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,...
Rachel Brown
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...
MILES KANE DELIVERS THE LEADMILL’S LAST GREAT ROAR
To be invited to headline the last ever show at The Leadmill, a club with nearly half a century of...
MILES KANE TO HEADLINE THE LEADMILL’S FINAL GIG TONIGHT AS SHEFFIELD BIDS FAREWELL TO A CULTURAL LANDMARK
Tonight is a sad night. Sheffield’s music scene is bracing itself for a poignant turning point as Miles Kane prepares...
THE STATE MAY PROSCRIBE A NAME, BUT IT CANNOT OUTLAW A PRINCIPLE
It began with red paint, rooftop banners, and broken windows. Now it’s being treated as terrorism. In June 2025, the...
