SOFTPLAYS MORAL DILEMMA – WE’RE HERE TO PLAY, BUT SHOULD WE BE?
Softplay’s decision to go ahead with their Benicàssim set despite the festival’s ties to an Israel-linked investment fund lands them...
Rachel Brown
HEMLINES & HEARTLINES: HOW MUSIC IS UNRAVELLING TOXIC MASCULINITY ONE SKIRT AT A TIME
So throughout the length of the weekend and, indeed, the week, Biffy Clyro's Simon Neil and Fontaines D.C.'s Grian Chatten...
SOUNDTRACKS I OUTGREW, FROM SWAGGER TO SOFTNESS AN ARTICLE TO MYSELF
I used to let music choose me. Not in the romantic, cosmic way people talk about “finding their sound” I...
THE PRICE OF A DREAM: DIRTY BLONDE’S FIGHT TO PLAY THE US
It began with a message too surreal to ignore, a string of offers to play shows in the United States,...
WHEN AAA ACCESS IS A PRIVILEGE, NOT A PLAYGROUND TO IMPRESS
In any professional touring environment, backstage access is not a perk or a means of pursuing personal attention it is...
SPOTIFY IS NOT A PLATFORM, IT’S A SYMPTOM OF SYSTEMIC ROT
… and the smell has been wafting for years. When platforms like Spotify serve war profiteering on the side, it’s...
INCLUSION AS ACTION: WHY FONTAINES D.C. JUST RAISED THE BAR FOR REVOLUTION
A New Sound for a New System: Why Revolution Demands More Than Reform So here we are. On the brink...
IYAH MAY, WHEN A REEL BECOMES A RECKONING
I received a reel yesterday, a raw, handheld Instagram clip in which Iyah May, eyes fixed and voice resolute, informed...
DISPLACED HEART: WHEN A LONDON PRODUCER MET A PALESTINIAN POET
“It's so important for artists to collaborate, create purposeful art, fight for justice, and unite the world; music and poetry...
Whose Rage Counts? Art, Outrage, and the Weaponisation of Sensitivity. A Conversation with Declan Welsh
“Why is saying ‘death to the IDF’ policed more harshly than actual war crimes?” In the shadow of Glastonbury’s official...
