The singer-songwriter has donated access to his music archive to ‘ease the unwarranted stress and threats’ Greenlanders have experienced from the US government

Neil Young has donated a year’s worth of access to his music and documentary archive to the people of Greenland after the territory’s future became the subject of a fraught dispute with the US.

“I hope my music and music films will ease some of the unwarranted stress and threats you are experiencing from our unpopular and hopefully temporary government,” Young wrote in a statement on his website, Neil Young Archives, which offers comprehensive access to the 80-year-old songwriter’s recorded and live catalogues and other output.

Rapper, now known as Ye, apologises to his family and to the Black community and says he loves Jews, blaming his bipolar disorder for his ‘poor judgment and reckless behaviour’

Kanye West has taken out a full-page advert in the Wall Street Journal apologising for his antisemitic behaviour. “I am not a Nazi or an antisemite,” he wrote. “I love Jewish people.”

In a letter titled “To Those I’ve Hurt”, he attributed his inflammatory actions, including making profoundly offensive statements and selling T-shirts bearing swastikas, to his bipolar-1 disorder, which he said he developed as a result of medical oversight failing to diagnose a frontal-lobe injury sustained in a car crash in 2002.

To Those I’ve Hurt:

Twenty-five years ago, I was in a car accident that broke my jaw and caused injury to the right frontal lobe of my brain. At the time, the focus was on the visible damage – the fracture, the swelling, and the immediate physical trauma. The deeper injury, the one inside my skull, went unnoticed.

The producers who helped define the sound of pop music in the 90s and 00s are in dispute over earnings from their final album as NERD

Chad Hugo is suing Pharrell Williams, his production partner in the Neptunes, over claims that Williams owes Hugo up to $1m from their final album as NERD, 2017’s No One Ever Really Dies.

The Neptunes defined the sound of pop music in the late 90s and early 00s, producing for artists including Kelis, Britney Spears, Beyoncé, Clipse and Justin Timberlake. As NERD, they released five albums.

Not Such an Innocent Girl makes No 1 for single sales and downloads, after revelations about family rift

• ‘My mum went so far as to call me evil’: nine things you need to know about the Beckham family feud

There is a light at the end of the Beckhams’ hebdomadis horribilis: Victoria Beckham has the UK’s highest-selling single of the week with Not Such an Innocent Girl, originally released in 2001.

After her eldest son Brooklyn’s bombshell revelations about the rift with his parents, including his horrified account of his mother dancing “on” him at his wedding to Nicola Peltz in 2022, fans taking mater and pater Beckham’s side in the celeb gossip of the year showed their support by buying MP3s of Beckham’s debut solo single. (Her first effort without the Spice Girls, 2000’s Out of Your Mind, was a collaboration with Dane Bowers of Another Level.)

The LA-based pop duo are sending a jolt through TikTok with maximalist songs that emote wildly in every direction

From Los Angeles
Recommend if you like Erasure, Chappell Roan, Jade
Up next Debut album Big Disgrace out 13 March

Just when you think pop is finally moving away from the synth-heavy 80s sound, another thrilling new act comes along to say: “Nope!” With shades of Erasure and a good dollop of theatre kid energy, Haute & Freddy are the Regency-styled freaks sending a jolt through TikTok. Their latest single Dance the Pain Away is the year’s first true banger, a dazzling sad-pop production that bursts through the January gloom, thrusts a spritzer in your hand and drags you to the dancefloor.

The number of small venues shrank by just nine in 2025, but more than half of them reported making no profit, while employment in the sector dropped almost 22%

The number of grassroots music venues (GMV) in the UK shrank in effect by just nine in 2025, the lowest rate of annual decline since 2018.

Thirty venues closed permanently between July 2024 and 2025 and 48 ceased functioning as GMVs, citing financial viability, change in ownership and eviction or redevelopment. However, 69 spaces that had previously ceased operating as GMVs returned to the sector.

From David Bowie being reincarnated as a kettle to Reese Witherspoon in space, our writers list the TV head-scratchers they can’t get enough of

With a gun to my head, I couldn’t tell you with any degree of accuracy what Tim Robinson’s The Chair Company is actually about. In terms of straight plot, it’s the story of a man who is drawn into a conspiracy after a chair breaks when he sits on it. But beyond that, it’s honestly anyone’s guess.

The woodwind player who taught André 3000 music theory releases his searching debut album next month

From Los Angeles
Recommend if you like Miguel Atwood Ferguson, Shabaka Hutchings’s flute music, the Coltranes
Up next Debut album And So It Is released 13 February

For woodwind players, breath is everything: the lifeforce of artistry, the thing that furnishes sound with personality. But a few years ago, the Los Angeles saxophonist Aaron Shaw realised he was becoming increasingly breathless. In 2023, aged 27, he was diagnosed with bone marrow failure, meaning he wasn’t producing enough oxygen-carrying red blood cells. A change of approach was required.

After a series of cryptic billboards teasing fans, the As It Was singer reveals the title and release date of his first record since 2022

After a brief teaser campaign in which billboards around the world promised “we belong together” and “see you very soon”, Harry Styles has announced his fourth solo album.

Kiss All the Time. Disco, Occasionally will be released on 6 March. It was produced by Kid Harpoon, the British songwriter and producer who has worked on all of Styles’ previous albums. The artwork shows the 31-year-old pop star wearing sunglasses and ducking beneath a disco ball seemingly suspended from the night sky.

The ad campaign ended in late 2025, the Swedish streaming giant confirmed, having previously said, despite protests, that it did not violate advertising policies

Spotify is no long running advertisements for the US Immigration and Customs Enforcement (ICE), the streaming service has confirmed, after the Trump administration campaign ended in late 2025.

“There are currently no ICE ads running on Spotify,” the Swedish company said in a statement. “The advertisements mentioned were part of a US government recruitment campaign that ran across all major media and platforms.”

Somewhere between record label and artist project, False Aralia harks back to microhouse and dub techno with its deep, detailed productions

From San Francisco
Recommended if you like Rhythm and Sound, Ricardo Villalobos, Vladislav Delay
Up next Double LP from Topdown Dialectic released in spring

False Aralia disappears into a misty gulch somewhere between record label and artist project. It’s ostensibly a label, where each EP has a different named artist, and each sleeve, designed by Nick Almquist, features a different abstract expressionist monochrome doodle. But all the tracks are numbered, not named, and each EP is actually the work of just one producer, Izaak Schlossman (credited as IS), joined by a changing cast of collaborators.

Brian King Joseph claims the rapper and actor was ‘priming’ him for ‘sexual exploitation’. Smith’s lawyer has called the allegations ‘false, baseless and reckless’

Will Smith is being sued by a violinist from his 2025 tour, who claims the rapper and actor exhibited “predatory behaviour” and was “deliberately grooming and priming” him for “further sexual exploitation”. Brian King Joseph is also pursuing the performer and his company Treyball Studios Management for wrongful termination and retaliation in a suit filed in the superior court of California.

Joseph alleges that he was hired for the tour in support of Smith’s new album, Based on a True Story, after first appearing on stage with Smith in December 2024. The suit claims that Smith once told Joseph, “You and I have such a special connection that I don’t have with anyone else.”

Like her forebears Fiona Apple and Giant Drag, Izzy Hagerup puts a distinctly twisty take on indie-rock, and is unafraid of dark emotional truths

From Chicago
Recommended if you like Wednesday, Fiona Apple, Giant Drag
Up next European/UK tour kicks off in May

A word that Prewn, AKA Izzy Hagerup, often uses to describe her music is “dissociation” – the disconnected emotional state embodied by many of the Chicago-born musician’s songs. It’s not an impression anyone would be left with from listening to her bitter, potent take on indie-rock. Hagerup’s guitar lines snake as they thrash; her balladry is grimy and expansive, steered by febrile vocals that recall mid-period Fiona Apple and the drone of the cello she played as a kid. Unexpected moments lurk, such as the shadowy slip into trip-hop on recent single Dirty Dog.

From a folk murder ballad to an impassioned call for peace, Guardian writers pick their favourite lesser-heard tracks of the year

• The pick of 2025’s film, music, art, TV, stage and games, chosen by Guardian critics and writers

There is a sense of deep knowing and calm to Not Offended, the lone song released this year by the Danish-Montenegrin musician (also an earlier graduate of the Copenhagen music school currently producing every interesting alternative pop star). To warmly droning organ that hangs like the last streak of sunlight above a darkening horizon, Milovic assures someone that they haven’t offended her – but her steady Teutonic tenderness, reminiscent of Molly Nilsson or Sophia Kennedy, suggests that their actions weren’t provocative so much as evasive. Strings flutter tentatively as she addresses this person who can’t look life in the eye right now. “I see you clearly,” Milovic sings, as the drums kick in and the strings become full-blooded: a reminder of the ease that letting go can offer. Laura Snapes

Valentina Magaletti drummed for her life, Sarz got hips swinging and Daniel Avery got slinky and serpentine: our writers pick their favourite unsung LPs from 2025
• The 50 best albums of 2025
• More on the best culture of 2025

Towards the end of Tether, there is a song called Silk and Velvet; its sound is characteristic of Annahstasia’s debut album. Fingerpicked acoustic guitar and her extraordinary vocals – husky, expressive, elegant – are front and centre. The arrangement is subtle but not drearily tasteful: arching noise that could be feedback or a distorted pedal steel guitar, which gradually swells into something climactic before dying away. The lyrics, meanwhile, concern themselves with selling out: “Maybe I’m an analyst, an antisocial bitch,” she sings. “Who sells her dreams for money.”

Strange folk, lost pop, disco oddities and, um, Dido – here are the forgotten tracks that became this year’s most replayed revelations
• The 50 best albums of 2025
• More on the best culture of 2025

I grew up listening to the Mamas and the Papas’ hits but had never heard their albums before this year. I had no idea anything as creepy as Mansions lurked within their sunny oeuvre. Its sound is ominous, its mood one of stoned paranoia, its subject rich hippies sequestered in the titular luxury homes, haunted by the sensation that the flower-power dream is going wrong.

A breakout star of the underground rap scene shows vulnerability and wit in her genre-bending tracks

From Cambridgeshire
Recommended if you like Manga Saint Hilare, Kojey Radical, Little Simz
Up next Happiness from Agony out now

“One of the coldest writers but man don’t say it ’cause I’ve got vagina,” JayaHadADream raps on her recent track Bug, calling out those who underestimate her talent – and laying bare her lyrical confidence. In a fertile underground rap scene, the Jamaican-Irish, Cambridge-via-Nottingham artist has cut through thanks to her command and vulnerability, as well as a sharp eye for bullshit. The track Main Characters (featuring Big Zuu), also from her recent mixtape Happiness from Agony, is a critique of the fake love and hollow posturing that saturates the music industry.

In just two years, Rae has gone from star TikTok dancer to being Grammy-nominated for best new artist. She reflects on her critically acclaimed debut and how she’s learning to reclaim and relinquish control

No one in pop has had a year like Addison Rae. She may not be the biggest star – that remains Taylor Swift – or even the most commercially successful breakout act. But the dreamy dance-pop haze of her debut album, Addison, made her into an artist’s artist, loved by the likes of Charli xcx and Lana Del Rey – the leftfield pop acts who paved the way for someone like her. Like a pre-Brat Charli, or perhaps Sky Ferreira, the 25-year-old is the pop connoisseur’s choice, justly earning comparisons to Del Rey, her fellow Louisiana girl Britney Spears and Ray of Light-era Madonna, while knowing her way around her R&B and Jersey club. She’s up for best new artist at next year’s Grammy awards – and with Addison and its knowingly anaesthetised single Headphones On placing in the Guardian’s top five albums and tracks of 2025 respectively, she’s our artist of the year.

So it’s crazy to flick back just two years to when Rae wasn’t just a flop, but a punchline. In 2021, she released her debut single Obsessed, a perfectly average Benny Blanco-produced single that attracted disproportionate hatred because Rae was then just a TikTok star whose breezy dance videos had made her the platform’s fifth most-followed figure. The song flopped. Two years later came the AR EP: featuring a Charli guest verse – she asked to feature on a leaked demo that she loved – it made Rae a cult favourite. Last summer, she returned the favour, guesting on a remix of Charli’s Von Dutch: “While you’re sitting in your dad’s basement … Got a lot to say about my debut!” Rae taunted.

Dev Hynes’ deeply personal response to his mother’s death embodied the many unexpected shades of grief in pastoral hymnals and post-punk

• The 50 best albums of 2025
• More on the best culture of 2025

There’s a lot of grief across the best albums of this year. It’s unsurprising: 2025 has felt like a definitive and dismal break with government accountability, protections for marginalised people and holding back the encroachment of AI in creative and intellectual fields, to cherrypick just a few horrors. Anna von Hausswolff and Rosalía reached for transcendence from these earthly disappointments. Bad Bunny and KeiyaA countered colonial abuse and neglect with writhing resistance anthems. On a more personal scale, Lily Allen and Cate Le Bon grappled with disillusionment about mis-sold romantic ideals. For Jerskin Fendrix, the Tubs, Jennifer Walton, Jim Legxacy and Blood Orange, grief was, straightforwardly, grief for lost loved ones.

Each of those albums was as distinctive and profound as any personal experience of loss always is. Dev Hynes’ fifth album as Blood Orange felt uniquely keyed into the fragmented, distracted headspace that comes after someone passes, in his case, his mother. Essex Honey’s restive nature was summed up in its painful opening lines, which you could read as the dying’s acceptance of death starkly contrasting the living’s ability to meet them on those terms: “In your grace, I looked for some meaning,” Hynes sings on Look at You. “But I found none, and I still search for a truth.”

Beyond Wham! and Elton, Guardian writers from across the generations select the songs that conjure the personal magic and memories of the season

I’m always fascinated by the ways in which my generation manage to participate in the circulation of music. Amateur TikTok edits resurrect forgotten gems and turn obscure starlets into sensations; home producers fabricate entire albums if their favourite rapper doesn’t release enough. Such is the case with Doom Xmas, the brainchild of Grammy-winning Spanish producer Cookin’ Soul, which refashions the work of late cult rapper MF Doom into Christmas music. There are filthy Grinch soundtrack flips, hectic Latin Christmas skits and a chopped-and-screwed Nat King Cole that’ll change the way you hear The Christmas Song.