Pushing his winsome songwriting into rootsier territory with a little help from co-producer MJ Lenderman, the New Yorker’s debut album is primed to soundtrack your summer

From New York City, New York
Recommended if you like The Clean, This is Lorelei, The Feelies
Up next Debut album Hercules out 10 July

Tracey Nelson’s self-titled 2025 debut EP was one of the year’s best lesser-heard gems: Five tracks of sparkling, winsome indie-rock that recalled classic antipodean jangle bands the Clean, Twerps and Dick Diver. Tracks such as New Years Flowers and Just Shoot Me Now suggested that Austin Noll – the NYC-based singer-songwriter behind the project – was a classicist with a keen sense for bright melodies and self-deprecating one-liners.

Electric Ballroom, London
The era-defining duo’s ultras are suitably spoiled in the first of this intimate five-day run, showered with rarities that put a different spin on their well-known history

‘Tonight …” says Neil Tennant, with a suave pause, “no hits!” The crowd roars. “B-sides?” he teases. “Album tracks! And what we’re calling – although really it’s both of those – fan favourites.” It is a rare gig when the singer of a history-defining pop band can promise that no one will be hearing some of the best songs of all time tonight – West End Girls, Always on My Mind, Rent, to name some of several dozen – and get a hero’s welcome. But Pet Shop Boys have been on their Dreamworld greatest hits tour since 2022, one that’s barely even made room for their excellent and underrated 2024 album Nonetheless on the set list, let alone many wildcards. The Pet Shop Boys casual has been lavishly fatted in recent years. The Pet Shop Boys ultra, however, has been a little parched.

It’s something this five-day run of intimate shows at Camden’s Electric Ballroom seeks to remedy, drawing from the band’s margins to promote a new tome on their highly intentional visual history: in typical one-word fashion, the tour is called Obscure. Tennant and synths foil Chris Lowe announced beforehand that they had rehearsed 35 possible songs from their 42-year run, but their enduring commitment to the single format, with its considered B-sides and remixes, makes the possibilities endless: one fan compiled a pre-game playlist of 226 “B-sides and non-singles”, and doubted even then that it was comprehensive. Tennant has a tray containing the lyrics – fair play, given that two songs tonight have never been played before, while others are getting their first trip out of the cupboard in decades.

Brady Ebert, a former member of the Grammy-winning US hardcore band, allegedly hit the father of Brendan Yates with his car

Brady Ebert, the former guitarist of the Grammy-winning US hardcore band Turnstile, has been charged with attempted second-degree murder after allegedly hitting the father of the band’s frontman, Brendan Yates, with his car.

On 29 March, police found William Yates outside his home with “trauma to his lower extremities”, with a broken bone protruding from his leg, according to the Baltimore Banner.

The Chicago band’s frantic, urgent guitar melodies celebrate hope, friendship and family in these uncertain times

From Chicago, Illinois
Recommended if you like Modest Mouse, Wilco, Car Seat Headrest
Up next Second album Something Worth Waiting For out 24 April, touring the US from April and Europe in summer

In Friko’s hands, a swirl of influences and experiments curve the many colours of indie rock into an endlessly inventive, radiant ramble. The Chicago band’s upcoming, cheekily titled second album, Something Worth Waiting For, explores the energy of yearning: for growth, for change, for stability. Across nine tracks, Friko take inspiration from their recent spate of touring to orbit the idea of finding things worth moving for and the value of the journey itself.

As his pioneering album Endtroducing turns 30 and he reissues his Mo’Wax singles, the producer is in a retrospective mood and ready to take your questions

It’s almost 30 years since DJ Shadow released his era-defining debut album, Endtroducing….., and as is the way of the nostalgia industry, it had a lavish 25th-anniversary reissue five years ago, remastered at Abbey Road studios. It was such a success that Shadow has decided to repeat the process and clean up his “pre-album and non-album” catalogue. In May comes The Mo’Wax Singles 1993-1997, a box set featuring eight 12ins with all the Californian producer’s singles for James Lavelle’s label, plus alternative mixes and brand new art. Dusty DAT tapes were dug out and original master mixes excavated.

“This box wasn’t made for the casual listener, it was made with the hardcore fan in mind,” Shadow said in a statement. “I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was made with this philosophy firmly in mind.”

Ye, who has called himself a Nazi, released a song called Heil Hitler and sold T-shirts bearing swastikas, is confirmed to play three nights at the London festival

The Jewish Leadership Council has condemned Wireless festival for booking Kanye West, also known as Ye, to headline all three nights of the forthcoming north London event in the wake of heightened attacks on the UK Jewish community, calling the organisers “deeply irresponsible”.

The rapper has a history of antisemitic behaviour, including releasing a song called Heil Hitler, calling himself a Nazi, associating with the white supremacist commentator Nick Fuentes (including at a 2022 dinner with Donald Trump), making numerous other anti-Jewish racist statements and selling T-shirts bearing swastikas.

With her acoustic guitars and trip-hoppy beats, the London musician recalls a particular era of polished 00s boho-pop, from Nelly Furtado to Corinne Bailey Rae

From London
Recommended if you like All Saints, Frou Frou, Nelly Furtado
Up next EP out now; on tour with After in May

The first time I heard Gianna’s Shadow of a Bird, I was instantly transported to a place that smelled of Impulse body spray. It is a track that has perfectly nailed the polished boho-pop of early 00s Nelly Furtado, All Saints and Corinne Bailey Rae – the sort that features arpeggiated acoustic guitar, vaguely trip-hop beats and a gently distinctive voice swooping through them.

Promising ‘unprecedented access’, the programme will recount the singer’s story, including full details of the harrowing attacks that drove her into hiding for a decade

It was a great music industry mystery: after becoming one of the biggest pop stars of the 2000s with her debut album, 2008’s Rockferry, the Welsh pop star Duffy vanished from the public eye. In 2020, she revealed what had happened to her: in 2010, she said, she had been drugged, kidnapped and taken to another country where she was subject to violent abuse and raped.

Duffy, real name Aimée Anne Duffy, 41, will tell that story in depth for the first time in a new documentary, produced by Disney+ and Hulu Original, with production set to begin soon. A press release promises “new, unprecedented access” to the Mercy singer, who will tell her entire life story, as well as interviews with friends, family and music industry associates.

Olivia Dean, Wolf Alice’s Ellie Rowsell, Jacob Alon, Self Esteem and Kae Tempest lead this year’s Ivors, with two nominations each

Olivia Dean, Ellie Rowsell of Wolf Alice, Jacob Alon, Self Esteem and Kae Tempest lead this year’s Ivor Novello awards for excellence in British and Irish songwriting, with two nominations apiece. Self Esteem’s cowriter Johan Hugo, and Tempest’s Fraser T Smith, are also credited among the leading acts.

Tempest will go up against himself in the best contemporary song category, with two nominations: one for I Stand on the Line, written with Smith, and one for Know Yourself, written with Smith and Tom Rowlands of the Chemical Brothers. Both songs come from Tempest’s fifth album, Self Titled.

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.