The Script has never been shy about wearing their hearts on their sleeves, but The User’s Guide To Being Human feels like the Dublin band have ripped the sleeves off altogether.
The Killers frontman’s connection with country runs deep, rooted in childhood journeys through Utah with his father, soundtracked by the likes of Johnny Cash and Waylon Jennings. That history gives the album an authenticity that goes beyond simply adding pedal steel and acoustic guitars to a rock record. Flowers understands the storytelling tradition at the heart of the country, using it to revisit memories, places and experiences while giving them his own unmistakable voice.
Fletchr Fletchr On The Island We Call Home Tracks: Passenger, Fucking With My Head, For You, Karma, Streetlights Label: FF Records Fletchr Fletchr has been building towards this moment for some time.
There are few bands in popular music capable of making a live album feel like an event before the first note has even been played. Sparks, naturally, has found a way. Live on the Moon arrives wrapped in a typically absurd piece of Sparks mythology: a concert supposedly staged at Taruntius Crater, with Cate Blanchett serving as lunar emcee
Texas red dirt country singer-songwriter Wade Bowen is finally letting go of an album that has been sitting quietly in the vault. His eleventh studio album, The Version Of Me You Get, arrives on 25 September 2026 via Thirty Tigers, with ten tracks that reveal a grittier, more vulnerable and soulful side of the artist.
Aspen itself, now in its 77th year, remains one of the great American summer institutions for performance and training — and this recording is a reminder that its commitment to new work is more than a slogan.
Heaton Jenius Tracks: Can't Get Next To You, Favourite Kind Of Idiot (ft. Rianne Downey), I Want The Job (ft. Rianne Downey), Sad Songs and Lawsuits, She Ain't Pretty (ft. Rianne Downey), One Eye Open, Send In The Clowns, Do Not Ask Me (ft. Rianne Downey), Don't Lean On Me (ft. Rianne Downey), Jet Black Sky, The Whisky Did (ft.
There is an obvious risk in committing a live Verdi Requiem to disc: strip away the theatre of the hall and a performance can shrink. Not here. Captured in spatial audio during three January 2026 performances at Severance Music Center, this new Cleveland Orchestra release loses none of the immediacy of the room, and gains something the audience in the stalls never had — the chance to sit inside the balance itself, with strings and voices arriving from every direction rather than simply from the front.
Grieg, born in Bergen in 1843 and long celebrated as Norway's National Composer, turned to the piano throughout his career but had little appetite for the German sonata, preferring instead the short forms he called Lyriske stykker — published across ten volumes and steeped in the folk idiom of his homeland. Donohoe has resisted the temptation to record them in sequence, instead ordering the pieces to his own design.
The gamble pays off. This second volume is every bit as delightful as the first, with poetry springing from Donohoe's fingers with a delicacy that borders on illusion — his left hand so controlled you barely notice its work until you try to imagine the music without it.
Judah & The Lion return with Gravel Roads, a warm, sun-drenched love song shaped by porch swings, sweet tea, lake days and small-town Saturdays. Blending pop-country, folk and rock, the track offers a glimpse into I AM A PRISM, the duo’s recent and most personal album yet. The song draws heavily on Judah’s childhood in a small Tennessee town on a lake.
There is something wonderfully un-rock-star-ish about Norman Blake. Sitting down to talk about Teenage Fanclub’s 13th studio album, Do Not Dare to Dream, he is just as happy discussing Joy Division, holidays in northern Spain and a fantasy Come Dine With Me line-up as he is the mechanics of making another record after nearly four decades in the business.
There aren’t many live events where strangers become friends before the first song has finished. Fewer still, where the dancefloor is full by mid-afternoon, generations mingle without a second thought, and everyone is home in time for the evening. Yet that’s exactly what has happened with Day Fever.
As teenagers across the country eagerly – or perhaps apprehensively – await their GCSE results, the Royal Philharmonic Orchestra’s latest research finds that more than eight in ten parents across the North East (86%) and Yorkshire and the Humber (82%) say more could be done to engage their children in classical and orchestral music.
Thousands of people attended the Great Yorkshire Showground on Saturday night for the first staging of Symphonic Ibiza, an outdoor concert combining DJ sets, live vocalists and a full orchestra in the venue's Main Ring. It was the first outdoor music concert held at the Showground since Sir Elton John performed there in 2012.
The British Police Symphony Orchestra (BPSO) will perform at Price Hall, Bradford Grammar School on Saturday 10 October to raise funds for Bradford Hospitals Charity's flagship ‘Home from Home’ Appeal.
Two venues, two cities, one bumper weekend for live music — Halifax's Piece Hall hosted a pair of sold-out celebrations while Bradford's new Darley Street Market courtyard found its voice. Halifax: Jimmy Eat World Celebrate In Style When Arizona pop-punk band Jimmy Eat World released their 2001 album Bleed American, it followed on the bac…
Business leaders rate music highly for workplace skills - yet fewer young children in the UK have the opportunity to study it at school than at any point in a generation. This comes at a time when almost half of British adults (49%) rank music as the UK's greatest export to the world, ahead of scientific research (28%), technology innovation (24%) and manufacturing (18%).
While plenty of guitar bands spend their careers trying to escape the streets that shaped them, the Rotherham four-piece keep running back towards them, armed with loud guitars, sharp observations and a chorus designed to be screamed back by several thousand people.
I first met Bachelor Girl in person back when I lived in Melbourne, an experience that, if I'm being completely honest, excited my inner teenager rather more than was probably necessary. It was wonderfully surreal sitting down over coffee with Tania Doko and James Roche, having spent years knowing their music, while also photographing them for the interview.
There are nods throughout TV dinners to some of the originators, like The Ramones, and Leech sounds like a track that’s a love child of The Runaways. Wine Lips may have taken a good swig from some of these early punk and garage bands, but they have updated things from their own world view and produced a thoroughly modern, whip-smart album of chaotically infectious fuzzy punk. The album should come with a word of warning, however – don’t listen to TV Dinner whilst having a TV dinner; things are likely to get messy very quickly.
Nearly five minutes is all it takes. Donna McKevitt's new single, released yesterday on Delphian Records, takes a single motet and turns it into something entirely its own.
Few Renaissance composers still speak to us as urgently as Carlo Gesualdo, whose harmonic daring and emotional rawness sound startlingly modern four centuries on. That is exactly the quality McKevitt has tapped into with O vos.
Regent's new disc of Phillip Cooke's solo organ music, recorded on the celebrated organ at Blackburn Cathedral, is rich in colour and atmosphere. Cooke, who grew up amid the fells and changeable light of the Lake District, writes music that seems to capture that landscape rather than describe it, and Ed Jones, at the console, treats the Blackburn organ less as an accompanist to that memory than as its co-author.
With a career spanning four and a half decades, Mari Wilson has done rather a lot. There have been chart hits, jazz clubs, musical theatre, a skyscraper beehive, a twelve-piece band, and more than a few famous faces along the way. Now, the Neasden Queen of Soul is back with Girl About Town, her first album of original material in more than a decade.
The Cinema Organ Society is delighted to welcome back one of Britain's finest theatre organists, Robert Wolfe, for a concert on the magnificent Wurlitzer at Victoria Hall, Saltaire, on Sunday 13th September, at 2.30pm. Robert's love affair with the theatre organ began on a childhood family holiday to Blackpool, where a single visit to the famous Tower Ballroom sparked a lifelong passion.
If you still believe the 1980s produced some of the greatest pop music of all time, then Blackpool is the place to be this September. The Blackpool 80s Weekender arrives at the iconic Winter Gardens on Friday 25 and Saturday 26 September 2026, bringing together a stellar line-up of artists who helped define the soundtrack of the decade.
Over many years I have interviewed countless jazzmen (and a few women), who have given me pleasure by the music they played and the gusto or sensitivity with which they played it. One stands out from the rest because he was completely different. In all I interviewed him five times, three at home and two after a gig. Amazingly, he never repeated himself, his fund of anecdotes endless.
For a band that practically wrote the blueprint for 21st-century indie rock, The Strokes has always seemed oddly uncomfortable with nostalgia. Reality Awaits, the long-awaited seventh album, doesn't try to recreate the leather-jacket cool of Is This It or simply extend the sleek melancholy of The New Abnormal
Before his breakthrough hit Sally, When the Wine Runs Out, Role Model often felt like an artist still searching for his identity. That song changed everything, pairing effortless charm with sharp songwriting, and Chuck Timely & The Hourglass proves it was no fluke. Rather than simply chasing the success of his biggest hit to date, Role Model uses it as a springboard for an album that feels more confident, more adventurous and, ultimately, more complete.
Signum pairs two composers who rarely feel like strangers to one another, and this disc makes the case for their kinship well. Parry's De Profundis — a large-scale, twelve-part setting of Psalm 130 — dominates proceedings, its long arc from penitence to consolation still capable of catching a listener off guard more than a century on. God Is Our Hope and Strength offers a shorter but no less confident companion piece, while Elgar supplies the disc's more intimate corners: the partsong The Snow and the folk-inflected Scenes from the Bavarian Highlands, both far removed from the pomp he's better known for.
The Oulu Sinfonia are the real stars of this cycle: precise, accurate, never once caught fumbling for a note, with woodwind and strings that make light and melody of everything put in front of them.
Four composers, one landscape, and not a single weak link in the chain — Sibelius would probably approve of the company he's keeping