The soul star and Prince collaborator could hardly reach the counter when she bought her first record, but which Busta Rhymes song gets her moving?
The first song I fell in love with
God Will Open Doors by Walter Hawkins. I grew up on the Hawkins gospel family. They were my teachers. I was raised by my grandparents, and my auntie fell in love with the gospel sound and imported records from America – although my grandparents thought it was a bit too secular, even though it was gospel.
The song I inexplicably know every lyric to For some reason, out of all his songs, Adore by Prince always speaks to me.
The Oscar-nominated musician is back with her superb second album, ‘Woman of Faces’, but getting here hasn’t been easy. She talks to Roisin O’Connor about feeling compelled to speak up, the demands of the music industry, and ‘coming back to exist as herself, again’
Selena's family opens up in a new Netflix documentary about finding beauty in tragedy 30 years after the beloved singer's murder in emotional interviews.
Justin Bieber stops to help a stranded motorist in a viral video, offering prayer and support. The heartwarming encounter has gained over 2 million likes.
The singer on being a school bully, having a panic attack on stage, and ‘fearless bitch’ Elton John
Born in Washington state, Brandi Carlile, 44, released her self-titled debut album in 2005. She went on to win 11 Grammy awards and is part of the country supergroup the Highwomen. She has collaborated with Joni Mitchell and this year released the album Who Believes in Angels? with Elton John. Their song Never Too Late was Oscar nominated. She has published a memoir, and established the charitable Looking Out Foundation. Her eighth studio album, Returning to Myself, was released last month. Carlile lives in Washington state with her wife and two daughters.
When were you happiest?
I’m the happiest right now. I can see that I’m in a kind of sweet spot: my parents are alive, my kids are little, my wife is hot and my body doesn’t hurt.
Matt Smith is the ultimate bad dad in a Nick Cave novel adaptation, and the Oz prequel musical reaches the end of the road. Here’s the pick of the week’s culture, taken from the Guardian’s best-rated reviews
The 23-year-old ‘Queen of Tejano music’ was murdered just as her music was set to cross over and revealing new film Selena y Los Dinos: A Family’s Legacy finds new ways to celebrate her
The tragic circumstances surrounding Selena Quintanilla’s death are well documented. In 1995, while on the verge of US pop crossover success, the 23-year-old Queen of Tejano Music was murdered by one of her employees, Yolanda Saldívar.
Selena’s life story has already been told in multiple ways, including through a movie, a musical and a podcast series. However, the touching Netflix documentary Selena y Los Dinos: A Family’s Legacy is the most empathetic and personal look at her life and career to date. Working alongside Selena’s family, who generously opened their archive of rare photos and home videos and sat for extensive interviews, director Isabel Castro uses intimate recollections and vivid primary sources to trace the artist’s ascent.
Days after the Toronto Blue Jays fell to the Los Angeles Dodgers in a heartbreaking Game 7 loss, Dallas Green was processing his disappointment the best way he knew how: by writing new music. Read More
Charismatic Stone Roses and Primal Scream musician acclaimed for some of the most memorable bass lines in indie music
The Stone Roses’ eponymous debut album, released in May 1989, became a benchmark British record by blending anthemic, 1960s-evoking melodies and chiming guitar work with what Rolling Stone’s David Fricke described as “the blown-mind drive of British rave culture”. While John Squire took care of the band’s Byrds-like jangling guitar, it was Mani, who has died aged 63, who played the powerful, hard-edged bass lines that put the rocket fuel into tracks such as She Bangs the Drums and This Is the One. The first sound you hear on the disc is his bass emerging, both tantalisingly and menacingly, through the sonic fog at the start of I Wanna Be Adored.
It was a mixture that helped redefine the band’s home city of Manchester as “Madchester”, a place that had magically become “baggydelic”, through a club-indie crossover scene that emerged out of venues such as the Hacienda and included the similarly genre-straddling Happy Mondays.
The Boy Is Mine pair were joined by guests such as Kelly Rowland, Fat Joe, Ciara and Tyrese for a sometimes strange, sometimes soaring throwback night
Supposedly feuding for over 25 years might be bad karma, but it’s great for ticket sales. Of course, Brandy and Monica aren’t actually fighting, they just did such a good job of pretending to hate each other on their 1998 duet The Boy Is Mine that the world has been convinced of it ever since. The R&B legends have taken pains to point out that their relationship is harmonious in multiple interviews leading up to this 32-date co-headline tour, even making fun of the drama in a recent Dunkin advert that featured them fighting over a frappe.
Happily, Brandy and Monica’s sisterhood also means they’re playing their biggest venues in decades. After emerging on stage from a vintage elevator wearing sunglasses and scowling expressions, the duo launches into a kind of sing-and-dance-off, trading places and performing a trio of classics apiece as the other watches with disdain. It’s a knowing nod to their purported rivalry that begins to take on the feeling of a variety segment, which isn’t helped by the trimming of songs like What About Us? and Like This and Like That to 90 seconds apiece. Even so, their camaraderie shines through as Brandy quickly breaks character to sway and sing along to Monica’s Don’t Take It Personal (Just One Of Dem Days), a showcase for her slightly raspy, soulful vocals during which she winds her hips and aims gun fingers at the audience.
Alice and Ellen Kessler, who died by joint assisted suicide this week, entertained – and occasionally scandalised – Europe with their glitzy and subversive pop music and classically informed dance
When Dean Martin announced the Kessler sisters’ appearance on his show in 1966, he remarked that he had been desperate to book them not just because the German-born dancer-singers were “so pretty and so talented”, but “also because they’re twins, that means there are two of them”. “They’re a double,” he added with a nod to his half-drunk crooner persona, “and there’s nothing I like more than a double”.
The two sisters, who died by joint assisted suicide earlier this week, also performed with Frank Sinatra, Harry Belafonte and Fred Astaire, but the American market never impressed them much. In 1964 they turned down a role in Elvis’s Viva Las Vegas for fear of being pigeonholed in American musical comedies.
He has penned hits for Adele, Dua Lipa and Bieber, but the sought-after Canadian pop songwriter has only ever released one album himself. Now, 10 years on, comes a second –and it’s a scorching account of a breakup
Goon, the 2015 debut album by Canada-born LA musician Tobias Jesso Jr, was one of the revelations of the 2010s. An album of heartfelt, earnest ballads in the vein of 70s singer-songwriters such as Randy Newman and Harry Nilsson, it instantly established Jesso as a rising indie star and was one of the year’s most acclaimed records. The problem was that Jesso didn’t care much for the attention: he struggled to feel like a genuine performer, leading him to drink heavily before shows, and felt he was playing a version of himself in interviews. “I was forced to do all these things I wasn’t really confident in,” he says. “I was just like … I don’t know what I’m doing, anywhere.” So, toward the end of his breakout year, he cancelled all future shows and, in essence, put his career on ice.
In the decade that followed, he kept himself behind the scenes, in the process becoming one of the world’s most successful and in-demand pop songwriters – thanks, in no small part, to his focus on simple, emotions-first songwriting. He co-wrote Adele’s hit When We Were Young and a handful of tracks on Dua Lipa’s 2024 album Radical Optimism; has collaborated with Harry Styles, Justin Bieber, FKA twigs and Haim; and in 2023 won the first ever Grammy for songwriter of the year.
The masked singer’s jagged pop deals in suburban bleakness, English nationalism and jilted romance against a backdrop of DIY drum machines and acoustic guitar
From Darlington, County Durham Recommended if you like Blood Orange, Dean Blunt, Elliott Smith Up next The Dirt Pt 1 EP out now
As the internet spits out underground artists like mouthwash, it’s becoming harder to separate the visionaries from the vibe-hackers. But Pollyfromthedirt’s jagged pastoral pop demands more than just a passing scroll. Released independently this week, the County Durham native’s first EP clashes brass band samples, shuddering Midi strings and awkward acoustic guitar together. There’s a trace of Elliott Smith in his grey-skied songwriting, yet made entirely his own by the crude drum machines, pitched-up vocals and DIY production. At best, like the EP’s weirdest track, Kalm, the music departs from traditional song structure and coalesces into delay-steeped, swirling ambience.
AI-generated songs are topping Spotify charts. This isn’t about the ‘democratization’ of art – it’s about scale
Making music is hard. Well, at least it used to be. I remember the old days, when you had to spend hours and hours honing skills, coming up with something clever or personal to say, then actually recording sounds that people would want to listen to. But that’s the past. In our sparkling future, a pre-teen can dump a bunch of words into a machine and out comes a catchy tune. In 2025, a robot can be a pop star. (Although Data from Star Trek did drop an album back in the 90s. How soon we all forget.)
Three AI-generated songs recently topped Spotify’s “Viral 50” charts. One of the “creators” responsible for these songs, Broken Veteran, who squirted out a track about immigration policies, told the Guardian that AI is “just another tool for expression, particularly valuable for people like me who have something to say but lack traditional musical training”. It used to be that if you didn’t know how to do something, you wouldn’t do it.
Dave Schilling is a Los Angeles-based writer and humorist
(LPO) Recorded live at the BBC Proms, Edward Gardner and the London Philharmonic Orchestra’s propulsive performance, with soloists Allan Clayton, Jamie Barton and James Platt, is one to cherish
The Dream of Gerontius may be the unlikely star of Alan Bennett’s The Choral, but it’s hardly in need of a popularity boost: Edward Gardner’s vibrant new recording is one of three released in the last two years, with another due in January.
Recorded live at the 2022 BBC Proms, this propulsive reading has a great deal going for it. Allan Clayton captures the febrile nature of the dying man whose every sensation is both a terror and a fascination. His heroic tone thrills in the great prayer, Sanctus Fortis, while an expressive use of text illuminates the philosophical question and answer session in Part Two. Jamie Barton’s luxurious mezzo-soprano possesses a tangible immediacy as well as offering ample reserves of comfort. James Platt’s craggy bass is well-suited to the Angel of the Agony.
(Modern Love) The producer’s second album is a granular dissection of cumbia rebajada, forcing the listener to focus on the strangeness of every moment in her ambient soundworld
Mexican-American producer Delia Beatriz, AKA Debit, has a talent for making historical sounds her own. Her 2022 breakthrough, The Long Count, featured woozy, ambient soundscapes made from electronically processed samples of ancient Maya flutes. On her latest record, Desaceleradas (Decelerated), Beatriz turns her attention to the 90s trend of cumbia rebajada. Slowing the Afro-Latin dance genre of cumbia to a sludgy tempo, cumbia rebajada is a dub-influenced take on a typically upbeat, party-driven sound. DJ Gabriel Dueñez popularised the style with his bootleg cassettes; two of his earliest releases now form the basis of Beatriz’s experiments.
Landing somewhere between composer William Basinski’s Disintegration Loops and DJ Screw’s chopped’n’screwed production style, Desaceleradas slows the shaker-rattling, synth syncopations of cumbia rebajada into unrecognisable ambient territory. La Ronda y el Sonidero and Vinilos Trasnacionales contain hints of the signature cumbia shuffle and twanging synth melody, but Beatriz’s added tape hiss, reverb and melodic warping transform the style into an eerie, ethereal soundworld of nightmare fairground music and yearning drones.
(Mass Appeal) The first release since the death of their founding member dwells on the afterlife, yet doesn’t forsake their perpetually sunny sound
Cabin in the Sky, the tenth album by De La Soul – and first since the 2023 death of founding member Trugoy the Dove, AKA Dave Jolicoeur – is, loosely, a concept album about death and the afterlife. A spoken-word intro by actor Giancarlo Esposito primes you for something heavy, but you are instantly reminded, of course, that this is a De La Soul album: it seems practically impossible that their brand of lackadaisical, perpetually sunny plunderphonics could ever feel like a drag. The lush strings of Yuhdontstop introduce an album that’s always projected in full-saturation Technicolor: from the effervescent Natalie Cole sample on Will Be to Maseo’s jovial, avuncular ad-libs that open Cruel Summers Bring Fire Life!!, Cabin in the Sky feels warm and rich in vitamin D, a tonic for chillier months.
For the most part, the afterlife theme seems to have been tacked on, likely after Trugoy’s death; the album still features his vocals, and most of the songs on the album fit squarely in De La Soul’s already established surrealist world. (Patty Cake, a minimalist highlight, reinterprets classic schoolyard chants, a conceit that somehow hasn’t already been done on a De La Soul record.) Even so, lasting more than 70 minutes, Cabin in the Sky can feel like a slog, with the end lacking the sprightliness of the album’s first half. An exception is the title track, on which Maseo and Pos pay tribute to Trugoy and others they’ve lost. It’s pensive and world-weary, but never loses its sense of magic.
As a boy in Brooklyn, Adrien Nunez dreamed of playing in the N.B.A. He got close, but it turns out he had a gift for singing at the top of his lungs in his car.
Irish indie acts used to be ignored, even on Irish radio. But songs confronting the Troubles, poverty and oppression are now going global – and changing how Ireland sees itself
On a hot Saturday afternoon at Glastonbury, while many are nursing halfway-point hangovers, the Dublin garage punk quartet Sprints whip up a jubilant mosh pit with their charged tune Descartes, Irish tricolour flags bobbing above them. As summer speeds on, at Japan’s Fuji rock festival, new songs from Galway indie act NewDad enrapture the crowd. Travy, a Nigerian-born and Tallaght-raised rapper, crafts a mixtape inflected with his Dublin lilt, the follow-up to the first Irish rap album to top the Irish charts. Efé transcends Dublin bedroom pop to get signed by US label Fader, and on Later … With Jools Holland, George Houston performs the haunting Lilith – a tribute to political protest singers everywhere – in a distinctive Donegal accent.
From Melbourne to Mexico City, concertgoers continue to scream to that opening loop on strings of Fontaines DC’s Starburster, and CMAT’s viral “woke macarena” dance to her hit single Take a Sexy Picture of Me plays out in festival pits and on TikTok. You might have heard about Kneecap, too.
Prakazrel ‘Pras’ Michel was convicted in 2023 after a trial that included testimony from Leonardo DiCaprio and former US attorney general Jeff Sessions
The Grammy-winning rapper Prakazrel “Pras” Michel of the Fugees has been sentenced to 14 years in prison for involvement in a billion-dollar Malaysia scam that funnelled money into US politics.
The 52-year-old founding member of the 1990s hit trio the Fugees was convicted of money laundering and campaign finance violations in 2023 in a global foreign influence scandal led by the Malaysian financier Low Taek Jho.
Oscar-nominated star of two-part musical forced to cancel press stops as film is predicted to deliver year’s biggest box office opening
Ariana Grande has tested positive for Covid amid the whirlwind press tour for Wicked: For Good, precluding some promotional appearances in New York.
The Grammy award winner and Oscar nominee posted an Instagram story on Thursday captioned “moments before Covid” along with a photo from her appearance on The Tonight Show With Jimmy Fallon from earlier this week. Grande, who plays Galinda/Glinda in the second part of Jon M Chu’s film adaptation of the hit Broadway musical, will reportedly miss a few upcoming press appearances, including a slot on The Kelly Clarkson Show.
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