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Coldplay Premiere feelslikeimfallinginlove Video

Coldplay - Photo Credit: Anna Lee

Coldplay have today premiered the music video for their new single, feelslikeimfallinginlove. The video – which can be seen below  – was shot on location at Athens’ stunning 2,000-year-old Odeon of Herodes Atticus, in front of an audience invited via the band’s social media. It was directed by Ben Mor, who previously helmed the band’s video for Hymn For The Weekend with Beyoncé.

The video stars actress, writer and storyteller, Natasha Ofili (Principal Karen Vaughn in Ryan Murphy’s Netflix series, The Politician) who was also responsible for the video’s story and creative direction. Ofili created her own American Sign Language interpretation of the song which runs throughout the video.

The video also features the Deaf members of the Venezuelan Sign Language (LSV) section from El Sistema Venezuela’s Coro de Manos Blancas (White Hands Choir) a world-renowned performing arts ensemble from Barquisimeto, supported in collaboration with the Dudamel Foundation.

The premiere follows the band’s rapturously-received Glastonbury Festival headline set on Saturday night, which was given glowing five-star reviews by publications including The Times, The Independent, The Guardian, The i and The Telegraph, with the latter publication calling it “one of the great Glastonbury sets”. The set, which was broadcast live worldwide by the BBC, is available on-demand at bbc.com/pages/glastonbury-live.

feelslikeimfallinginlove is the first single to be taken from Coldplay’s upcoming tenth album, Moon Music, which is out October 4, 2024. The album, which will set new standards for sustainability, with each LP made from 100% recycled plastic bottles (nine bottles per record). It is available to pre-order now on EcoCD, EcoRecord LP and digital.


Glastonbury is the envy of struggling music festivals and must continue to support upcoming artists


By Howard Monk, University of Southampton

Glastonbury festival is not the only major musical event happening in the UK this year. Plenty of others will be staged in parks and fields and beaches over the summer, but none will be as well attended – or receive anywhere near the same amount of attention.

And while other events struggle, with estimates that as many as 100 are likely to call it a day this year, Glastonbury thrives. Tickets (£355) sell out at warp speed (before lineups are even announced), no one seems deterred about the price of food and drink, and thousands turn up before the gates even open.

So Glastonbury is clearly a big business, a totemic symbol perhaps, of the commercialisation of rock festivals. And one of the reasons for its continued success could be the enormous amount of television coverage it receives.

The BBC has covered Glastonbury since 1997, offering live feeds from around the event. For the 2024 edition, it is offering viewers over 90 hours of footage across its various platforms.

Few events – let alone music festivals – get anything like this level of media support. And support is what the wider British live music sector needs.

For while the spotlight shines on sell-out tours by the likes of Taylor Swift or the saga of opening massive arenas, grassroots music venues face huge challenges.

Smaller independent festivals are in a parlous state, with the Towersey festival in Buckinghamshire, which predates Glastonbury, announcing that its 60th event will be its last.

Unlike Glastonbury, they don’t tend to enjoy sponsorship deals with Land Rover or Vodafone. Nor do many other festivals have such sway that artists agree to perform for less than the normal going rate.

So Glastonbury continues to attract millions of applicants for tickets, most of whom will be disappointed. (Many of my students writing essays about the event will probably never experience it for themselves.)


Yet for all its dominance and rude health, Glastonbury can still boast significant support of the grassroots music sector. Hundreds of new and emerging artists play at the event, even though many of them will never reach the dizzy heights of the larger stages – or even a sustainable career as a full-time artist.

More realistic success stories might be in store for the freelance workers on site (stage managers, volunteers, crew members) who can add the word Glastonbury to their CVs in the hope that it will lead to more work elsewhere.

The event has also long been associated with celebrating acts from all over the world. This year sees the first K-pop act, marking the success of a policy by the South Korean government, and Indonesian all female Muslim heavy metal group Voice of Baceprot gets its debut.

The global impact of this British festival is also seen through the amount of work the festival does for charitable causes, raising millions of pounds for local charities alongside the likes of Water Aid, Oxfam and Greenpeace.

And unlike comparable mega festivals like Coachella, Tomorrowland and Reading, which seem to radiate commercialism from the outset, Glastonbury still maintains connections with pagan rituals, druids and hippy culture. Its progressive stance has a trickle-down effect to smaller festivals and contributes hugely to the UK’s festival culture.

All of these aspects no doubt contribute to Glastonbury’s continued popularity – and explain the extensive coverage it receives. If there are boxes to be ticked by BBC schedulers, Glastonbury has been ticking them for decades. It is international, charitable, ecological, cultural and exciting.

Since 1970, the festival has evolved to become a perfect broadcasting and branding opportunity. It is hardly surprising then, that it has become such a magnet for sponsorships and deals.

With that financial success and a conscientious approach, the muddy fields of Glastonbury can still be fertile ground for the UK’s music industry. Away from the sounds of Coldplay or Elton John playing on the main stages, festival-goers will still be able to find new and exciting artists who have bagged a spot under a smaller spotlight.

For them – and their record labels – it could be a major opportunity, boosted by the BBC’s wall-to-wall coverage. The next British government would do well to follow Glastonbury’s lead and find ways of doing more – much more – to support the grassroots music sector in the UK.The Conversation

Howard Monk, Senior Teaching Fellow, Music Management, University of Southampton

This article is republished from The Conversation under a Creative Commons license. Read the original article.


Kings Of Leon Reign Supreme At BST Hyde Park

Caleb Followill of Kings of Leon on stage at BST Hyde Park, Sunday 30th June 2024. Photo by Dave J Hogan/Hogan Media

After a spectacular SZA-style launch, day two of American Express presents BST Hyde Park went off with the same ferocity and style as yesterday. Today, it was the turn of Tennessee rockers, Kings of Leon, to headline the Great Oak Stage – with the BRIT and Grammy award-winning band putting on a 29 song strong set of their biggest and most underrated tracks.

“How you all doing tonight? You look amazing out there. This is fantastic!” announced Caleb Followill to the sold-out crowd, soon after hitting the stage. A vibrant backdrop of waterfalls and volcanoes brought an earthy dimension to the band’s 105-minute setlist, which began with “Ballerina Radio” and “On Call” before “The Bucket,” “Taper,” “Manhattan,” “Revelry,” “Nothing to Do” and “My Party” roared from the stage. Nathan, taking his position on the drums wore a England football shirt, a nod to the team’s win against Slovakia tonight. “I was hoping we’d have fun tonight,” added Caleb. “…Didn’t have any idea we’d have this much fun.”

Then came the ferocious Sex on Fire; the music quieted to allow the audience to belt out every lyric, before the Followill vocals chimed back in. “Don’t Stop The Bleeding” and “Comeback Story” followed, allowing for the ideal subdued juxtaposition. “It’s such a joy to be here,” said Caleb thoughtfully, clearly overcome by the atmosphere. “We haven’t been here for seven years. It’s one of my favourite places to be and be a part of.”

As the likes of “Pyro,” “Mustang,” “Molly’s Chambers,” “Milk,” “Fans,” “Black Down South,” “Nowhere to Run,” “King of the Rodeo,” “Wait For Me,” “Split Screen,” “Bandit,” “Find Me,” “Closer” and “Seen” filled the air, brothers Caleb, Nathan, Jared and cousin Matthew continued to delve into their rich back catalogue, eventually bringing this evening of epic entertainment to a close with a star-filled backdrop encore of “Rainbow Ball,” “Waste A Moment” and “Cold Desert,” before ending with a soaring rendition of “Use Somebody,” with BST Hyde Park joining the band en masse.

Earlier on in the evening, Paisley’s finest singer-songwriter Paolo Nutini took to the stage at Hyde Park after 12 years; his last appearance here being at the opening ceremony concert of the London 2012 Olympic Games. Showcasing the best of four chart-topping albums – including five-times platinum, These Streets (2006) and gold-acclaimed Last Night in the Bittersweet (2022) – Nutini showed the bulging crowd just how his extraordinary vocals have stood the test of time. Casually sipping on a beer, he commented on the vast audience singing along, which included several big-name musicians such as Mae Muller and George Ezra. Highlights from the set included Iron Sky, New Shoes and Shine A Light.

Paolo Nutini – Photo credit: HP Van Velthoven

Celebrating their sixth studio album, Pick-up Full of Pink Carnations, The Vaccines made the Great Oak Stage one of the most important stops on their European Tour, to showcase their newer ‘West Coast’ sound rooted in the new record. The London rock outfit, who plan to be on the road until the end of the year, put on an unstoppable set packed with favourites from their six Top 5 UK LPs, with the crowd belting out the lyrics to “I Can’t Quit” and “If You Wanna.”

Justin Hayward-Young of The Vaccines

Grammy-winner, Gary Clark Jr., warmed up the audience with a string of rock and blues tracks from his 30-year career, including the plucky “Bright Lights” – which propelled him into the Billboard Charts over a decade ago. The Austin, Texas-based rock and blues singer and guitarist has been playing gigs since he was just 12 years old. For those watching, his mastery was particularly evident in his show-stopping performance of the soulful “Habits.”

US indie-pop sensation, Cannons, was first on the main stage and drew in a large crowd. The Californian trio, composed of childhood friends, Ryan Clapham and Paul Davis, and lead vocalist Michelle Joy, recently told Culted how, so far, their first UK tour has been “incredible”, with Clapham adding: “It’s nice to get our music across the pond and play in front of people who appreciate what we’re doing.” The band added that they have made the most of their stay in London in the run up to American Express presents BST Hyde Park by going for a curry near Piccadilly Circus.

Michelle Joy and Paul Davis of Cannons

Headlining The Rainbow Stage, Dublin-born Cian Godfrey and his band, aka Somebody’s Child, welcomed the crowd with raucous Irish energy. The rising-star Dubliners may have only broken through into the Irish music scene with their self-titled debut album last year, but Godfrey has been singing about life growing up in the Irish capital since he was five years old. “That’s a good crowd,” he announced, as the music began.

Meanwhile, Merseyside rockers, Red Rum Club, showcased the best of their latest album, Western Approaches, which peaked at No.8 in the UK Charts earlier this year. The six-strong band played an eclectic set, getting the audience in the mood, declaring, “It’s nearly 5 O’Clock… so it’s okay to dance”.

Kicking off the day was London four-piece, KEO, who credit the likes of Sound Garden, Pearl Jam and Nirvana for inspiring their love for music. Lead singer-songwriter Finn Keogh, previously revealed: “I want to write songs that stand up on their own, be it with a full on rock band, or just a guy on an acoustic guitar, that’s really important to me.”

Essex punk duo The Meffs, TikTok’s Call Me Up sensation Daydreamers, and Shropshire-born singer Nieve Ella completed another brilliant day of music.

BST Hyde Park continues with Open House from Monday 1 July – Wednesday 5 July, then on Thursday 4 July with Morgan Wallan, Riley Green, Ernest, Ella Langley, Alana Springsteen, Alexandra Kay, Zandi Holup, Abbie Mac, The Halfway Kid, and Evan Bartels.


Avril Lavigne Rocks Bedford Summer Sessions at Bedford Park

Avril Lavigne at Bedford Park - Photo Credit: Cuffe & Taylor

Yesterday, Canadian pop-rock sensation Avril Lavigne took to the stage at Bedford Park, delivering a show-stopping performance that left the crowd in awe. The sun-kissed event, presented by TK Maxx, was a day to remember, with UK chart-toppers The Lottery Winners and US alt-pop starlet Phem getting the party started.

Phem, a rising star in the making, set the tone for the day with her high-energy set, performing hits like “American Beauty” and “STFU” from her 2021 album. The feisty singer-songwriter regaled the crowd with stories from her time touring with Avril Lavigne last year, getting the audience pumped up for the main event.


Next up were Greater Manchester’s finest, The Lottery Winners, who were visibly thrilled to be sharing the stage with Avril Lavigne. The band were particularly impressed by the event’s real-time BSL interpreter, and their excitement was palpable as they launched into their set. With a heartfelt intro from vocalist Thomas Rylance, the crowd was soon singing along to their special cover of Queen’s “Bohemian Rhapsody”.

The Lottery Winners

But the pièce de résistance was Avril Lavigne’s highly-anticipated set. The pop-rock icon emerged atop a pink speaker stack, resplendent in a custom bedazzled leather jacket, and launched into a hit-packed setlist that included “Girlfriend”, “Complicated”, “Bite Me”, and crowd favorite “Sk8er Boi”. The highlight of the set came when Avril invited lucky audience members onstage to join her for a blistering cover of Blink-182’s “All The Small Things”. The crowd went wild, and Avril finished her set in style with a heartfelt ballad, “I’m With You”.

Avril Lavigne at Bedford Park – Photo Credit: Cuffe & Taylor

It was a truly unforgettable day of music at Bedford Summer Sessions, and Avril Lavigne proved why she remains one of the most beloved and enduring pop-rock stars of our time.


SZA Kick-Starts BST Hyde Park 2024

SZA at BST Hyde Park

American Express presents BST Hyde Park kicked off in style with an incredible set from American R&B superstar SZA. The multi-award winning singer put on a modern masterclass, welcoming Hyde Park into her own cavernous botanical paradise.

With a stunning backdrop of insects and trees, SZA arrived on a podium, surrounded by a troupe of dancers and brought hit after hit for the next 90 minutes, switching effortlessly between her five-time Grammy nominated album Ctrl, her incredibly rich and complex second record SOS and everything in between. At one point during the electric performance, SZA even sang while riding a giant ant, proving that the star truly can do anything.

SZA gave the crowd everything; “Love Language,” “Broken Clocks,” “All the Stars,” “Drew Barrymore,” “F2F,” “Ghost in the Machine,” “Blind,” “Shirt,” her hit song with Doja Cat, “Kiss Me More,” a cover of Prince’s “Kiss,” “I Hate U,” “Snooze,” and “Kill Bill, whilst wielding a sword in homage to the Quentin Tarantino classic. There was room for some big announcements too, “New album, you ready?” she asked the crowd before teasing an unreleased song. As she concluded her spectacular set with “20 Something,” she told BST Hyde Park, “Today was my first day performing with the new set. You’re like my second home. I’ll always come back here. You’re the best crowd. I love you. Goodnight!”

Earlier on in the day, London independent legend Sampha graced the Great Oak Stage, showcasing his two enigmatic albums, 2017’s Mercury prize winning “Process” and last year’s acclaimed return “Lahai.” The 6 year break only enhanced his legend and the favoured collaborator of Kanye West, Drake, Solange, Beyoncé and Frank Ocean is reminding everyone of his own wondrous music.

Sampha – Photo Credit: Isha Shah @ishashahphotography

Snoh Aalegra added her class to the lineup of soulful R&B. The Swedish/Iranian, Grammy nominated singer is a favourite for those in the know, an independent artist who writes songs that run the gamut of every stage of a relationship. From early favourites “Nothing Burns Like the Cold” feat Vince Staples, which samples Portishead, sampling Isaac Hayes, to the brutal but melodic spurn of a lover ‘Nothing To Me’ and torch vocal of “DYING 4 YOUR LOVE,” she has the audience wrapped in her stories from first minute to last.

Snoha Alegra – Photo Credit: @sharonlopez

But the Brits also shone in the park today. Two hotly tipped vocalists and songwriters, Elmiene was first on the main stage. The Oxford artist told Esquire this week that his original plan was to move to the desert and become an Islamic scholar, but he has been diverted as one the most talked about singers for 2024. He does 21st century R&B, inspired by 90s neo-soul like D’Angelo and charmed BST Hyde Park with his searing vocal runs and shimmering songs.

“You’re sounding beautiful,” he told the audience, “And they say festivals are hard. I don’t know what they’re chatting about. This is the sh*t!” By the time he finished with the hook laden, laid back, ‘Someday’, he had made 1000s of new friends.

In a similar vein, Leicester’s Sekou serenaded the sun-kissed crowd on The Rainbow Stage. The ambitious 19 year old grew up singing in church and translated that to a new kind of soul, personified by breakthrough single “Better Man.” “I’m very excited,” he admitted, the line up is insane!”

Emerging stars No Guidnce headlined The Rainbow Stage, resurrecting the golden age of R&B. London’s newest prodigal boy band released their first EP Is It A Crime? just last year, after going viral on TikTok and catching the attention of artists like Anderson .Paak, Labrinth and more.

Also performing today were hypnotic vocalist Hope Tala who started proceedings, “It’’s my first time here even though I live 20 minutes away,” she said, “Who’s here’s for SZA? I’m so excited, I’ve never seen her live before, we’re going to warm up together.”

Pop-star-in-the-making Fabiana Palladino, soulful storyteller Nia Smith, and “hood folk” artist Jessy Blakemore completed a fantastic day of music.

BST Hyde Park continues today with Kings of Leon, Paolo Nutini, The Vaccines, Gary Clark Jr, Cannons, Somebody’s Child, Red Rum Club, The Meffs, Daydreamers and Nieve Ella.


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Camila Cabello Releases New Album C,XOXO

Camila Cabello - Photo Credit: Jason Nocito

Camila Cabello releases her brand-new album C,XOXO via Interscope Records/Polydor in the UK. The highly anticipated album represents an evolution for the singer-songwriter, as she pushes boundaries with a project that is both musically and visually explorative, tapping into genres that extend beyond just pop and drawing inspiration from her Miami roots. Created with Producer El Guincho (FKA Twigs, Rosalía) and co-producer Jasper Harris (Jack Harlow, Post Malone), C,XOXO is sure to defy expectations, as it features a variety of heavy hitters including Playboi Carti, Lil Nas X, Drake, and more. C,XOXO is Executive Produced by El Guincho. See full track list below.

In addition, Camila is Complex Magazine’s latest cover star (HERE) and she launched a capsule collection with renowned street artist, Chito, in collaboration with Complex. Camila has long admired Chito International for his distinctive street art style. She found particular inspiration in his iconic animated dog character featured prominently across his works. The lyric “I’m a dog, woof woof” heard on “Chanel No. 5” resonates with this theme, offering fans a deeper glimpse into the ethos of C,XOXO. To capture this essence, Chito created a bespoke C,XOXO Dog icon for their capsule collection, symbolizing this artistic concept (HERE).

The album comes fresh off the heels of her latest track and music video for “Chanel No. 5”, which highlights her growth as a songwriter, using clever wordplay that celebrates a woman’s confidence in her ambitions. The accompanying music video is packed with engaging choreography that perfectly complements the sultry track. Preceding singles “I LUV IT” (featuring Playboi Carti) and “He Knows” (featuring Lil Nas X), along with “Chanel No. 5” gives fans a deeper look into the world of C,XOXO.

​​Camila has been gearing up for the release of C,XOXO with many promotional appearances, including stopping by The Tonight Show Starring Jimmy Fallon for a chat and performance of her irresistibly catchy song “I LUV IT.” Before that, Camila spent some time in her hometown of Miami, the inspiration behind C,XOXO, and treated fans to a sneak preview of the album at a special “B.O.A.T.” party. Camila was also honored for her Global Impact by Billboard at their annual Latin Women in Music awards ceremony. Camila kicked off a collaboration with 7-Eleven by hosting fans in Miami at a special C,XOXO branded store to get a sneak peek of the items. She then hit Cannes for a chat and performance with Complex as part of the Cannes Lions International Festival of Creativity. Camila is currently playing a series of major international festivals including Rock in Rio Lisbon, which took place on June 23, Mawazine in Morrocco, which took place on June 25, Tinderbox festival in Denmark on June 28 and Glastonbury in the UK on June 29.

C,XOXO Track List:

1. I LUV IT (feat. Playboi Carti)
2. Chanel No.5
3. pink xoxo
4. HE KNOWS (feat. Lil Nas X)
5. Twentysomethings
6. Dade County Dreaming (feat. JT & Yung Miami)
7. koshi xoxo
8. HOT UPTOWN (feat. Drake)
9. Uuugly
11. 305tilidie
12. B.O.A.T.
13. pretty when i cry
14. June Gloom


The lawsuit that could bring reggaetón to its knees

(L-R) Bad Bunny, Stefflon Don, Drake and Justin Bieber are all named in the lawsuit. Tinseltown/Featureflash Photo Agency/Anton Mak/DFree/Shutterstock

By Enrico Bonadio, City, University of London; Bryan Khan, Università di Torino, and Sonjah Stanley Niaah, The University of the West Indies

There is a landmark copyright case looming in the music world. In late May 2024, a federal court in California issued a decision to continue a litigation involving the lucrative reggaetón genre. This legal action could have a lasting negative impact on such a genre as more than 160 defendants are being sued by the Jamaican company Steely & Clevie Productions for alleged copyright infringement.

Among the defendants are several well known artists from the reggaetón scene and beyond, including Bad Bunny, Daddy Yankee, Karol G, Justin Bieber, Drake, Luis Fonsi, Pitbull, Stefflon Don and Puerto Rican singer Rauw Alejandro. Several publishing companies and record labels are also being sued.

Steely & Clevie Productions manages the repertoire of the Jamaican dancehall production duo consisting of the late Wycliffe “Steely” Johnson and Cleveland Browne. The company claims that around 1,800 reggaetón songs illegally used and benefited from – directly and indirectly – elements of the duo’s Fish Market rhythm.

Fish Market (1989) was a Steely & Clevie tune which became famous worldwide after being legally sampled in the track Dem Bow by Jamaican dancehall artist Shabba Ranks in 1990. It was also lawfully used in Pounder Riddim (1990) by the reggaetón producer and sound engineer Dennis Halliburton.

According to the legal complaint, the defendants have sampled and “mathematically copied” for decades what in the meantime had become the Dem Bow rhythm. It’s a percussion-heavy, slightly syncopated beat that originated in Jamaican music genres reggae and dancehall. It has since become the characteristic beat of reggaetón – a sound marked by strong percussion and catchy (usually Spanish) lyrics.

Is the Dem Bow rhythm copyrightable?

The complainant claims that the beat in question is original in part because the drum tones used to construct the beat are “synthesised” (electronically generated signals transformed to create percussive sounds). Indeed, Johnson and Browne’s most significant impact on Jamaican music was that they helped pioneer the use of digitally synthesised rhythms and digital drum samples which characterised the evolution of reggae to dancehall in the mid-late 1980s.

The exact choice of instrument (such as whether a physically played acoustic drum or a digitally synthesised drum sample is used) is typically irrelevant for copyright protection in a musical composition. Rather, such choices are in the domain of a specific rendition of a song captured in a specific sound recording.

The main issue in this dispute is therefore whether these production choices are considered original enough to attract copyright protection. If such copyright claims are upheld by the Californian court, the ruling might overturn a long-held perception in the music industry that rhythmic elements (such as drum beats) cannot be the subject of copyright protection.

In other words, a copyright infringement decision in this dispute would raise the same concerns triggered by the (heavily criticised) 2015 Blurred Lines case in the US. In that dispute, the estate of Marvin Gaye prevailed against pop musicians Robin Thicke and Pharrell Williams for a song which had a similar “feel” to that of Gaye’s song.

Fish Market, released in 1989, is the beat at the heart of the lawsuit.

In that case, the court failed to distinguish between the elements of music that are protected and those that are not. And this has the stifling effect of allowing composers and recording artists to seek copyright protection over whole styles and grooves which are firmly rooted in a genre’s tradition.

A similar outcome may therefore have a disruptive impact on the reggaetón music genre as well. The Dem Bow rhythm was adopted by the Dominican Republic music scene, influencing Latin American pop music. Gasolina by Daddy Yankee (2004), Tití Me Preguntó by Bad Bunny (2022) and Qlona by Karol G & Peso Pluma (2023) are among the thousands of songs that incorporate an iteration of the iconic rhythm. Many of them have attracted millions of streams.

Because of the legal action brought by Steely & Clevie Productions, these songs may be deemed in violation of copyright. This would establish a precedent for future copyright claims based on popular rhythms.

Cultural appropriation?

Another thing this case reinvigorates is the debate about cultural appropriation. It has often been noted by researchers that Jamaican genres such as dancehall and reggae, which have influenced reggaetón, lack economic parity with the latter.

This has raised questions of power, commodification and fetishisation of a “cool” Jamaican factor for profit. Indeed, many Jamaican producers have been starved of support from major labels and associated copyright protection for decades as they compete for space in the creative industries.

The established business practices of borrowing and remixing aside, local communities are now signalling their insistence on “fair trade” in a changing global music market. The cultural appropriation issue may now take centre stage in the case started by Steely & Clevie Productions.

The judge hearing the case, André Birotte Jr., used to be a college party DJ, which suggests some promise that the final decision will be well-grounded and balanced. But it won’t be easy to reconcile all stakeholders’ interests.

Protecting a pre-existing musical work – and more broadly Jamaican music heritage – may jeopardise the very existence of reggaetón. This outcome would mean ignoring the cumulative nature of music creation. Borrowing from earlier pieces is a structural element of many genres. Musicians and lawmakers across the world will be looking to this case with interest, as its ramifications will be felt throughout the industry.The Conversation

Enrico Bonadio, Reader in Intellectual Property Law, City, University of London; Bryan Khan, Senior Researcher in Law and Economics, Università di Torino, and Sonjah Stanley Niaah, Senior Lecturer, Institute of Caribbean Studies and Reggae Studies Unit, The University of the West Indies

This article is republished from The Conversation under a Creative Commons license. Read the original article.


Cyndi Lauper Announces ‘Girls Just Wanna Have Fun’ UK and EU Farewell Tour

Cyndi Lauper - Photo credit: Ruven Afanador

Today, Cyndi Lauper announces UK and EU dates to her Girls Just Wanna Have Fun Farewell Tour. Produced by Live Nation, the colossal tour will head to Europe next February, marking Lauper’s first major run in a decade, with shows in Glasgow, Manchester, London, Birmingham, and Belfast before continuing onto Budapest, Lodz, Prague, Berlin, Dusseldorf and Paris.

Throughout the tour, Lauper will be joined by special guests to be revealed at a later date. Tickets go on general sale Friday 28th June at 10am local time via Livenation.co.uk.

Mastercard cardholders have special access to presale tickets in France, starting from Wednesday 26th June at 10am. Preferred ticket access is available to Mastercard cardholders in the UK on Friday 28th June at 10am. Visit www.priceless.com/music to find out more.

This announcement comes off the heels of the North American Farewell tour news announced earlier this month and follows the release of follows LET THE CANARY SING, a feature-length documentary film that explores Lauper’s extraordinary life and career. The documentary premiered exclusively on Paramount+ in the U.S. and Canada on Tuesday 4th June. In celebration of the tour and the film, Lauper has was honored with an imprint ceremony at the prestigious TCL Chinese Theatre Hollywood in Los Angeles.

Directed by Emmy Award-winning documentarian Alison Ellwood, LET THE CANARY SING made its world premiere at the 2023 Tribeca Festival. Produced by Fine Point Films and Sony Music Entertainment in association with Concord Originals, the film chronicles Lauper’s meteoric ascent to stardom and her profound impact on generations through her music, ever-evolving punk style, unwavering feminism and tireless advocacy. The documentary takes the audience on an engaging exploration of a renowned and pioneering artist who has left a remarkable legacy with her art.

Legacy Recordings, the catalog division of Sony Music Entertainment, has released a companion product to the documentary of the same name. The LET THE CANARY SING companion album is a career-spanning collection that follows Lauper’s career. The album is available now on vinyl and as a digital expanded edition here.

Let The Canary Sing

Listen to content by Cyndi Lauper.

Cyndi Lauper’s Farewell Tour is directed by Brian Burke and produced and designed in partnership with BrianBurkeCreative and DX7 Design.

Saturday 8th February Glasgow, UK OVO Hydro
Sunday 9th February Manchester, UK Co-op Live
Tuesday 11th February London, UK The O2
Friday 14th February Birmingham, UK bp pulse LIVE (formerly Resorts World Arena)
Sunday 16th February Belfast, UK SSE Arena
Wednesday 19 February Budapest, HG Budapest Sportaréna
Friday 21st February Lodz, PL Atlas Arena
Sunday 23rd February Prague, CR O2 Arena
Tuesday 25th February Berlin, GR Uber Arena
Wednesday 26th February Dusseldorf, GR PSD Bank Dome
Friday 28th February Paris, FR Accor Arena


Red Velvet marks 10th anniversary with ‘Cosmic’

Red Velvet - Photo credit: SM Entertainment

One of the planet’s most popular K-pop girl groups of the past decade, Red Velvet, returns with “Cosmic” – a delicious new six-track EP to mark their 10th anniversary. Listen below – out now via SM Entertainment / Virgin Music.

The project is a delightful expansion of Red Velvet’s vivid musical world; weaving together diverse stories and emotions about the values, relationships and existence that makes one shine.

The dreamy, disco-pop single ‘Cosmic’ brings out Red Velvet’s enchanting side in a fairytale-like story describing a serendipitous love crash-landing. The soaring chorus, propelled by the group’s signature vocal harmonies, creates a nostalgic aura with its lively bass guitars and synth strings. ‘Cosmic’ is written by renowned K-pop hitmaker KENZIE with Swedish pop composers Moonshine – both have a history of crafting hits for the group like ‘Peek A Boo’ and ‘Chill Kill’.

Central to Red Velvet’s artistry is their dual concept, which allows the group to flit between ‘red’ (sweet, brighter side) and ‘velvet’ (more mature, darker side) with each project. The “Cosmic” EP – with its softer, romantic and playful collection of songs – is a deliberately stark contrast to Red Velvet’s last release, their third album “Chill Kill”.

The whimsical storytelling on “Cosmic” is further explored on ‘Sunflower’, a fun pop dance song with an emotional melody, describing a sunflower so in love with the sun, it is willing to fly into space to escape the night just to be with it.

The R&B pop track ‘Last Drop’ conjures resonant bass-heavy beats with a deep message about how one can keep shining because they feel safe and protected, and the commitment to illuminate you with all one’s strength, like a white dwarf star that emits light until its final moment.

With its bouncy pop melodies and keyboard sounds that recreate the playful atmosphere of an arcade, ‘Love Arcade’ hears Red Velvet sing about breaking all the rules that come between two lovers in order to create their own world as their hearts desire.

The mesmerising love song ‘Bubble’ hears Red Velvet’s pristine vocal harmonies glide over punchy drum beats and ethereal synths. The track is co-written by Soyo and hotly-tipped producer and songwriter SUMIN, who also did the fan-favourite Red Velvet track ‘Eyes Locked, Hands Locked’ from 2019’s “The ReVe Festival: Finale”. The lyrics convey that a world with you is so dazzlingly brilliant that the entire universe will be envious.

Closing out the journey on this EP is the calming ‘Night Drive’, an R&B pop mid-tempo fused with a dreamy synth-pop sound that could be interpreted as a personal message to listeners. It conveys the message of trusting and moving forward together, like a beautiful night drive filled with memories etched like the stars above.

Cosmic EP tracklisting:
Last Drop
Love Arcade
Night Drive


Rudimental deliver brand new single, ‘You Bring Me Joy’ feat. Karen Harding

Rudimental featuring Karen Harding

Award-winning electronic music heavyweights Rudimental share their brand new single ‘Bring Me Joy’ feat Karen Harding.

Overflowing with Rudimental’s signature slice of drum‘n’bass, ‘Bring Me Joy’ will undoubtedly become a firm fixture in everyone’s summer playlists and beyond. Built around piano melodies and underpinning Karen’s soulful vocal performance, Rudimental’s latest offering follows their gold-certified single ‘Alibi’ with Ella Henderson and platinum-selling 2023 track ‘Dancing Is Healing’ feat. Charlotte Plank and Vibe Chemistry

As one of the UK’s most successful dance acts of the last decade, Rudimental have set the bar high. Multiple chart entries, two #1 albums, three #1 singles, 5 billion streams, 4 albums, world tours, platinum-selling singles, and a plethora of awards have cemented their position as trailblazers with a formidable reputation for producing hit records.

Armed with an exciting summer live plot, which includes recent appearances at Parklife, Love Saves The Day, BBC Radio 1’s Big Weekend and Capital FM’s Summertime Ball, the band will return to Glastonbury next weekend for a B2B set with Todd Edwards. They will also perform a DJ set at Defected @ Ushuaia in Ibiza before taking over Silverstone for the second edition of the F1 Festival next month.

Equipped with new material that evokes that authentic Rudimental feeling, the band are ready to let loose once again.

Rudimental Upcoming Live Dates
*DJ Set

Friday 28th – Sunday 30th June – Glastonbury – Somerset, UK
Tuesday 2nd July – Defected @ Ushuaia – Ibiza, Spain *
Friday 5th July – Rampage Festival – Antwerp, Belgium *
Saturday 6th July – Port Elliot Festival – Cornwall, UK
Sunday 7th July – F1 Festival – Silverstone, UK
Saturday 3rd August – Let It Roll Festival – Czech Republic *
Friday 9th August – Lakefest – Ledbury, UK *
Saturday 10th August – Heitere Open Air – Switzerland *

Rudimental, Karen Harding – Bring Me Joy

Listen to Bring Me Joy by Rudimental, Karen Harding.