This documentary on the musician interviews everyone from Flea to … Rowan Williams. It’s a thoughtful take on his songs and Christianity
Devouring the new Nick Cave documentary on Sky, I am reminded how critics go wild for arty musicians who constantly change direction and dabble in everything. This is its own kind of myth. I know plenty of artists who keep moving – one week they’re sewing fish scales on to jackets, the next they’re painting mirrors or putting seahorses in samovars. The problem is, no one cares. If poet and ceramicist Nick Cave didn’t also write classic songs, he’d just be a local weirdo. I definitely wouldn’t buy a hardcover transcription of conversations he’d had with a mate about God. I’m glad I did, though.
The documentary, Nick Cave’s Veiled World (Saturday 6 December, 9pm, Sky Arts), is timed to promote the TV adaptation of his filthy novel The Death of Bunny Munro. It’s a glorious opportunity to revisit his early, intense masterpieces: electric chair confessionals, murderous duets with pop princesses, profane love songs. They’re still in my head, days later. It’s also a reminder that, in a joyfully perverse career, the assertion of his Christian faith has been his most divisive move. Audiences love biblical imagery in rock songs, provided the singer doesn’t actually believe.
A documentary so damning it surely marks the end for Diddy, and grotesquery of a different kind in a Palme d’Or-winning film. Here’s the pick of the week’s culture, taken from the Guardian’s best-rated reviews
From an enraging indictment of Spotify to Del Amitri frontman Justin Currie’s account of Parkinson’s and a compelling biography of Tupac Shakur, here are five titles that strike a chord
Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist Liz Pelly (Hodder & Stoughton)
Enraging, thoroughly depressing, but entirely necessary, Mood Music offers a timely, forensically researched demolition of Spotify. In Pelly’s account, the music streaming giant views music as a kind of nondescript sonic wallpaper, artists as an unnecessary encumbrance to the business of making more money and its target market not as music fans, but mindless drones who don’t really care what they’re listening to, ripe for manipulation by its algorithm. Sharp business practices and evidence of its deleterious effect on the quality and variety of new music abound: the worst thing is that Pelly can’t really come up with a viable alternative in a world where convenience trumps all.
Men of a Certain Age: My Encounters With Rock Royalty Kate Mossman (Bonnier)
There’s no doubt that Men of a Certain Age is a hard sell, a semi-autobiographical book in which the New Statesman’s arts editor traces her obsession with often wildly unfashionable, ageing male artists – Queen’s Roger Taylor, Bruce Hornsby, Steve Perry of Journey, Jon Bon Jovi among them – through a series of interviews variously absurd, insightful, hair-raising and weirdly touching. But it’s elevated to unmissable status by Mossman’s writing, which is so sparkling, witty and shrewd that your personal feelings about her subjects are rendered irrelevant amid the cocktail of self-awareness, affection and sharp analysis she brings to every encounter. In a world of music books retelling tired legends, Men of a Certain Age offers that rare thing: an entirely original take on rock history.
Sky’s film assembles some of the Australian musician’s closest friends and collaborators for an in-depth look at the dark, mysterious worlds he conjures, and the eclectic characters dwelling in them, writes Roisin O’Connor
Marvel Stadium, Melbourne The pop star’s first Australian show in a decade comes after years of physical and mental pain – so it’s a great relief to see her having a good time again
As Lady Gaga is carted on stage atop a crinoline structure that resembles both a red velvet cake and a toilet roll doll cozy she states her dictum: “Dance or die”.
Mother Monster’s ruling sets into motion an operatic 150-minute show – her first in Australia since the artRAVE in August of 2014. For the entirety of the Mayhem Ball, Gaga careens between dancing and dying in what she calls her “gothic dream” – although it often reads more Halloween. Skeletons abound – no doubt a homage to the late Gaga muse Rick Genest, otherwise known as Zombie Boy. At times it’s downright Hitchcockian, Gaga a veritable Kim Novak as she switches between blond and brunette selves with each wig change.
Host broadcaster says show will not suffer after four countries withdraw from 2026 contest over Israel and Gaza
Austria has said it will continue with plans to host next year’s Eurovision, in spite of its budget being hit by four countries boycotting the song contest over Israel’s participation and the war in Gaza.
At a meeting in Geneva, the national broadcasters that make up the European Broadcasting Union gave the all clear for Israel to take part in next year’s event in Vienna, the contest’s 70th anniversary edition.
Decision by four countries to pull out over Israel’s inclusion is significant for the contest but crisis may not be existential
The decision by four European broadcasters to boycott next year’s Eurovision over Israel’s inclusion is undoubtedly a watershed moment in the 70-year history of the song contest.
One of the few genuinely popular, non-elitist and pan-European cultural events will be without Spain, one of the “big five” nations in terms of financial contributions; Ireland, which has won the contest more times than any other country bar Sweden; the Netherlands, a 1956 founding member; and Slovenia, symbolic of the EU’s eastward enlargement.
Many users of the app were shocked, this week, by this addition to the Spotify Wrapped roundup – especially twentysomethings who were judged to be 100
“Age is just a number. So don’t take this personally.” Those words were the first inkling I had that I was about to receive some very bad news.
I woke up on Wednesday with a mild hangover after celebrating my 44th birthday. Unfortunately for me, this was the day Spotify released “Spotify Wrapped”, its analysis of (in my case) the 4,863 minutes I had spent listening to music on its platform over the past year. And this year, for the first time, they are calculating the “listening age” of all their users.
Connoisseurs of all things delicate and deeply felt will love the music put out by A Colourful Storm, the Melbourne-based DJ’s indie label
From Melbourne Recommended if you like the C86 compilation, AU/NZ jangle-pop, Mess Esque Up next Going Back to Sleep out now
Melbourne-based DJ Moopie, AKA Matthew Xue, is renowned for engrossing, wide-ranging sets that can run the gamut from gelid ambient music to churning drum’n’bass and beyond. He also runs A Colourful Storm – a fantastic indie label that massively punches above its weight when it comes to putting out charmingly moody experimental pop music, from artists as disparate as London-based percussionist Valentina Magaletti, dubby Hobart duo Troth, and renowned underground polymath Simon Fisher Turner.
In 2017, the label released I Won’t Have to Think About You, a compilation of winsome, C86-ish indie pop. Earlier this year, it put out Going Back to Sleep, a quasi-sequel to that record which also functions as a neatly drawn guide to some of the best twee-pop groups currently working. Sydney band Daily Toll, whose 2025 debut A Profound Non-Event is one of the year’s underrated gems, contribute Time, a seven-minute melodica-and-guitar reverie. Chateau, the duo of Al Montfort (Terry, Total Control) and Alex Macfarlane (the Stevens, Twerps), push into percussive, psychedelic lounge pop on How Long on the Platform, while Who Cares?, one of Melbourne’s best new bands, channel equal parts Hope Sandoval and Eartheater on Wax and Wane.
Elsewhere, Going Back to Sleep features tracks from San Francisco indie stalwarts the Reds, Pinks and Purples; minimalist Sydney group the Lewers; and sun-dappled folk-pop from Dutch duo the Hobknobs. It’s an unassuming compilation that’s almost certain to become well-loved and frequently referenced among connoisseurs of all things delicate and deeply felt. Shaad D’Souza
(Domino) Blooming strings, mellifluous guitars and airy vocals make Melody Prochet’s fourth album a calming place to visit – even if there’s a lack of standout tracks
French musician Melody Prochet, AKA Melody’s Echo Chamber, never struggles to find a supporting cast. Her self-titled 2012 debut was produced by Tame Impala’s Kevin Parker. On second album Bon Voyage (2018) she teamed up with Swedish psychedelic rock band Dungen, whose guitarist Reine Fiske popped up again on 2022’s Emotional Eternal and now features on Unclouded. Prochet’s fourth album is produced and partly co-written by composer Sven Wunder, and its dizzying array of contributors also includes Josefin Runsteen (opulent strings) and DJ Shadow collaborator Malcolm Catto (percussive fizz).
Still, somehow Prochet retains her own singular vision. Borrowing a title from a quote by Japanese animator Hayao Miyazaki – “You must see with eyes unclouded by hate. See the good in that which is evil, and the evil in that which is good” – Unclouded takes her airy vocals and baroque dreampop into brighter terrain. Some tracks have a 90s vibe, reminiscent of Saint Etienne or Lush. Others have a feel that can only be accurately described in horticultural terms: the blooming strings of the really lovely Broken Roses, or the sprinkles of xylophones that make Burning Man sound like, well, a Japanese garden.
(Brawl) The violinist sets out on her darkest exploration of yuletide yet, giving a murky and melancholy twist on familiar Christmas standards
Traditional music finds its popular, cosy home in the carol, despite the uncanniness that surrounds the nativity story, and the fraying thread back to the past that each winter brings. A veteran explorer of the season (in 2020’s sparkling Winter Rituals EP with cellist Kate Ellis, and 2022’s starker New Christmas Rituals, with amplified fiddle-playing from André Bosman), Laura Cannell sets out on her best and darkest journey yet here, exploring the time of year when, as she writes on the liner notes, “joy and heartache try to exist together”.
Named after the line in Good King Wenceslas before the cruel frosts arrive, Brightly Shone the Moon begins at the organ – a nod to Cannell’s childhood Christmases in the Methodist chapels and churches of Norfolk. Cannell’s fiddle then quivers around the 16th-century folk melody of O Christmas Tree/O Tannenbaum, as if the carol is swirling in a snowglobe, trying to settle in memory. All Ye Faithful follows, full of murky repetitions of the pre-chorus passages, where choirs usually sing “come let us adore him”. But here, love feels stuck, rooting around like an animal in the ground, a sonic reminder of how smothering and strenuous the winter can be for many.
(Double Double Whammy) One half of Water From Your Eyes re-records songs from the back catalogue of his other band, resulting in acoustic fare touched with regret and darkness
As one half of Brooklyn-based duo Water From Your Eyes, Nate Amos makes left-field pop that feels hypermodern: wry, memey lyricism; post-ironic genre-hopping; the kind of jilted chaos and tonal jumble that characterises a social media feed. Yet the band had actually been plugging away for seven years before their 2023 breakthrough. Amos’s solo project This Is Lorelei has been going even longer, only gaining proper traction with last year’s belated debut album Box for Buddy, Box for Star.
Now Amos is capitalising on this recent momentum with another release, this time a compilation of re-recorded songs dredged from his extensive Bandcamp back catalogue. Unlike his WFYE output, these tracks are mainly gentle folk-rock numbers that deal in honeyed melancholy. They tend to be brief and narratively vague, glancing at regret, disappointment and darkness (“you don’t want to know what my dreams are about,” he claims on But You Just Woke Me Up). His most obvious stylistic counterpart is indie-rocker Alex G, but while Amos can’t rival him for lyrical punch, he can match his knack for pleasingly diverting detail: see Name the Band’s chunky pop-punk bassline or the bright guitar twang on Dreams Away.
With an experimental and maxed-out sound, bold new MCs are emerging from all corners of the UK – and with US rap in the doldrums, the time is ripe for another British Invasion
It’s early November and London’s Electric Ballroom is heaving. The warm-up DJ drops Fetty Wap’s 2014 smash Trap Queen, and the young crowd, a fair portion of whom were in primary school when the tune first came out, roar every word. They’re clad in baggy skatewear, with distressed, monochromatic union jacks plastered across hats and jackets. A coat sails across the room: someone is going home chilly tonight, but that’ll be the last thing on their mind as Liverpool rapper EsDeeKid, one of the fastest-rising musicians in the world, explodes on to the stage.
Wrapped in a hooded cloak and spinning like a twig in a hurricane, he grabs the mic and snarls: “Are you ready for rebellion?”, his distinctive scouse accent battling a storm of apocalyptic bass and John Carpenter-esque horror synths. Behind him, projections flash in stark black and red – tower blocks, eyeballs, dot-matrix geometries – more like the ragged photocopy aesthetic of 80s post-punk than any luxury rap branding. The teenagers in the room are ecstatic, borne aloft by the palpable sense, thrumming from stage to pit, that this is A Moment.
Katy Perry joined boyfriend Justin Trudeau for lunch with former Japanese Prime Minister Fumio Kishida during her world tour break in a stylish green ensemble.
Sabrina Carpenter defended her evolution from Disney star to adult pop artist, addressing criticism and backlash over her sexual innuendos in song lyrics.
Ireland, Spain, Slovenia and the Netherlands pull out after decision not to hold vote on Israel’s participation
Ireland, Spain, Slovenia and the Netherlands will boycott next year’s Eurovision after Israel was given the all-clear to compete in the 2026 song contestdespite calls by several participating broadcasters for its exclusion over the war in Gaza.
No vote on Israel’s participation was held on Thursday at the general assembly of the European Broadcasting Union (EBU), the body that organises the competition.
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