My rock’n’roll friendship with Lindy Morrison

She was in the Go-Betweens, Tracey Thorn was in the Marine Girls, their 30-year friendship enhanced both their lives

On 31 March 1983, she burst into my dressing room, asking at the top of her voice, “Has anyone here got a lipstick I can borrow?” I looked up to see a tall woman in a Lurex dress, with a mass of blonde hair. Our two bands, Marine Girls and the Go-Betweens, were on the same bill at the Lyceum in London. I was 20, and she was 31. I was a tentative singer, she was a loud, outspoken drummer. I was from suburbia, she was from Brisbane, Australia. And I was still a student, while she had already been a social worker, then joined a feminist punk band called Xero. She’d hitchhiked across Europe with a girlfriend, she’d seen every art film, read every avant-garde book. She’d slept at Shakespeare and Co in Paris, she’d swum with Roger Moore, she could recite Kate Millett’s Sexual Politics. But I didn’t know any of this. I just knew that she looked like self-belief in a minidress, and that she had arrived in my life. “Who was that?” I asked when she had gone. “That,” came the reply, “was Lindy Morrison.”

It took a couple of years for us to become friends. We were opposites in many ways, and at different stages of life, but there were similarities: we both lived with the boyfriend we were in a band with; we had strong opinions about everything – feminism, love and art; we liked Marilyn Monroe, Bette Davis, Patti Smith, Simone de Beauvoir, and we had no time for a lot of the men who surrounded us in the music business. I’d watch her on stage, fierce and sweating behind the drum kit, long hair flying in her face, all energy, all concentration, and I was proud to be her friend.

Continue reading...

Maker of Lil Nas X ‘Satan shoes’ blocked by Nike insists they are works of art

  • MSCHF cannot sell 666 pairs of controversial sneakers
  • ‘Conceptual art collective’ bemoans legal reverse

The maker of the rapper Lil Nas X’s controversial “Satan shoes” responded to a lawsuit from Nike by claiming the sneakers were works of art.

Related: Satan shoes? Sure. But Lil Nas X is not leading American kids to devil-worship | Akin Olla

Continue reading...

Sir Tom Jones: ‘The knicker throwing started in the Copacabana in New York in 1968’

The singer, 80, on enthusiastic audiences, singing Sex Bomb at 90, meeting a young Michael Jackson and losing the love of his life

I’ve been singing since I was a kid growing up in Pontypridd in South Wales. I would sing in school. I would sing in chapel. Any chance I got to get up and sing, I took it.

I was quarantined for two years with tuberculosis. I was in hospital or confined to my house from 1952 to 1954, from the age of 12 to 14. There was an old gas lamp-post at the end of the street I could see out of the window from our house where the local kids used to gather. I used to think, “When I can walk to the lamp-post again, I’ll never complain about anything as long as I live.” I still see that lamp-post in my mind and think, “What am I complaining about?”

Continue reading...

The eggs factor: Belgian pop star finds fame again from rural Irish exile

Philippe Robrecht was living the quiet life with his wife and hens when stardom came calling back

Something odd happened to Philippe Robrecht while hunkered down in lockdown on Inishbofin, a tiny island with just 170 inhabitants off Ireland’s Atlantic coast: he became, again, a pop star.

The 55-year-old musician and singer had not made an album in almost a decade and was all but forgotten in his native Belgium when the Covid-19 pandemic reached Ireland last year.

Continue reading...

Phil Elverum’s songs of loss gave me a language for that shapeshifter, grief

After my first boyfriend died, Elverum’s Microphones and Mount Eerie helped me make sense of a bleak world

I first encountered the music of Phil Elverum in August 2010, a month after the death of my first boyfriend. That summer I spent hours sitting numbly in the park with my headphones on, listening to Elverum describe a landscape without colour or movement: “no black or white, no change in the light, no night, no golden sun”. That dissonance between internal and external worlds made sense to me as I watched children play and rollerbladers pass by in the sunshine as if everything was normal.

I listened over and over again to his album The Glow Pt 2, released in 2001 under the name the Microphones, trying to make sense of the previous six months. I met Marc in my first year at university: a pretty, hyperactive French boy who shimmered into my life at a club night in Birmingham. I fell in love with his perfect sweep of sandy blond hair, the way he played piano with the exaggerated melodrama of his beloved symphonic metal and video game soundtracks and his habit of wrapping a USB cable around his neck like a protective amulet.

Continue reading...

Julian Lloyd Webber: The rich world of African classical music

Musician Rebeca Omordia has spent years unearthing the classical music of a whole continent, culminating in the hugely successful African Concert Series

While the Wigmore Hall has rightly garnered plaudits for keeping classical music alive during lockdown, another pioneering concert series has also beaten the odds with its series of online live events.

The African Concert Series is the brainchild of my former duo partner, the pianist Rebeca Omordia. She has half-Romanian, half-Nigerian heritage. But while we would often discuss world-renowned Romanian classical musicians such as composer Georges Enescu, pianist Dinu Lipatti and conductor Sergiu Celibidache, when it came to Nigerian classical composers, we drew a blank. “There aren’t any,” said Rebeca. I told her there must be, and challenged her to find them. This was back in 2013, and her subsequent research has uncovered more than 200 composers of African art music, Nigerians among them.

Continue reading...

‘A lot of noise, a lot of joy’: Sydney sea shanty club singers raise the roof in raucous reunion

Redfern bar shakes like the hull of a ship as devoted community comes back together after year apart

Over the past year, various members of the Redfern Shanty Club found different ways to cope. Robert Boddington, with his thespian’s voice and easy stage patter, gathered a few friends and tried to sing in public places, “just turning up in the dead of night and quietly singing away”. Robin Howard says he got “the shakes”. Emma Norton, a train driver with a soaring Celtic voice, says: “I sang to myself a lot, I guess.”

On Monday night, as restrictions in Sydney were almost completely lifted – with relaxed caps on capacity in bars, and no limits on singing – this devoted and joyous community finally returned to their favourite weekly ritual.

Continue reading...

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”.

Continue reading...

Marti Pellow on success, songwriting and sobriety: ‘Every day I punch addiction in the face!’

With Wet Wet Wet, Pellow was one of the biggest-selling musicians of the 90s. But heroin and alcohol soon became a problem. He talks about heroes, love and conquering his demons

Marti Pellow remembers his introduction to booze clearly. He was a young boy, about 11, and he sneaked a can of beer from his father. “I knew as soon as I had my first drink that it made me feel different,” he says. “I had a fuzzy feeling in my stomach. I liked the rush of that. It made me feel light.” By the time he was 12, he would go to dances with his friends and alcohol would give him dutch courage. “I’d ask an adult to buy me a couple of cans of lager. It gave me a wee bit more confidence to ask a girl to dance; it made me feel larger than life.”

Pellow went on to become the frontman of Wet Wet Wet, the blue-eyed soul band whose version of Love Is All Around, as featured in Four Weddings and a Funeral, topped the charts for 15 weeks and is still the UK’s biggest-selling love song. By the time he left Wet Wet Wet for the first time in 1998, three of their five studio albums had topped the UK charts (with the others peaking at No 2) and they had had 26 Top 40 hits. By then, he had also developed a dual addiction to alcohol and heroin that could easily have done for him. It did pretty much do for him, as far as the band was concerned. Sure, he rejoined in 2003, and they spent another 14 years together, but they never enjoyed the same success again.

Continue reading...

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.

Continue reading...

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

Continue reading...

5,000 attend rock concert in Barcelona after Covid screening

Performance at Palau Sant Jordi concert hall in Barcelona on Saturday night recalls pre-pandemic times

If one overlooked the white face masks dotting the tightly packed crowd of music lovers, it was almost like pre-pandemic times in Barcelona’s Palau Sant Jordi concert hall Saturday night.

Five thousand rock fans enjoyed a real-as-can-be concert after passing a same-day coronavirus screening to test its effectiveness in preventing outbreaks of the virus at large cultural events.

Continue reading...

And the brand played on: Bob Dylan at 80

With a slew of books to mark the songwriter’s birthday due, we look at the industry that has grown up around the man who forced academia to take pop seriously

  • Scroll down for Q&As with the authors of four new Dylan books

“It’s gonna take a hundred years before they understand me!” Bob Dylan once claimed, “they” being the cohorts of fans, critics and Dylanologists who have dogged his tracks ever since Robert Zimmerman, chippy teen of Hibbing, Minnesota, became Bob Dylan, world-famous singer, songwriter, and pop’s most enduring enigma.

“That’s exactly the quote James Joyce made about Ulysses,” points out Sean Latham, professor of English at the University of Tulsa and head of the institute for Bob Dylan Studies recently established there. “Joyce said, ‘I put so many puzzles and enigmas in Ulysses it will take the scholars 100 years to solve them’.”

Continue reading...

Demi Lovato is dancing with the devil on behalf of women everywhere | Rebecca Nicholson

The singer’s brutally frank documentary about the perils of addiction is an exhortation to those under stress to seek help

When the pop star Demi Lovato explains that she wants “to set the record straight about what it was that happened”, in her new documentary Dancing with the Devil, she is not messing around. The first two parts of the film, which were released on YouTube last week, tell the story of Lovato’s relapse into drug use and her near-fatal overdose in 2018. This is the era of selfies, of course, with everything documented and preserved, but a selfie captioned “Demi on crack for the first time” shocked me. This is a brutally frank account of her troubles, with seemingly nothing left out. If anyone remains in doubt that fame is a grim pact for most, and particularly for young women, then this puts the case to the jury, again and again.

Dancing with the Devil was the third documentary I had seen in the last month about a famous woman under unimaginable pressure, in unimaginable pain. I watched Framing Britney Spears and saw a charismatic pop star churned up by the spotlight, hounded wherever she went, cracking under the weight of it all. With heavy heart, I watched the difficult, moving Channel 4 film about Caroline Flack, made with the participation of her brave family. It was announced recently that Brittany Murphy, the Clueless star who died at the age of 32 in 2009, will be the subject of a new two-part documentary that promises to “cut through the tabloid noise” and “[craft] a grounded account of Brittany Murphy’s life struggles”.

Continue reading...

‘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.

Continue reading...

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”.

Continue reading...

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

Continue reading...

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.

Continue reading...

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!’”

Continue reading...