Karol G: ‘Why should I limit how I express myself because I’m a woman?’

The vastly popular Colombian singer is challenging outdated views of women in Latin pop – but her naive racial politics have sparked controversy

I catch Colombian singer Karol G in a rare moment of calm, while she is in a car on her way to a hotel. She has just landed in New York to film a music video, but home is Miami, she clarifies, the engine humming in the background. “I love it there because there are so many Latinos!”

Born Carolina Giraldo Navarro in Medellín, Karol G, 30, is one of Latin America’s biggest pop stars, an expressive performer who uses beautiful hooks for lyrics that explore female desire and sexual agency – a rarity in the male-dominated Latin music scene, where, she says, women have historically been treated like “products”.

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The Royal Albert Hall at 150: ‘It’s the Holy Grail for musicians’

It’s hosted opera greats, suffragette rallies, Hitchcock films, sports events, sci-fi conventions – and, of course, the Proms and countless rock gigs. Artists from Led Zeppelin to Abba recall their moments on the hallowed stage

The Royal Albert Hall is 150 years old today (and the Guardian was there to see it opened by Queen Victoria). With a design based on a Roman amphitheatre, stacked balconies pack the audience close to the action – and at a capacity touching 6,000, the number of visitors entertained at the London venue runs to many millions. But what is it like to play as a performer? We asked artists and sportspeople for their memories of being centre stage at the iconic venue.

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Tina review – celebration of a singer who is simply the best

Made with the full cooperation of its 81-year-old subject, this one-off about the astonishing life of Tina Turner is not a gritty documentary, but rather a loving swan song

Sky Documentaries’ two-hour film Tina, a retrospective on the now 81-year-old Tina Turner’s career is stuffed full of footage of her performances over the years. Black and white film of Anna Mae Bullock (as she was then) in the late 50s singing with Ike Turner’s Kings of Rhythm. Then on into the 60s, after he had realised what an asset he had on his hands and married the singer thus known as Tina Turner. Then flowering in the late 60s and early 70s, as the duo rose to greater and greater fame thanks to the Grammy-winning Proud Mary and the multimillion-selling hits River Deep – Mountain High and Nutbush City Limits.

Then come the 80s, when she made an astonishing comeback and dominated every stage she set foot on as a solo performer. And on into the 90s and the new millennium – including performing at the Grammys with Beyoncé and a 50th anniversary tour in 2008 – until she chose to step back. Apart, that is, from a second memoir, a Grammy lifetime achievement award, a musical about her life and a remix of What’s Love Got to Do With It that made her the first artist to have a top 40 hit in seven consecutive decades in the UK

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‘So much pressure to look a certain way’: why eating disorders are rife in pop music

A documentary series about Demi Lovato shows how brutally controlled the singer’s diet once was, and, as other pop performers attest, it’s control that underpins damaging behaviour

For eight years of her life, Demi Lovato was served a watermelon cake for her birthday. This wasn’t a watermelon-flavoured version of a proper cake with all the good stuff like butter, sugar and flour, but rather an actual watermelon with some icing on top.

The reason for this was that her team at the time were “trying to keep her weight down”, according to Lovato’s best friend Matthew Scott Montgomery, who is interviewed as part of Demi Lovato: Dancing With the Devil, the YouTube documentary series premiering this week. Her team would police what she ate, he says, and those she was with were also required to eat only when Lovato ate, with no snacking outside of meals, in an attempt to “keep her well” and avoid triggering a relapse into the restrictive eating disorders she struggled with as a teenager.

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System of a Down’s Serj Tankian: ‘If something is true, it should be said’

System of a Down’s political activism helped change the course of Armenian history. But – facing censorship, assassination threats and a divided band – at what price for its frontman?

Of all the nights Serj Tankian has stood on stage surveying a crowd of 50,000 faces roaring his own words back at him, there is one that the System of a Down frontman will never forget. On 23 April 2015, the metal band gave a two-and-half hour, 37-song set to a rapturous audience in Republic Square, in the heart of the Armenian capital Yerevan. For a band formed in the diaspora community of Los Angeles’ Little Armenia in 1994, the occasion could not have been more significant: they had been invited to perform in the country for the first time as part of events marking the centenary of the Armenian genocide, in which an estimated 1.5 million Armenians were killed between 1915 and 1922. “The overwhelming feeling was of belonging,” says Tankian, 53, speaking from his airy home studio in Los Angeles. “It felt like we were created 21 years earlier so we could be there that night.”

For Tankian, whose outspoken political activism often animates his songwriting, seeking international recognition of the Armenian genocide has been a lifelong and personal campaign. On stage that night in Yerevan he told the story of his grandfather Stepan Haytayan, who was just five years old when he saw his father murdered in the atrocities; he later went blind from hunger. Between songs, Tankian railed against Barack Obama’s resistance to using the term “genocide” to describe the atrocities after taking office, before turning his ire on Armenia’s authoritarian president, Serzh Sargsyan. “We’ve come a long way, Armenia, but there’s still a lot of fucking work to do,” Tankian told the audience, before calling out the “institutional injustice” of Sargsyan’s administration and demanding the introduction of an “egalitarian civil society”.

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Serpentwithfeet: ‘Nobody can take my joy. Not the government, not a random white person’

With his new album, Deacon, the US singer-songwriter has finally left heartbreak and anger behind. It’s been a journey

Across the long stretch of the pandemic, with formal face-to-face interviews replaced by cosy conversations over phones and laptops, we have become used to images of kitchens, living rooms and carefully selected bookshelves. For today’s conversation, though, singer-songwriter Serpentwithfeet has offered up a far more novel setting in the current locked-down climate: an airport. After struggling to connect, he appears, most of his face covered with a mask, his neck tattoos just visible through the compressed video image. “Can you hear me?” he asks, before a disembodied voice interrupts to announce that a flight is now boarding.

Related: The Guide: Staying In – sign up for our home entertainment tips

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Waiting for a Star to Fall: Boy Meets Girl on how they made a pop classic

‘We were at a Whitney Houston concert in LA. I glanced up and saw a shooting star. It felt like a sign from the heavens’

We’d written How Will I Know and I Wanna Dance With Somebody (Who Loves Me) for Whitney Houston, so were given tickets when she played the Greek Theatre in Los Angeles on her first tour in 1986. After she sang How Will I Know, I glanced up and there was a shooting star in the night sky above the amphitheatre. I pulled out my notebook and wrote down: “Waiting for a star to fall.” It felt like a sign from the heavens.

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Neuroscience, the cosmos and trees: going deep with composer Hannah Peel

From praise from Paul McCartney to writing music for Game of Thrones, the musician has had an extraordinary career so far. She discusses her next step - an album embracing the natural world through electronica

Paul McCartney knew Hannah Peel’s talent before the world did. He hands out pin-badges at every degree ceremony at Liverpool’s Institute for Performing Arts, which he co-founded, and where Peel studied music. In 2007, her graduation year, she’d been chosen to compose something to accompany each student walking on stage.

Peel had been advised to do a fanfare of trumpets, but refused; she wrote a minimalist miniature for vibraphone and marimba instead. “My principal hated it,” she says, laughing down the Zoom line. “But when I crossed the stage and shook Paul McCartney’s hand, he whispered in my ear, ‘I really like your music. Well done!’”

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‘It’s the way she owns her body’: how Megan Thee Stallion rode to Grammys glory

Last week’s triple triumph capped the glorious rise of a rapper who has inspired a generation of women with her confidence and sublime talent

In 2014, a then-unknown Megan Thee Stallion tweeted: “I need a team [because] I promise this rap shit gone take off for me.”

That promise has been fulfilled in quite spectacular fashion. The 26-year-old, born Megan Jovon Ruth Pete, is now one of the world’s most famous and respected rap stars, with her three Grammy awards at last weekend’s ceremony marking the peak of her career thus far.

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Beyoncé’s 30 greatest songs – ranked!

After she became the most awarded woman in Grammys history this week, we attempt to whittle down the best of her wildly varied and brilliant catalogue

As far removed as you can get from the innovations of the Beyoncé album or Lemonade, The Closer I Get to You is a slick cover of a 1977 Roberta Flack-Donny Hathaway duet, with Luther Vandross filling the Hathaway role. It’s lovely: a great song, beautifully sung, with Beyoncé admirably uncowed by the presence of a soul titan.

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Why bands are disappearing: ‘Young people aren’t excited by them’

Maroon 5’s Adam Levine was scoffed at for suggesting there ‘aren’t any bands any more’ – but if you look at the numbers, he’s right. Wolf Alice, Maximo Park and industry insiders ask why

“The moment that we started a band was the best thing that ever happened,” sings Matty Healy on the 1975’s recent single Guys. The song is an ardent love letter to the band, and to the romance of bands in general: the camaraderie, the solidarity, the joyous fusion of creativity and friendship. It’s an old sentiment but an increasingly rare one.

“It’s funny, when the first Maroon 5 album came out [in 2002] there were still other bands,” the band’s frontman Adam Levine told Apple Music’s Zane Lowe this month. “I feel like there aren’t any bands any more … I feel like they’re a dying breed.” Levine was quick to clarify that he meant bands “in the pop limelight” but the internet doesn’t really do clarification, so his remarks sparked bemusement and outrage among the literal-minded, from aggrieved veterans such as Garbage (“What are we Adam Levine? CATS?!?!?”) to fans of newcomers such as Fontaines DC and Big Thief.

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The Grammys’ diverse winner list isn’t box-ticking – these are terrific artists | Alexis Petridis

While questions rightly remain over its shadowy nominations process, Grammy voters should be praised for honouring a large number of women and people of colour

The Grammys always attract a degree of controversy. This year, there was singer Teyana Taylor protesting that “all I see is dick” in the all-male nominations for best R&B album, and a slightly peculiar statement from Justin Bieber, asking to be considered an R&B artist rather than a pop singer. More headlines were grabbed by the Weeknd, understandably shocked that his double-platinum album After Hours, and its accompanying single Blinding Lights – a song so omnipresent that it recently celebrated an entire year in the US Top 10 – didn’t receive a single nomination: he subsequently announced he would stop his label submitting his music in future. The latter’s complaint revolved around a lack of transparency in the voting process: the presence of nomination committees that retain executive power over who makes the shortlists and who hold the ability to add artists who have received no nominations in many of the Grammys’ categories.

The argument about transparency isn’t going to go away – if your voting process involves a shadowy and apparently unanswerable cabal who exert control over the nominations, you should probably expect people to look askance at it – but, the absence of the Weeknd aside, the actual winners in the Grammys’ big categories brooked little argument.

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Gurrumul, Omar Souleyman, 9Bach and DakhaBrakha: the best global artists the Grammys forgot

From the Godfathers of Arabic rap to the father of Ethio-jazz, Grammy-winning producer Ian Brennan guides a tour through global music’s greatest

This week I wrote about the glaring lack of international inclusivity in the Grammys’ newly redubbed global music (formerly world music) category.

In the category’s 38-year history, almost 80% of African nations have never had an artist nominated; no Middle Eastern or eastern European musician has ever won; every winner in the past eight years has been a repeat winner; and nearly two-thirds of the nominations have come from just six countries (the US, the UK, Brazil, Mali, South Africa, India). The situation shows little signs of improving.

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Sean Paul’s teenage obsessions: ‘My Coventry grandmother cooked me bubble and squeak’

Ahead of two new albums this spring, the dancehall superstar recalls the poignancy of his first love, and how water polo took his mind off his imprisoned father

When I turned 13 my father had just gone to prison, so without a father figure I looked for heroes in music and sports. Both my parents had been champion swimmers and when I was four or five they would throw me in the water when other kids didn’t want to swim. From the age of 13 to 21 I represented Jamaica in water polo, which my father had played. We trained a lot: 5,000 metres a day, 7,000 to 9,000 metres on Thursdays. It consumed my life but in a good way. It took my mind off my father being in prison.

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St Vincent: ‘I’d been feral for so long. I was sort of in outer space’

Inspired by her father’s release from prison, Annie Clark’s new album asks where to run when ‘the outlaw’s inside you’. She discusses his incarceration, the delusions of love – and why she remains as perverse as ever

The cover of St Vincent’s 2011 album, Strange Mercy, depicts an open mouth and teeth shrink-wrapped in white latex. It provoked much fascination. Was it Annie Clark’s mouth? She wouldn’t say. One song involved a pearl-handled whip, wielded for pain over pleasure; others negotiated submission and debasement. Perhaps it was a BDSM thing?

The startled questions showed the overnight evolution of Clark’s image from the “asexual Pollyanna” (her words) of her first two records. Over the following decade, she restyled herself as a white-haired “near-future cult leader” and then a “dominatrix at the mental institution”. She transcended her indie-rock origins to work with David Byrne, Taylor Swift and Dua Lipa, date the model Cara Delevingne and front Tiffany campaigns. Confounding such a journey into celebrity, her pyrotechnic pop got stranger and stronger.

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Bunny Wailer, last surviving founder member of the Wailers, dies aged 73

Reggae artist and three-time Grammy winner found worldwide fame alongside Bob Marley in the early 1970s

Bunny Wailer, the co-founder and last living member of Jamaican reggae group the Wailers, who took Bob Marley to global stardom, has died aged 73.

His manager Maxine Stowe confirmed his death to the Jamaica Observer. Wailer had been frequently hospitalised since suffering a stroke in July 2020.

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Gabrielle: how we made Dreams

‘I was singing Luther Vandross covers in a club and a woman said: “This is as good as it’s going to get for you.” I went home and wrote Dreams’

When I was 12, I got up in the school canteen and sang a song I’d written called Teenage Love. A few years later, as I left school, everyone went: “Hope we you see on Top of the Pops, ha ha!” As if that would ever happen. A woman wasn’t allowed to look imperfect on TV, and I had a lazy eyelid. People would say: “Stop winking at me.” Singers on Top of the Pops all had long hair and beautiful clothing. I didn’t. I’d sing in my brother’s suits because I didn’t have the figure or the clothing.

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Daft Punk were the most influential pop musicians of the 21st century

By resurrecting disco, soft rock and 80s R&B, and bringing spectacle to the world of dance music, the French duo changed the course of pop music again and again

It’s hard to think of an act who had a greater impact on the way 21st-century pop music sounds than Daft Punk. The style Thomas Bangalter and Guy-Manuel de Homem-Christo minted on their 1997 debut album Homework – house music heavy on the filter effect, which involved the bass or treble on the track gradually fading in and out, mimicking a DJ playing with the equalisation on a mixer; drums treated with sidechain compression, so that the beats appeared to punch through the sound, causing everything else on the track to momentarily recede – is now part of pop’s lingua franca.

In fact, no sooner had Homework come out than other artists started to copy it. Within a couple of years, Madonna had hooked up with another French dance producer, Mirwais, employed to add a distinctly Daft Punk-ish sheen to her 2000 album Music, and the charts were playing host to a succession of soundalike house tracks – 2 People by Jean Jacques Smoothie, who turned out to be a bloke from Gloucester called Steve; Phats and Small’s ubiquitous Turn Around; and No 1 singles, Modjo’s Lady and Eric Prydz’s Call on Me among them.

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Katy Perry found me my first friends – they were online, and in Brasil

Finding devotees on the other side of the world let me escape from school, though my misbegotten responsibility soon became too much like hard work

Raising a child is always a burden – though not all mums are terrorised by their pre-schooler’s obsession with the video for Hung Up by Madonna. I will never forget my mother’s exasperation as the song popped up again and again on MTV: the sound of a clock counting down to reveal Abba arpeggios recast in a nu-disco reverie. I was a four-year-old boy thrashing around on the living room floor, mimicking Madge’s arm rolls and hip thrusts. An undignified spectacle? Perhaps, but one my mother invited as she allowed me to steep in the music TV of the mid-2000s.

As I grew into an awkward, introverted child, that parade of fleeting images and sounds became tangible. All the divas, once interchangeable vessels for catchy tunes, came to life. Kylie Minogue, Kanye West or Rihanna: each was their own glitzy, magnetic brand and accompanying legion. I figured I had to enlist in a pop army as well: the burgeoning, cartoony Katy Perry seemed like a sure bet. While the faux-sapphist I Kissed a Girl had failed to evangelise me, the dance-pop froth of California Gurls engulfed my summer of 2010. The pirated MP3 file (thanks, Dad) fed my curiosity about the forthcoming Teenage Dream, the first album I would experience in real time.

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On my radar: Brett Anderson’s cultural highlights

The Suede frontman on his latest musical discoveries, the brilliance of Michael Clark and the enduring appeal of mudlarking by the Thames

Born in Sussex in 1967, Brett Anderson founded alternative rock band Suede in 1989 with then-girlfriend Justine Frischmann and childhood friend Mat Osman. Billed by Melody Maker as “the best new band in Britain”, Suede released five albums including their self-titled debut and Coming Up, before disbanding in 2003. Anderson went on to front the Tears and release four solo albums. In 2010 Suede reformed and released a further three albums, the latest of which is 2018’s The Blue Hour. Anderson will perform with Charles Hazlewood and Paraorchestra as part of the Gŵyl 2021 festival, 6-7 March.

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