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The Birth of a Classic The Mekons and Gang of Four emerged from the same fine art course at Leeds University. After being inspired by the Clash and the Sex Pistols, the Mekons formed and recorded their first single, 'Never Been in a Riot', on a two-track tape recorder in a living room. The Making of 'Where Were You?' For their song 'Where Were You?', Bob Last from the Fast Product label helped them record at Spaceward in Cambridge. The song came together quickly with Kevin Lycett strumming two chords, Tom playing a choppy counter-melody, and Jon on drums. Mark White wrote the lyrics, and Andy Corrigan sang them. The Impact of 'Where Were You?' 'Where Were You?' became a huge success, selling over 27,000 copies and receiving significant airplay from John Peel. The song gained even more popularity when David Bowie compared the Mekons to T. Rex on a Radio 1 programme. The Legacy of 'Where Were You?' The song has remained a classic, with the Mekons still playing it live almost 50 years later. The song's lyrics, influenced by Buzzcocks' Pete Shelley, deal with themes of loneliness and feminism. The Mekons' decision to include women in the band and their anti-macho approach to music set them apart from other rock bands at the time. The Song's Enduring Influence 'Where Were You?' continues to have an impact, with the song being used in an advert for Honda's Acura cars and generating a substantial amount of money for the band. The Mekons' story serves as a testament to the power of creativity and perseverance in the music industry.

ElevenLabs announced the launch of Music v2, its latest AI‑driven music‑generation model capable of switching genres mid‑track and handling complex vocal arrangements. The new tool is positioned as a response to a growing wave of AI music solutions from rivals such as Google, Stability AI, and Suno. Music v2 Introduces Real‑Time Genre‑Switching Capability The model can move from opera to heavy metal, deliver rapid rap verses, and embed sound‑effects without breaking musical coherence. Users can select a specific section of a song—intro, verse, or chorus—and rewrite it via prompts while leaving the rest untouched. Supports multi‑language lyrics and diverse vocal styles. Allows section‑by‑section composition, enabling a stitch‑together workflow. Built on licensed data, cleared for commercial use. Competitive Landscape of AI‑Generated Music In the past year, major AI labs have accelerated music‑generation research. Google showcased its Flow Music tool at I/O, offering cover creation and song‑section editing. Stability AI and Suno have also released models that produce longer, more intricate tracks. ElevenLabs’ emphasis on commercial licensing differentiates it from startups like Suno and Udio, which have faced copyright lawsuits. Implications for Creators and the Music Industry By integrating Music v2 into the ElevenCreative suite and the new ElevenMusic platform, the company targets marketing teams and independent artists seeking rapid, royalty‑free production. The ability to edit specific song sections could streamline soundtrack creation for ads, games, and social media, potentially reshaping how content is produced at scale. Looking Ahead: Future Developments and Market Adoption ElevenLabs plans to roll out Music v2 via its ElevenAPI, widening access for developers. As AI‑generated music becomes more sophisticated and legally vetted, we can expect broader adoption across media firms, a rise in AI‑assisted songwriting, and intensified competition to secure licensing partnerships with record labels.

The Rise of Trash Pop In 2026, a new generation of female pop stars is defying expectations of being vessels of order and stability. Instead, they're embracing a hedonistic, feral aesthetic, characterized by brash electronic pop, shameless lyrics, and anarchic sexuality. The New Wave of Trash Pop Artists like Slayyyter, Kim Petras, Cobrah, Demi Lovato, Snow Strippers' Tatiana Schwaninger, Tove Lo, and Kesha are leading the charge. Their music and style are a deliberate rejection of the traditional feminine ideal. Slayyyter, for example, describes herself as a "too drunk, trashy St Louis girl" with a carefree attitude. The Cultural Context This movement is not happening in a vacuum. It's a response to the pressures of modern life, including the climate crisis, AI, and war. According to Ione Gamble, editor of The Polyester Book of (Bad) Taste, "Part of this feels like an extension of post-lockdown nihilism. Things are so bad in a political context that we may as well have fun." The Rejection of Respectability This new wave of artists is rejecting the pressure to conform to traditional notions of femininity. Tove Lo, 38, says, "The older I get, the more intense the pressure gets around being a 'good woman,' and that mould feels so boring. There's a confidence in not doing everything perfectly." The Influence of Electroclash and Indie Sleaze The trash-pop sound is influenced by electroclash and indie sleaze, with artists drawing inspiration from the raw, unapologetic energy of the early 2000s. Charli XCX's album Brat has been cited as a key influence, with its hedonistic club energy and infectious beats. The LGBTQ+ Connection The trash-pop movement has long been popular within the LGBTQ+ community, with artists like Slayyyter, Petras, and Ayesha Erotica leading the way. The genre's emphasis on self-expression and rebellion has resonated with fans who feel marginalized or oppressed. The Future of Pop As the music industry continues to evolve, it's clear that trash pop is here to stay. With its unapologetic energy and infectious beats, this new wave of female artists is redefining what it means to be a pop star. The question is, what's next for this genre, and how will it continue to influence the music industry?

The Lead In a heartfelt interview, singer-songwriter Liz Lawrence opens up about her new album Vespers, a poignant tribute to her sister Jessie, who passed away suddenly in 2024. The album marks a significant departure from Lawrence's previous work, embracing a more stripped-back, elegiac sound as she navigates the complexities of grief. Lawrence's Journey with Grief Lawrence recounts the months following her sister's death, during which she found solace in the music of female vocalists like Lisa O'Neill, Adrianne Lenker, and Joanna Newsom. As she slowly returned to her own music, Lawrence realized she needed songs that allowed her to revisit the "space of contemplation, reflection and sadness." This journey led her to create Vespers, an unvarnished and personal tribute to her sister. The Creation of Vespers Eschewing the muscular indie pop of her previous albums, Lawrence self-produced Vespers, which features delicate string arrangements and a more subdued tone. The album was written during a three-week burst of creativity six months after her sister's accident, and it is characterized by its raw emotion and poignant lyrics. Exploring Grief Through Music Lawrence's music often grapples with the complexities of grief, and Vespers is no exception. Songs like "Exploded Into Flowers" and "Sister" showcase Lawrence's ability to convey the pain and sadness of loss through her lyrics and melodies. The album also explores the theme of finding a space for grief in a world that often prioritizes productivity and capitalism. The Impact of Grief on Life Lawrence reflects on how her experience of grief has changed her perspective on life and work. She notes that her priorities have shifted, particularly with regards to her niece and nephew, and that she now approaches her music with a greater sense of purpose and connection. The Future of Vespers Lawrence hopes that Vespers will resonate with others who have experienced loss, and that it will provide a sense of comfort and connection. Despite initial reservations about releasing the album, Lawrence has come to terms with the idea that her music can help others navigate their own experiences of grief.

Grayson the Musical will bring the eccentric life of Turner‑prize winning ceramicist Grayson Perry to the stage in an “outrageous” production co‑created with composer Richard Thomas, the mind behind Jerry Springer: The Opera. The show, billed as an “irreverent odyssey,” explores Perry’s journey from his Chelmsford childhood to international fame, with a supporting role for his iconic teddy bear Alan Measles.“Grayson the Musical” Takes Shape with a Workshop Run in JulyThe workshop production will be staged at Soho Theatre Walthamstow in east London, the borough where Perry kept a studio for many years. Director Sean Foley leads the team, while Perry himself provides the lyrics. The book is written by Sara‑Ella Ozbek, known for screenwriting and novels.Workshop Schedule and Production Team Reveal Key NumbersFive performances scheduled from 16 to 19 July.Music composed by Richard Thomas.Lyrics by Grayson Perry; book by Sara‑Ella Ozbek.Directed by Sean Foley.Venue: Soho Theatre Walthamstow.Cultural Resonance of Perry’s Story in London’s Theatre SceneThe musical taps into Perry’s reputation for challenging class norms, gender expression, and pop‑culture references. By featuring Alan Measles, a beloved element of Perry’s visual art, the production bridges his gallery work with live performance, offering audiences a rare glimpse into the artist’s personal narrative and the broader themes of identity and self‑acceptance.What’s Next for the Musical After the Workshop?Following the July workshop, the production is slated for further development, with the potential for a full run beyond the initial five shows. Success in the workshop could position the musical for a larger West End engagement, expanding its reach and cementing Perry’s legacy in both visual and performing arts.

The Lead: Lero Lero’s Debut Rewrites Sicily’s Folk NarrativeThe trio Lero Lero—singer‑songwriter Alessio Bondì, synth player Donato Di Trapani and guitarist‑producer Fabio Rizzo—has launched a debut album that transforms lost Sicilian labour songs, carters’ cries and lullabies into a contemporary soundscape, positioning the project as a cultural counter‑offensive to the island’s stereotyped image. Unearthing Archival Songs: The Project’s Method and Musical VisionDrawing on 20th‑century field recordings, the group decodes obscure lyrics and re‑assembles fragments of oral verse forms such as ottave siciliane. Their process is less about faithful reproduction and more about entering the generative logic of oral tradition, using micro‑tonal guitars, synths and rhythmic structures that echo traditional Settimana Santa polyphonies.Tracks like “Com’haiu a Fari” reinterpret a washerwoman’s lament.“Salinai” reworks salt‑workers’ chant, exposing hidden hardship.“Cuori ri Canna” transforms a canto di sdegno into an uplifting release. Financial Footprint: Independent Labels and Market ReachThe album is released jointly on Black Sweat Records, Panta Records and Shhh/Peaceful, reflecting a DIY distribution model that bypasses major label gate‑keeping. While streaming figures are not disclosed, the niche positioning targets folk‑enthusiast audiences in Italy and abroad, leveraging Bandcamp’s direct‑to‑fan infrastructure to sustain modest but sustainable revenue streams. Reframing Sicily: Cultural Impact and the Challenge to StereotypesBy foregrounding the island’s “submerged history” rather than its postcard imagery, Lero Lero confronts the romanticised narratives perpetuated by fashion houses and television series. Their work invites listeners to hear Sicily as a living archive of labour, loss and resilience, potentially reshaping how Southern Italian culture is represented in media and tourism. Future Horizons: How Lero Lero May Shape Italian Folk RevivalWith a focus on micro‑tonal instrumentation and archival reconstruction, the collective sets a template for other artists seeking to revive regional folk traditions without resorting to pastiche. If their approach gains traction, we may see a broader movement of “archival‑first” music projects that blend scholarship with contemporary production, redefining the Italian folk scene for the next decade.

The Charismatic Performer Midway through the opening night of his world tour, Harry Styles asks where the audience in the Johan Cruijff Arena have come from. To judge by their response, residents of Amsterdam are vastly outnumbered by those who have travelled vast distances to be here: further investigation on the part of the singer reveals audience members from Switzerland and Ireland. The Event Details It’s evidence of what – to use a modern term – a huge flex the Together, Together tour is. There are doubtless sound reasons for performing lengthy residencies at single venues rather than dutifully dragging yourself around the globe – Styles’ 10 shows in Amsterdam are the only gigs he’s playing in mainland Europe, followed by similarly lengthy sojourns at venues in London, São Paulo, Mexico City, New York City, Melbourne and Sydney – but it also helps underline the enormity of the former One Direction star’s solo success. The Data Analysis Twelve consecutive nights at Wembley is a feat not even Taylor Swift’s Eras tour could match. Here, it suggests, is a man who’s not only pulled off one of the hardest tricks in pop – the journey from manufactured boyband member to respected solo artist is a notoriously thorny one – but done it with an almost unparalleled degree of aplomb. The Impact Analysis But Styles’ dominance has looked a little shakier in the wake of the release of his fourth album, the abysmally titled Kiss All The Time. Disco, Occasionally. That it received very muted reviews indeed from critics unimpressed by its understated music and lyrics so opaque they sounded suspiciously meaningless is beside the point – if the general public cared what critics think, Ed Sheeran would still be a busker – but the similarly muted commercial response is another matter. The Prediction In a live setting at least, you see their point. Tracks from said album that sounded flat on record feel noticeably punchier on stage. Sometimes they’ve been obviously zhooshed-up – Taste Back now comes interpolated with a whopping sample from Underworld’s Born Slippy – and sometimes they just feel potentiated by their live incarnation. Harry Styles’ Together, Together tour runs until 13 December

Triple‑Album Release Sparks Mixed ReactionsCanadian rap superstar Drake launched three full‑length projects on the same day, a strategy that has drawn sharp criticism for its sheer volume and perceived lack of focus.Drake Unveils Three Simultaneous Albums: Iceman, Maid of Honour, HabibtiThe three records—Iceman, Maid of Honour and Habibti—were promoted through high‑profile stunts and a video projection on Toronto’s CN Tower. While die‑hard fans celebrated the “munificence,” most listeners found the rollout overwhelming.Numbers Behind the Release: 43 Tracks, Over 2.5 Hours, Chart PerformanceTotal tracks: 43Running time: more than two and a half hoursIceman produced standout tracks such as “Ran to Atlanta” and “National Treasures.”Previous album Some Sexy Songs 4 U entered the US charts at No 1 and sold 1 million copies.Drake claims his deal with Universal netted him $360 million, a figure he references in the lyrics of “Make Them Pay.”Industry and Fanbase Reaction to the Bloated Triple DropCritics note that the albums suffer from filler, inconsistent guest contributions (e.g., a bored‑out 21 Savage on “B’s on the Table”), and over‑reliance on Auto‑Tune. The diversity between the dance‑floor focus of Maid of Honour and the R&B; lean of Habibti fails to produce memorable hooks, leading many to compare the effort to a “ChatGPT‑generated” Drake album.Legal context adds pressure: Drake is embroiled in lawsuits over alleged gambling‑stream fraud and a protracted dispute with Universal, which he frames as “slavery” in his lyrics.What the Future Holds for Drake’s Career and Label RelationsIf the triple‑album strategy erodes his broader audience, Drake may need to recalibrate his release cadence and focus on quality over quantity. The outcome could influence how other major artists negotiate label contracts and consider multi‑album drops in an era of streaming‑driven consumption.

The Lead: Scotland's World Cup AnthemThe lyrics came to Stuart Murdoch in the hazy aftermath of Scotland's dramatic qualification for the World Cup. The Belle and Sebastian frontman had watched his side's playoff victory over Denmark through his fingers before deciding to write his own anthem to a team he has followed for more than 50 years. "Most people recognised instantly the next day that they'd witnessed the most important Scottish game ever," says Murdoch. "That was our magic moment."The Anthem Creation: It Only Takes One Lion"It Only Takes One Lion" starts by hinting at the travails of the team ("You gave us hope, you gave us despair"), turns into a bombastic four-on-the-floor singalong with self-deprecating lyrics ("This is Scotland, where everybody knows you start with nothing"), and nods to the Tartan Army ("you can join an army that's for peace"). The song's danceable beat was inspired by the team's current anthem, Baccara's 1977 hit, Yes Sir, I Can Boogie, which has been blasted out at Hampden Park after recent Scotland victories. "I like the thought that they just might play It Only Takes One Lion after a game, that's what I fantasise about," Murdoch says.Historical Significance: Scotland's Football JourneyFootball has been a life pursuit for Murdoch, who is an Ayr United fan, and Belle and Sebastian have broached the topic of football before, notably in the tale of Sunday league woes, Another Sunny Day. It is fair to say Scotland and Murdoch have got a bit of previous with the World Cup. The singer's earliest memories of the team at the tournament are of the 1974 edition where Scotland – despite not losing a game and only conceding one goal – were knocked out in the first round. There was more heartbreak in 1978 when a formidable Scotland team featuring Joe Jordan, Graeme Souness and Kenny Dalglish came back early from Argentina – despite a legendary Archie Gemmill goal.Cultural Impact: Music Meets Football PassionThe song, which the band debuted as part of an encore at an April gig at the Royal Albert Hall and is out on 2 June, coincides with Scotland preparing to play in their first World Cup tournament since 1998. Scotland will face Brazil and Morocco in the group stage, with Haiti the final team making up a tough draw. But Murdoch remains optimistic about the team avoiding any unnecessary drama. He concedes It Only Takes One Lion is a not-too-subtle dig at the auld enemy and England's anthem, Three Lions, Baddiel and Skinner's track, which celebrates its 30th birthday this summer. "It was done in a nice way," says Murdoch, who says he will support England if Scotland get knocked out early.Future Outlook: World Cup Dreams and Musical LegacyThe band's US tour finishes on the same night Scotland play Haiti in their first game, but Murdoch may try to watch a later group game, despite the eye-watering prices Fifa is charging for tickets. "We're going to play it by ear," he says. "I'm hoping the song does well and we'll get invited to a game." As Scotland prepares to make their return to the World Cup stage, "It Only Takes One Lion" stands as both a tribute to decades of football passion and a potential new soundtrack for Scottish sporting history.