Nacho Pezzati’s new album Swerved taps into the moody ambience of the UK north-west underground, ratcheting a tangible and thrilling sense of unease

From Barcelona, Spain
Recommend if you like Space Afrika, Shackleton, Purelink
Up next Swerved out now

Swerved, by Barcelona-based producer Nueen (Nacho Pezzati) is a bassy, moody, darkly ambient album that travels through R&B, drill, cloud rap and dub without any obvious changes in its grey-black weather. But this is slowly churning music, on the brink of rot. By the 10th track, Copicat, the unease is tangible; after a slow, agonising ratcheting build of fanbelt hi-hats, the album’s only drop arrives with the weight and power of a cloudburst. It’s thrilling.

Like Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care

As part of the promo for Queens of the Stone Age’s new album Perfecth, the band has set up a novelty complaints hotline for fans to call. “No bitching too big, no whiny too tiny,” it promises. I’ll bite: how about the fact that frontman Josh Homme’s ex-wife Brody Dalle testified in court that he head-butted her so hard that she “saw stars” and said he had fantasised about killing her? Or that he kicked a female photographer in the face? It’s certainly not what anyone’s talking about as part of Homme’s friendly neighbourhood rock star image rehabilitation: duetting on Shania Twain’s new album, taking the couch on Celebrity Gogglebox, teatime BBC 6 Music interviews.

Homme and Dalle clearly had a complicated relationship: he allegedly tried to throw her boyfriend off a balcony; he claims that she was violent towards him; both have taken out restraining orders against one another; Homme has full custody of their kids after Dalle’s boyfriend was found to have forged her signature on an application for a restraining order. Homme has recently talked about coming through a dark period, including successful treatment for cancer, and getting a handle on his vices. Nevertheless, there is clear footage of him brutally kicking the camera of photographer Chelsea Lauren back into her face, which he acknowledged in an apology video, and court testimony from Dalle alleging that a drunk Homme told her “I want to fucking strangle you right now” on one occasion, and head-butted her on another.

Rich harmonies mix with synth, harp and aquatic grace on the intriguing first single from the New York songwriter’s debut album

From New York, USA
Recommended if you like Jessica Pratt, Minnie Riperton, Cocteau Twins
Up next Debut LP Follow the Light released via Jagjaguwar on 16 October

In Robert Silverberg’s 1973 sci-fi anthology New Dimensions 3, there’s a story by author Terry Carr called They Live on Levels. The simplest outline of this tale is that thanks to a technological breakthrough, humans are able to exist and communicate through different planes of existence. Through musical styles and generational layers, the spectral folk of New York-based songwriter June McDoom expresses this very notion in stunning fashion.

Insecure Men singer has now been dropped by his record label and had tour dates cancelled after two women shared allegations about his behaviour

Saul Adamczewski of Insecure Men and formerly of Fat White Family has been dropped by his record label and had tour dates cancelled after two women shared allegations of physical and emotional abuse against the musician.

One woman said that the pair had a short relationship that resulted in a pregnancy, after which, she alleged, Adamczewski “made it his duty to make me suffer. He has been violent, pushed me, thrown glass bottles at me, showered me with beer […] insulted me, taken my passport from me, stolen my money and more, all while I had our baby.”

The controversial rapper now known as Ye was due to play two huge shows at St Petersburg’s Gazprom Arena, which now states it cannot host performances for contractual reasons

The St Petersburg stadium that was set to host two concerts by Ye – making the rapper formerly known as Kanye West the biggest western act to play in Russia since start of the Ukraine war – has now said that the concerts will not take place at the venue, although the promoter has stressed that they have not been cancelled.

Gazprom Arena had previously posted on social media saying that “the most influential musical artist of our time” would perform there on 10 and 11 October. “This is no joke!” the post stated. The event sold out immediately, including tickets priced at £1390 ($1896).

The LA-based powerpop project’s triumphant debut is a celebration of low-stakes creativity in the slacker-skater tradition

From Los Angeles
Recommended if you like the Lemonheads, Sugar, the Muffs
Up next Secret to Spare released 18 September

Maybe it’s to do with getting older, maybe it’s to do with the broad-spectrum grimness of it all, but the thrill of low-stakes creativity, of making something for the joy of making it rather than in the hope of making it, feels particularly vital at the moment. And, if the sun-bleached cool of Jawdropped’s music is anything to go by, starting a powerpop project in your 30s will light up this pleasure centre like a dive bar pinball machine.

Following in the footsteps of Michael and Janet Jackson, and Kylie and Dannii Minogue, the Hobert siblings have simultaneously struck pop gold – with no rivalry

The history of rival sibling pop solo acts is a limited but potent one. Most famous, of course, are Michael and Janet Jackson. Kylie and Dannii Minogue, Billie Eilish and Finneas, Beyoncé and Solange, Natasha and Daniel Bedingfield, Neneh and Eagle-Eye Cherry, Jessica and Ashlee Simpson, and Brandy and Ray J all share the intimate and rare understanding of what it was like to share Lego sets and chart space.

That strange dynamic recently gained a new pairing. The US artists Audrey Hobert, 27, and her younger brother, who performs as Malcolm Todd, 22, have both scored global hits synonymous with the sound of summer 2026.

The South African singer has been a memorable guest artist, but the unhurried, emotional tracks on new album Some Strings Attached show she’s ready for the spotlight

From Cape Town, South Africa
Recommended if you like Summer Walker, SZA, Shekhinah
Up next Some Strings Attached out now

Rowlene Bosman learned to sing in a Cape Town school choir, and the discipline never left her: she is a precision vocalist in a scene that rewards volume. Most South Africans first heard her in 2018, delivering the hook on Nasty C’s SMA – she was the first signing to his Tall Racks label – and the featured artist circuit kept her busy for years. But while South African pop stampeded towards amapiano, Rowlene held her ground as a balladeer, writing slow, confessional R&B in which heartbreak is examined instead of danced away. Her 2020 debut album 11:11, a set of aching, close-quarters soul songs, brought a South African music award nomination for best pop album, and three of her originals – Cupid, Stay and the Nasty C collaboration I Need You – landed on the soundtrack of Netflix’s SA teen crime drama Blood & Water, carrying her voice far beyond home.

The singer said that he was ‘already feeling better’ but forthcoming dates on his mammoth farwell tour will not now go ahead

Rod Stewart has cancelled all coming dates on his farewell tour after undergoing a routine heart procedure.

On 9 August, Stewart, 81, pulled a performance in Ohio at the last minute. After the successful insertion of a coronary stent, he announced that all dates would be cancelled.

Day’s latest album Halo is all high-energy exhaustion, injected with a crushing electroclash chaos that illuminates her insecurities in bright neon

From Los Angeles
Recommended if you like Slayyyter, Charli xcx, Underscores
Up next Halo out now. UK and Ireland tour starts in December

Right now popstar breakthrough and burnout are a hair’s breadth from one another. Enter Tiffany Day, a Wichita-raised artist who first went viral in 2017 when a video of her singing Hallelujah on a school trip blew up online. She spent the subsequent years unsuccessfully chipping away at building on that virality, cycling through acoustic guitar covers and bedroom R&B. Only by channeling her frustrations into this year’s anxiety-ridden sugar rush Halo did Day finally regain her early momentum.

Singer and actor, whose world tour ends next month, told audience in Chicago that she had been quietly planning the move for a long time

Ariana Grande has expanded upon her recent decision to take “a step back from visibility” when her tour ends next month, as a result of what a spokesperson called “endless, ongoing public scrutiny”.

On Monday night during the first show of a three-night run in Chicago, the 33-year-old musician and actor read from notes as she told fans: “The announcement that was made yesterday was not a reactive or impulsive thing. It is something that I had decided to plan quietly, a long time ago.”

After a decade in the pop fringes, Charli xcx’s 2024 album Brat propelled her to global stardom: an acid-green ‘Brat summer’, a Glastonbury headline slot and brat as Collins’ word of the year.

But how do you follow up the album that made you a star?

Charli’s latest album Music, Fashion, Film has now been released – and as Guardian deputy music editor Laura Snapes tells Lucy Hough: it’s a pivot to guitar and a “meta masterpiece about the instability of identity.”

(Atlantic)
How do you follow up the album that made you a star – and a caricature? In classic Charli style: with a pivot to guitar and a meta masterpiece about the instability of identity

After a decade spent trailblazing a unique kind of pop freedom from the genre’s fringes, A-list success seemed like the thing that might finally trap Charli xcx. Her 2024 club-rat opus Brat spawned memes, embarrassing political bandwagoning, Collins’ word of the year and possibly terminal damage to the bra industry. Its ludicrous cultural impact looked set to pickle her as a caricature of a Parliament-toting bad girl; the question of whether “Brat summer” could last – whether Charli could sustain the interest – was so rife she turned it into a mockumentary, The Moment. It made success look miserable: your creation turned cringe by execs wanting to milk their prize cow dry of every last acid-green drop.

Even for a pop star renowned for reinvention, it put a higher price on her next move. Pivot and risk losing new fans and looking wilfully contrarian. When Charli released the sub-two-minute single Rock Music, many heard it as a middle finger. “I think the dancefloor is dead,” she drawls over guitars that buzzed like speakers weathering interference from a Nokia 5110, “so now we’re making rock music.” There were boring thinkpieces about the dancefloor being very much alive, actually (as if Charli had ever ridden culture for clout then binned it off), and about whether she was trying to eject fair-weather new fans. But the key to this cheeky song is surprisingly earnest: “Jump off the stage / I hope they catch you today / But if they don’t it’s OK,” she sings naively, an affirmation to take creative leaps, and to come with Charli – or not, as you like – as she takes this one.

​With her roots stretching from the Catholic church to riot grrrl, the US singer-songwriter explains how sobriety and self-analysis powered her classic new Waxahatchee-produced album

The songwriting on Brennan Wedl’s new album is so ironclad that I kept checking the credits to see if any of its songs were actually covers of peak Lucinda Williams tracks that I’d somehow missed. Nope: all originals by a 29-year-old songwriter whose radiant, hooky, tough Americana puts her toe-to-toe with genre godheads such as Williams circa Car Wheels on a Gravel Road, or Sheryl Crow had she grown up playing church basement punk shows; also, a vision of Courtney Love in cowboy boots.

“I love Lucinda’s very earnest way of looking at daily life, and I hoped to achieve that on this record,” says Wedl, calling from her Nashville home, surrounded by vintage magazines and tchotchkes. Wedl is warm and dudely; she answers almost every question with an exuberant “toootally!”. She cites her favourite of her new songs, the absurdly immediate Just Another Daddy Who Did Me Wrong, a bittersweet number that questions her self-destructive appeal. “It’s a very harsh look at reality, but also about how our minds can create so much fantasy around reality. I’m working on not projecting too much on reality these days.”

The annual rundown of Guardian writers picking their most played tracks of the season goes from club-ready pop to sunny tech house

• Check out a Spotify playlist of the choices

Kim Petras’ greatest song to date is also the best outsider country song in recent memory: if Ethel Cain and Lana Del Rey could ever put the beef behind them and duet, the dusty gutter romance of Jeep is exactly how you’d want it to sound. The song creates a flyover state love story in a strangely effective union of hyperpop and Americana, creating a windswept fantasy of “doing some middle America shit” with your man: Four Loko-fueled hookups, gas station canoodling and screaming along to rage music beneath the stars. The truly audacious thing is the bridge, a whispered and impressionistic slur that feels like Petras is eight drinks deep, doing donuts in her car until everything blurs. It’s total make-believe, but Petras is so good at making you feel her longing that it gets me choked up. When she recently came out at a Charli xcx show to perform Jeep unannounced, it already felt like an anthem. Owen Myers

(Interscope)
Despite their goth-coded attempts at emotional turbulence, the saccharine songs of Abrams’ third album feel adolescent in their melodrama

Gracie Abrams’ third album is a full-blown crime scene. Across 16 songs, the US songwriter catalogues slip knots, blades, bullets, knives, more knives, ghosts, cages, drugs, car crashes, blood, burial, flaming tyres, choking, burning houses, sinking ships, drowning, more blood, bloody knees and even more knives. It’s called Daughter from Hell to acknowledge how much the 26-year-old frayed her parents’ nerves as a reckless teen, part of a wider theme about working out when to blame others for her pain, and when to accept responsibility. Clearly, there’s a lot of poetic licence involved in dramatising these mature revelations, but the dissonance between Abrams’ goth-coded emotional turbulence and the music’s insistent, quivering prettiness is the real uncrackable case on this bloodless record.

In one way, Abrams has had an outsized influence on pop. Her early bedroom songs inspired Olivia Rodrigo to write Drivers License, which kickstarted the former Disney star’s dazzlingly quick and continuing act of self-redefinition. Mostly, though, Abrams is the sum of her influences: you needn’t listen hard to clock Lorde’s vocal harmonies, Phoebe Bridgers’ intimacy or the tightly packed storytelling of Taylor Swift, who had Abrams support on the Eras tour. In Swift she also shares a producer in the National’s Aaron Dessner, a collaborator in Bon Iver (his jump-scare falsetto appears on two songs here, and he plays all over the record), and certainly a sound in Folklore’s pearlescent acoustics, injected with a whisper of stomp-clap vigour. That mix of melodrama and songs sung like secrets means Abrams’ audience skews young: her music carries the sensation of being the only person in the world grappling with huge emotions, as life often feels in adolescence. For anyone older, her music can feel a little starter pack.

Housesharing brought the south London trio’s sounds – classical vocals, violin, clubby production – together as they bled through the walls, to shapeshifting effect

From South London
Recommended if you like FKA twigs, James K, Anysia Kim
Up next Debut album Underlight out now

There are many ways to deconstruct club music. On Bristol label Illegal Data, releases might take explosive approaches to scary (Ship Sket) and whimsical (Mun Sing) extremes. More recently, the same label finds Stolen Velour, Floco and Aria SL filling the club chest-high with liquid: you hear elements sink, dissolve, or float past serenely on the surface.

The Irish fiddler brings pop exuberance to traditional songs that range from disco to haunting a cappella with a fearless sense of genre fluidity

From Carlow, Ireland
Recommended if you like The Mary Wallopers, Chappell Roan, Anohni
Up next SlutTrad EP out now, UK and Ireland tour starts in October

At a recent London show, SexyTadhg – real name Tadhg Griffin – appeared in a glittering pink corset, channelling high-camp cabaret. And then, they started playing the fiddle.

After exchanging vows with Travis Kelce, the workaholic pop star probably won’t be staying home to admire the wedding silverware

No speculation is too harebrained when it comes to Taylor Swift and Travis Kelce’s wedding. Are they getting married at the gigantic Madison Square Garden arena? What initially sounded mad is apparently quite true. Will she perform? Will Paul McCartney? All bets are off – and given the level of secrecy, maybe we’ll never actually know what does happen.

Only one recent report has made me go: yeah, as if. Gossip site DeuxMoi claims that Swift recently met 50 country radio execs to pitch an alleged upcoming country album, a return to her roots 20 years after she started in the genre. This strikes me as potentially true: even the world’s biggest pop star will glad-hand when needed, as it usually is in the always-traditional Nashville industry. But the report also claimed the rumoured album – Swift’s 13th, famously her lucky number – would be her last “for a while”, presumably because of her impending nuptials. So much of the discussion around the couple’s wedding is focused on what it will mean for Swift’s job. Will she take a break to “enjoy” marriage? Will it change her ambition? Will her songwriting suffer?

Laura Snapes is the Guardian’s deputy music editor

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The co-writer of enduring hits such as YMCA and Macho Man, who struggled with drug use and legal issues for years, passed away after ‘short but aggressive illness’

Victor Willis, the lead singer of the Village People, has died age 74. The group shared the news in a statement: “Victor passed on Monday 30 June 2026 of a short but aggressive illness,” they said. “Privacy is requested.”

The writer of what were widely accepted as canonical gay anthems in YMCA and Macho Man – also performed in costumes of hyper-masculine male stereotypes – Willis refuted the idea that YMCA was a gay anthem and threatened to sue “each and every news organisation” that made the claim.