Shaun Curran

The UK punk explosion of 1976 grew from London’s King’s Road fashion scene, American rock influences, experimental art-school culture and a powerful do-it-yourself ethos, rather than solely from unemployment and social alienation. Sex Pistols, The Clash, The Damned, Siouxsie and the Banshees and other bands were central to the movement, while venues such as the short-lived Roxy Club provided a vital space for performances and community. Participants challenge later myths about punk’s violence, class background and hostility to earlier music, arguing that its core was attitude, creative freedom and anti-establishment energy rather than a unified political manifesto. Punk’s influence remains visible in independent music, women’s participation in rock and broader ideas about identity and social change.

Tom Misch returns with a new album after stepping away from the spotlight to address burnout and regain balance. His time off included part-time work, studying, and reconnecting with everyday life, which reshaped his creative outlook. Full Circle marks a shift toward warmer, more introspective songwriting influenced by 1970s artists, and reflects his recovery and evolving artistic identity. Collaborations with musicians including Ian Fitchuk, Matt Maltese and Marcos Valle helped energize his return, and fan reception has exceeded his expectations as he begins working on new material.

Duran Duran delivered a polished and crowd-pleasing show at Hyde Park that underscored their enduring popularity and capability to headline major festivals. The band blended their 1980s hits with select newer material, highlighted by strong performances from core members and a guest appearance by Nile Rodgers. Despite occasional weaker moments and self-aware silliness, the set culminated in a powerful encore that reinforced their relevance and appeal, strengthening the case for a future Glastonbury headline slot.

The Hu blend traditional Mongolian throat singing and instruments with heavy rock to create their signature “hunnu rock,” achieving global success ahead of their third album, Hun. The band’s cultural mission, recognition from Mongolian leaders, and international acclaim have fueled their rise, including major festival performances and collaborations with Iron Maiden. Their new album explores human introspection through a mix of heavier tracks and diverse musical influences while emphasizing ancestral philosophy and inner spirit.

Ian Gillan and Ian Paice reflect on Deep Purple’s long career, discussing the origins of Smoke on the Water, enduring internal conflicts, lineup changes and financial struggles. They highlight the band’s renewed energy with guitarist Simon McBride and their latest album Splat!, expressing optimism about future projects as they approach their 60th year.

The long‑running tribute band The Bootleg Beatles describe intense fan reactions, demanding performance preparations and global touring, reflecting their reputation as the leading Beatles tribute act. Current members Stephen Hill and Miles Frizzell discuss audition challenges, mastering accents, detailed costume work and the psychology of mimicry. They comment on renewed interest sparked by recent Beatles‑related films and documentaries and express hopes for upcoming biopics. The group continues to evolve its show annually and is set for major performances, including playing the Blue album with the Royal Liverpool Philharmonic and appearing at the Henley Festival.

Harry Shearer reflects on decades of voicing multiple characters on The Simpsons, his evolving views on the show, and his continued enjoyment of the work. He discusses the development of the new musical Here Comes J Edgar!, which satirizes J Edgar Hoover’s abuses of power, and outlines its long path to full production. Shearer also addresses his experience making the recent Spinal Tap sequel, the financial motivations behind it, and his doubts about future projects following the death of Rob Reiner. He comments on AI’s potential role in voice acting and emphasizes that his focus remains on bringing the Hoover musical to the stage.

Otis Williams reflects on his six‑decade journey as the last surviving founding member of The Temptations, recounting the group’s musical legacy, internal conflicts, brushes with racism, and personal losses. He revisits the band’s Motown origins, creative evolution, and enduring influence, while acknowledging the burden and responsibility of carrying the group’s name forward as its sole remaining original member.

Matt Bellamy reflects on the personal turmoil that shaped Muse’s new album, describing how the end of his marriage and the responsibility of caring for his children drove a return to emotionally direct songwriting. The record blends intimate themes with the band’s trademark cosmic concepts, drawing inspiration from the real-life Wow! Signal. Bellamy discusses his changing relationship with technology, especially AI, and his recent disengagement from politics as he focuses on navigating major life changes and rediscovering creative clarity.

Jonathan Barnbrook reflects on designing four of David Bowie's album covers, recalling the controversy surrounding The Next Day and describing collaborative processes that ranged from free‑flowing exchanges to Bowie’s firm direction. He discusses crafting the stark Blackstar artwork without knowing Bowie was terminally ill, noting how the album’s release transformed its meaning. Barnbrook describes his long creative relationship with Bowie, his wider design career, and his involvement in the immersive exhibition David Bowie: You’re Not Alone, which he believes adds emotional insight into Bowie’s artistic life.

Elvis Costello’s Royal Albert Hall performance revisited early material with an energetic but inconsistent show affected by poor sound mixing and uneven vocals. Reworked versions of major hits produced mixed results, while quieter, stripped‑back arrangements showcased stronger moments. The finale gained momentum with upbeat classics, closing on a pointed performance that underscored the continued relevance of Costello’s early songwriting.

Harry Styles opened a record run of Wembley Stadium shows with a dynamic performance that elevated material from his less‑acclaimed fourth album through fuller live arrangements and strong staging. Moving confidently across an expansive runway setup, he delivered high‑energy dance‑influenced tracks, reworked older hits and incorporated nods to musical influences while maintaining crowd engagement. Experimental moments hinted at future artistic directions, though some were less suited to the stadium scale. He closed with major hits to overwhelming audience response, reaffirming his position as a leading solo pop act.

A full live run-through of The Streets’ A Grand Don’t Come for Free showcased Mike Skinner’s focused performance, supported by a strong band and standout vocalists Roo Savill and Kevin Mark Trail. The staging recreated scenes from the album’s narrative, highlighting both its humour and emotional depth. A high-energy second set followed, but the detailed, semi-theatrical main performance remained the central triumph.

A review of Kraftwerk’s Brighton performance highlights how the group’s futuristic sound and vision remain powerful despite decades without new material. Their classic tracks were delivered with precision and clarity, enhanced by updated visuals and a rare personal tribute to Ryuichi Sakamoto. The band’s live rendition of The Robots subtly underscored themes of human–machine coexistence, suggesting renewed relevance as technology accelerates beyond their early predictions.

Take That revived their 2009 Circus Live tour with a near-identical, high‑spectacle production featuring acrobats, pyrotechnics and a 30‑foot mechanical elephant at Southampton’s St Mary’s Stadium. Despite Jason Orange’s continued absence, the trio delivered a crowd‑pleasing mix of nostalgic hits, elaborate staging and theatrical set pieces, including clown‑themed performances and carnival‑style sequences. The show balanced faithful recreations of past highlights with minor updates, reinforcing its reputation as a unique large‑scale pop spectacle.

Tom Rosenthal reflects on public perceptions shaped by his sitcom roles, his new Arctic Monkeys‑inspired stand‑up show, and how labels such as nepo‑baby and Jewish comedian intersect with his identity. He discusses his autism diagnosis, the pressures of audience expectations formed by Friday Night Dinner, and the creative freedom he feels returning to stand‑up. The show also addresses debates around Jewish representation, including past criticism from David Baddiel, as well as Rosenthal’s relationship to class and privilege. His tour continues with an emphasis on embracing and humourously dissecting the identities others assign to him.

Linda Perry reflects on a year marked by breast cancer, her mother's death, and a personal breakdown, all captured unintentionally in a documentary that became a raw portrait of trauma and healing. The film and her new solo album Let It Die Here explore her childhood abuse, artistic identity, and emotional struggle while revealing newfound freedom following reconciliation with her mother before her death. Perry discusses her legacy as a songwriter, the enduring impact of What’s Up?, and her return to performing, including a new 4 Non Blondes album, as she embraces a lighter, more peaceful phase of life.

Bronski Beat’s debut album The Age of Consent emerged as a groundbreaking queer political statement in 1980s Britain, addressing homophobia, inequality and the AIDS crisis through emotionally charged synth-pop. Led by Jimmy Somerville’s activism and voice, the band blended ordinary working-class aesthetics with radical messaging, influencing generations and becoming a touchstone of LGBTQ culture. The article traces the album’s creation, the band’s political roots, their impact on queer visibility, the tensions that led to Somerville’s departure and the album’s enduring legacy, highlighted by a new Southbank Centre performance celebrating its message of solidarity and resistance.

Mike Stock recounts the origins of Kylie Minogue’s breakthrough hit and the rise of Stock Aitken Waterman, detailing their dominance of 1980s and early 1990s pop and the tensions that ultimately fractured the trio. He reflects on their creative process, industry backlash, personal disputes, and lingering grievances over the sale of their master recordings. Stock argues that modern pop is overly shaped by streaming-era incentives and criticizes several contemporary artists, while highlighting his ongoing musical projects and the recent recognition of the production team’s legacy.

Brian Wilson’s 1966 creation of Pet Sounds marked a radical artistic shift for The Beach Boys, blending orchestral innovation with introspective lyrics and influencing The Beatles’ later work. Bandmates Al Jardine and Mike Love recall Wilson’s brilliance, struggles with mental health, and the internal tensions surrounding the album’s departure from their early surf‑rock formula. Despite limited support from Capitol Records and initial commercial disappointment, Pet Sounds became one of the most celebrated albums in music history. Reflections on Wilson’s decline, his final years, and lingering rifts within the band underscore his enduring legacy as a transformative figure in popular music.

Jon McClure reflects on his career, personal growth and recent apologies to fellow artists following an ADHD diagnosis and the death of his father. He discusses his renewed musical momentum, collaborations with Robbie Williams and others, and the themes of joy, grief and maturity shaping his new album. McClure also describes stepping back from combative political engagement while remaining left‑leaning, and outlines his ambitions as chairman of Sheffield FC to strengthen the club’s community role and profile.

Paul McCartney reflects on the personal memories and life experiences that shaped his forthcoming album The Boys of Dungeon Lane, sharing anecdotes about his childhood in Liverpool, early days with John Lennon and George Harrison, and newly revealed themes of family, aging, and nostalgia. He discusses collaborations, including a vocal performance by Ringo Starr, and offers stories behind several tracks while expressing emotional connections to his past and the people who influenced him.

Angélique Kidjo reflects on her escape from Benin’s dictatorship, her decades‑long musical career, and the inspirations behind her new album HOPE!!. The story highlights her influence across global music, her collaborations with major artists, and her deep commitment to activism and optimism. The album, shaped by personal grief and her mother’s legacy, encourages younger generations to resist division, reject hate, and embrace hope.

Ike White, a gifted musician discovered while serving a life sentence in San Quentin, recorded the 1976 cult album Changin’ Times from prison with the help of producer Jerry Goldstein and drummer Greg Errico. Despite industry interest and support from Stevie Wonder, who helped secure his release in 1978, White vanished from public life and lived under multiple identities, struggling with personal turmoil and unfulfilled potential. A 2020 documentary revealed a history of manipulation, fragmented relationships and unresolved trauma, underscoring how his talent never translated into lasting success even as his album endures through renewed interest.

Alfie Boe reflects on releasing his most personal album, exploring themes of identity, fatherhood and recovery after a difficult divorce. He discusses past media portrayals, his evolving career from opera to songwriting and the role of spiritual practices in achieving acceptance. The album blends covers with original songs to convey resilience and emotional growth while reconnecting with fans.

Phil Daniels discusses his role in the revival of David Hare’s Teeth ’n’ Smiles and reflects on longstanding issues surrounding the portrayal and shrinking presence of working‑class people in the arts. He speaks about the play’s themes, his career spanning Quadrophenia to recent television roles, and the enduring impact of Parklife. Daniels notes political disillusionment, expresses support for Labour and Keir Starmer, and comments on how shifting cultural attitudes shape both the arts and broader public sentiment.

Stuart Adamson’s life and career are explored through a new biography detailing his musical achievements with Skids and Big Country as well as the personal trauma, alcoholism and pressures that shaped his decline. Family and bandmates recount his talent, childhood shadows, long periods of sobriety and eventual relapse, culminating in his death in 2001. The book aims to renew appreciation for his artistry while acknowledging the unresolved questions and losses surrounding his life.

A new documentary, Broken English, reframes Marianne Faithfull’s career by emphasizing her artistic depth rather than decades of misogynistic myths. Filmed during her declining health, it incorporates inventive storytelling devices, performances, and archival confrontations that reveal her resilience, curiosity, and long-overlooked agency. The film aims to challenge lingering misconceptions and spark a broader reassessment of how female artists’ legacies are treated.

Josh Groban reflects on his unconventional rise to fame, beginning with a last‑minute rehearsal with Celine Dion at age 17 that launched his career. Despite rapid success in the US, he says the UK audience made him earn acclaim more gradually. He discusses creative risks such as his Rick Rubin‑produced album, the challenges of growing into an adult image while still a teenager, and the pressures of fame. Groban notes that therapy and embracing comedy roles helped him shed early perceptions and feel more authentic. Now preparing for a world tour supporting his retrospective album Gems, he says his audience has broadened across generations.

Ardal O’Hanlon reflects on identity, career and upbringing while touring his stand‑up show Not Himself. He discusses moments of feeling unnoticed, the formative impact of boarding school, his father’s political life, and shifting views on Irishness and Catholicism. He recalls meeting Pope Francis alongside major comedians and addresses the lasting presence of Father Ted in his public image while emphasizing his continued devotion to stand‑up. His third novel, A Plot to Die For, is forthcoming.

Morrissey attempts a comeback with his new album Make-up is a Lie, but his long-running political controversies overshadow the release. Despite a loyal fan base and renewed cultural relevance as some of his past rhetoric aligns with mainstream debates, his recent music has struggled for radio play or broader appeal. Interviews with fans highlight conflicted loyalty, while industry reactions suggest his reputation remains divisive. Limited promotional traction and muted reception indicate he is unlikely to regain mainstream status, though dedicated supporters continue to hope for a future resurgence.

A sharply opinionated review of Liza Minnelli’s memoir highlights her candid revelations about fame, addiction and her turbulent relationship with Judy Garland. The book recounts affairs, professional struggles, family trauma and four marriages while also detailing unresolved tensions with figures such as Martin Scorsese and Lady Gaga. Garland’s instability and addictions are presented as shaping Minnelli’s childhood and her own lifelong battles with substances, culminating in eventual sobriety. The memoir mixes glamorous Hollywood anecdotes with painful introspection, offering a dramatic retelling of a life lived in the spotlight.

Morgan Neville’s documentary Man on the Run traces Paul McCartney’s struggles after The Beatles’ breakup, highlighting his depression, loss of direction and reliance on family life in the Mull of Kintyre for renewal. It recounts his fluctuating public reputation, the sexism faced by Linda McCartney, tensions within Wings, and the near collapse and eventual triumph of Band on the Run. The film reveals brushes with danger, including a near-drowning and McCartney’s arrest in Japan, and shows how he ultimately regained confidence and stability as he navigated life beyond The Beatles.

Charts the evolution of Journey’s “Don’t Stop Believin’” from a modest early-1980s release to the most streamed and culturally pervasive AOR anthem. Details the genre’s rise through FM radio, the influence of figures like Lee Abrams and Herbie Herbert, and the band’s creative process. Highlights the song’s resurgence through major pop‑culture moments including The Sopranos and Glee, cementing its status in the digital era alongside other AOR classics.