The musician and outspoken critic of the president is suing for $10m in reputational damages – six years after a settlement in which Trump agreed not to use the song again
Neil Young is suing Donald Trump’s political action committee Trump 47 Committee Inc for $10m (£7.47m) over alleged copyright infringement of his song Rockin’ in the Free World after the US president used it as walk-up music in recent midterm election rallies.
It is the second time that Young has filed against one of Trump’s organisations over his unlicenced use of the song. He first did so in 2020, against the corporation Donald J Trump for President Inc. Trump settled, promising, according to Young’s suit, that his organisation “would never again use Rockin’ in the Free World without a license and permission from Young”.
David Hemmings’ never-released concert film from Bowie’s 1978 world tour will be presented in a multimedia show that aims to ‘create the illusion’ that he is present on stage
Almost 50 years after its original run, David Bowie’s 1978 Isolar II tour will return to arenas in 2027, billed as Stage, thanks to Moonage Daydream director Brett Morgen’s painstaking remaster of never-before-seen footage.
Bowie originally commissioned David Hemmings, the Blow-Up star turned director, to film two shows centred on the “Heroes” and Low albums at London’s Earls Court arena that summer. Bowie had recently been directed by Hemmings in the critically maligned Just a Gigolo, alongside Marlene Dietrich.
(XL) This is a beguiling, endlessly inventive and frequently astonishing fifth LP from a group at increasing ease with being the best band of their generation
Fifteen centuries ago, the Byzantine archbishop Theophilus of Adana did first-hand business with the devil for his own superficial betterment. Today, we just blindly tick a little box marked “accept terms and conditions” or let high-street snake oil merchants inject poison into our faces. The Faustian pact has become as depressingly banal as it is endemic and destructive – and unlike Theophilus, we can’t rely on the Virgin Mary to save us now. In the midst of headlines about AI destroying humanity, the idea of listening to music submerged in precisely this shade of doom might sound like, well, hell. If anyone can thread that poisoned needle, it’s Fontaines DC.
When the Dublin band introduced their last album, 2024’s Romance, it came with a surprise new look. Their uncoordinated jeans and shirts had been replaced by neon hair, shiny trousers and bug-eyed sunglasses that split the difference between Korn and the Prodigy. As they faced up to having traded their anonymity to become arena fillers, it wasn’t hard to read this look as a sort of protective cosplay, a cybergoth Sasha Fierce for five fairly low-key Irish lads trying to make peace with leaving their roots behind. Newly melodic and lavishly produced, Romance made no bones about the band’s ambitions and became their first platinum-certified album.
His hyperactive stylistic shifts and high-speed rhythms have a delirious, head-spinning beauty of their own
From Biafra, Nigeria/Texas, USA Recommended if you like Los Thuthanaka, Jpegmafia, DJ Sabrina the Teenage DJ Up next Album Cantu of the Sower released via NTS Recordings on 7 October
Many listeners might find blown-out noise, hyperactive stylistic shifts and breakneck rhythms a hellish prospect, and fair enough. But for a certain stripe of sensory freak, such swarming intensity can tip over into a state of heady relaxation. The ultra-prolific Heavensouls’ latest project scratches that itch: the six songs on Cantu of the Sower glitter like rich seams of rare crystal, billowing from arcade glitter to compression-straining bass, sprite-like playfulness to warm, rushing brass. Languid trumpet lines float around trash-compactor crunch; sugary breakbeats reach tweaky maximalist peaks. I don’t know about you, but I could bathe in it.
(Republic) This four-track addition to a critically maligned album works hard to remind fans what they love about Swift, with some sweet highs and galling lows
One downside of turning your release strategies into scavenger hunts and layering clues within your work is that it invites enormous amounts of scrutiny about your potential motive. When Taylor Swift announced an expanded edition of last year’s critically maligned The Life of a Showgirl this week, subtitled The Encore, many fans instantly suspected one of two things: that it was designed to remind Grammy members of Showgirl’s existence during their voting period to determine next year’s nominees, or to oust country ingenue Ella Langley from her record-breaking US No 1 run.
If that sounds cynical, it’s also worth remembering that when Swift announced Showgirl last year, she said that unlike her previous album, The Tortured Poets Department – a 16-track record immediately inflated to 31 songs on release day – the purposefully concise, 12-track Showgirl would not be expanded. (This didn’t stop her releasing 34variants of the record, with various acoustic demos and so on, to juice sales.)
Every one of the Grammy-nominated Floridian’s songs reveal a different side of him. His latest album, Roadrunner, is all languid reggae basslines and come-hither lyricism
From Tampa, Florida Recommended if you like Kwn, Tyla, Odeal Up next Performing in Dallas, Texas, 1 November
Destin Conrad has had a busy couple of years: three albums, one Grammy nomination and a string of collaborations with fellow R&B up-and-comers such as Bellah and Nia Smith. Pick any record and you’ll hear a different side of the 26-year-old. His spring 2025 debut Love on Digital pays its dues to the genre that raised him while swerving derivative cliches with small production quirks – a vocal glitch here, a skittering Jersey beat there. Last summer’s Whimsy is a sprawling alt-jazz album that was written in two weeks, inspired by his time in a high-school jazz choir. A year later, Roadrunner arrived as a celebration of his Jamaican roots and queer identity – all languid reggae basslines, gyrating dancehall rhythms, drinks-in-the-air swagger and come-hither lyricism.
The US rapper, removed from Ed Sheeran’s US stadium tour after voicing support of Palestine, has convened a charity show that will visit Dublin, Paris and London, with a North American run to be announced
Macklemore has announced a “Free Palestine” tour, a series of live shows that will feature the US rapper performing alongside musicians and friends to raise funds for humanitarian causes in Palestine.
The news comes after Macklemore (AKA Benjamin Haggerty) was removed from Ed Sheeran’s US stadium tour after he called for a “free Palestine” onstage and said he wanted the people of Gaza and “the occupied West Bank” to know “we have not forgotten about them”.
There are obvious reasons why the UK flops and flops again, but that isn’t the point. This annual debacle is now part of our national identity
Given that Britain’s politics are quite a sizeable reason that we do so badly in Eurovision: here’s something that will definitely, absolutely, categorically help us do better in the competition … interference from MPs.
Digital, culture, media and sport committee chair Caroline Dinenage has announced that MPs will scrutinise the UK’s reliable failure in the competition to see where we’re going wrong, with a hearing to be held over the coming months. The answers surely don’t take that long to work out.
Omar and Jamal Ikram, 21-year-old brothers, are making lo-fi glitchy dance-pop with the melodic sensibilities of Bollywood music
From Aldershot, Hampshire Recommended if you like 2hollis, the Hellp, Jai Paul Up next New single Wish U out now
You, like me, may be growing tired of the 2020s’ so-called “indie sleaze” revival, which has so far yielded a few good parties and not that much good music. But the music of the Twins – Aldershot-born brothers Omar and Jamal Ikram – is made of sturdier stuff. The 21-year-olds are progenitors of a sound they call “Bollywood electronic” – a strain of loud, lo-fi, ultra-glitchy dance-pop that sounds like 2hollis if his songs were heavy with screwy samples of south Asian pop. Their debut album, last year’s Turmeric, captures the still-potent appeal of Jai Paul’s classic Str8 Outta Mumbai – which fused the lackadaisical sheen of 2010s electronic pop with the shining rhythmic and melodic sensibilities of Bollywood music – and, as is de rigueur for the contemporary era, makes it bolshie and frenetic, taking in the euphoric aggression of early Skrillex and unnerving noise of Aphex Twin.
Turmeric was a minor hit, thanks in part to Fuckersby, a collaboration with on-the-rise British rapper Fakemink, as well as the Twins’ monthly NTS show, also called Turmeric, which turns one this month. (Its combination of classic British pop stars such as Lily Allen, Punjabi artists such as Sukshinder Shinda, and contemporary electronic acts the Hellp and Sophia Stel gives it the feeling of a late-night pirate radio station totally out of time and place.) The duo’s follow-up EP There&Back, released in May, polishes up the Twins’ sound a little, but not that much – if anything, their collaborations with Rada and Varg2TM on There&Back are even louder and wilder than anything on Turmeric. The duo’s future plans aren’t clear, but their mission is: “We don’t want brown kids to feel like they have to fit into anything,” Jamal said in an interview. “People are always gonna try to label what you’re doing, but you don’t have to move like that.” Shaad D’Souza
By standing behind support act Macklemore, who was removed from the tour for his vocal support of Palestine, these artists are demonstrating the self-sacrifice necessary to stand against those crushing free speech
In a statement about Macklemore being dropped from his US stadium tour for making pro-Palestinian comments, Ed Sheeran defended his own publicly apolitical stance: “If we only ever focus on shouting the loudest, nothing will ever change. There are different approaches to being an advocate for change.”
Every other musician involved with the tour – support acts Finneas (Billie Eilish’s brother), Danish band Lukas Graham and Irish songwriter Aaron Rowe, plus Sheeran’s Irish backing band, Beoga – has made their approach to advocating for change clear, pulling out of the remaining dates to protest against the censorship of Macklemore and to express support for the Palestinian people.
After 2025’s wildly lucrative reunion, the Gallagher brothers will tour the UK, Ireland and US, and revisit the Hertfordshire site of their greatest live triumph
Oasis have finally confirmed new tour dates for 2027, including their long-rumoured return to Knebworth for a run of shows 30 years after they played a historic two nights at the Hertfordshire venue in 1996.
“Start the celebrations!”, the band said in a statement. “After a period of reflection, The Most Damaging Pop Cultural Force in Recent British History” – a quote from a Guardian opinion piece about the band – “has declared itself fit for purpose and will once again return to lift the spirits of the people. Come witness the fitness. It shall be a sight to behold.”
Sometime Zach Bryan backing vocalist Heaven Schmitt started Grumpy as a solo project. It’s now a six-piece band, blending alt-country with jubilant solidarity
From Brooklyn, US Recommended if you like Wednesday, This Is Lorelei, Alex G Up next Unfindable Ring released 23 October
“Found family” is something that queer people talk about a lot: finding your people and sticking with them is necessary in a world that often seems to want you quiet at best and dead at worst. Grumpy began as the solo project of frontman Heaven Schmitt, in between stints collaborating and touring with country-pop star Zach Bryan as a backing vocalist. It’s now a six-piece band with predominantly trans members; some of the group have dated or are dating, and they all work collaboratively on recording, producing, mixing, creating artwork and making music videos.
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 LPFollow 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.
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