Musician wrote a ‘love letter’ to Canada with a new album – and some pointed commentary about the US president

Lake Ontario, the vast body of water that straddles the US-Canada border, has gone by many names over the centuries: Lac Saint-Louis, Lacus Ontarius, Skaniadorio, Cataraqui Lake. But one thing it will never be called, says the Canadian rock star Bryan Adams, is Lake America.

In his new song Lake Ontario, Adams takes aim at the US president, Donald Trump, accusing him of “breaking the peace” between the people who live on the lake’s shores.

The ‘lake of shining waters’ is what the Iroquois called her

It’s a First Nations name – not an executive order.

But things weren’t going his way in Iran

So like a baby tossing the toys from the pram

You can push us to the brink

But where the open road divides

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© Photograph: Christopher Polk/Billboard/Getty Images

© Photograph: Christopher Polk/Billboard/Getty Images

© Photograph: Christopher Polk/Billboard/Getty Images

​Fronted by Mark Sandman​,​ the group brought enigmatic, elegant rock to post-grunge America. As lost demos surface, those closest to Sandman remember a man who grabbed on to life’s joys

It’s early 1998, and at Fort Apache recording studio in Massachusetts, Mark Sandman, the suave frontman of Morphine, is nearing breaking point. Morphine’s four enigmatic and blackly humorous albums have won critical acclaim and, lately, unexpected commercial success considering their uncompromising creative vision. After the excesses of grunge, Sandman considered their idiosyncratic blend of sophisticated storytelling, prowling slide-bass and Dana Colley’s atmospheric saxophone a kind of “palate cleanser”.

In 1997 Morphine had signed to DreamWorks Records, founded by industry bigwigs David Geffen and Mo Ostin. Now, working on Morphine’s first LP for his new paymasters – a batch of songs finally seeing release almost three decades later – Sandman was consumed by doubt over their direction. “For the first time, Morphine were trying to please someone other than just ourselves,” remembers Colley.

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© Photograph: Martin Beddall/Alamy

© Photograph: Martin Beddall/Alamy

© Photograph: Martin Beddall/Alamy

Barbican Hall, London
For this celebration of the composer in his 90th year, the Colin Currie Group focused on works written in the last two decades, including the brand new In All Your Ways

There have been a fair few 90th birthday concerts celebrating Steve Reich this year, but the Colin Currie Group came up with something a little different. Eschewing the signature works of the 1970s and 80s, and with the exception of 1972’s still mind-expanding Clapping Music, everything here was written by a composer over the age of 71. Furthermore, the London premiere of In All Your Ways featured the work of a man entering into his tenth decade.

After a bitty start, the group got into its stride with a series of four masterworks back-to-back. Radio Rewrite is Reich at his coolest, five continuous movements that riff on a pair of classic Radiohead songs; those in the know can just about perceive them in the harmonic atmosphere of the slow sections and the faster music’s lyrical outlines. Currie conducted a nicely chilled reading, the playing as tight as a drum.

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© Photograph: Mark Allan

© Photograph: Mark Allan

© Photograph: Mark Allan

Sinfonia of London/Wilson/Kilsby/Parkes
(Chandos)
The Sinfonia and John Wilson bring warmth and sparkle to works by Ireland, Walton and Goosens; rising star tenor Laurence Kilsby and Christopher Parkes are expressive soloists in the Britten Serenade

This is John Wilson and the Sinfonia of London’s third album exploring British music for strings and, like its predecessors, showcases lesser-known repertoire alongside an acknowledged masterpiece. In this case, the byways include music by Ireland, Walton and Goossens with Britten’s Serenade for Tenor, Horn and Strings as centrepiece.

Written with the country on the brink of war, Ireland’s Concertino Pastorale comes with a baked-in nostalgia for an imagined rural idyll. Wilson gets to the troubled heart of the matter with a brooding Eclogue and poignant Threnody before finding release in the upbeat Toccata. The Sinfonia of London string sound displays a tremendous warmth in Chandos’ spacious recording, especially evident in Goossens’ lyrical nature poem, By the Tarn.

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© Photograph: Benjamin Reason

© Photograph: Benjamin Reason

© Photograph: Benjamin Reason

As John Lewis reports a 96% rise in searches for CD players, music fans share their reasons for ditching streaming

CDs appear to be having a resurgence. John Lewis said searches for CD players are up 96% since July, while another report on trends in music and film this year found that CD sales are up 16%.

With this in mind, we asked music fans why they favour discs over other formats, and if it is a new preference or a lifetime habit.

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© Photograph: Sueddeutsche Zeitung Photo/Alamy

© Photograph: Sueddeutsche Zeitung Photo/Alamy

© Photograph: Sueddeutsche Zeitung Photo/Alamy

As John Lewis reports a 96% rise in searches for CD players, music fans share their reasons for ditching streaming

CDs appear to be having a resurgence. John Lewis said searches for CD players are up 96% since July, while another report on trends in music and film this year found that CD sales are up 16%.

With this in mind, we asked music fans why they favour discs over other formats, and if it is a new preference or a lifetime habit.

Continue reading...

© Photograph: Sueddeutsche Zeitung Photo/Alamy

© Photograph: Sueddeutsche Zeitung Photo/Alamy

© Photograph: Sueddeutsche Zeitung Photo/Alamy

(Fiction)
After frontperson Juliette Jackson lost half her hearing, she wrote sad songs and felt frustrated. So she pivoted, writing herself a happy ending. The results are joyfully convincing

From the outside, it looks as if things have gone swimmingly for the Big Moon. Fronted by Juliette Jackson, a former waitress who dreamed big, they have been active for 12 years, a success in itself in these days, notching up four albums including this latest. They have enjoyed a Mercury nomination (for 2017 debut Love in the 4th Dimension), decent chart positions, good-sized gigs and streaming figures in the hundreds of thousands, or millions in the case of 2019 single Your Light.

Delve beneath the surface, however, and things haven’t always been so sunny. After their debut’s ramshackle wide-eyed pop, second album Walking Like We Do detailed the travails of contemporary womanhood, and Your Light found Jackson bemoaning her generation’s lot with a weary resignation: “We were promised the world, but so was everyone else”. 2022’s Here Is Everything was conceived during Covid and processed Jackson’s life-changing experience of becoming a mother, including the disorienting experience of lack of sleep. Tricky stuff, if nothing that made Jackson’s concerns much different from vast swathes of the population.

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© Photograph: Melanie Lehmann

© Photograph: Melanie Lehmann

© Photograph: Melanie Lehmann

When 17-year-0ld Danny Donelly got a bank loan to open a record shop and sell dancefloor-filling electronic music, he little knew how he would help revolutionise his town and dance music at large

In the early 1990s, the suburban town of Romford was known for three things. It was the home of the world’s best snooker player, Steve Davis. It was where people placed bets at Romford dog track, over a dinner of chicken in a basket. And for those in the know, it was where the UK’s best underground dance music was bought and sold.

That pedigree was immortalised by Romford’s most famous musical act, Underworld, with frontman Karl Hyde shouting the words “mega mega mega, going back to Romford” at the climax of 1995’s Born Slippy. Those words now form the title of a new exhibition in the town, Mega Mega: Romford’s Suburban Sound Revolution, which charts how this unglamorous but party-spirited backwater became an upstart rival to great dance music cities such as Manchester or Detroit.

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© Photograph: Danny Donnelly

© Photograph: Danny Donnelly

© Photograph: Danny Donnelly

With a sound inspired by the San Francisco tech boom, the hyperpop musician is entering the big leagues, and has a slot on Charli xcx’s tour. First she needs to get over her own shyness – not to mention a fear of love songs

The life of a rising pop star: One day, you’re performing your own song with Charli xcx, her dancers emulating your choreography, an arena’s worth of fans screaming along. The next, you’re on a surgery table, with a healthcare professional yanking four superfluous teeth out of your mouth. Even pop stars need emergency dental work sometimes.

It’s all par for the course for April Grey, the San Francisco-born, Chicago-based musician who records as Underscores. Her 2026 has been, plainly, wild: her third album, U, released in March, was met with acclaim and attracted a small army of new fans. Many of the shows on her tour in support of U, earlier this year, were upgraded due to demand, and one expects the bump she’ll get from her current run supporting Charli xcx’s Music, Fashion, Film tour will push her into even bigger rooms. It’s a blow-up befitting the level of ambition Grey put into U, which is a taut, compulsively listenable pop record that sounds like a mid-2000s Now That’s What I Call Music! compilation as recreated by Aphex Twin. “As I was making it, it felt like a very big swing for the fences,” she says. “I wanted it to be big.”

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© Photograph: Bailey Krawczyk

© Photograph: Bailey Krawczyk

© Photograph: Bailey Krawczyk

L’Orchestre du Nouveau Monde’s young musicians went viral for their defiant performances during the last week’s protests in France. They belong to a fine tradition of radical orchestras. Also, today, what music should soundtrack the Traitors?

They were the last people standing – or rather playing – during last week’s student protests in France, as gas canisters landed in double-bass cases. L’Orchestre du Nouveau Monde, co-founded by young conductor Étienne Jarrier and his friends when they were still teenagers, aren’t a typical orchestra. With their manifesto of activism and social justice, the orchestra is not “a sacred object of beauty, but a tool for struggle”, through civil disobedience, outreach in schools, demonstrations and concerts, all to “present a different kind of classical music – one reconnected to reality”.

The new world Jarrier and his group dream of is “anti-racist, anti-capitalist, feminist, environmentalist and committed to de-growth”, and their way of working is deliberately provocative, not only to so many of the dominant directions of travel in the political world, but also to the institutions of classical music. They play scrappily passionate performances of La Marseillaise, of music from The Avengers, of Dvořák’s New World Symphony and protest songs but the ONM judge the quality of their performances not by playing the right notes in the right order, but by their consciousness-raising impact, whether they’re staging performances at Place de la République in Paris or at the foot of a glacier.

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© Photograph: Sipa US/Alamy

© Photograph: Sipa US/Alamy

© Photograph: Sipa US/Alamy

The death of Stephen Kovacevich, aged 86, was announced yesterday. Tom Service pays tribute to a pianist whose performances were full of beauty, clarity – and danger

And, here, in a piece published on Kovacevich’s 75th birthday, Andrew Clements picks his favourite recordings.

It was just a couple of weeks ago that Stephen Kovacevich and I were last in contact. He was in hospital, recovering from a hip operation, and we were talking about Hiromi, and where the latest generation of pianists were coming from. The players who had the brilliance, fire and commitment to the moment that his favourite players had: Vladimir Horowitz, Sergei Rachmaninov – his greatest of the greats – and his friend and occasional mentee, Yuja Wang.

Among other things, he told me about a Charles Munch performance of Berlioz’s Symphonie Fantastique he had discovered on YouTube that made him exclaim: “How the hell did he get an orchestra to play like that?” Conversation with Stephen was always like that: utterly intense, totally opinionated, with the feeling that the spirits he was talking about, whether performers or composers from Chopin to Beethoven to Brahms to Mozart to Bach, were in the room with you, conjured into being as real, passionate people and presences.

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© Photograph: Amy T Zielinski/Redferns/Getty Images

© Photograph: Amy T Zielinski/Redferns/Getty Images

© Photograph: Amy T Zielinski/Redferns/Getty Images

A new documentary follows the Chicagoan from child trumpet prodigy to Gabriel-singing icon and DIY maverick. ‘Not everybody wants to see musical genius’, he says

At We Out Here festival in Dorset in August, thousands of people could be heard singing a trumpet melody as if it was a giant brass-band karaoke session. On stage was Peven Everett, performing a rendition of Gabriel, one of the most celebrated anthems in dance-music history. Co-created with producer Roy Davis Jr, the best-known version, which blew up in UK clubs in the mid-90s, is a spiritual garage-house track about the “archangel of love” that can bring both punters and DJs to tears.

But Everett is much more than one song. Damon Albarn of Gorillaz tells me that “Peven has a once-in-a-generation voice … he’s a great inspiration to us all.” We Out Here founder, Gilles Peterson says that the Chicagoan is, alongside Detroit’s Moodymann and Amp Fiddler, “the closest thing dance music has to a Prince-type figure”. A prolific multi-instrumentalist and one-man cottage industry, Everett’s catalogue spans more than 500 tracks, across house, neo-soul, hip-hop, samba and more.

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© Photograph: PR

© Photograph: PR

© Photograph: PR

The rapper lends the NFL a veneer of credibility but is unlikely to push back on the establishment figures who run the league

On Monday the NFL named Jay-Z as the headliner for this season’s Super Bowl half-time show. His company, Roc Nation, produces the show under a 2019 deal reportedly worth $5m a year, and the agreement was extended for another five years in 2024. NFL commissioner Roger Goodell said his one request when the partnership began was that Jay-Z “take the stage himself one day“.

Goodell’s wish makes total sense: Jay-Z is the perfect choice for the half-time show, and that’s not a compliment. The NFL wants a shill who can still pass for a rebel, and nobody in American music plays that part better than Jay-Z.

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© Photograph: Kevin Mazur/Getty Images for Roc Nation

© Photograph: Kevin Mazur/Getty Images for Roc Nation

© Photograph: Kevin Mazur/Getty Images for Roc Nation

Backstory of modest industry veteran who started out as one half of pop duo Peter and Gordon, and went on to produce acts such as James Taylor and Linda Ronstadt

Rock’n’roll is notorious for its tales of bad behaviour: throwing TVs out of the window, mountains of cocaine, parades of groupies … but you won’t find any of that here. Peter Asher, brother of Jane, one half of Peter and Gordon, and super-successful producer of acts such as James Taylor and Linda Ronstadt, appears to be about as nerdish and clean-living as a 60s/70s music industry veteran could be. Although that might just be what he wants us to think; what are the chances Asher is a complete reprobate away from the camera, and is just brilliant at hiding it? That glasses and ruffled shirt front combo definitely reminds you of someone a tad more sleazy, even before Asher himself reminds you about it in the final credits.

Whatever the truth, Asher by any standards carved an amazing path, making the absolute most of being in the right place at the right time. Smartly structured around Asher’s anecdotes-and-music live show, the film stitches together a collection of clips, audio and musical performances that gallops through his personal backstory. His luckiest break, of course, was that his early partnership with schoolfriend Gordon Waller (modelled, it turned out, on the Everly Brothers) benefited from cast-off songs handed over by his sister’s boyfriend, one Paul McCartney; there’s an amusing moment where we hear John Lennon’s sneer at the lyric of what would become Peter and Gordon’s first and biggest hit, A World Without Love: “Please lock me away …” “Yes”. While the film clearly acknowledges the debt to McCartney’s songwriting (which presumably Lennon vetoed for the Beatles), it’s perhaps not quite ready to admit that without this connection, none of what followed would have happened at all.

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© Photograph: Publicity image

© Photograph: Publicity image

© Photograph: Publicity image

After tiring of writing about herself, the British singer-songwriter asked the public to share stories to inspire her music – and they responded in their thousands

‘This project has changed my whole thinking,” Thea Gilmore says of her new endeavour, The Echo Line. “What am I getting from it? All of humanity.” Disillusioned with the numbers-chasing music industry and wanting a break from her personal songwriting after releasing 22 folk-orientated albums since 1998, the 46-year-old is “putting people back at the centre of it. I’ve said enough about me.”

Community building has been key to the Oxford singer-songwriter’s work since debut Burning Dorothy, released when she was just 18, through to her 00s breakthrough albums Avalanche and Harpo’s Ghost all the way to her most recent studio album, 2023’s Thea Gilmore: a body of work that has won Gilmore admiration from Bruce Springsteen, Richard Thompson and collaborator Joan Baez.

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© Photograph: Carsten Windhorst

© Photograph: Carsten Windhorst

© Photograph: Carsten Windhorst

3Arena, Dublin
Several unannounced guests feature on the first European date of the rapper’s sold-out benefit tour, including video messages from Mark Ruffalo and Cynthia Nixon

“We’d like to thank Ed Sheeran for organising this concert,” offers a member of Kneecap, one of several unannounced guests who have turned up for the first European date of Macklemore’s Free Palestine tour. It’s a characteristically two-fisted approach to the matter in hand from a band who have seldom shied away from controversy, but it has more than a grain of truth in it.

The events of the last six weeks are quite something, and perhaps not what Robert Kraft, the billionaire owner of the New England Patriots, had in mind when he led efforts to pressurise Sheeran to remove Macklemore from his summer US tour, after the rapper made a speech about Palestine on stage at New Jersey’s MetLife Stadium. Macklemore was duly removed from the tour, but the rapper saw his profile rise dramatically as a result – in fairness, he was hardly unknown, but his biggest hits are a decade old – while every other artist on Sheeran’s tour quit in solidarity. Sheeran’s tour limped on amid much opprobrium, while Macklemore was able to translate the publicity into a tour of his own, in noticeably bigger venues than he played on his last European tour, with proceeds donated to organisations assisting Palestinians. Dublin’s 13,000-capacity 3Arena is sold out, as is every other date on the tour.

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© Photograph: Zoe Rain

© Photograph: Zoe Rain

© Photograph: Zoe Rain

Carnegie Hall, New York
After winning over gen Z, the cult indie rocker makes the historic venue swoon with introspective anthems and a Michael Jackson cover

More than 68 years after Leonard Bernstein’s first-ever Young People’s Concert, Carnegie Hall was yet again overrun with youthful energy on Sunday night. The occasion was the first of two sold-out performances from gap-toothed indie-pop scion Mac DeMarco, whose adoringly parasocial cross-genre fanbase has been one of the few in 2010s indie to continue an increasingly aged-down trajectory. There was many a parental chaperone next to their beaming teens, while a group of bright-eyed and bushy-tailed post-adolescents sitting behind me – having travelled all the way from Wisconsin for the occasion – audibly Googled: “Where to find Mac DeMarco after the concert” and quizzed each other on whether they’d lay a smooch on The 1975’s devilish frontman Matty Healy if given a chance.

“I can’t believe how fancy this place is for Mac,” one of them marveled – and it has indeed been a strange trajectory for DeMarco, who emerged from the shores of Vancouver in the early 2010s resembling a party-hardy modern-day Pigpen and with an aural suitcase stuffed with lovely guitar-warbles, stained with nicotine and carrying the faint stink of cheap brew. His early live sets were equally prone to Limp Bizkit covers and spontaneous audience makeout sessions; the 2014 docu-short Pepperoni Playboy was replete with scenes of new-indie-money dirtbag opulence, as DeMarco and his ragtag group drank champagne out of lobster shells and went cliff-diving amid a nonstop tour schedule.

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© Photograph: Adela Loconte

© Photograph: Adela Loconte

© Photograph: Adela Loconte

From Wichita Lineman to MacArthur Park, he penned masterpieces. As the great hit-maker resurrects his lost songs, he recalls writing for giants – and the night Richard Harris stripped off and disappeared

‘Flat for 50 miles,” recalls Jimmy Webb, remembering the desolate stretch of Oklahoma that inspired his classic song, Wichita Lineman. “Nothing out there except endless railroad tracks and telephone poles. Then suddenly there’s a guy at the top of one of the poles. He’s got his phone, he’s talking to somebody and then … whoosh! He goes by. I never saw him again, but I never forgot him.”

Webb immortalised the unknown telephone worker’s solitude (and imagined conversation with a distant lover) with a 1968 smash hit for Glen Campbell. “But you wouldn’t believe what some people thought it was about,” chuckles the songwriter, now a chatty, self-effacing 80-year-old, video-calling from his kitchen in Long Island. “One guy who wrote to me thought it was about a football lineman, and a woman thought the young man in the song gets electrocuted because ‘the Wichita lineman is still on the line’.”

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© Photograph: Michael Putland/Getty Images

© Photograph: Michael Putland/Getty Images

© Photograph: Michael Putland/Getty Images

An acclaimed novel comes to life as a new opera, exploring a deeply personal side of one of America's most consequential presidents, Abraham Lincoln, and the profound grief that shaped his life. Jeffrey Brown takes in "Lincoln in the Bardo" at the Metropolitan Opera in New York for our arts and culture series, CANVAS.

Spotify told investors its rollout of QR code verification to ensure Family Plan members live in the same household is not a "crackdown," just a routine improvement.