The winners of every category at the 2024 Brits, updated as the ceremony progresses
• Brit awards 2024: women dominate as Raye scores record-smashing six wins
• Brit awards 2024: as it happened
Blur – The Ballad of Darren
J Hus – Beautiful and Brutal Yard
Little Simz – No Thank You
Raye – My 21st Century Blues – WINNER!
Young Fathers – Heavy Heavy
Reviewers rave about Greta Gerwig’s ‘funny and smart’ satire, whose all-star cast includes Gosling as Ken alongside Margot Robbie’s Barbie and singer Dua Lipa
Barbie, Greta Gerwig’s ambitious satire in which Margot Robbie’s titular blonde escapes Barbieland to experience the real world, has drawn ecstatic reactions from audiences at an early screening.
Variety’s social media editor Katcy Stephan called the movie “perfection” and added: “Greta Gerwig delivers a nuanced commentary on what it means to be a woman in a whimsical, wonderful and laugh-out-loud funny romp. The entire cast shines, especially Margot Robbie and Ryan Gosling in roles they were clearly born to play.”
Continue reading...The London-born singer of Kosovan-Albanian parents says the way Albanians have been discussed has ‘hurt’
Singer Dua Lipa has criticised the way ministers have discussed migrants as “shortsighted and small-minded”.
Lipa, born in London to Kosovan-Albanian parents, said the way the government has discussed Albanians caused her “hurt” as she called for “more empathy”.
Continue reading...Perhaps longing for a more carefree era, artists such as Lorde, Billie Eilish and Haim are fondly looking back to when S Club 7 and Shania Twain frolicked in low-rise denim
The turn of the millennium is not generally considered a vintage era for mainstream music in the UK. Sandwiched between Britpop and the mid-00s indie revival, it was a period dominated by talent show winners, girl- and boybands, ex-boyband and girlband members, acts with tie-ins to kids’ TV shows, and doleful singer-songwriters such as Dido and David Gray. It was sometimes trite, occasionally rapturous and – Dido and Gray aside – frivolous, family-friendly fun.
It isn’t, in other words, an era you’d expect a pop star on the cultural vanguard to be into. Yet last month Lorde revealed that her forthcoming third album was influenced by what she calls “early 00s bubblegum pop” – in particular, tween-targeted hitmakers S Club 7, Natasha Bedingfield, Natalie Imbruglia, All Saints and Nelly Furtado. She is not alone – the reclamation of late 90s and early 00s mainstream pop by young artists is now fully under way. Many heard shades of S Club in Dua Lipa’s 2020 album Future Nostalgia, and Lipa’s single Don’t Start Now had more than a bit of Spiller and Sophie Ellis Bextor’s 2000 smash Groovejet in its DNA.
Continue reading...2020’s heavily male ceremony reversed with wins for Arlo Parks, Haim and Billie Eilish, as Little Mix become first all-woman winner of British group
Dua Lipa has topped the winners at the 2021 Brit awards, calling for Boris Johnson to approve “a fair pay rise” for frontline NHS staff as she picked up gongs including the top prize of British album for her chart-dominating disco spectacular Future Nostalgia.
She also won female solo artist, bringing her total Brit award tally to five and cementing her position as one of the UK’s most successful and critically acclaimed pop stars.
Continue reading...The Covid-restrained Grammys were a mostly female-fronted affair, with wins for Billie Eilish, Megan Thee Stallion, Dua Lipa, Beyoncé and Taylor Swift
It was a historic, triumphant night for women in music at the 2021 Grammys, as a range of female artists took home the top awards. HER took home song of the year for the Black Lives Matter anthem I Can’t Breathe, Taylor Swift became the first woman to win album of the year three times, and the rapper Megan Thee Stallion won both best new artist and best rap performance for her Savage remix with Beyoncé, now the most awarded singer (male or female) and female artist of all time.
Related: Grammy awards 2021: the full list of winners
Continue reading...Brexit rule changes that make it tricky to tour the EU will hold back UK artists from a fast-growing market
Limiting UK artists from working and touring in the EU post-Brexit will destroy the development of British music, say European industry experts, amid thriving competition from German rap, Spanish pop and more.
British artists now face the need for visas, work permits and equipment carnets when working in the EU, with emerging acts most likely to feel the impact of this costly and time-consuming admin. Over the last month, the UK and the EU have blamed each other for the inability to strike a deal to help the creative industries.
Continue reading...Amid the chaos of the pandemic and with the future so uncertain, the pop music that resonated was glittery, danceable and comfortingly familiar
Pop music has the ability to be more reactive to current events than ever. Advances in technology mean that the famously swift musical responses of rock’s past – Crosby, Stills, Nash & Young’s Ohio, in the US Top 20 within weeks of the Kent State massacre that inspired it; the hastily cobbled-together tributes to Elvis Presley and John Lennon that appeared in the charts in the wake of their deaths – should theoretically look tardy. If an artist is so minded and inspired, they could write, record and release a song that reacts to current events overnight.
In 2020, there was a torrent of reactive tracks released in the wake of the killing of George Floyd and the Black Lives Matter protests: YG’s FTP, Lil’ Baby’s The Bigger Picture, Stevie Wonder’s Can’t Put It in the Hands of Fate, HER’s I Can’t Breathe, the two acclaimed double albums released by the mysterious British collective Sault. Even the Killers reworked their 2019 anti-Trump track Land of the Free to reference Floyd’s death. But if anyone was expecting something similar to happen as a result of Covid-19 – a rash of unexpected new releases ruminating on the strangeness and anxieties of life in a pandemic or sternly admonishing politicians for their mishandling of the crisis – 2020 will have proved a crashing disappointment. They didn’t happen in any quantity, unless you count the well-intentioned but musically ghastly burst of charity singles that proliferated during the spring lockdown, or the equally abysmal anti-lockdown tracks released by Van Morrison and Ian Brown, rock’s own tinfoil-hatted Laurel and Hardy. The music that did appear unexpectedly, from artists keen to put the time on their hands to creative use, largely avoided the subject of the pandemic entirely: Taylor Swift’s Folklore and Evermore, Charli XCX’s How I’m Feeling Now, Paul McCartney’s McCartney III.
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