Katie Hawthorne

Phoebe Bridgers’ third album, Lost Weekend, arrives to strong reviews and reinforces her status as one of the defining songwriters of the 2020s. Her combination of dry wit, surreal imagery, emotional candor and richly layered music has influenced artists including Olivia Rodrigo and Gracie Abrams, while Taylor Swift, Paul McCartney and SZA have sought collaborations. Interviewees highlight Bridgers’ personal songwriting, her support for emerging queer artists through Saddest Factory, and the broader influence of Boygenius. Her low-cost, phone-free pop-up shows also reflect a commitment to reaching fans in overlooked communities and inspiring local musicians.

Ariana Grande’s eighth album, Petal, abandons the glossy theatricality associated with her Wicked period for dark electronic production, muted textures and themes of fame, romance, intrusive fans and media scrutiny. Co-written and produced with Ilya Salmanzadeh, the record presents anger in a controlled, emotionally detached form, burying Grande’s trademark vocal fireworks beneath bass, distorted electronics and layered harmonies. The review finds the album atmospheric and compelling but suggests that its repeated focus on familiar subjects leaves Grande sounding tired and numb, despite moments of genuine bite in live performances.

Luke Combs’s Murrayfield Stadium concert in Edinburgh turns his humble, regular-Joe persona into a large-scale country spectacle, featuring nearly 30 songs, opening acts, pyrotechnics and celebrity cameos. His formidable, versatile voice and energetic band power through crowd favorites including “Hurricane,” “Beer Never Broke My Heart” and “Where the Wild Things Are,” while poor acoustics obscure his spoken remarks and weaken some intimate songs. Despite occasional overstuffing and a few moments that needed more room, the show delivers a highly successful, crowd-pleasing arena party.

Shania Twain’s seventh album Little Miss Twain reflects on her difficult early life with a nostalgic tone but shifts quickly toward safer, familiar pop‑country styles. A few tracks offer personality and emotional depth, including Dirty Rosie and I’d Be Loving Me, while others feel overproduced or thematically repetitive. Guest features from Ronnie Wood, The War and Treaty, and Tanya Tucker contribute to a polished but cautious record. Despite its unevenness, the album reinforces Twain’s enduring impact during a renewed surge of interest in country music.

Silverwingkiller’s industrial dance music is highlighted for its intense breakbeats, acid-influenced synths and themes of paranoia and violence, reflecting the duo’s creative evolution since moving to Greater Manchester. Their latest single Gunman Corner is described as a maximalist, high‑intensity work, while its B‑side Shang Film offers a more ambient but still foreboding atmosphere. Additional recommendations span soul, club music, folk, post-punk and techno, featuring new releases from Leon Bridges, Uniiqu3, Jake Xerxes Fussell, Beck, Sweeping Promises and others.

Joan Jett’s first UK headline show in 16 years delivers a powerful run through her career, highlighting her vocal strength and talent for covers while noting a sometimes detached stage presence. Energetic renditions of major hits and standout covers elevate the performance, but her decision to continue performing a Gary Glitter song draws strong criticism. The concert closes with Bad Reputation, reinforcing her defiant artistic persona.

Country music has become one of the fastest‑growing genres in the UK, driven by rising festival attendance, major US artists selling out tours and a growing appetite for Southern‑style experiences. New events such as State Fayre and established festivals like The Long Road are expanding rapidly, supported by industry figures including Live Nation and the Country Music Association. Modern production styles and strong storytelling are attracting younger listeners, while tribute acts and homegrown artists find new opportunities. Industry leaders view this momentum as part of a lasting shift, with UK audiences embracing an increasingly diverse and international country scene.

Downtown Boys’ album Public Luxury is celebrated as their strongest release, merging bilingual political punk with new layers of complexity and optimism. The band channels its activism and years of public-defense work into powerful songs that move between ferocity, beauty and clubby textures, with standout moments including themes of resistance, state surveillance and love as protest.

Pussy Riot’s debut album CYKA blends electronic and punk elements but its political force is undercut by blunt EDM production and weak musical execution. Some tracks stand out for their protest energy, including Gore and Disobey, while others suffer from clichés and unfocused delivery. The album highlights themes of Russian censorship, activism, and life in exile, emphasizing the group’s continued political urgency despite uneven musical results.

Zoh Amba’s album Eyes Full marks a dramatic shift from free jazz saxophone to rugged, experimental country rock, drawing on memories of their Tennessee childhood. The record pairs raw, thrashing instrumentation with emotional vulnerability, pushing vocals to their limits. Songs range from blistered intensity to quiet spirituality, blending poetic reflection with lived experience. Despite the stylistic detour, the album emerges as a bold and compelling work.

Violet Grohl’s debut album delivers confident 90s‑styled alt‑rock with strong vocals and moments of persuasive intensity, aided by producer Justin Raisen. Tracks such as Cool Buzz and Often Others highlight her talent, but several songs lean too heavily on predictable nostalgia, leaving the album’s retro aesthetic feeling overly reverent despite flashes of originality.

Dua Saleh’s second album blends spoken-word, rap and falsetto with themes of climate collapse, AI dominance and Sudan’s civil war, opening with an intense and dynamic first track. The record then retreats into shorter, warmer pieces that offer only brief glimpses of its larger narrative ambitions. While some songs employ evocative proverbs, rich instrumentation and collaborative vocals, several lack the tension needed to match the album’s high-stakes themes, leaving its hopeful finale less impactful despite Saleh’s distinctive artistic voice.

Taupe’s third album showcases an explosive blend of rock, electronics and improvisation, capturing the band’s intense live energy and experimental edge. The tracklist highlights their risk-embracing approach, shifting from chaotic textures to heavy grooves. Additional recommendations feature new releases across genres, including remixes, ambient compositions, hyperpop covers and experimental rock from artists such as Sofie Royer, Ricardo Villalobos, Emily A Sprague and Rustie.

Olivia Dean delivers a confident and emotionally open performance on the first night of her Glasgow arena shows, blending retro soul aesthetics with natural ease and vulnerability. Major songs gain power through live arrangements, while standout moments include a raw rendition of Let Alone the One You Love and an emotional reaction during UFO. Her rapid rise, marked by recent Grammy and Brit Award wins, is reflected in the audience’s strong affection as she closes with her No 1 hit Man I Need.

Robyn’s ninth album Sexistential marks a return to sharp electronic production while shifting away from her longtime focus on romantic love. Collaborating with familiar producers, she reframes themes of desire, parenthood and emotional complexity through a new philosophical lens. The record blends break‑up narratives, introspection and bold reworkings of past material, culminating in a central statement on Dopamine that embraces both the chemical and emotional dimensions of feeling.

BTS return to the stage in Seoul with a large-scale live performance streamed globally, showcasing eight tracks from their new album Arirang with confidence and renewed chemistry. The group blends traditional Korean musical elements with EDM influences while delivering dynamic choreography and strong vocal and rap performances. Highlights include high-energy new songs, a mellow lead single, and fan-favourite classics, culminating in a sentimental finale that marks the beginning of their next chapter.

Bruno Mars is currently the world’s most‑streamed musician, credited with a timeless, nostalgia‑driven sound that avoids trends while appealing across generations. Longtime collaborator Philip Lawrence and industry experts attribute his success to strong songwriting, emotional sincerity and versatile partnerships, supported by Mars’s roots in classic American music. His new album, The Romantic, and upcoming compilation Collaborations reinforce his established identity, while a major stadium tour signals sustained global popularity.

Lillie West’s fourth album Heaven 2 explores the tension between stillness and the urge to escape, blending reverb‑laden production and introspective lyrics across mid‑tempo, atmospheric tracks. Highlights such as Sen Morimoto’s saxophone and the emotional clarity of This City provide moments of release, while much of the album sits in a hazy, repetitive sonic limbo shaped by producer Melina Duterte.

Florence Welch delivers an emotionally charged performance in Glasgow, shifting toward a darker, more introspective tone as she debuts material from Everybody Scream. Her powerful vocals and commanding stage presence contrast with the production’s folk‑horror theatrics, which at times overshadow her. Themes of grief, motherhood and artistic legacy drive standout moments, culminating in a quiet, reflective finale that tempers the show’s intensity.

The animated film KPop Demon Hunters has become a global hit, breaking streaming records and propelling its lead song Golden toward historic Grammy and Oscar wins. The film’s success stems from a collaborative, theatrically driven K‑pop approach involving producers from The Black Label and prominent songwriters. Vocalist Ejae, who voices lead character Rumi, reflects on drawing from her own experiences to craft the emotionally complex lyrics and overcoming stage fright to perform live with fellow cast vocalists. The project has boosted the profiles of its artists and strengthened The Black Label’s industry standing, while sparking fan demand for more from the Huntr/x universe. Ejae, encouraged by the film’s success, is now embracing her long‑deferred dream of releasing her own solo music.

Yumi Zouma shift toward a louder, more distorted sound on their fifth album, aiming for bolder expression but ultimately delivering incremental rather than radical change. Standout tracks experiment with punk‑leaning energy, darker tones and stripped‑back vocals, yet often return to the band’s familiar dreamy textures. Moments of introspection and stylistic variation provide intrigue, but the album reflects an evolution in progress rather than a full reinvention.

Emmylou Harris delivers an emotional, career-spanning farewell performance in Glasgow, showcasing her storytelling voice, collaborations, and musical influences. Her set features beloved songs, harmonies with her band, and a mix of poignant and playful moments, culminating in an energetic audience response that underscores the lasting impact of her musical legacy.

A collection of critics highlight overlooked five‑star albums of 2025, praising Annahstasia’s intimate debut, Valentina Magaletti and YPY’s dynamic percussion‑driven collaboration, Madison Cunningham’s emotionally charged exploration of rebirth, Sarz’s expansive and genre‑fluid Afrobeats project, Daniel Avery’s dark and textural electronic record, Anthony Naples’s refined evolution of his techno sound, and the release of previously unheard performances by pianist Radu Lupu. Each selection is commended for its distinctive artistic voice and exceptional craft.