The pop star added that she does hope to perform in the UK and Australia

It can make us healthier, happier and live longer. Engaging in culture should be encouraged like good diet and exercise

The second Friday in January has been dubbed “Quitter’s Day”, when we are most likely to give up our new year resolutions. Instead of denying ourselves pleasures, suggests a new batch of books, a more successful route may be adding to them – nourishing our minds and souls by making creativity as much a daily habit as eating vegetables and exercising. Rather than the familiar exhortations to stop drinking, diet, take up yoga or running, there is an overwhelming body of evidence to suggest that joining a choir, going to an art gallery or learning to dance should be added to the new year list.

Art Cure by Daisy Fancourt, professor of psychobiology and epidemiology at University College London, brings together numerous research projects confirming what we have always suspected – art is good for us. It helps us enjoy happier, healthier and longer lives. One study found that people who engaged regularly with the arts had a 31% lower risk of dying at any point during the follow-up period, even when confounding socioeconomic, demographic and health factors were taken into account. Studies also show that visiting museums and attending live music events can make people physiologically younger, and a monthly cultural activity almost halves our chances of depression. As Fancourt argues, if a drug boasted such benefits governments would be pouring billions into it. Instead, funding has been slashed across the culture sector and arts education has been devalued and eroded in the UK.

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Country music star announced split from TikToker in October 2024

Controversial singer is preparing to release his first album in six years after a number of delays

Rapper, best known for hits ‘Trap Queen’ and ‘My Way,’ was sentenced to six years in prison in 2023

From the V&A to the Stranger Things finale, the pop icon still looms large – but with lower streaming figures than his peers, how many new listeners are discovering his music?

• ‘A perplexing, astonishing finale’: world pays tribute to David Bowie a decade after his death

When David Bowie died on 10 January 2016, such was the scale of media coverage and public mourning that one would have presumed his music would be everywhere for ever, elevated as he was, to misquote Smash Hits, to the position of the People’s Dame. It was briefly – Starman reached No 18, and Space Oddity No 24 – but then it wasn’t.

Each year, Forbes compiles a posthumous celebrity rich list. Bowie appeared in 2016, ranked at No 11 with estimated earnings of $10.5m (£7.8m), and again in 2017, in the same position but with earnings of $9.5m (£7m). This was unsurprising given the enormous spike in interest there is in the immediate aftermath of a superstar’s death. Yet he didn’t appear in the Forbes list again until 2022, when he was at No 3 with earnings of $250m (£195m) – the highest-ranked musician that year – but that was almost all attributable to the sale of his music publishing rights to Warner Chappell.

Pop star will embark on a stadium tour in support of new album ‘The Romantic’, including two dates at London’s Wembley Stadium

(Self-released)
The Beirut-born producer’s masterly second album revels in dark tension to cinematic effect, finding beauty in ruinous sound

Arabic electronic experimentalism is thriving. In recent years, diaspora artists such as Egyptian producer Abdullah Miniawy, singer Nadah El Shazly and Lebanese singer-songwriter Mayssa Jallad have each released records that combine the Arabic musical tradition of maqam and its slippery melodies with granular electronic sound design, rumbling bass and metallic drum programming to create a dramatic new proposition.

Beirut-born and Amsterdam-based composer Toni Geitani is the latest to contribute to this growing scene with his masterfully produced second album Wahj (“radiance” in Arabic). Working as a visual artist and sound designer, Geitani is well versed in creating imaginative soundscapes for films such as 2024 sci-fi Radius Collapse, as well as referencing the shadowy nocturnal hiss of producers such as Burial on his dabke-sampling 2018 debut album Al Roujoou Ilal Qamar. On Wahj, he harnesses soaring layali vocalisations, reverb-laden drums and analogue synths to leave a cinematic impression.

(Transgressive)
In Jenny Hollingworth’s first solo venture, her singular songwriting powers shine in swooping vocals and transcendent pop melodies

Over the past decade, 27-year-old Jenny Hollingworth’s musical output has become steadily less strange. As half of Let’s Eat Grandma, the Norwich native started out making freaky synth-folk the arch syrupiness of which chimed with the then-nascent hyperpop scene: I, Gemini, the duo’s 2016 debut, was outsiderish juvenilia of the most thrilling variety. For its follow-up, I’m All Ears, Hollingworth and her bandmate, Rosa Walton, sharpened their songwriting skills while holding tight to their eccentricities; the result was an album of sensational futurist pop. By 2022’s Two Ribbons, they were slipping into slightly more subdued, conventional territory – albeit retaining enough idiosyncratic sonic detailing to maintain their place at the edge.

So it takes a moment to adjust to the overt familiarity of Hollingworth’s first solo venture. Like Two Ribbons, it reflects on grief (she lost her partner in 2019) and the temporary disintegration of her lifelong friendship with Walton, except this time the introspection is set to knowingly nostalgic 1980s new wave. When the choruses don’t sparkle, Quicksand Heart can feel like plodding through the past, but the moment Hollingworth lands on an irresistible melody – see: Every Ounce of Me, whose bittersweet bounce bridges the gap between Olivia Rodrigo and the Waterboys – the effect is transcendent. The record peaks with the archetypally perfect powerpop number Appetite and the genre-bending Do You Still Believe in Me? in which Hollingworth patchworks together breakbeats, vertiginously swooping vocals, squealing hair metal bombast and shoegazey dissonance, reminding us of her singular powers in the process.

Bray/Vann/Grainger/Schofield
(Chandos)
The easy fluency of Bray and pianist William Vann guides us through familiar and less well known Kurt Weill songs with the haunting Youkali as the lodestar on our journey

Youkali, for Kurt Weill, was the land of desires, promised but never to be attained – a strong image for an exiled and itinerant composer. The 1935 song in which he captured the idea, a lilting tango, forms the lodestar of Katie Bray’s voyage through Weill’s chameleonic songwriting career, undertaken alongside the pianist William Vann, accordionist Murray Grainger and double bassist Marianne Schofield, the latter moonlighting from the Hermes Experiment.

First, we hear a haunting, unaccompanied musing on the Youkali melody, then more of these punctuate the programme until we reach the song in full at the end. The journey takes in numbers in German, French and English – some familiar, some not – including a couple of songs written for the Huckleberry Finn musical Weill was working on at the time of his death.

After overcoming personal tragedy, the 27-year-old, who achieved pop fame while still a teenager, was determined to have fun making music again. She talks to Patrick Smith about conquering stage fright, trauma, and why her friendship with her bandmate is so important

Ahead of her final European tour, the US songwriter discusses her unlikely life as a country star, seeking advice from Pete Seeger – and why retirement isn’t on the cards just yet

When Emmylou Harris was starting out in the late 1960s, she thought country music wasn’t for her. “I hadn’t seen the light,” she says. “I was a folk singer who believed you don’t ever work with drummers as they wreck everything.” It was Gram Parsons, of the Byrds and the Flying Burrito Brothers, who changed her mind. Their musical partnership was brief – Parsons died after an accidental drug overdose at the Joshua Tree national park in 1973, aged 26 – but his impact on her was profound. “He had one foot in country and one in rock and was conversant in both. It changed my thinking completely.”

Is Harris, legendary doyenne of the country ballad and distinguished recipient of three Country Music Association awards whose guitar was exhibited in Nashville’s Country Music Hall of Fame and Museum, really saying she hated country? “It can be corny!” she says. “Country music aims straight for the heart and when it misses, it misses really badly. And that’s the stuff that makes the most noise and takes up most space.” She pauses. “But then you hear something like George Jones’s Once You’ve Had the Best, and you hear the simplicity of his phrasing and the earnestness with which he sings. There’s a soulfulness to country music that can elude you if you just look at the big picture.”

The house will be meticulously restored to its early 1960s appearance and feature a never-before-seen archive

Pop star and former Disney Channel darling is currently tangled up in celebrity mom drama after Ashley Tisdale penned a scathing op-ed about the group’s ‘mean girl behavior’

The musician’s elegant electropop marked him out as one of the ‘cool French dudes’, before an attempt to literally crash the Song Contest fell badly flat. Now back with an adventurous new album, he talks about the man who stole his identity and why he doesn’t care for ‘good taste’

A few years ago, a stranger stole Sébastien Tellier’s identity. The impostor – sporting the musician’s trademark sunglasses and beard – posed as the Frenchman at fancy parties, nabbed free clothes from Chanel (Tellier used to be an ambassador for the brand), and even held meetings with bosses from Hollywood studios (Tellier has dabbled in soundtrack work). “He [also] took a lot of drugs like ketamine in front of a lot of people,” Tellier continues with perfect nonchalance from his Paris home, sunglasses and beard present and correct. The crime was only rumbled when a confused woman got in touch to tell him she’d been partying with “Sébastien Tellier” in France only to see on Instagram that the real Tellier was playing a gig in Belgium.

This experience has been alchemised into pop gold via Copycat, a sparkly synthpop workout on his upcoming eighth album, Kiss the Beast. “My name you steal it / Hat and success,” Tellier croons for the song’s chorus over a chunky bassline, disco strings and synths that crackle and spark like fireworks. It’s typical Tellier, mixing the serious – things got so bad with the impostor that Tellier was briefly forced to show his passport at the school gates when collecting his two small children – with the playfully naive.

The Swedish star says ‘Sexistential’ is ‘like a spaceship coming through the atmosphere at a really high speed and crash landing’

Engaging in creativity can reduce depression, improve immunity and delay ageing – all while you’re having fun

For some reason, we have collectively agreed that new year is the time to reinvent ourselves. The problem, for many people, is that we’ve tried all the usual health kicks – running, yoga, meditation, the latest diets – even if we haven’t really enjoyed them, in a bid to improve our minds and bodies. But have any of us given as much thought to creativity? Allow me to suggest that this year be a time to embrace the arts.

Ever since our Paleolithic ancestors began painting caves, carving figurines, dancing and singing, engaging in the arts has been interwoven with health and healing. Look through the early writings of every major medical tradition around the world and you find the arts. What is much newer – and rapidly accelerating over the past two decades – is a blossoming scientific evidence-base identifying and quantifying exactly what the health benefits of the arts are.