The band’s co-founder responded to the US musician’s comments, defending the song and saying they are ‘not transphobic’

The Kinks co-founder and guitarist Dave Davies hit back at Moby after the US electronic musician said that he could no longer listen to the band’s 1970 hit Lola on the grounds that he found it “gross and transphobic”.

Moby told the Guardian Saturday magazine’s Honest Playlist feature that he was repulsed by the song after it came up on a Spotify playlist. “I like their early music, but I was really taken aback at how unevolved the lyrics are,” he said.

Following in the footsteps of Heavenly and Tiger Trap the duo’s high-tempo electroclash-indie-pop deftly explores young womanhood in 2020s London

From London
Recommended if you like Heavenly, CSS, the Teenagers
Up next I Have to Get Hotter out now

The Femcels’ music is euphoric and depressive, sometimes ironic but mostly sincere, often high-tempo, and all delivered with wired, unvarnished vocals. In that sense, it is 80s and 90s twee reincarnate; move past their band’s shitposty name and you’ll find that Rowan Miles and Gabriella Turton have a lot to offer when it comes to exploring the chills and thrills of young womanhood in 2020s London.

(True Panther/Capitol)
The New Yorker’s third album leaves behind her DIY origins to channel cult pop classics by Lorde and Sky Ferreira

New Yorker Grace Ives broke out as a bedroom pop artist, self-producing 2nd, her 2019 debut, on her Roland MC-505 and carefully expanding her sound for 2022’s appealingly messy Janky Star. Her third album abandons caution in windswept, hyperdetailed songs that streak by like big city streetlights and shimmer with cosmic awe.

Ives escaped her bedroom in more than one sense. Janky Star reflected her development of a healthier relationship to substances, yet she hit new lows after its release, making sobriety non-negotiable. She went to write in California, finding safety in a fresh context rather than trying to change alone at home. Her determination and vulnerability fuel Girlfriend, which shares the conspiratorial sweetness and broken-mirror glitter of cult pop classics by Lorde (Melodrama) and Sky Ferreira (Night Time, My Time).

The TV chef wondered what he’d done to prompt CMAT’s indie epic about losing the plot at the sight of his face – but once he got her ‘tragicomedy of misdirected anger’, he was ‘100% in’ to drum in the video

It is 27 years since Jamie Oliver first appeared on TV as The Naked Chef, bish-bash-boshing his way to cultural ubiquity thanks in part to his rock’n’roll credentials: his band Scarlet Division provided the show’s theme tune, and his love of Toploader made their cover of Dancing in the Moonlight a monumental hit. Since then, music has, for better or worse, dwindled in Oliver’s now-global brand – an unwieldy commercial force that inadvertently inspired one of 2025’s best songs.

Last year, Irish pop star CMAT put out her third album, Euro-Country, whose highlight was an ecstatic indie epic called The Jamie Oliver Petrol Station, released just before her standout set at Glastonbury. The lyrics recall the singer being at one of the Shell garages that sell Oliver’s line of salads and sandwiches, and losing the plot at the sight of the chef’s face. “I needed deli, but God, I hate him,” sings CMAT (AKA Ciara Mary-Alice Thompson), though it is less a weird diss track, and more about her relationship with irrational hatred in a confusing world: critic Dorian Lynskey praised it as a “tragicomedy of misdirected anger”.

This hyped anonymous duo match the oddness of their costumes with shredding metal, microtonal flourishes and Dalek-style vocals

From Saguenay, Quebec
Recommended if you like Holy Fuck, Prescott, King Gizzard and the Lizard Wizard
Up next New LP Angine de Poitrine Volume II released 3 April. Touring the UK in May

In 2023, two young men – their earthly identities a jealously guarded secret – began “a joke that spilled into reality” intended to simulate something like its namesake heart condition. Weary of the solemn aura that attaches to guitar rock, they began playing what their website describes as “mantra-rock dada pythago-cubiste” as Angine de Poitrine. It is a joke delivered with mesmerising finesse.

After starting out as a child actor, the US artist found music. Now co-writing with Phoebe Bridgers, Haim and Kim Deal, her dogged, DIY career has been powered by conviction

The title of Morgan Nagler’s solo debut, I’ve Got Nothing to Lose, and I’m Losing It, speaks to the sort of wisdom you can only accrue after several decades in the game, the kind that compels you to put your name to an album for the first time at the age of 47. But Nagler’s MO was there from day one, as an 11-year-old child actor going for a bit part as a popular girl on The Fresh Prince of Bel-Air. “I showed up and there were 200 girls there,” says Nagler. “I remember thinking, I’m never gonna get this. So I decided to read the lines as a super-nerd.” The producers rewrote the part and hired her to kiss Carlton.

Today, Nagler lives in the same neighbourhood as Will Smith himself – not Bel-Air but a semi-rustic enclave of Malibu, California, albeit in the guesthouse of her friends’ place rather than a celeb mansion. She started acting around age five, after her family moved from rural Oregon to California. She did it for two decades, taking parts in shows including Frasier, Star Trek and Clueless. But, at 26, Nagler jacked it all in to pursue music after realising how fulfilled she was playing guitar in her trailer between takes. Some people told her she was making a mistake, but she knew otherwise. Music, says Nagler, “is the only thing that makes me feel connected in any meaningful way. For me, that’s way more important than comfort or stability. I’ve always had this blind faith.”

She co-wrote Gracie Abrams’ hit album then struck out solo, winning a fervent cult for her funny, wordy songs. As her tour hits the UK, she explains why imperfection is so important in pop

Backstage at the Berlin venue Huxleys Neue Welt, Audrey Hobert is showing me around her dressing room. On the 27-year-old pop star’s second time outside the US, the novelty of having local snacks on the rider hasn’t dimmed, although her enthusiasm for chocolate thins can’t distract from what’s going on across the room. A comically overlong beige trenchcoat hangs on a rail, the excess length puddling on the floor. Two sets of joke-shop Groucho Marx glasses sit on the dressing table, the original black brows and moustache replaced with orange fluff to blend with Hobert’s vivid strawberry blond. “Those glasses are not flattering,” says Hobert. Having matching hair under the giant plastic nose, she says, “makes it more flattering”.

In a few hours, Hobert will start her set standing on a ladder that is concealed by the coat, wearing the glasses, miming on a prop banjo and singing a peppy song about charming strangers called I Like to Touch People. After it ends, the lights dim, Hobert climbs down and swaps to a regular-sized trenchcoat. Despite the changeover being entirely visible, the lights come back up as if to say “Hey presto!” – the trompe l’oeil of high-budget pop stagecraft remade as slapstick.

The enigmatic Bradford producer is moving into eerie new territory informed by folklore and delivered with a tangibly menacing low end

From Bradford, UK
Recommended if you like Adrian Sherwood, Kris Baha, Guerilla Welfare
Up next New EP Don’t Forget the Ritual released on 28 February

Miles J Paralysis maintains a low profile, with just a handful of releases available on Bandcamp and a sparse, faceless Instagram presence. The enigma suits the music he has been making and sharing under the alias since early last year: dark, dubby and complete with obscure vocal samples and titles such as Always Liked Scarecrows and Cursed Moor.

The Londoner defies classification, writing, producing and arranging her unique mix of neo-soul, R&B, indie and grunge – and gathering some big-name backers along the way

From London
Recommend if you like Rochelle Jordan, Ragz Originale, Sailorr
Up next New music due later this year

Natanya tears genres open and rebuilds them in her own image. Her drums swing loose and jazzy over heavy 808s; synths drift dreamily before snapping into gritty guitar riffs. Writing, producing and arranging all her own work, she weaves together neo-soul silk, R&B groove, indie edge, and flashes of grunge, all carried by a buttery falsetto that nods to Aaliyah, Amy Winehouse, Janet Jackson and early Destiny’s Child.

Taylor, who did for Ghanaian music what his friend Fela Kuti did for Nigeria, has been called the greatest rhythm guitarist in history

Ghanaian musician Ebo Taylor, a definitive force behind the highlife genre, has died age 90.

His son Kweku Taylor announced the news on Sunday: “The world has lost a giant. A colossus of African music. Ebo Taylor passed away yesterday; a day after the launch of Ebo Taylor music festival and exactly a month after his 90th birthday, leaving behind an unmatched artistry legacy. Dad, your light will never fade.”

Dressed in Sunday school apparel and singing exclusively in Dutch, this unorthodox five-piece embrace clinical chaos

From Kapelle, Holland
Recommended if you like Black Midi, King Crimson, YHWH Nailgun
Up next New single Maalstroom out now

Tight-fitted in scrimpy Sunday school apparel, Grote Geelstaart – Dutch for great yellowtail fish – make music that’s decidedly less orthodox than appearances suggest. Drums skirmish with frighteningly efficient, jackhammer velocity; synths and guitars buzz and ring like fire alarms; the bass rumbles like a jammed freighter engine. Grote Geelstaart’s clinical chaos goes hand in hand with vocalist/guitarist Luuk Bosma’s primal punk dramaturgy, reminiscent of Nick Cave, James Chance and underrated Dutch punk thespians De Kift. This MO translates wonderfully to Grote Geelstaart’s Zeelandic roots, a place where an intricate network of dykes is built and maintained to keep the unforgiving North Sea at bay: human ingenuity v lawless elements.

(Sacred Bones)
The Manchester/Berlin band’s second album refines their industrial-club sound, as physical and hyper-detailed as being dragged under by a wave and admiring the flotsam

Mandy, Indiana are not a band inclined to make life easy for themselves. They wanted to record their debut album, 2023’s I’ve Seen a Way, in a Peak District cave known as the Devil’s Arse, although budget restrictions meant they had to settle for one day in Somerset’s Wookey Hole caverns. The Manchester/Berlin-based four-piece’s new album, Urgh, was written in what they’ve called “an intense residency at an eerie studio house” near Leeds; at the time, singer Valentine Caulfield and drummer Alex Macdougall were both undergoing multiple rounds of surgery. Given the industrial, siren-like intensity of their music, in which Caulfield chants about personal and societal horrors in her native French, impounding themselves in such a place might have seemed unnecessarily masochistic.

Mandy, Indiana seem to feel a moral imperative to embrace extremes. Caulfield has often reiterated her (accurate) stance that “if you’re not angry, then you’re not paying attention”; her incantatory lyrics to new song Dodecahedron indict complacency in the face of a burning world. Given the grievous state of things, the band’s short-circuiting assault may hold about as much appeal for some listeners as sticking your fingers in a live socket – but for those inclined to catharsis, they also fully understand the imperative to push beyond merely observing injustice to viscerally embody its head-spinning force. Otherwise, what’s the point?

Theo Zhykharyev, the Ukrainian wizard working low-profile under this brand since 2017 has pivoted to a new realm which blends ferocious energy with freewheeling fun

From London
Recommend if you like Devo, Home Front, Snõõper
Up next New album Bridge of Sacrifice released 13 March

Theo Zhykharyev is one of those brilliant weirdos capable of turning wild ideas into reality. Since starting Powerplant as a bedroom recording project in 2017, a couple of years after he left Ukraine to study in London, he has released records built around fizzing electro-punk, dungeon synth and treble-heavy hardcore, concocting Dungeons & Dragons-inspired role-playing adventures to accompany some of them, while slinging visually arresting DIY merch through his Arcane Dynamics label. Yet even coming amid an output this freewheeling, his upcoming new record is full of surprises.

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.