He lit up Europe with bands ranging from Peachfuzz to Kings of Convenience. But it was The Whitest Boy Alive that sent Erlend Øye stratospheric. As they return, the soft-singing, country-hopping sensation looks back
If you were to imagine the recent evolution of music in Europe as a series of scenes from a Where’s Wally?-style puzzle book, one bespectacled, lanky figure would pop up on almost every page. There he is in mid-90s London, handing out flyers for his first band Peachfuzz. Here he is in NME at the dawn of the new millennium, fronting folk duo Kings of Convenience and spearheading the new acoustic movement. There he is strumming his guitar in the vanguard of Norway’s “Bergen wave”. Then he’s off spinning records in Berlin nightclubs during the city’s “poor but sexy” post-millennial years. By the 2010s, he’s driving a renaissance of Italian chamber pop as part of La Comitiva, his bandmates hailing from the southern tip of Sicily.
It’s hard to think of a figure more musically cosmopolitan than Erlend Otre Øye, connecting the dots across a continent where national scenes rarely overlap – and making magic happen. No wonder his debut solo album, with 10 tracks recorded in 10 different cities, was called Unrest. Of all his reincarnations, though, the one that has best endured (if you go by Spotify) is his four-piece, The Whitest Boy Alive. And this spring and summer, they’re reuniting for a tour of South America and Europe to celebrate the 20th anniversary of Dreams, their debut album.
The groundbreaking singer, actor and athlete became a victim of McCarthyism and saw his shining career destroyed and his legacy tarnished
In August 1972, the front page of the New York Times arts section published a story titled, Time to Break the Silence on Paul Robeson? The legendary bass-baritone spent the first half of the 20th century as one of the greatest talents the US had ever produced, and its second, both in life and in death as an outcast, the greatest casualty of the second Red Scare period to which today’s current attacks on liberal and progressive politics draw comparison.
This week marks 50 years since Robeson’s death and the silence remains. His erasure from the lineage over the decades shows that what Robeson’s political opponents did not take from him, the years have most certainly. Robeson’s decoupling from the story of African American culture has been so complete that in the half-century since his death, even generations of Black Americans have never heard of him.
Katy Perry makes her first major public appearance with boyfriend Justin Trudeau at Davos summit, holding hands and supporting his speech on global diplomacy.
They published a raunchy book inspired by the Guardian’s Owen Jones; broadcast interviews with obscure punk legends; and make calendars to navigate the world of underground art. Now they’re going global
Stuart McKenzie turns towards a fan on a makeshift stage so his long brunette hair blows in the wind. The artist is dressed in a power suit with thick rimmed glasses, flamboyantly smoking a cigarette as he performs the confessional poetry he’s been writing since the 80s. “Stuart is this fantastic London staple who is just coming out of the woodwork now,” says Emily Pope, the director of Montez Press, who hosted the fundraiser where McKenzie performed to support their queer, feminist press and radio.
McKenzie is a typical Montez Press collaborator: an experimental artist who doesn’t fit neatly into either art, literary or music spaces (although he did recently support the indie band Bar Italia). He’s later in his career than some of the emerging artists they collaborate with but he has Montez Press’s “desire to push boundaries and ask questions,” as Anna Clark, one of the organisation’s founding members, puts it.
Ored Recordings documents chants, laments and displacement songs of the Caucasus threatened by erasure. After the invasion of Ukraine, its ‘punk ethnography’ has never been more urgent
In May 2022, a few weeks after the start of Russia’s full-scale invasion of Ukraine, musician Bulat Khalilov was attending a demonstration in Nalchik, a southern Russian city in the foothills of the Caucasus Mountains. As he joined a group congregating around the monument to the Circassian victims of Russo-Circassian war, Khalilov was approached by a policeman and sensed trouble. To his surprise, the officer asked: “Are you from Ored Recordings? I follow you on Instagram. You’re doing great.”
Their gathering still had to be dispersed, but the enthusiasm that Ored Recordings inspires even among enforcers of the law speaks volumes about the power of what Khalilov and his friend and label co-founder Timur Kodzoko call “punk ethnography”: the recording of religious chants, laments and displacement songs at family gatherings, local festivals, in people’s kitchens, to fight against the erasure of Circassian culture.
The club, Vendôme, was hosting several right-wing influencers, including Andrew and Tristan Tate, the brothers who are being investigated in Europe in connection with human trafficking.
The Grammy-winning artist and actor discusses body standards, romance, motherhood, music and the time she spent dancing with Prince, in the latest episode of the ‘Good Vibrations’ podcast
Mark Ruffalo, Brian Eno and Abigail Disney sign letter timed for WEF in Davos saying wealthy are buying political influence
Nearly 400 millionaires and billionaires from 24 countries are calling on global leaders to increase taxes on the super-rich, amid growing concern that the wealthiest in society are buying political influence.
An open letter, released to coincide with the World Economic Forum in Davos, calls on global leaders attending this week’s conference to close the widening gap between the super-rich and everyone else.
The number of small venues shrank by just nine in 2025, but more than half of them reported making no profit, while employment in the sector dropped almost 22%
The number of grassroots music venues (GMV) in the UK shrank in effect by just nine in 2025, the lowest rate of annual decline since 2018.
Thirty venues closed permanently between July 2024 and 2025 and 48 ceased functioning as GMVs, citing financial viability, change in ownership and eviction or redevelopment. However, 69 spaces that had previously ceased operating as GMVs returned to the sector.
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