Latest news with #Florence+theMachine
Daily Mirror
28-04-2025
- Entertainment
- Daily Mirror
Woman finds 'song of the summer - but 90s kids are 'rolling their eyes'
A woman who had a song come on her Spotify has left some millennials and Gen Xers fuming because they much prefer the original song, and are sick of the remixes People born in the 90s have been left baffled at a woman who claims she's found 'the song of the summer' - but it was the song of the summer many moons ago. Hayley Sibley posted a video on TikTok saying: "This is the song of the summer, ladies and gentlemen," as she positioned the phone to have a dance to the song that she reckoned she'd discovered. In fact, the song has been remixed and rediscovered many times after its 1986 release by Candi Staton. 'You Got The Love,' which was made even more famous by Florence + the Machine's 'You've Got the Love' in 2009, was originally recorded about the world's fattest man and his weight loss battle. In return for her vocal services, the programme-makers donated half the publishing rights to Staton, reports the Independent. But Hayley was buzzing to find a remix of the song, but some 90s babies were less than impressed, as the song was super popular when they were younger. "I was just getting ready and it came on on my Spotify random shuffle," Hayley excitedly exclaimed, as she started to dance when the remix dropped. "I feel like even your nan would get down to this," Hayley joked, as she continued to dance as the song played. But the top comment was a man who was less than impressed with Hayley's antics, penning: "Every 90's kid already typing an eye roll and as if she thinks this is new, till that beat drops lol". Another agreed, saying: "Song of summer 2009****. It's so overplayed nowadays". Someone else pointed out that the song was much older than that, correcting that the date was 1986. "That's the original. Florence remixed it in 2009, and this is similar," they clarified. "The original is so much better," another TikTok user added, with another saying they thought it was "sad" that most of "today's music is recycled". One woman wrote: "Candi Statton will always make it go Got the Love has been an anthem of every summer since it was first released!" "Every Gen X has a knowing smile right now," somebody joked, because the song was actually released during their era. "That's because we know the original, so we will always get down to it - both the original and this version," a music-lover pointed out. "The choir in the church sang this during my wedding when signing the marriage certificate… we're now getting divorced but this is a bangerrrr," one woman wrote. Hayley responded, saying: "I wasn't expecting the ending," followed by a bunch of crying emojis. One man was fuming with the remix, however, writing: "Rule #1 only tinker with a classic if you make it better than the original".
The Guardian
01-03-2025
- Entertainment
- The Guardian
One to watch: Erin LeCount
Search for Erin LeCount online and you're likely to find videos of her spinning around her room in a long white dress, a cross hanging on the wall and a gritty, melancholic synth melody in the background. Growing up in Chelmsford, Essex, the 22-year-old singer-songwriter started producing her own songs during lockdown, releasing music from her garden shed studio. LeCount's 2023 debut EP, Soft Skin, Restless Bones, offered soulful vocals and the beginnings of a now well-established aesthetic: morbid religious imagery mixed with graceful ballet movements and discarded flowers. Later that year she released a mashup cover of Phoebe Bridgers's I Know the End and Frank Ocean's White Ferrari. The results are otherworldly: think Ethel Cain or Florence + the Machine and Fiona Apple for the digital age. Last year, LeCount featured on German DJ Ben Böhmer's Faithless, a delicate song of self-sabotage and lost love. Her newest single, Silver Spoon, paints a story of love, privilege and shame through ethereal vocals and dark, angelic imagery ('I bet you grew up grazing your knees, but the fall wasn't fatal like it was for me'). Originally a demo on SoundCloud and YouTube, when the song was officially released it achieved more than 1m streams in a week. In 2025 it looks as if LeCount's garden-shed pop will continue to bloom. Silver Spoon is out now. Erin LeCount plays Rae's, London SE1, on 27 March
The Guardian
22-02-2025
- Entertainment
- The Guardian
Dope Girls review – the dodgy accents could give Peaky Blinders a run for its money
The Peaky Blinders comparisons have been flying around ever since filming on Dope Girls began, so it sounds as if the BBC was hoping that it might have a successor on its hands. Certainly, there are some superficial similarities between the two. Dope Girls is set in 1918 and deals with the aftermath of the first world war, as the surviving men return. But here, it's the women who are in the spotlight, as the female workforce of the past four years suddenly find their newfound social status has been relegated once again. In mood and tone, however, it is less a return to Small Heath, and more of a predecessor to Cabaret. Kate Galloway (Julianne Nicholson) is a businessman's wife and wartime butcher, who falls on hard times after a family tragedy. Destitute and homeless, she heads to London, where Armistice Day is looming and the party of the century is about to kick off. With the help of a bright dancer named Billie (Umi Myers), who is as talented as she is troubled, Kate finds her way into the clubland underworld of Soho, where she spies the potential to apply her previous workplace-based knowledge, and sets the ball rolling on building a new empire of nightlife. Joining Kate and Billie is Kate's daughter Evie (Eilidh Fisher), who begins the series at a fancy boarding school where she is bullied for being from 'the slums' – ie she is not landed gentry. Little Women's Eliza Scanlen is Violet, a young woman from the north of England taking part in 'the Female Experiment', in which 10 women are recruited as the country's first ever female police officers. Geraldine James, who has been the cherry on the top of a strong female ensemble cake ever since Band of Gold in the 1990s, plays Isabella Salucci, the matriarch of an organised crime family who soon finds herself entangled with Kate's new venture, and not necessarily in a female-solidarity sort of way. Created and written by the playwright Polly Stenham, with Alex Warren, it is a theatrical affair from the off. It opens with a flash-forward to Kate, soaked in blood and wearing angel wings, frolicking in a fountain in Trafalgar Square; there are plenty of moments when it all goes a bit like a Florence + the Machine video. The first episode establishes how she got there in the first place, but as it must cover a lot of ground, the early mood is skittish and unsettled. It also includes the copious use of Heartstopper-style text graphics, to annotate and explain some of the scenes. One particularly egregious example read 'Paaaaaaarty!' over the start of, well, a party. I didn't love it, but perhaps it is an attempt to win over a younger audience. The show finds more confidence when everyone has been moved into position and the fireworks are finally allowed to begin. As Kate looks to make the most of what life has thrown at her, Violet must prove herself as a police officer by going undercover with Soho's dancers, criminals and thieves. Both harbour huge secrets that will inevitably be exposed. It's impossible to root for one over the other, even though they are technically opposing forces, because both are outsiders, and desperate in their own ways. The timing does feel a little unfortunate. The problem with suggesting it as an heir to Peaky Blinders is that Steven Knight, that series' creator, has just released another period crime drama, A Thousand Blows, which is also (partly) about female gangs in London. It is set about 40 years earlier, but it, too, deals with outsiders creating their own criminal economy, and women who seek or possess power beyond the levels expected of them. Its energy, however, is bigger and bolder; it spends more time on the story and less time searching for a beautiful angle. A wag might argue that what Dope Girls shares most with Peaky Blinders is a tendency for all accents involved to go wandering around the globe, before settling somewhere, anywhere, in the UK. But that would be impolite. Dope Girls takes place in a busy period, historically, and crams in clandestine same-sex affairs, the 1918 flu pandemic outbreak, spiritualism and empire, among many other ideas. All of this creates a hectic, sometimes fussy scramble. But Dope Girls is in no way a bad series. Its ambition is entertaining, and it is hard to get bored, especially when the crime really gets going. If it is skewed towards a younger audience, then it certainly doesn't skimp on the brutality or the gore: limbs are severed, tongues are removed and eaten, and you wouldn't want to guess where a hairpin ends up. It is fun, gory and lively, then, if a little too in love with its own reflection. Dope Girls aired on BBC One and is available on iPlayer
