By using music from SZA, Sabrina Carpenter and Olivia Rodrigo in ICE videos, the government is playing a game of rage-bait

Last week, as the Trump administration was engulfed in controversy over its illegal military strikes near Venezuela (among numerous other crises), a Department of Homeland Security employee – I picture the worst sniveling, self-satisfied, hateful loser – got to work on the official X account. The state-employed memelord posted a video depicting Immigration Customs and Enforcement (ICE) officials arresting people in what appeared to be Chicago, celebrating the humiliation and incarceration of undocumented immigrants as some sort of patriotic achievement. The vile video borrowed, as they often do, from mainstream pop culture; in this case, a viral lyric from Sabrina Carpenter’s song Juno – “Have you ever tried this one?,” referring to sex positions – overlaid clips of agents chasing, tackling and handcuffing people, cheekily nodding to all the methods in ICE’s terror toolbox.

Carpenter, as a pre-eminent pop star, was caught in an impossible position. Say nothing, as her friend and collaborator Taylor Swift did weeks earlier when the White House used her music in a Trump hype video, and risk appearing as if you condone the administration’s use of your art for a domestic terror campaign (the administration hasn’t yet used Swift for an ICE video, but I’m sure it’s coming); engage, even if to honestly express your utter disgust, and risk bringing more attention to objectionable propaganda designed to provoke a response.

The former X Factor judge is back, auditioning boyband wannabes for his latest talent show – but gen Z doesn’t seem to care very much, or even know who he is

Have we gone back in time to 2010? If only! No, Simon Cowell is just back in the headlines, reasserting his svengali status for his new Netflix show. Reviews suggest that Cowell’s attempted comeback, 15 years since his celebrity peak, highlights less his particular star power than how totally the world has moved on. But is there anything to learn from SyCo now, and will his new boyband work? Let’s see!

1. Cowell is chasing a new direction

As Wham! top singles chart, Minogue draws level with David Bowie, Eminem, U2 and Rod Stewart in the album league table, thanks to a reissue of her 2015 Christmas LP

Kylie Minogue has scored her 11th UK No 1 album, putting her level with David Bowie and Eminem in the league of all-time album chart-toppers.

The album, Kylie Christmas (Fully Wrapped), will sound familiar to her fans: it’s a reissue of her 2015 album Kylie Christmas (which only reached No 12), containing four newly recorded tracks and an altered tracklisting. It had already been reissued once before, in 2016, as the Snow Queen Edition. Nevertheless, the Fully Wrapped version counts as a new album in chart terms, and so continues a non-consecutive run of No 1s that began in 1988, when Minogue’s self-titled debut spent six weeks at the top.

As the classic album hits 50, Nick Mason talks about the often difficult process of making it and how it has since fit into their larger catalogue

By almost every measure, from commercial reward to creative reach, Pink Floyd scaled its peak on Dark Side of the Moon. But, when I asked drummer Nick Mason how he would rank the album in their catalogue, he slotted it below the set that came next, Wish You Were Here. Speaking of Dark Side, he said, “the idea of it is almost more attractive than the individual songs on it. I feel slightly the same about Sgt. Pepper. It’s an amazing album that taught us a hell of a lot, but the individual parts are not quite as exciting, or as good, as some of the other Beatles’ albums.”

By contrast, he says of Wish You Were Here, “there’s something in the general atmosphere it generates – the space of it, the air around it, that’s really special,” he said. “It’s one of the reasons I view it so affectionately.”

The singer’s tears over the Islamic State terrorist plot against her show and Southport attack make this behind-the-scenes docuseries about her world-conquering tour more moving than anyone could have anticipated

Swifties had long guessed that there would be a documentary going behind the scenes of Taylor Swift’s blockbuster Eras tour. The 2023 Eras Tour concert movie didn’t show any of the inner workings of this three-and-a-half-hour behemoth, which ran for 149 dates from 2023-24. Fans put some bits together, such as how Swift arrived on stage being pushed inside a cleaning cart. Plus, given the two albums she wrote during and about the Eras tour – 2024’s The Tortured Poets Department and this year’s The Life of a Showgirl – it wouldn’t be Swiftian to overlook another lucrative IP extension.

What fans could never have imagined was that Disney was set to start filming as the Eras tour was due to hit Vienna on 8 August 2023 – the first of three shows in the Austrian capital that were cancelled owing to an Islamic State terrorist plot. We learn this in episode one of the six-part docuseries The End of an Era, when Swift and her longtime friend Ed Sheeran are backstage at Wembley, hours before he guests at her first concert after the thwarted attack. “I didn’t even get to go,” Swift tells him of Vienna. “I was on the plane headed there. I just need to do this show and re-remember the joy of it because I’m a little bit just like …” She can’t find the words.

Royal Festival Hall, London
Playing a mix of traditional folk and radically rearranged acoustic Led Zeppelin classics, the former Zep frontman is in fine voice – but also happy to step out of the spotlight

Between songs, Robert Plant describes his latest project, Saving Grace, as hailing “from the west side of common sense”. It’s a self-effacing remark but he has a point. Most rock stars of his vintage and stature (78 next year, somewhere between 200m and 300m albums sold with Led Zeppelin) would be out there underlining their status by touring the hits. But as anyone who has followed Plant’s serpentine post-Zeppelin career will tell you, the straightforward option doesn’t seem to hold great appeal for him.

So Saving Grace are a band assembled from musicians local to his home in Shropshire – though it isn’t entirely clear if Plant is joking when he suggests he found multi-instrumentalist Matt Worley working in the local tourist information office. Their oeuvre is an intriguing stew of traditional folk songs (The Cuckoo, As I Roved Out); covers that pay testament to Plant’s famously catholic tastes (Everybody’s Song by Low rubs shoulders with It’s a Beautiful Day Today by 60s psych heroes Moby Grape); and a scattering of Led Zeppelin tracks that you could fairly describe as radically rearranged: both Ramble On and Four Sticks now heavily feature an accordion, with the low end provided not by a bass guitar but a cello. Moreover, this is an evening in which one of the most renowned frontmen in rock history – whose voice is in quite astonishing nick – seems happy to regularly cede the spotlight, and effectively act as a backing singer for Worley and vocalist Suzi Dian.

Not long ago, artists such as Lil Nas X and Olly Alexander were ruling pop. But success has stalled as acts face industry obstacles and rising homophobia. What now?

At the turn of the decade, gay male and non-binary pop stars seemed poised to take pop music by storm. Lil Nas X broke out with Old Town Road – which blew up on TikTok, sold about 18.5m copies and remains tied with Shaboozey’s A Bar Song (Tipsy) and Mariah Carey’s All I Want for Christmas Is You as the longest-running No 1 single in US history – and artists such as Sam Smith, Troye Sivan and Olly Alexander from Years & Years were all singing about gay love and sex.

But the initial promise has stalled. Lil Nas X’s attempts to build on his smash debut album have fizzled, and he is publicly dealing with mental health issues. In October, Khalid released his first album since being outed by his ex last year but only sold 10,000 copies in the first week in the US. A previous album, 2019’s Free Spirit, sold some 200,000 copies in the first week and led to him briefly dethroning Ariana Grande as the most listened to artist on Spotify.

Roundhouse apologises after animation projected behind band appears to show Star of David entwined with swastika

A music venue in London has apologised after antisemitic imagery was allegedly displayed on stage during a Primal Scream gig.

A video appearing to show the Star of David entwined with a swastika was said to be screened during the Scottish band’s show at the Roundhouse in Camden on Monday.

The Pretenders bandleader answers your questions on her friendship with Morrissey, her love of Van Gogh and why her cameo on Friends ruined her school run

Wondering if you saw the [music-filled 1996 comedy drama] film Grace of My Heart and whether it influenced your decision to record an album of duets? GiniMarie
I didn’t see the film – Duets Special came about after a conversation with Rufus Wainwright’s husband when I impulsively suggested doing an album with Rufus. Rufus wanted to do Always on My Mind, and I looked at the list of nine other songs I’d sent him and thought: why don’t I ask some other people? Like, Low are one of my all-time favourite bands and when I first met Mimi Parker she immediately seemed like someone I’ve known all my life. I told her I’d done one of their songs with Debbie Harry and she looked at me and said: “Why didn’t you ask me?” I thought: touché, Mimi. I suggested [Cass McCombs’s] County Line but she wasn’t well. I told Mimi I’d wait as long as it takes. Then she died. Alan [Sparhawk, Parker’s husband] sang it instead and it’s absolutely amazing.

The Pretenders covered Morrissey’s Every Day Is Like Sunday and now Duets Special features The First of the Gang to Die. As one of Morrissey’s oldest friends, how often do your conversations reach a philosophical, political or moral impasse? McScootikins
My relationship with him started because we were both vegetarian and he sent me a postcard asking to meet for tea. Thirty-five years ago most of my mates – Linda McCartney and so on – were friends because of vegetarianism. Morrissey does stuff for Peta and he’s an amazing songwriter. A few nights ago I had dinner with a couple of girls he’d worked with. I sent him a picture of the three of us and he immediately sent back a picture of three women from Coronation Street. He’s always true to himself and no, we’ve never reached an impasse.

Producer says creatives need to own their intellectual property so they can license it to generative AI platforms

The Eurythmics co-founder Dave Stewart has said artificial intelligence is an “unstoppable force”, and musicians and other artists should bow to the inevitable and license their music to generative AI platforms.

These platforms use artificial intelligence to analyse existing songs and tracks, using that knowledge to generate completely new ones as prompted by a user. For example, someone could ask the AI platform to generate a song about a boozy night out in the style of a Britpop band, and it would draw on songs with similar sounds and themes to create its own.