Platinum pop-punks the Offspring: ‘We’re outcasts among outcasts’

They scored a UK No 1 single and the biggest-selling independent album ever. Thirty-seven years into their career, the California band ponder middle-aged sex – and being denied respect

“It’s very fashionable now to say, ‘When we were young, we didn’t fit in,’” says Dexter Holland, frontman for multi-platinum punk-rockers the Offspring, Zooming from the band’s plush Orange County recording studio. “But it really was true for us in high school, where everything was about looks, athleticism and popularity. I mean, look at us!”

Kevin “Noodles” Wasserman, guitarist and Holland’s long-standing foil, leans in and taps his milk bottle-lensed specs. “And you should have seen me back when I had braces and headgear,” he grins.

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Rockin’ in the free world? Inside the rightwing takeover of protest music

It’s easy to laugh at hardcore patriots misunderstanding Bruce Springsteen’s Born in the USA, but such appropriation is increasingly widespread – and dangerously twisting the truth

“Did you know that Born in the USA is actually an anti-Vietnam war anthem?” Since Donald Trump embraced the 1984 Bruce Springsteen song during rallies, the lyrics have prompted so much explanation it now borders on cliche. Yet it’s no less unsettling for it, becoming a prime example of a startlingly widespread trend for the right wing to co-opt music about struggle and progress.

President Ronald Reagan made the first attempt to gloss over the context of the song’s ironically upbeat chorus after the release of the Born in the USA album. Reagan name-checked Springsteen during a New Jersey rally in an attempt to connect the musician to a “message of hope” for America. Springsteen’s opposition to its use didn’t affect the fervour for the song from Trump and his supporters. As Barack Obama noted in an episode of his podcast series with Springsteen this month: “It ended up being appropriated as this iconic, patriotic song. Even though that was not necessarily your intention.”

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Greta Van Fleet on critics: ‘They’re pissed off that we’re doing something’

The Grammy award-winning rock band have received commercial success yet critics haven’t been quite as receptive – can their new album change that?

Talk to Josh Kiszka, lead singer of the band Greta Van Fleet, about his time growing up in a small town in the American midwest and you’d think he was describing the life of Huckleberry Finn. “We were outside most of the time, building rafts and taking them down the river,” the 24-year-old told the Guardian. “There wasn’t a lot of television in the house. And when all the other kids wanted cellphones, I fought that. I preferred to take a hike.”

Kiszka’s parents strongly encouraged him and his two brothers in that pursuit. “My mother even took the clocks off the wall at one point,” he said. “They were the opposite of helicopter parents. They taught us to do things independently.”

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Moby on fame and regret: ‘I was an out-of-control, utterly entitled drink and drug addict’

He declared his intention to go away for a while after pointed criticism of his second memoir. But now the musician is back with a new album - and a visceral documentary

Moby is considering the question he is often asked in interviews: “Do I think I’ve been treated unfairly?” muses the 55-year-old musician, who, let’s face it, is hardly a stranger to terrible press. “Honestly, I don’t think I have been. I’m sure there are times when I’ve been portrayed badly and it was accurate. And even with some of the bad stuff I’ve been through, I don’t have any right to complain. When you look at the 8 billion people on the planet, a reasonably affluent caucasian cis-gendered male public figure musician is not necessarily the first person you think of as having valid criticisms about how they’re being treated.”

Moby is upbeat today – “I can’t think of many things to complain about besides baldness and mortality” – which is perhaps surprising given that the last time he was in the public eye, it involved rather a lot of the aforementioned terrible press. To summarise: in among the shocking confessions, rampant addiction and grotty sex of his second memoir, 2019’s Then It Fell Apart, was the claim that the “beautiful actress” Natalie Portman had asked him out when she was 20, at which point he would have been in his mid-30s.

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Taylor Swift: Fearless (Taylor’s Version) review – a labour of revenge, but also of love

(Republic)
Painstakingly re-recording her breakthrough 2008 album to hit back at her music business enemies proves a fruitful endeavour for the songwriter

Since about 2018, Taylor Swift has been at the centre of arguably the most riveting contract dispute in music business history since Prince wrote “slave” on his cheek. It has been a conflict fought in public, in detail. No precis does the nuances justice, but the crux of Swift’s unhappiness is that the rights to her first six albums were sold out from under her nose when her former label, Big Machine, was acquired by a man she regards as an enemy: Scooter Braun.

Braun is Justin Bieber’s manager; more pertinently, he also managed the rapper Kanye West at a time when West was tormenting Swift – another vexed tale wrapped around this one in a double helix. The antagonism between Swift and West began when he interrupted her acceptance speech for best female video at the VMAs in 2009. The video in question was You Belong With Me – a hit from Swift’s hugely successful 2008 album Fearless. That album has now been totally re-recorded by Swift and was released on Friday.

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DMX’s powerful work confronted an American hell of trauma and poverty

The rapper, who has died aged 50, parlayed his life’s difficulties into thrilling, combative, witheringly witty music

Listening to a DMX song from the late 1990s is like riding a wrecking ball through a gated community. The music video for Stop Being Greedy – one of many confrontational highlights from the rapper’s 1998 Def Jam debut, It’s Dark And Hell Is Hot – shows DMX hunting a wealthy white man across a mansion, before eventually feeding the poor soul like a T-bone steak to his pet pitbull; the rapper’s exhilarating, half-barked vocals gave the sense that he wanted to eat the rich.

It’s a song about the poor feeling so ignored that they have no choice but to confront the ruling classes (“Ribs is touching, so don’t make me wait / Fuck around and I’m gon’ bite you and snatch the plate”) and violently rip up their rules, and its message reflected an urge by DMX – who died on Friday at the age of 50 – to liberate a hip-hop culture that by 1998 had become too preoccupied with shiny suits in tacky music videos filmed inside a blingy Rubik’s Cube.

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US rapper DMX dies aged 50 following heart attack

Multi-platinum rapper, celebrated for raw storytelling, was first artist to top US charts with first five albums

DMX, the New York rapper whose gruff tone electrified the US music scene in the late 1990s, has died aged 50.

The star, whose real name was Earl Simmons, was hospitalised after a heart attack on 2 April, and had been placed in a critical care unit at White Plains hospital, New York. His family had organised a prayer vigil outside, which took place on Monday.

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DMX obituary

Rap star and actor who embodied the edgy and lawless life depicted in his work

The first rapper to have his first five albums go straight to the top of the US chart, DMX, who has died aged 50 following a heart attack, established himself as the premier exponent of hardcore rap in the aftermath of the violent deaths of the Notorious BIG and Tupac Shakur. He announced himself with his multi-platinum-selling debut album It’s Dark and Hell Is Hot (1998), a stormy survey of greed, violence, crime and betrayal, which also displayed his gift for blending light and heavy textures behind an intense, menacing presence at the microphone.

Before the end of that year DMX had released his second blockbuster, Flesh of My Flesh, Blood of My Blood, another huge seller. He was suddenly the new king of Planet Rap, yet when the 1999 Grammy award nominations came around he was nowhere to be seen. This omission prompted the rap superstar Jay-Z (who would win the best rap album Grammy that year) to boycott the awards ceremony “because too many major rap artists continue to be overlooked”, as he put it. “Rappers deserve more attention from the Grammy committee and from the whole world.”

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Fat White Family: ‘I can drop acid at 11am and cook a family dinner by 4pm’

Magic mushrooms and gigs in toilets – the creation of a new album for the raucous band is far from ordinary, as a new film shows

“I’ve never been so fucking cold,” says Lias Saoudi, singer of the riotous scuzz rock outfit Fat White Family. “I thought we were going to die.” Saoudi is recalling an evening when he and his band took psilocybin mushrooms, hit Hastings beach at 1am, stripped to their underpants and soaked up the white glow of the frosty night’s winter moon. The result is Moonbathing in February, a film made with director Niall Trask that is part performance, part fly-on-the-wall document of recording the band’s new album, the follow-up to 2019’s lauded Serfs Up.

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

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‘I won’t allow myself to be broken’: Russia’s Eurovision candidate Manizha takes on ‘the haters’

The singer’s fight against domestic violence and homophobia and her body-positive posts on Instagram have led to a torrent of abuse – some from very powerful people

Russia’s 2021 Eurovision candidate breezes into a conference room, Channel One documentary film crew in tow, offering a simple tea of mint leaves brewed in hot water. “On days like today, I want something calming,” Manizha says, pouring two cups, as a boom mic hovers over us. No pressure.

The Tajikistan-born singer, who will perform her feminist ballad Russian Woman next month at the much-loved, much-mocked song contest in Rotterdam, is the target of a fiery conservative backlash for her foreign roots and her lyrics attacking female stereotypes.

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Merry Clayton: ‘Gimme Shelter left a dark taste in my mouth’

The singer who backed the Rolling Stones, Coldplay and more weathered a miscarriage, then the loss of her legs in a car accident – but her new album Beautiful Scars shows she refuses to give up

Merry Clayton has an excellent memory. The 72-year-old singer tells tales with such particular detail: the warmth of falling asleep between gospel legends Mahalia Jackson and Linda Hopkins in the pews of her father’s church in Louisiana; the recording sessions with Bobby Darin, Lynyrd Skynyrd and the Rolling Stones, for whom she delivered the searing holler of Gimme Shelter.

What Clayton has no memory of is the 2014 car accident that was so severe that doctors were forced to amputate both of her legs below the knee. She remembers waking up in hospital, but the incident itself, and much of the five months she spent recovering, is lost. “It was like I was in another place,” she explains, speaking from her home in Los Angeles. “I knew I was here in the world, but it was just like I was somewhere else. I was in la-la land.”

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Ballaké Sissoko: picking up the pieces after US customs broke his kora

Last February, Sissoko’s historic instrument was disassembled on a flight home to Paris. Bolstered by a new kora, his latest album revives their borderless journey

In the Malian language Bamanankan, djourou – the title of Ballaké Sissoko’s forthcoming album – means string. “It’s the string that connects me to others,” he says. For this master of the kora, it is also the string that broke.

Last February, Sissoko returned to Paris after a US tour with his trio 3MA to find that border officials in New York had dismantled his kora. The neck, bridge, strings and custom-built pickup had been removed from the body, made of calabash and parchment. The instrument was beyond repair, and made headlines around the world.

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Pino Palladino, pop’s greatest bassist: ‘I felt like a performing monkey!’

One of the world’s most celebrated bass players has worked with everyone from Adele to Elton John, the Who and D’Angelo. But the Welsh musician has hidden from the spotlight – until now

By his own admission, Pino Palladino is not a man much accustomed to giving interviews. “Very reticent,” he nods during a Zoom call, his accent speaking noticeably louder of his childhood in Cardiff than his current home in LA. “You know, there was a time when I was featured in all sorts of musicians’ magazines, and then I just thought to myself, ‘Move over, there’s people out there that actually need the publicity.’ Not to blow smoke up my own arse,” he adds hurriedly, “but really I just didn’t want to see or hear from myself.”

It’s a remark in keeping with the astonishing career of one of the most celebrated bass players in the world. It’s hard not to blanche when you consider the sheer number of records that have been sold featuring his work. He played on not one but two of the biggest selling albums of the 21st century: Adele’s 21 and Ed Sheeran’s Divide, as well as with Rod Stewart, Elton John, Bryan Ferry, Simon and Garfunkel and Keith Richards. They’re the biggest names in a startlingly diverse back catalogue of collaborations: Palladino’s playing is the thread that links Perfume Genius with Phil Collins, Harry Styles with Chris de Burgh, and Nine Inch Nails with De La Soul. Indeed, his versatility and omnipresence is a running joke within the music industry. When another fabled bass player, Pink Floyd’s Guy Pratt, got married, he opened his groom’s speech with the words: “I’m only here today because Pino couldn’t make it.”

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Ryley Walker: ‘Going two days sober was impossible since I was a kid’

He was hailed as the new Nick Drake, but addiction nearly destroyed him. Now he writes songs ‘in a state of joy’ and, after stacking shelves for minimum wage, has released his best work yet

Speaking on a video call from Massachusetts, Ryley Walker is obscured by a blaze of sunlight coming through a large open window as he filters out the air in his apartment. “I must give up smoking,” the singer-songwriter frowns, lighting up his third cigarette.

Given how much Walker has had to give up over the last few years – emerging from the drug and alcohol dependency that shaped his adult life – it’s hard to begrudge him one last remaining vice. Walker, who attempted suicide as a consequence of his addictions, says that being here today is “a miracle”. His career-best new album – the proggy, unexpectedly pretty Course in Fable – is the sound of an artist treating his life as such.

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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.

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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

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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?”

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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.

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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.

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