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Mungo Jerry frontman hopes new anti-piracy tech stops artists losing out

Ray Dorset says band lost £23m in royalties but suggests fingerprinting software could help musicians

‘It’s basically inaccessible without a phone’: are kids losing their love for music?

Children used to obsessively put CDs and 7-inches on repeat, but streaming means they need digital devices and parental permission to play music. And there’s little being done to help

Diva Cups: the 10 funniest things I have ever seen (on the internet)

The pop DJ duo are old enough to have Omegle trauma but young enough to have brain rot. It’s a winning combination

On my radar: Andrew O’Hagan’s cultural highlights

The novelist on a comedic TikTok sensation, the importance of a good suit and his favourite educational app

Everyone Knows That: internet music mystery solved via 1986 adult movie

The search for song that has consumed thousands of Reddit users is over, with discovery that it was written for pornographic film

Bait, ting, certi: how UK rap changed the language of the nation

Fuelled by music fandom and social media, young British people’s slang is evolving to include words with pidgin, patois and Arabic roots – even where strong regional English dialects exist

Billie Eilish, Nicki Minaj, Stevie Wonder and more musicians demand protection against AI

Letter signed by more than 200 artists makes broad ask that tech firms pledge to not develop AI tools to replace human creatives

James Blake’s music subscription model is a fantasy that disadvantages fans and musicians

With unrealistic costs, the inability to share music and the pressure of consumer expectations, the producer’s collaboration with Vault doesn’t add up, writes Tom Vek

Danish man found guilty of fraudulently profiting from music streaming royalties

Unnamed 53-year-old made at least £230,000 from artificially generated plays of hundreds of tracks

Swedish composer becomes Spotify’s most-famous musician you’ve never heard of

Johan Röhr’s 2,700 songs have been streamed 15bn times and have more plays than Britney Spears or Abba

‘Where honour and ridiculousness collide’: in praise of karaoke’s inventor, on his death at 100

Shigeichi Negishi’s invention invites us to cast off humility and take a shot at singing stardom. His legacy will be credited – and blamed – for us living out our popstar fantasies

‘There’s joy I haven’t felt for years!’ How an app finally got me hooked on the piano

Thirty years after failing his grade two exam, our writer is banging out Handel, Billie Eilish and Elton John - and he’s not alone. With apps to help with learning, there’s never been a better time to tinkle the ivories

Neil Young to return music to Spotify as he attacks ‘disinformation’ across streaming services

Rock star left Spotify in 2022 in protest over podcaster Joe Rogan, but says he can’t keep up fight as Rogan broadens distribution to Apple, YouTube and Amazon

‘The worst AI-generated artwork we’ve seen’: Queensland Symphony Orchestra’s Facebook ad fail

A ‘poorly considered’ use of AI has resulted in a perplexing number of fingers – and a large amount of mockery

The music industry’s over-reliance on TikTok shows how lazy it has become

​Universal’s decision to remove its artists from ​T​ikTok ​h​as destabilised both companies – and lays bare how record labels have become reliant on random virality

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← Older posts
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  • 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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