Dave Simpson

Amy Lee discusses the personal origins and enduring meaning of Evanescence’s “Bring Me to Life,” including its connection to an abusive relationship and its unexpected use in Nathan Fielder’s The Rehearsal. She identifies Portishead, Beth Gibbons and the wider trip-hop movement as major influences, saying she could happily record an album of Portishead covers. Lee describes her new album Sanctuary as a balance of healing, reflection and anger at atrocities, genocide and fascism, arguing that music can be a vehicle for moral and political expression. She also recounts comic mishaps on tour, explains how dreams inspired “Secret Door,” rejects the music industry’s emphasis on sexualization and conventional beauty, and says she hopes to continue creating and possibly performing well into later life.

Tim Pope discusses his career as a boundary-pushing music-video director during MTV’s golden age, including his 37 videos for the Cure and work with David Bowie, Queen, Soft Cell, Neil Young and other major artists. He explains his preference for bespoke, rebellious concepts over conventional star imagery, recounting dangerous and absurd shoots involving flooding, snakes, maggots, improvised stunts and elaborate costumes. Pope also recalls the humanity of artists behind their public personas and describes the damaging experience of directing The Crow sequel under Harvey Weinstein, whose interference led him to leave filmmaking for years. He is now promoting his memoir I Shoot Rock Stars, continuing to make videos and developing projects about the Cure and photography.

Alabama Shakes have reunited after a seven-year hiatus, sparked by a small fundraiser performance that reignited their creative chemistry. Brittany Howard’s viral protest song American Dream propelled the band back into the spotlight with themes addressing gun violence, climate concerns and political division in the US. Their forthcoming album I Must Be Dreaming marks a stylistic shift toward ethereal and psychedelic sounds while maintaining their blend of frustration and optimism about contemporary America. Howard reflects on the band’s early rise, personal challenges and hopes for renewed social unity, framing the new music as part of a broader cultural push toward justice and accountability.

David Byrne reflects on early tours with Talking Heads during the punk era, the evolution of his live shows toward mobility and creative freedom, and the artistic inspirations behind his work. He discusses the impact of collaborators such as Brian Eno, the influence of Lou Reed’s advice, and his desire to direct another film with modern digital tools. Byrne touches on his Scottish background, experiences in the US, and the creative processes behind songs and productions, highlighting how sentiment and human connection have become central themes in his recent work.

The Rolling Stones’ album Foreign Tongues continues the creative resurgence begun with Hackney Diamonds, blending blues-driven energy, modern production and politically charged themes. Mick Jagger tackles topics including U.S. turmoil, autocracy and corporate greed while delivering some of his most engaged performances in years. The album features contributions from Steve Winwood, Paul McCartney, Robert Smith, Chad Smith and Bruno Mars, along with posthumous drumming from Charlie Watts. Balancing raucous rock with tender ballads and moments of vulnerability from Keith Richards, the record stands as the band’s strongest work in decades.

Jacob Collier describes creating his album In My Room at home using layered vocals and instruments, a process that drew early attention from Quincy Jones, who later mentored him. Collaborator Ben Bloomberg explains how they developed custom technology to perform the album live, leading to breakthrough shows at Ronnie Scott’s and Montreux. The album, mixed in Hans Zimmer’s LA studio, won two Grammys and is being reissued for its 10th anniversary.

Placebo’s members recount how the song Nancy Boy was created as a response to homophobic harassment and as a bold expression of bisexuality. Initial recordings lacked energy, leading to a re‑recording that captured the song’s eventual impact. Its provocative themes challenged norms, resonated with outsiders and helped launch the band’s career, giving them confidence and artistic freedom while also provoking backlash during early tours.

Lily Allen’s arena version of her West End Girl show expands on her earlier theatre production, presenting a one-woman performance exploring the collapse of her marriage through emotionally charged songs. The staging emphasizes isolation while mixing humour, raw emotion and dramatic reenactments. The audience responds enthusiastically as the later songs shift to pop and 60s ballad influences, forming a compelling reflection on relationship dynamics and celebrity.

Mike D’s first UK performance in nearly 20 years delivers an energetic, diverse set of mostly new material, supported by his band 5D whose sound departs from but echoes the Beastie Boys’ spirit. Tracks range from electronic‑rock hybrids to ballads and stylistic nods to Kraftwerk, culminating in an encore featuring Delta 5 and a rousing rendition of So What’cha Want. The show is praised for its variety, vitality and bold focus on new work, with its brevity the only notable drawback.

Members of the Mekons recount the creation of their 1978 single Where Were You?, tracing its origins in the Leeds postpunk scene and early rehearsals alongside Gang of Four. They describe the spontaneous development of the song, its recording at Spaceward studio, and its unexpected commercial success, boosted by support from John Peel and praise from David Bowie, who compared the band to early T Rex. The band reflects on the song’s themes of loneliness, its contrast with dominant macho rock attitudes of the era, and the irony of its later status as a classic despite its modest and DIY beginnings.

The Quebec duo Angine de Poitrine deliver a sold-out UK debut in Leeds featuring complex, experimental rock performed in striking polka-dot costumes. Their mask-wearing stage persona and tightly executed blend of math rock, prog, punk and microtonal loops energize the audience, who respond with coordinated gestures and dancing. Viral attention earlier in the year helped fuel their rapid rise, and the performance concludes with an exuberant, communal atmosphere.

Paul Simon returns to arena performance at 84 with a quiet, introspective show shaped by partial recovery from hearing loss, featuring a full rendering of Seven Psalms and reworked versions of select classics. His reduced vocal power lends intimacy and emotional weight, culminating in powerful moments such as stripped-down renditions of The Sound of Silence and The Boxer that move the Liverpool audience.

David Balfe reflects on his chaotic early music career with bands such as the Teardrop Explodes, his later successes as a music publisher and label co‑founder, and the circumstances that inspired Blur’s hit Country House. After years away from the industry, he has returned with Late Transmissions, a new project blending pop, orchestral influences and torch‑song vocals. His story revisits formative punk and post‑punk scenes, professional conflicts, personal struggles including depression, and his eventual re‑emergence driven by renewed creative energy.

Friends, collaborators and early bandmates recount personal memories of Prince a decade after his death, highlighting his extraordinary musical gifts, relentless work ethic, private vulnerabilities and lasting influence. Their recollections describe his creativity, intensity, playful humor, physical decline in later years and deep emotional impact on those around him, underscoring his enduring legacy as a singular artist who inspired and challenged everyone in his orbit.

Michael Roberts, singer for the Leeds band the Bridewell Taxis, is remembered as a charismatic frontman whose lyrics captured working‑class life. The band rose during the late‑1980s indie‑dance scene, gained industry support and played major venues but missed a breakthrough after trouble at a key show. Roberts endured a stabbing that damaged his hearing, leading to the band’s gradual end, though he later continued performing and creating art. A box set of their work was released in 2013. He is survived by his son, parents and sisters.

Angelo De Augustine describes the severe health crisis that left him unable to walk, see, hear or perform basic tasks, prompting fears he might die before finishing his album Toil and Trouble. After years of recovery and relearning essential functions, he created a new record, Angel in Plainclothes, shaped by his experiences and aided by collaborators and antique instrumentation. Despite lingering symptoms, he is gradually rebuilding his life and career, finding renewed perspective and a more balanced approach to music and wellbeing.

A celebratory review of James’s arena performance in Leeds highlights Tim Booth’s magnetic presence and the band’s five-decade evolution. The set spans hits, deep cuts and new material, maintaining warmth and communal energy while incorporating diverse influences. Moments such as balcony performances and crowd‑surfing reinforce the band’s enduring connection with audiences, underscoring their uniqueness and continued vitality.

Ross Godfrey and Skye Edwards recount Morcheeba’s creation of The Sea, describing intense early studio sessions, personal anecdotes, and the development of the song during the Big Calm period. Initial hesitation from the record label limited its release, but its later use as the theme for Channel 4’s Shipwrecked boosted its popularity, helping it become the band’s most recognized track. Edwards reflects on joining the band, overcoming a childhood fear of water, and the song’s ongoing resonance during performances and international festivals.

Flea’s album Honora marks a jazz‑focused departure from his Red Hot Chili Peppers work, featuring trumpet‑led instrumentals, reinterpretations of songs by Funkadelic and Frank Ocean, and collaborations with Thom Yorke, Nick Cave and other musicians. The record is presented as sincere, exploratory and soulful, with contributions from prominent jazz and experimental artists and occasional appearances by Chili Peppers bandmates.

Steve Parke recounts his experience photographing Prince for a Notorious magazine cover in 1999, describing their creative rapport and the decision to paint the word “Free” on Prince’s stomach during a period when the musician was asserting his independence from record labels. He details the improvised setup at Paisley Park, Prince’s playful reaction to the cold paint, and the presence of model Desray Junca as a visual counterpoint, highlighting Prince’s natural photogenic quality and collaborative approach to image-making.

Ian McCulloch struggles vocally during Echo and the Bunnymen’s performance at the O2 Academy in Leeds, leaving many choruses to the crowd. Despite moments of frustration and his reliance on a stool, strong audience participation and Will Sergeant’s rich, expressive guitar work help carry the show. While classics such as Seven Seas, The Cutter and The Killing Moon retain their power, the singer’s difficulties overshadow the set, highlighting the contrast between the band’s enduring material and McCulloch’s diminished vocal presence.

10cc’s York Barbican performance revisits an extensive 1970s catalogue with strong musicianship, featuring Graham Gouldman as the remaining founding member supported by Rick Fenn, Iain Hornal and drummer Ben Stone. Classic hits including I'm Not in Love, Dreadlock Holiday and Donna are performed with energy, alongside surprises such as Bus Stop and a video appearance by Kevin Godley. The show’s self‑mocking title underscores a celebration of the band’s enduring pop legacy, delivered with humour and precision.

John Rzeznik and Robby Takac recount the creation of the Goo Goo Dolls’ hit Iris, written during a turbulent period and commissioned for the film City of Angels. Rzeznik describes composing the song quickly on an unusually tuned, damaged guitar and shaping it with orchestral arrangements in the studio. Despite initial hesitation from Warner Brothers, Reprise Records championed the release, helping the track reach massive popularity and later earning multiple Grammy nominations. The song’s legacy has endured for decades, bolstered by high streaming numbers and covers by major artists, becoming the band’s most recognizable work.

Andrew Bird recounts the isolated barn sessions that shaped The Mysterious Production of Eggs, describing intense experimentation, personal struggles and multiple abandoned recording attempts before finally completing the album with engineer David Boucher in Los Angeles. Manager Andrea Troolin details the challenges of the long process, including financial strain and numerous iterations, noting that the final record stood out for its originality and resonated strongly with listeners.