Pop star, who was still a teenager when she won her first Brit Award, says she had to ‘do a lot of things’ in order to feel ‘strong in myself’

Ticketmaster said they would ‘lead by example’ after Dean called out companies when tickets for her North American tour appeared on resale sites at prices in excess of $1,000

Ticketmaster has given fans of Olivia Dean partial refunds after the British singer condemned ticketing companies for allowing touts to relist tickets for her North American tour at more than 14 times their face value.

After the tour sold out in minutes on 21 November and tickets appeared on resale sites at prices in excess of $1,000, Dean addressed the major ticketing companies on Instagram: “@Ticketmaster @Livenation @AEGPresents you are providing a disgusting service,” she wrote. “The prices at which you’re allowing tickets to be re-sold is vile and completely against our wishes. Live music should be affordable and accessible and we need to find a new way of making that possible. BE BETTER.”

Organised by Olly Alexander and the Mighty Hoopla festival to ‘fight back against the politics of fear and exclusion’, Trans Mission will take place at Wembley Arena in March

Artists including Sugababes, Wolf Alice, Romy, Sophie Ellis-Bextor, Christine and the Queens, Beth Ditto, Beverley Knight, Jasmine.4.T, Kae Tempest and more will perform at an all-star charity concert at Wembley Arena in support of trans rights next year.

Organised by Olly Alexander and the Mighty Hoopla festival, Trans Mission will also feature appearances from figures including Green party leader Zack Polanski, actor Ian McKellen, comedian Grace Campbell, author Shon Faye, actor Mawaan Rizwan, model Munroe Bergdorf and actor Nicola Coughlan.

Adam Lambert

Beth Ditto

Bimini

Beverley Knight

Christine and the Queens

Fat Tony

GottMikk

HAAi

Jasmine.4.T

Kae Tempest

Kate Nash

MNEK

Olly Alexander

Romy

Sink the Pink

Sophie Ellis-Bextor

Sugababes

Tom Grennan

Tom Rasmussen

Trans Voices

Wolf Alice

Dani St James

Grace Campbell

Harriet Rose

Ian McKellen

Jack Rooke

Jayde Adams

Jo Maugham

Jordan Stephens

Juno Birch

Juno Dawson

Kadiff Kirwan

Layton Williams

Mawaan Rizwan

Munroe Bergdorf

Nicola Coughlan

Russell Tovey

Shon Faye

Tia Kofi

Tiara Skye

Zack Polanski

Californian singer-songwriter Lukas Frank is picking up rave reviews for his second album’s epic choruses and lush orchestrations

From Los Angeles
Recommended if you like John Grant, Scott Walker, Father John Misty
Up next A cover of Duran Duran’s The Chauffeur is out now, with another single due in February

After several years of perseverance, things are happening for Storefront Church. The audience at this month’s sellout gig at St Pancras Old Church in London included Perfume Genius and members of the Last Dinner Party and the Horrors and their self-released second album, Ink & Oil, is picking up rave reviews. One used the term “emotional flood” to describe the album’s epic, baroque pop, big pianos and drums, sweeping choruses and Travis Warner’s lush, cinematic orchestrations.

Ex-member of the hip-hop group was convicted of money laundering and campaign finance violations after funneling money from a rich Malaysian

From the moment the Fugees shot to fame in the mid-90s, Prakazrel “Pras” Michél was discounted as an incidental member of the hip-hop superstars. He was the unremarkable New Jersey rhyme spitter by way of Brooklyn who was lucky enough to be a high school classmate of the mesmerizing Lauryn Hill and a cousin to mercurial Wyclef Jean. On the group’s breakout album The Score, Michel’s eight-bar features were minor contributions, relative to Hill’s adroitness as an emcee and balladeer and Jean’s compositional polymathy.

“From Hawaii to Hawthorne, I run marathons, like / Buju Banton, I’m a true champion, like / Farrakhan reads his daily Qur’an / It’s a phenomenon, lyrics fast like Ramadan,” Michél raps on the band’s breakout single Fu-Gee-La, in one of his more pedestrian efforts.

(Hyperdub)
The dancefloor producer weaves seductive and steely lyrics with their trademark production in a convincing embrace of pop

Sad represents a total reinvention for Ikonika, the producer, songwriter and singer also known as Sara Chen. Putting their own vocals at the forefront of their music for the first time, Chen becomes a charismatic and haunting pop presence. Sometimes, they play the role of warm R&B vocalist (Listen to Your Heart); at other times, such as on the nervy, hypnotic Whatchureallywant, they’re seductive and steely, commanding the dancefloor over production that draws equally from bass music and South African amapiano.

Ikonika has long been an established presence in underground electronic music. They have been signed to the Hyperdub label for nearly 20 years; muscular, sprightly releases such as 2020’s Your Body and 2018’s The Library Album have contributed to their reputation as a brash, warm-spirited producer. But Sad has the feel of a debut, centring sounds from northern and southern Africa (Chen is part-Egyptian) on tracks like Sense Seeker and Gone. Their lyrics draw on ideas of safety and care, pushing their persona past “party starter” and into more complex territory.

(Ghostly International)
Sharon Van Etten, Stephen O’Malley, Perila and more transform the duo’s gloomy, sensual songs on an album of covers and remixes

HTRK have been making their gloomy, sensual brand of music, at the intersection of electronic pop and noise rock, for 22 years. To mark the milestone comes String of Hearts, a collection of covers and remixes featuring an all-star cast of friends and collaborators, from next-gen underground favourites like Coby Sey to fellow old-school experimentalists Liars. This brilliant, genre-agnostic record allows you to trace the breadth of the Melbourne band’s shapeshifting sound, echoes of which can now be found all over underground and commercial music, without leaning too hard on nostalgia.

The record spans HTRK’s early hits right up to their most recent album Rhinestones, a period in which they’ve shifted from a darker, industrial palette to warmer territory. Not that you’d be able to tell here: instrumentals are reshaped by Loraine James’s IDM-style glitches and Zebrablood’s atmospheric breaks, while Jonnine Standish’s disaffected vocals are transformed into desperate alien wails by Liars.

The pop star’s experimental, religious new album has found an unlikely fan in the Vatican, writes Fiona Sturges. Could this signal a new era of papal-pop culture diplomacy?

The singer performed at one of the NFL’s Thanksgiving halftime shows between the Dallas Cowboys and Kansas City Chiefs

Singer and Princess Love married in 2016 and have since filed for divorce four times

Musical artist is the alter ego of New Zealand TV star KJ Apa

Fashion designer whose idiosyncratic mix of glam and DIY couture was worn by Björk, Siouxsie Sioux and Taylor Swift

The designer Pam Hogg stayed faithful for life to the principles, practices, provocations and politics of the art school, music and club scene of her youth around 1980. The fashion industry metamorphosed over the decades since, but she went on believing in individuality and drama, painstakingly achieved. Debbie Harry, Siouxsie Sioux, Rihanna, Björk, Lady Gaga, Lily Allen, Kylie Minogue and Taylor Swift, among others, bought her garments, which were auditorium-dominating mixes of sex, eccentricity and intellect. Hogg’s catsuits in Latex and PVC became the glam workwear of the rock and pop stage. They never dated. When a star strides on stage in one, the audience knows the action is about to kick off.

Yet to the end of her life, Hogg, who has died, aged perhaps 66 (she refused to reveal her age publicly), remained a struggling artist. She hoped to arrive at the same safe destination as her long-term friend Vivienne Westwood, with an atelier equipped with pattern cutter and couture seamstresses, plus financial backing for a ready-to-wear line that would not betray her nonconforming philosophy of dress.

Tognetti/Australian Chamber Orchestra
(ABC Classic)
Under Richard Tognetti the ACO has established itself as world-class and this 50th anniversary live recording of these two great concertos are a wonderful souvenir of a remarkable group

Over the past quarter of a century the Australian Chamber Orchestra has become a regular visitor to Europe, establishing itself as one of the world’s foremost chamber bands. The group was founded in 1975, and this pairing of perhaps the two greatest violin concertos in the repertory is being released to mark the ACO’s 50th birthday. The soloist and conductor in both works is Richard Tognetti, who has been the orchestra’s leader and artistic director for the past 35 years.

Both recordings are taken from concerts given in Sydney’s City Recital Hall, the Beethoven concerto in 2018, the Brahms last February. The close recorded sound very faithfully reproduces the intensely involving approach of the ACO when heard in the flesh, with its amalgam of modern playing techniques with the use of historical instruments (gut strings, period wind). For both concertos the orchestra’s permanent core of 20 players was more than doubled with guest instrumentalists from other Australian orchestras, but the suppleness and coherence of its textures are as persuasive as ever.

The Canadian electroclash icon on No Lube So Rude, her first album in a decade, the state of global politics, the ‘punk energy’ of the older generation and her love of ping-pong

Why is your forthcoming album your first in over a decade and who is/are the “you” in comeback single Not in Your Mouth None of Your Business? k4ren123
I’ve been very busy – touring, working with dance troupes, performance art, sculptures, playing the lead role in a production of Bertolt Brecht’s The Seven Deadly Sins in Stuttgart, and on and on. Then, finally, I started on new music. The “you” in the single are people who feel they have the right to have autonomy over other people’s bodies and make it unsafe for people to be who they want to be. I’m especially talking about queer and mostly trans rights. The song’s like a mantra or chant, a way to empower people in only a few sentences.

As a fan of your concert costume design as much as your music, what can we expect from the upcoming tour? Kelechica
I was thinking about sustainability and went to a costume sale at the Berlin opera and bought a bunch of opera costumes. I’m working with Charlie Le Mindu, who is transforming them into weird new creations. In the video for Not in Your Mouth, I’m wearing my sister’s leather jacket. It’s just been the fifth anniversary of her passing, and I wanted to keep something of her, so I kept her leather jacket that she wore the crap out of since the 90s. So, in a way, she’ll be in the show.

(London)
The delicate experimentation of the band’s debut may not have chimed with the post-punk 1980s, but its durability makes this deluxe reissue thoroughly deserved

The Durutti Column’s debut album does not have an auspicious origin story. The band whose name it bore had split acrimoniously just before they were supposed to record it. Their guitarist Vini Reilly was so poleaxed by depression that he was virtually unable to leave his house: 12 different attempts were made to section him over the course of 1979. Believing that Reilly was “going to die”, Factory Records boss Tony Wilson intervened, buying him a new guitar, then suggested he visit a studio with the label’s troubled but visionary producer Martin Hannett as “an experiment”. The sessions were a disaster. Hannett ignored Reilly in favour of tinkering with a vast amount of cutting-edge electronic equipment he had brought with him. Reilly fitfully played something on the guitar, but eventually stormed out with the words: “I’m fucking sick of this.” He did not return.

Unaware that he was making an album, Reilly was “mortified” when Hannett handed over a finished product, and “absolutely hated” what he heard. The solitary upside, as he saw it, was his sense that it would never find a wider audience. The music on 1980’s The Return of the Durutti Column bore no relation to the workmanlike post-punk that the original band had contributed to the label’s compilation EP A Factory Sample, put together the previous year. (Although Reilly thought they were “complete and total rubbish”, too.) Grasping for comparisons, the music press likened it to the atmospheric jazz of the German label ECM and Reilly’s guitar playing to that of Mike Oldfield and the Grateful Dead’s Jerry Garcia – neither of them having much musical cachet in the post-punk world of 1980. Even a positive review in the NME suggested listeners would consider The Return of the Durutti Column “hippy noodling”.

Tous les ans, Spotify propose une rétrospective de son année dans son application. Le géant du streaming musical ne devrait plus tarder à dévoiler la version 2025 du Wrapped.

Model and actor appeared on the cover of Rolling Stone as an infant, accompanied by his famous father

The company is being sued under the new Elvis act, which protects a person’s voice from exploitation without consent

The estate of Johnny Cash is suing Coca-Cola for illegally hiring a tribute act to impersonate the late US country singer in an advertisement that plays between college football games.

The case has been filed under the Elvis Act of Tennessee, made effective last year, which protects a person’s voice from exploitation without consent. The estate said that while it has previously licensed Cash’s songs, Coca-Cola did not approach them for permission in this instance.