criticizing it. One day, I could catch blue-sky hits including Travelin’ Soldier, Landslide and Cowboy Take Me Away on the radio on the way to school; the next, they were gone.

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© Photograph: Thomas Falcone

© Photograph: Thomas Falcone

© Photograph: Thomas Falcone

They are some of our oldest and most historically significant buildings, yet they receive no secure state funding, writes Dr Coco Parkinson-Huggins

Jonathan Davies’ article (Abide with me: English choral music is a living part of our cultural heritage – we should cherish it, 7 October) speaks beautifully to the contribution of English choral music to our living cultural heritage, highlighting the importance of cathedral choirs in particular, in giving children access to “world-class musical training, extraordinary cultural experiences and educational opportunities that might otherwise be beyond their reach”.

What he misses however, is just how under threat these bastions of England’s religious, cultural and spiritual heritage actually are.

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© Photograph: Bloomberg/Getty Images

© Photograph: Bloomberg/Getty Images

© Photograph: Bloomberg/Getty Images

After having a Pretty Woman moment in a Brooklyn store, the singer-songwriter let rip on X

Name: Kelly Clarkson.

Age: 44. Born in 1982. In Fort Worth, as it happens.

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© Photograph: NBC/Weiss Eubanks/NBCUniversal/Getty Images

© Photograph: NBC/Weiss Eubanks/NBCUniversal/Getty Images

© Photograph: NBC/Weiss Eubanks/NBCUniversal/Getty Images

Concorde 2, Brighton
Drawing almost entirely from her last two albums, and backed by a band rooted in jazz and experimentation, Orton performed her emotionally fraught songs to a rapturous crowd

The audience at Brighton’s Concorde 2 largely look old enough to have first encountered Beth Orton’s music three decades ago, as it wafted around a smoke-filled living room in the post-club small hours. That was the primary means of transmission for her 1996 debut album Trailer Park, which smartly appended classic singer-songwriter tropes to misty electronics. But if they’re expecting an evening of nostalgia, they’re in for a shock. The title track from 1999’s Mercury-nominated Central Reservation aside, her set swerves the music that made her famous, drawing almost entirely from her two most recent albums: this year’s The Ground Above and 2022’s Weather Alive.

This would count as a bold move from someone 30-odd years into their career, were it not for the fact that Orton’s recent albums are so good – the latest fruit of an artistic reboot that began in the mid-2010s, when she shifted a sound that had grown increasingly acoustic and traditional back towards something more experimental and dancefloor-adjacent.

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© Photograph: Andy Hall/The Guardian

© Photograph: Andy Hall/The Guardian

© Photograph: Andy Hall/The Guardian

Raised as one of 11, the Vancouver artist (and model) is now signed by A24. She talks about her ultra-religious childhood and how – despite her album title – she still suffers from imposter syndrome

The first time Sophia Stel came to London, she slept outside in the freezing cold. The Vancouver songwriter had finished a live set last autumn, then gone out until 3am with her then crush, but when they returned to their Airbnb, they found that Stel’s manager had dead-bolted the door and fallen asleep. Stel plus crush looked for a hotel but ultimately had no choice but to kip on the doorstep. “We hadn’t spent that much time together and I got to see how she was in a stressful situation,” Stel says, smiling at the memory. “She kept her vibe up and tried to solve it – I knew I was so in love then.”

A lot has changed in Stel’s life in the year since. She opened her business bank account as an artist, and that crush is now her girlfriend. “It’s a lot of change, but maybe because of my Sagittarius moon, I’m fine with it to an extent,” she says, only half-joking, when we meet at her publicist’s office in south London, the 27-year-old Stel in her uniform of vintage hoodie and Adidas trackies.

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© Photograph: Mikaela Kautzky

© Photograph: Mikaela Kautzky

© Photograph: Mikaela Kautzky

LSO St Luke’s, London
From syncopated funk to the Latin requiem mass, Gregorian chant to bureaucratic recitative, the score to David Önaç new oratorio, premiered by the London Symphony Orchestra, is serious and beautiful

How do you put a value on a human life? If you’re an insurance underwriter that’s not a philosophical question, it’s a practical one. The answer, incidentally, as calculated by Lloyds of London in 1779 was £45: the figure placed on each enslaved person transported across the Atlantic alongside corn, fish and other cargo. Court transcripts from two decades later describe a woman quarantined for smallpox, subsequently bound, blindfolded and tossed overboard tied to a chair. The captain later expressed his regret for the loss of “so good a chair”.

Archives can tell us what, but it takes art to give us the human how of the past. Enter composer David Önaç – commissioned to take the historical documents unearthed from the Lloyds archive and give them howling, raging life in his new Atlantic Requiem, premiered this weekend by the London Symphony Orchestra, an expanded BBC Singers, three soloists and (in a last-minute step-in) conductor Malcolm J Merriweather.

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© Photograph: Mark Allan

© Photograph: Mark Allan

© Photograph: Mark Allan

‘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.

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© Photograph: Edd Westmacott/Avalon/Getty Images

© Photograph: Edd Westmacott/Avalon/Getty Images

© Photograph: Edd Westmacott/Avalon/Getty Images

Queen Elizabeth Hall, London
Bizet’s incidental music for Daudet’s 1872 play The Girl from Arles was given its first UK complete performance by Sir Mark Elder, the Orchestra of the Age of Enlightenment and strong soloists in Jeremy Sams’ staging

‘The prettiest music in the world” was how the playwright Alphonse Daudet described the incidental music Bizet composed for his 1872 play The Girl from Arles – which is a bit like describing Carmen, the opera Bizet would compose less than three years later, as a charming little love story.

Daudet’s play initially flopped but was saved by the music Bizet wrote for it, which comprises 27 separate numbers ranging from string whispers a few bars long to full-blown orchestral entr’actes and celebratory choruses. Two orchestral Suites from L’Arlésienne have long been familiar in the concert hall. But, after more than 150 years, this was the first chance for UK audiences to hear the complete incidental music in its proper context. Presented by the Orchestra of the Age of Enlightenment and conducted by Mark Elder, there was a danger this play with music could turn into music with a play – but in fact the two elements complemented each other at equal strength.

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© Photograph: Mark Allan

© Photograph: Mark Allan

© Photograph: Mark Allan

Jay-Z in 8, the rap mogul’s HBO docuseries, covers his life and career in effort to mend his image – with no pushback. Why is he so fixated on the court of public opinion?

During the finale of Jay-Z’s Jay-Z in 8, the recent eight-part HBO documentary series on his life and career, the billionaire rap mogul talked with record producer Rick Rubin about the song Family Feud from his 4:44 album. He clarified one of its lyrics, “Al Sharpton in the mirror takin’ selfies / How is him or Pill Cosby ‘posed to help me?”, in which he chided Sharpton, the civil rights leader, and Cosby, the disgraced actor-comedian, for constantly criticizing rap music. He called Sharpton an “extortionist” who goes “from place to place” demanding: “You want our support … give us the money.” Listening to him chastise Sharpton, I pondered how he doesn’t see himself as a similar figure.

Starting in 2019, Jay-Z partnered with the NFL in 2019 as entertainment director, deciding the Super Bowl half-time performers and working with the league on other community endeavors. Colin Kaepernick, the former NFL quarterback, has recently alleged that the deal came after NFL owners decided they needed a “Black face” to help them quell outrage from Black people after Kaepernick was blackballed by the league for kneeling during the national anthems as a form of protest against police brutality. Jay-Z was lambasted for undercutting Kaepernick’s cause for personal gain, marring his reputation with many fans who came to view him as the same counterinsurgent figure he criticized in the documentary.

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© Photograph: Mubi

© Photograph: Mubi

© Photograph: Mubi

(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.

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© Photograph: DOT/Ewen Spencer

© Photograph: DOT/Ewen Spencer

© Photograph: DOT/Ewen Spencer

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”.

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© Photograph: Barry Brecheisen/Getty Images

© Photograph: Barry Brecheisen/Getty Images

© Photograph: Barry Brecheisen/Getty Images

Sex Bomb Tom Jones in the style of a 16th century chanson by music theory and ear training lecturer Jonas Quin.

From Jonas Quin's site: Every project starts with a song that makes me wonder how it would sound in a historical style for days on end. When the melody just asks for it, when the text has some nice expressive passages, or simply if I have to laugh at the mere thought. That's when I know this is something that I want to dig deeper into. ... Each part is filmed seperately and then cut together in davinci resolve. For me, the score is the center of the video, the wobbling heads around it serve one of the following two functions. The first one is actually pedagogical: in depicting visual singers, I hope to help viewers understand the structure of the music, for example the imitatory patterns, the use of Cantus Firmus, the exceptional dissonances. The second function is to underline my main philosphy: that – at least – not all of this is to be taken entirely seriously. The sheet music of his pieces are available on his site. Some of the songs: You Spin Me Right Round as a Cantus Firmus ( Cantus Firmus is the practice of taking a pre existing melody and composing harmonies over it in particular set patterns) The other song that's been woven in here is a Kyrie Eleison which is a name of a prayer of Christian liturgy, Greek for "Lord, have mercy" and often heard in Gregorian chants. Original pop song version of Spin Me Right Round Jonas Quim illustrates his process in this video in which he composes Twinkle Twinkle Little Star in the style of various composers of the Renaissance era. Some more highlights: One Night in Bangkok (stay for the frrrrrt....frrrrrt wind instrument sounds near the end) Staying Alive

In Narromine – redubbed ‘Dollymine’ for the weekend – the country music star’s face is everywhere and a warm spirit of inclusivity is all-embracing

On a sporting oval in a rural Australian town 15,000km from Knoxville, Tennessee, dozens of Dolly Partons saunter down the runway as a boisterous crowd cheers and swats away flies with their cowboy hats.

As the sun begins to set, Jim Beams are flowing and music is blaring. One lucky punter is about to be crowned this year’s best-dressed Dolly, complete with sash, trophy and bragging rights.

The Narromine Line Dancers chat before performing for the crowd

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© Photograph: Carly Earl/The Guardian

© Photograph: Carly Earl/The Guardian

© Photograph: Carly Earl/The Guardian

The makers of Coraline return with their distinctive animation style in a magical tale of a secret world of strange beasts, talking animals and evil governesses

Here is an engaging family movie from the Portland-based Laika studio that created Coraline. It is a fantasy adventure in Laika’s distinctively crafted stop-motion animation, written by Chris Butler from the bestseller of the same title by Carson Ellis and Colin Meloy, the latter being a band member of The Decemberists, one of whose tour posters we duly glimpse in this film. The director is Laika’s lead animator Travis Knight. It’s a forthright, exuberant, good-natured and old-fashioned children’s tale which CS Lewis and JRR Tolkien might have recognised, a story about the mysterious glory of going on a quest and the terrible fear and wish-fulfilment euphoria of being called upon to confront secret forces that the grownups know nothing about.

The setting is modern-day Portland, Oregon, a groovy city whose hipster-ish stores (there’s a coffee shop actually called Dripster) and Woke 1.0 signage are affectionately mocked. But most of all, the film is aware of a huge forest park next to the city, a place here mythologised as the impassable wilderness or “wildwood” where strange creatures, fairytale nobility and wisecracking talking animals reputedly dwell, of which the city-dwelling humans are entirely ignorant. Prue (voiced by Peyton Elizabeth Lee) is a 12-year-old girl whose parents (voiced by Jake Johnson and Maya Erskine) are a couple of amiable hippies who believe in natural forces and benign magic. They have another child, Prue’s baby brother Mac, who Prue has to look after one day, pushing him in his stroller around the city and having to endure a certain classmate of hers tagging along. This is nerdy Curtis (Jacob Tremblay) who has a crush on her.

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© Photograph: Album/Alamy

© Photograph: Album/Alamy

© Photograph: Album/Alamy

The long-running series in which readers answer other readers’ questions on subjects ranging from trivial flights of fancy to profound scientific and philosophical concepts

• This week’s question: Why is a child saying ‘Na-na, na-na-na!’ so annoying?

Why are national anthems almost always orchestral? When – and by whom – was it decided that brass and strings best represent a country’s identity? Where are the power-pop or folk varieties? Ross Gomes, by email

Send new questions to nq@theguardian.com.

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© Photograph: Hybrid Images/Getty Images/Image Source

© Photograph: Hybrid Images/Getty Images/Image Source

© Photograph: Hybrid Images/Getty Images/Image Source

The choir leader and presenter on not fitting in at his all-boys grammar, how synthesisers changed everything, and his ‘dithering’ start on TV

Born in London in 1975, Gareth Malone is a choirmaster and broadcaster. He began his career running youth and community choirs for the London Symphony Orchestra and first appeared on TV in 2006’s The Choir. He has since created choirs with Leicester schoolboys, Aylesbury prisoners, as well as the Military Wives, which produced the No 1 single, Wherever You Are. He lives in London with his wife and three children. His new live show, Sing-A-Long-A-Gareth: At the Movies, is on tour across the UK this autumn.

I was 15 and just coming into my own with my confidence, as you can tell by the double denim and the pose. The photo would have been taken at a party at my parents’ house in Bournemouth. When I wasn’t filling up guests’ drinks, I’d be playing some songs – it looks like I’m playing B flat major, so I suspect at this very moment it was Hey Jude.

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© Photograph: Courtesy of Gareth Malone

© Photograph: Courtesy of Gareth Malone

© Photograph: Courtesy of Gareth Malone

Leeds Grand theatre
Patrick Nolan’s thoughtful staging for Opera North shifts Pushkin’s story forward to explore the transition from Soviet state to elitist excess

For an opera rooted in 19th-century Russian romanticism it’s surprising how effortlessly Eugene Onegin can be brought up to date. Patrick Nolan’s thoughtful staging for Opera North, a co-production with Irish National Opera and his own Opera Queensland, manages to capture the aching melancholy of Pushkin’s original while reflecting on the equally gloomy transition from the Brezhnev-era Soviet state to the reckless excess of the pre-Putin oligarchy.

For Tatyana and Onegin, Tchaikovsky’s opera is a case of the road not taken, subtly reflected in the gently elasticated timeframe adopted here. In Act I, Leslie Travers’ crumbling civic gymnasium is commandeered to rehearse a pageant in praise of Soviet agricultural policy. When Madame Larina and the housekeeper Filipyevna chatter on about times past, Lenin-emblazoned flags remind us they would have grown up in the shadow of Stalin. As the gaudy tracksuits and 80s bling (costume designer Elizabeth Gadsby having a field day) of Act II give way to formal evening wear and diamonds in the final act, it feels as though an entire way of life has been swept away, and with it any chance to correct the mistakes of the past.

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© Photograph: James Glossop

© Photograph: James Glossop

© Photograph: James Glossop

Bev Craig pledges £2m in funding to nurture local artists by improving access to rehearsal and production space

The Manchester mayor, Bev Craig, has said the city’s music scene is about more than just Oasis, as she announced funding to nurture a diverse range of local artists, be they “guitar bands or not”.

Craig pledged the £2m investment funding in Greater Manchester, as the city region hosted a conference for the creative industries at MediaCity in Salford.

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© Photograph: Marieke Macklon/The Guardian

© Photograph: Marieke Macklon/The Guardian

© Photograph: Marieke Macklon/The Guardian

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?”

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© Photograph: Stephanie Pistel

© Photograph: Stephanie Pistel

© Photograph: Stephanie Pistel

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.

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© Photograph: -

© Photograph: -

© Photograph: -

David Önaç uses insurance documents for work funded by Lloyd’s of London after research uncovered its slavery links

A centuries-old insurance document detailing the trafficking of enslaved Africans began with the words: “In the name of God, Amen.”

For Dr Errol Francis, the artistic director and chief executive of the arts and heritage charity Culture&, the contradiction was striking: an invocation of God in a document that treated human beings as cargo.

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© Composite: Guardian

© Composite: Guardian

© Composite: Guardian

Sam Rockwell voices the gumshoe who becomes embroiled with Scarlett Johansson’s femme fatale in this big-hearted and beautifully designed fantasy spectacular

Brad Bird, the Spielberg of animation, applies his masterly authorial touch to a terrific family film that retrieves the genre from the doldrums of dull, AI-formulaic stories and visuals. This animation is smart, witty, humane: a fantasy spectacular with old-fashioned entertainment values and some amazing cityscape design showcasing a beguiling and sweet romance.

The setting is a city of marvels in a world to come, a retro-futurist urban landscape with hints of Metropolis and Blade Runner; there are plenty of regulation moving walkways, flying cars and eerie hologram billboards, yes, but a light touch to put the fun back into what could be just cliche. Here is where an old-school noir thriller is to take place with tough private detectives and bad guys wielding state-of-the-art laser-particle firearms (this explains the title, though I’d hoped that it might also include some reference to 1980s Republican politics). There are careworn cops, cynical club owners and alluring shady ladies with touches of Lana Turner and Veronica Lake. The airborne automobiles also have the bulbous lines of a previous century, and the TV monitors show black-and-white images; plasma flatscreens have evidently been disinvented.

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© Photograph: Skydance Animation

© Photograph: Skydance Animation

© Photograph: Skydance Animation