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.

Nancy was responding to a follower who told her, ‘Your dad would have loved Trump’

The DJ, producer and singer likes the kind of dancehall her dad disapproves of, and her funk to be electronic. But whose songs make her feel bougie?

The first single I ever bought
Aaliyah, Rock the Boat. My nan sent me and my cousin to pick up some bits in Dalston and there was some change left over so I went into HMV and bought this CD for £1.99. I shouldn’t have been stealing my nan’s change but I felt so grownup. If my Jamaican dad had found out, he wouldn’t have been happy. I would have got a couple of licks.

The song I inexplicably know every lyric to
Mambo No 5 (A Little Bit of …) by Lou Bega. I was working on my album recently and realised I knew every word. I was so impressed because I barely remember my own lyrics.

Nancy was responding to a follower who told her, ‘Your dad would have loved Trump’

This follows a 45-day sentence last year for similar supervised release violations

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

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.

Trump has launched several unprovoked attacks on the pop star since she announced her endorsement of Kamala Harris during the 2024 election