Whether it’s nightclubs banning phones or a drop in online dating, there are signs that we’re rediscovering the joy of being in the moment
It’s only a small rectangular sticker, but it symbolises a joyous sense of resistance. Some of Berlin’s most renowned clubs have long insisted that the camera lenses on their clientele’s phones must be covered up using this simple method, to ensure that everyone is present in the moment and people can let go without fear of their image suddenly appearing on some online platform. As one DJ puts it, “Do you really want to be in someone’s picture in your jockstrap?”
Venues in London, Manchester and New York now enforce the same rules. Last week brought news of the return of Sankeys, the famous Mancunian club that closed nearly a decade ago, and is reopening in a 500-capacity space in the heart of the city. The aim, it seems, is to fly in the face of the massed closures of such venues, and revive the idea that our metropolises should host the kind of nights that stretch into the following morning. But there is another basic principle at work: phones will reportedly either be stickered or forbidden. “People need to stop taking pictures and start dancing to the beat,” said one of the club’s original founders.
John Harris is a Guardian columnist. His book Maybe I’m Amazed: A Story of Love and Connection in Ten Songs is available from the Guardian bookshop
The Another Chance star does Journey at karaoke and gets the party started with Daft Punk. But which Stevie Wonder track would he like played at his funeral?
The first song I fell in love with I grew up in New York City, so the emergence of hip-hop really connected with me when I was a kid. Rapper’s Delight by the Sugarhill Gang started me down the road where I am today.
The first single I bought Let No Man Put Asunder by First Choice, on 12-inch vinyl from Rock and Soul in New York City, with money I’d saved from working part-time at the grocery store.
Abraham Quintanilla Jr. in 2017. With his daughter Selena doing vocals, he turned his small family band into a Grammy-winning act, and Selena became known as the queen of Tejano music.
By using music from SZA, Sabrina Carpenter and Olivia Rodrigo in ICE videos, the government is playing a game of rage-bait
Last week, as the Trump administration was engulfed in controversy over its illegal military strikes near Venezuela (among numerous other crises), a Department of Homeland Security employee – I picture the worst sniveling, self-satisfied, hateful loser – got to work on the official X account. The state-employed memelord posted a video depicting Immigration Customs and Enforcement (ICE) officials arresting people in what appeared to be Chicago, celebrating the humiliation and incarceration of undocumented immigrants as some sort of patriotic achievement. The vile video borrowed, as they often do, from mainstream pop culture; in this case, a viral lyric from Sabrina Carpenter’s song Juno – “Have you ever tried this one?”, referring to sex positions – overlaid on clips of agents chasing, tackling and handcuffing people, cheekily nodding to all the methods in ICE’s terror toolbox.
Carpenter, as a pre-eminent pop star, was caught in an impossible position. Say nothing, as her friend and collaborator Taylor Swift did weeks earlier when the White House used her music in a Trump hype video, and risk appearing as if you condone the administration’s use of your art for a domestic terror campaign (the administration hasn’t yet used Swift for an ICE video, but I’m sure it’s coming); or engage, even if to honestly express your utter disgust, and risk bringing more attention to objectionable propaganda designed to provoke a response.
The former X Factor judge is back, auditioning boyband wannabes for his latest talent show – but gen Z doesn’t seem to care very much, or even know who he is
Have we gone back in time to 2010? If only! No, Simon Cowell is just back in the headlines, reasserting his svengali status for his new Netflix show. Reviews suggest that Cowell’s attempted comeback, 15 years since his celebrity peak, highlights less his particular star power than how totally the world has moved on. But is there anything to learn from SyCo now, and will his new boyband work? Let’s see!
As the classic album hits 50, Nick Mason talks about the often difficult process of making it and how it has since fit into their larger catalogue
By almost every measure, from commercial reward to creative reach, Pink Floyd scaled its peak on Dark Side of the Moon. But, when I asked drummer Nick Mason how he would rank the album in their catalogue, he slotted it below the set that came next, Wish You Were Here. Speaking of Dark Side, he said, “the idea of it is almost more attractive than the individual songs on it. I feel slightly the same about Sgt. Pepper. It’s an amazing album that taught us a hell of a lot, but the individual parts are not quite as exciting, or as good, as some of the other Beatles’ albums.”
By contrast, he says of Wish You Were Here, “there’s something in the general atmosphere it generates – the space of it, the air around it, that’s really special,” he said. “It’s one of the reasons I view it so affectionately.”
Scottish rock band says image ‘meant to provoke debate, not hate’ after many at concert accuse group of antisemitism
The Scottish rock group Primal Scream has defended displaying an image of a swastika inside a Star of David during a London gig, in response to accusations of racism and antisemitism.
During a performance at the London’s Roundhouse, a video was shown on stage of a swastika in the centre of a Star of David that was then superimposed over eyes of images of political figures, including the Israeli prime minister, Benjamin Netanyahu, and the US president, Donald Trump.
The singer’s tears over the Islamic State terrorist plot against her show and Southport attack make this behind-the-scenes docuseries about her world-conquering tour more moving than anyone could have anticipated
Swifties had long guessed that there would be a documentary going behind the scenes of Taylor Swift’s blockbuster Eras tour. The 2023 Eras Tour concert movie didn’t show any of the inner workings of this three-and-a-half-hour behemoth, which ran for 149 dates from 2023-24. Fans put some bits together, such as how Swift arrived on stage being pushed inside a cleaning cart. Plus, given the two albums she wrote during and about the Eras tour – 2024’s The Tortured Poets Department and this year’s The Life of a Showgirl – it wouldn’t be Swiftian to overlook another lucrative IP extension.
What fans could never have imagined was that Disney was set to start filming as the Eras tour was due to hit Vienna on 8 August 2023 – the first of three shows in the Austrian capital that were cancelled owing to an Islamic State terrorist plot. We learn this in episode one of the six-part docuseries The End of an Era, when Swift and her longtime friend Ed Sheeran are backstage at Wembley, hours before he guests at her first concert after the thwarted attack. “I didn’t even get to go,” Swift tells him of Vienna. “I was on the plane headed there. I just need to do this show and re-remember the joy of it because I’m a little bit just like …” She can’t find the words.
Unhurried trippy bass lines and poet Iona Lee’s commanding, velvety voice conjure a glamorously unhurried sense of hypnosis
From Edinburgh Recommended if you like Dry Cleaning, Massive Attack, Nick Cave Up next Warm Days in December out now, new EP due early 2026
As fixtures of Edinburgh’s gig-turned-performance art scene, Acolyte’s eerie, earthy psychedelia is just as likely to be found on stage at the Traverse theatre as in a steamy-windowed Leith Walk boozer. Their looped bass lines and poet Iona Lee’s commanding, velvety voice conjure a sense of slow-burn hypnosis – and just like their music, Acolyte are glamorously unhurried. They’ve released only a handful of songs in the seven years since Lee and bassist Ruairidh Morrison first started experimenting with jazz, trip-hop and spoken word, but now the group (with Daniel Hill on percussion and Gloria Black on synth, also known for throwing fantastical, papier-mache-costumed club nights with her former band Maranta) are gathering pace.
Just as lullabies send babies to sleep, so songs can help those at the other end of life on their way. The leader of a Threshold Choir reveals what they do – and the personal tragedies that convinced her we need to get better at dealing with death
It’s a brisk November afternoon in the village of South Brent in Devon and, in a daffodil yellow cottage, two women are singing me lullabies. But these aren’t the sort of lullabies that parents sing to their children. They are songs written and sung for terminally ill people, to ease them towards what will hopefully be a peaceful and painless death.
We are at the home of Nickie Aven, singer and leader of a Threshold Choir. Aven and her friend are giving me a glimpse of what happens when they sing for people receiving end-of-life care. These patients are usually in hospices or in their own homes being supported by relatives, which is why 67-year-old Aven – who is softly spoken and radiates warmth and kindness – has asked me to lie down on the sofa under a rug while they sing. She says I can look at them, or I can close my eyes and allow my mind to drift. In fact, my eyes settle on Lennon, Aven’s large black labrador retriever who squeezes himself between the singers and is as gentle and well-mannered as his owner. The pair sing a cappella and in harmony. Distinct from elegies or laments, the songs are gently meditative, written to provide human connection and foster feelings of love and safety. They are not just for the benefit of the dying but for friends and relatives caring for them or holding vigil. Their singing is simple, intimate and beautiful. It is also utterly calming.
Dying is a process and in a person’s final hours and days, Nickie and her Threshold Choir are there to accompany people on their way and bring comfort. Through specially composed songs, akin to lullabies, the choir cultivates an environment of love and safety around those on their deathbed. For the volunteer choir members, it is also an opportunity to channel their own experiences of grief and together open up conversations about death
With thanks to onscreen contributor, Lindsey, who died since the making of this film
Not long ago, artists such as Lil Nas X and Olly Alexander were ruling pop. But success has stalled as acts face industry obstacles and rising homophobia. What now?
At the turn of the decade, gay male and non-binary pop stars seemed poised to take pop music by storm. Lil Nas X broke out with Old Town Road – which blew up on TikTok, sold about 18.5m copies and remains tied with Shaboozey’s A Bar Song (Tipsy) and Mariah Carey’s All I Want for Christmas Is You as the longest-running No 1 single in US history – and artists such as Sam Smith, Troye Sivan and Olly Alexander from Years & Years were all singing about gay love and sex.
But the initial promise has stalled. Lil Nas X’s attempts to build on his smash debut album have fizzled, and he is publicly dealing with mental health issues. In October, Khalid released his first album since being outed by his ex last year but only sold 10,000 copies in the first week in the US. A previous album, 2019’s Free Spirit, sold some 200,000 copies in the first week and led to him briefly dethroning Ariana Grande as the most listened to artist on Spotify.
Roundhouse apologises after animation projected behind band appears to show Star of David entwined with swastika
A music venue in London has apologised after antisemitic imagery was allegedly displayed on stage during a Primal Scream gig.
A video appearing to show the Star of David entwined with a swastika was said to be screened during the Scottish band’s show at the Roundhouse in Camden on Monday.
‘Clear conflict’ between Eurovision ideals of ‘inclusion and dignity for all’ and decision to let Israel compete, says 2024 winner
Nemo, the Swiss singer who won the 2024 Eurovision song contest, has said they are handing back their trophy in protest over Israel’s participation in next year’s event.
The 26-year-old, the first non-binary winner of the contest, said on Thursday there was “a clear conflict” between the Eurovision ideals of “unity, inclusion and dignity for all” and the decision to allow Israel to compete.
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