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Leeds indie band English Teacher win Mercury prize

The band take home the £25,000 prize for their debut album, This Could Be Texas, beating artists including Charli xcx and the Last Dinner Party

‘We were exhausted – mentally unwell’: Empire of the Sun on the downside of success – and rising again

In the eight years since Nick Littlemore and Luke Steele’s last album, there have been hits, clashes, babies and illness – and a new appreciation for one another

Danielle Moore, lead singer with Crazy P, dies aged 52

Band members say she died in ‘sudden and tragic circumstances’ and pay tribute to ‘a life driven by love, compassion, community and music’

Leeds festival review – Lana Del Rey and Liam Gallagher are sublime after the storm

An eclectic line-up – from Lambrini Girls to Fontaines DC and Fred Again – defied Storm Lilian to deliver a fiery, heartfelt festival

Rally festival review – thrilling blend of cult DJs and indie darlings

Mount Kimbie’s electro-acoustic jams capture the ethos of this celebration of the boundary pushing that included sets from Two Shell, Nilüfer Yanya and bar italia

‘You should be partying when you write party music’: pop hedonists Confidence Man on their super-sweaty new album

They want to hurl cash over their audiences, fire lasers, and make pantomime horses sexy. But, the Australian band say, there’s a dark side to their DayGlo dance-pop

All for you! Janet Jackson, Snõõper, Bob Dylan and more: the best music of autumn 2024

From Chat Pile’s apocalyptic noise to Nala Sinephro’s celestial bliss, plus posthumous releases from MC5 and Sophie, here are the albums and tours not to miss – while in classical, Kahchun Wong takes over at the Hallé

Mura Masa: Curve 1 review – relentlessly above par

The Grammy-winning UK producer’s first album on his new label is a masterclass in hardcore dancefloor and bittersweet feeling

Critic’s pick: X Club, the hard and fast DJ duo raving around the world

Since breaking out in the early pandemic, the Brisbane pair have captured dancers globally craving raucous, strobing techno. They’ll leave you breathless

‘Identifying as underrated isn’t healthy’: Tinashe on staging the pop comeback of the year

The raw sexuality of her track Nasty made it a viral sensation, moving the singer out of major label hell. But she says the industry is still toxic and racially segregated

Matt McBriar of Bicep treated for ‘large and pretty rare’ brain tumour

Acclaimed Northern Irish dance music producer says he has had operation on craniopharyngioma tumour and is in recovery

Techno godfather Juan Atkins: ‘There were 5,000 white kids going crazy to my music’

How did a kid from rural Michigan – who lived among cows, haybales and strawberry festivals – change the face of music? As Atkins blazes into the UK, he relives his wild times at early British raves

Hit em: how a dream about raves, graves and slime led Matmos’s Drew Daniel to a new music genre

While Daniel slept, a girl introduced him to ‘super crunched-out sounds’ at a wild tempo. After he shared the details on X, producers are making his fantasies into reality

Womad festival review – wildly entertaining treasure trove for adventurous music fans

Radically inclusive global lineup includes Sampa the Great’s feminist pizzazz, Young Fathers’ twisted genre-splicing and Bixiga 70’s full-tent conga

Mercury prize 2024: Charli xcx, the Last Dinner Party and Beth Gibbons among nominees

The British music industry’s award for outstanding albums features eight debuts, from the likes of Nia Archives and Barry Can’t Swim, as the prize fails to find a sponsor

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← Older posts
Newer posts →
  • LSO/Pappano review – Kendall’s engaging new work has a tea kettle, tremolo and slam-dunks of timpani
  • Sampa the Great: Nu Zamrock review – a full-circle moment for a world-class act
  • Jaguar Jonze: ‘I am more fragile and vulnerable now. But at the same time, I am so much stronger’
  • Carmen review – Costa-Jackson’s smouldering heroine blazes brightly
  • ‘Ceilidh renaissance’ lures gen Z offline in search of real-life joy
  • The week’s best new tracks and the act you need to know: Dutch squat-punks Bombstrap’s uncompromising racket
  • Oh to Believe in Another World review – William Kentridge’s amazing animated ballet of black comic pain
  • Radie Peat: No Human Tongue Can Tell review – Lankum singer’s solo debut is the year’s best folk album
  • Kali Malone: Burning Song review – drone composer wields Bach’s organ to breathtaking effect
  • ‘Ignorance towards immigration is horrible. It’s not British’: Skepta on his long-awaited return – and his anger at the racist right
  • Cuts like a knife: Canadian rocker Bryan Adams trolls Trump with new song
  • Dónal Lunny obituary
  • The Mad Lover review – eccentric charm and baroque brilliance as duo move from Eccles to Indiana Jones
  • ​‘He buckled. I could hear his bass ringing out …’ The luminous rise and tragic end of US alt heroes Morphine
  • Colin Currie Group review – Steve Reich’s music is still bedazzling
  • Britten: Serenade for Tenor, Horn and Strings album review – Wilson explores British music’s highway and byways
  • ‘Algorithms make everything predictable’: why the CD is making a comeback
  • The Big Moon: Forever review – the hell of hearing loss inspires a defiantly hopeful pop-disco marvel
  • Mega mega mega, going back to Romford! How an outer London suburb became a metropolis for 90s dance music
  • Pop prodigy Underscores: ‘I don’t think Gen Z is a loveless generation’
  • Their orchestra is not a sacred object but a tool for struggle – Paris’s musicians join the frontline
  • Stephen Kovacevich – a pianist who risked oblivion to know what it’s like out on the edge
  • ‘I knead the audience, like a baker!’ House music legend Peven Everett on life after cancer and vanquishing the ‘Disco Sucks’ movement
  • ‘Dear Charlie’: letter revealing move to snare future Rolling Stones drummer up for auction
  • Jay-Z is the perfect Super Bowl shill for a league of billionaires
  • Peter Asher: Everywhere Man review – music-biz face from Beatles-buddy pop act to superstar producer
  • The Babydoll phenomenon: how Jamie Miller’s song got the world dancing – and put Wales back on top
  • ‘We did everything wrong!’ The tragedy of the hit-free band behind Blondie’s Hanging on the Telephone
  • LPO/Gardner review – Mark Simpson’s piano concerto leaves its audience panting
  • ‘How on earth is this man not sweating?’ The director who spent 10 years painstakingly remastering Bowie’s ‘greatest filmed performance’

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