The Scottish group were reported to the police after a video shown during a gig appeared to show the Star of David entwined with a swastika

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!

1. Cowell is chasing a new direction

The crooner is featured on Pentatonix’s new single ‘I’ve Got My Love to Keep Me Warm’

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.

Rock star admits she hadn’t heard of the show before agreeing to make a guest appearance during the second season

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.

Hip-hop has a difficult relationship with gay culture – could a raft of new club nights fix that? Lemma Shehadi reports

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

Full interview with Nickie Aven, available here

Pop star was emotional as she spoke ahead of meeting families and survivors of the 2024 attack, before going onstage to perform

The Scottish group were reported to the police after a video shown during a gig appeared to show the Star of David entwined with a swastika

First two episodes of new six-episode docuseries has premiered on Disney+

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.

The historian is set to lead a ‘stellar’ 2026 panel featuring the Pulp frontman and other acclaimed writers, as the search begins for next year’s standout work of fiction

Pulp frontman Jarvis Cocker will feature on the 2026 Booker prize judging panel that will be chaired by the classicist and broadcaster Mary Beard.

Novelist Patricia Lockwood has also been named as a judge, along with the poet Raymond Antrobus and Rebecca Liu, an editor at the Guardian Saturday magazine.

Star turns from Helen Mirren, Andrea Riseborough and Toni Colette can’t stop cartoony sentimentality smothering this film directed by Winslet and written by her son Joe Anders

Kate Winslet’s feature directing debut is a family movie, scripted by her son Joe Anders; it’s a well-intentioned and starrily cast yuletide heartwarmer, like a two-hour John Lewis Christmas TV ad without the logo at the end. There are one or two nice lines and sharp moments but they are submerged in a treacly soup of sentimentality; in the end, I couldn’t get past the cartoony quasi-Richard Curtis characterisation and the weird not-quite-earthlingness of the people involved. Having said this, I am aware of having been first in the queue to denigrate Winslet’s Christmas film The Holiday, that is regarded by many as one of the most successful films of all time.

Helen Mirren is the June of the title, an affectionate but sharp-tongued matriarch who is diagnosed with terminal cancer in the run-up to Christmas, and her entire quarrelling clan will have to assemble in her hospital room. June, with a kind of benign cunning, realises that she can use her last days as a cathartic crisis that will cure her adult children’s unspoken hurt. They are a stressed careerist (Winslet), a stay-at-home mum (Andrea Riseborough), a hippy-dippy natural birth counsellor (Toni Collette) and a troubled soul (Johnny Flynn), plus all their various kids. There is also June’s daft old husband Bernie, played by Timothy Spall, who likes a drink and can’t talk about his feelings, and whose scatterbrained goofiness has a sad origin. Stephen Merchant plays Riseborough’s lovably useless husband and a gentle hospital nurse, played by Fisayo Akinade, is the ensemble’s self-effacing guide to a wiser future.

‘I no longer feel this trophy belongs on my shelf,’ they announced

Musician was killed in an electric scooter accident