Latest news with #Garbage
Hype Malaysia
2 days ago
- Entertainment
- Hype Malaysia
HK Star Candy Lo To Hold Concert In Genting This October; Ticketing & Seating Announced
Fans of Candy Lo (盧巧音), get ready! The Hong Kong pop-rock sensation is coming to Malaysia this August to perform her highly anticipated 'Timeline II 2025 Concert.' Candy invites everyone to join her on a heartfelt journey. This isn't just a concert but an event that explores memories, personal growth, and the beauty of life's ever-changing seasons. Following the success of her Hong Kong showcase in April, the actress now brings her vision to Malaysia. This next chapter of the tour continues her signature approach. Using music to reflect on the past, embrace the present, and inspire hope for the future. Her concert promises an emotionally charged setlist and a deeply immersive theme in order to resonate with fans of all ages. Truly, it's a concert experience unlike any other. Audiences can look forward to a carefully curated show built around seven powerful chapters: RE-VISIT, RE-EXPLORE, RE-SET, RE-ALIGN, RE-START, RE-CLAIM, and RE-IGNITE. Each chapter represents a distinct stage in life's emotional and spiritual evolution. From iconic tracks like 'Garbage' (垃圾) and 'Please Break Up' (好心分手) to more recent, reflective pieces such as 'Watching Others' Pain' (旁观他人之痛), the performance promises to be both deeply introspective and sonically electrifying. With her iconic mix of rock energy and lyrical sensitivity, the songwriter shares personal reflections on time, growth, and living without regrets. Whether you're a longtime fan or someone familiar with her acting work and curious about her musical side, here is all the information for the concert: Candy Lo 'Timeline II 2025 Concert' in Malaysia Date: 25th October 2025 (Saturday) 25th October 2025 (Saturday) Time: 6pm 6pm Venue: Arena of Stars, Genting Highlands Arena of Stars, Genting Highlands Ticketing: RM688 (VIP), RM548 (PS1), RM428 (PS2), RM288(PS3) If you're a Genting Rewards Gold Member, you'll be able to grab a seat starting on the 8th August (Friday) at 3pm. If not, don't worry! Public sales begin on the 13th August (Wednesday) at 12pm, so don't miss your chance to attend this concert! All ticket fees will require a processing fee of RM4. For more information, head to her official social media or rwgenting. Zaima Humaria contributed to this article
Winnipeg Free Press
04-07-2025
- Entertainment
- Winnipeg Free Press
New music: Lorde, Garbage, Ches Smith and Jordi Savll
Lorde Virgin (Universal) Fans of the New Zealand singer-songwriter Lorde have long commended the artist for her visceral pop craft. Her music, to certain ears, sounds like freedom. On her new album, it is as though Lorde is able to hear it, too. On Virgin, the singer born Ella Marija Lani Yelich-O'Connor's fourth studio album and first in four years, pop hits are devoid of any anxious filtering. She is raw. When Lorde first emerged as a gothic popstar — with Royals, and its critique of celebrity culture and consumerism — she did so with prescience. Her sparse production style and cursive-singing had come from the future, and its influence would be felt for many years to follow. Her debut, 2013's Pure Heroine, suggested that she possessed something her contemporaries did not; the synesthesia synth-pop Melodrama in 2017 all but confirmed her greatness. She took a step back from all that for the sleepy sunshine of 2021's Solar Power, and then took another — veering away from the spotlight all together. Musically, Virgin threads the needle from Melodrama to the current moment. The lead single, the synthpop What Was That is a reserved derivation of her previous work but no doubt a banger; on the syncopated rhythms of Hammer, she's matured her racecar-fast pop. An album standout, the metamorphic Shapeshifter, possesses a tension between organic and electronic sounds that continue onto Man of the Year, with its bass and cello contributions from frequent collaborator Dev Hynes. For a singer who has always performed physical pop songs, Virgin is her most bodily work to date as well. This is a new Lorde — a more self-assured artist, warts and all — but one that recognizes and evolves her sonic signatures. Now, like in the early days of her career, Virgin is both avant-garde and pop-radio ready, a confluence of unlike features that mirror its messaging. Only now, she sounds unshackled. ★★★★ out of five Stream: Shapeshifter; Hammer — Maria Sherman, The Associated Press ROCK Garbage Let All That We Imagine Be the Light (BMG) Buzz-saw guitars, dense synthesizers and throbbing percussion can sometimes brighten the mood. That's the goal of the new album from the American rock band Garbage. It's the sound of frontwoman Shirley Manson pushed to the brink by health issues and the fury of our times. The band's familiar sonic mix provides a pathway out of the darkness, with heavy riffing and dramatic atmospherics accompanying Manson's alluring alto. The album is Garbage's eighth and the first since 2021's No Gods No Masters. The genesis came last August, when Manson aggravated an old hip injury, abruptly ending the band's world tour. The other members of the group – Butch Vig, Duke Erikson and Steve Marker – retreated to the studio and began work on new music. Manson added lyrics that lament fatalism, ageism and sexism, acknowledge vulnerability and mortality, and seek to embrace joy, love and empowerment. That's a lot, which may be why there's a song titled Sisyphus. The sonics are formidable, too. A mix that echoes the Shangri-Las, Most of the material is less New Age-y, and there's a fascinating desperation in Manson's positivity. Chinese Fire Horse, for example, becomes a punky, Gen X, age-defying fist-pumper. Manson sounds just as defiant singing about a love triangle on Have We Met (The Void), or mourning in America on There's No Future in Optimism. The album peaks on the backside with the back-to-back cuts Get Out My Face AKA Bad Kitty, a battle cry in the gender war, and R U Happy Now, a ferocious post-election rant. Then comes the closer, The Day That I Met God, a weird and whimsical benedictory mix of horns, strings, faith, pain management and more. Hope and uplift can sound good loud. ★★★★1/2 Stream: Chinese Fire Horse; R U Happy Now — Steven Wine, The Associated Press Ches Smith Clone Row (Otherly Love) It can be argued that if one jazz guitar is a good thing then two must be even better. If the two guitarists are among the best contemporary adventurous musicians in jazz, it should lead to some pretty interesting music. This album is by leader Ches Smith, drummer and composer, joined by guitarists Mary Halvorson and Liberty Ellman, and bassist Nick Dunston. Describing this as 'interesting music' is an understatement. From the opening track with its scrawling riff to later more melodic grooves, there is much to enjoy here. Both Halvorson and Ellman are noted for sound clusters and wild flights, but they work with wonderful unison and duet moments that are surprising and unpredictable. Smith's writing gives all members freedom within the 'lines' without committing them to stay between them. Tracks such as Town Down display a driving rhythm with a challenging time signature. Electronic effects are added in many tracks, giving an often otherworldly mood. Heart Breakthrough has the guitarists spinning around each other in delightful patterns. Guessing the time signature is often just a fun game. This is unquestionably challenging music. Dissonance rules throughout, though it is not necessarily jarring or out of place. Smith's leadership and compositions are increasingly impressive as the album proceeds. Sustained Nightmare is perhaps well named as it is absolutely on the non-melodic side of the bell curve. And on the topic, the last track, Play Bell (For Nick) gives the bass player front and centre acknowledgement. One of the exciting things about contemporary jazz is the increasing range of new ways of expressing emotion through adventurous music. Not for everyone perhaps, but albums like this are the new moves in the always shifting world of the genre. It is well worth a listen. ★★★★ 1/2 out of five Stream: Abrade Wirth Me; Town Down — Keith Black CLASSICAL Forgotten Symphonies Jordi Savll, Le Concert Des Nations (Alia Vox) In this followup to his prior successful Beethoven and Schubert recordings, Jordi Savall leads his Le Concert Des Nations in two 'forgotten' romantic symphonies, both composed in the wake of Beethoven's death and relegated to the margins of music history. The first of those, Schumann's Symphony in G minor, Wo029, or the Zwickau, roils with the passion of youth, its two shorter movements earning the work's title as the 'Unfinished Symphony.' Savall leads the period orchestra through its opening movement with finesse while navigating its resolutely motivic nature. The second movement recalling Beethoven's Symphony No. 7, is infused with greater drama, from its initial chordal outbursts leading to the strings's more rhythmically active passagework before a fiery finish. Bruckner's Symphony No. 2 in D Minor, WAB 100, described by the overly self-critical composer as 'gilt nicht' ('does not count') even saw him re-naming his sweeping work penned in 1872 as Symphony No. Zero. Of its four movements, the Andante is a particular standout with the players instilling gravitas into its slowly measured meditation based on a chorale theme, as is the Finale, capped by a powerful coda attesting to the German composer's arresting voice on full display in this now 'remembered' work that should be heard again – and often. ★★★★ 1/2 out of five Stream: Symphony in G minor, Wo029; Symphony No. 2 in D minor, WAB 100, Andante — Holly Harris
The Age
28-06-2025
- Entertainment
- The Age
Eight albums and two hip replacements: Shirley Manson shows no sign of slowing down
This story is part of the June 29 edition of Sunday Life. See all 13 stories. I am an outspoken person,' says Shirley Manson on a Zoom call from her home in Los Angeles. 'It comes naturally to me, and it's how I was brought up. I don't get easily frightened. As a result, I get it in the neck, but I don't allow it to shut me up.' It's fair to say the Scottish lead singer of rock band Garbage doesn't suffer fools gladly. You'll often find Manson on social media calling out humanitarian crises and weighing in on cancel-culture debates and world politics. She has firm views on Gaza, Ukraine, Sudan, Haiti and the Congo. 'According to the way I was parented, you need to say something when people can't stand up for themselves,' she explains. 'Sometimes I get frustrated when people don't speak out, but not everybody has a robust psyche like me.' Manson first caught our attention in 1995 when she burst onto the music scene with Garbage's hit single, Only Happy When It Rains, a song penned with founding member and drummer Butch Vig, who famously produced Nirvana's 1991 breakthrough album, Nevermind. The late Michael Gudinski toured Garbage in Australia and New Zealand while the band was still relatively unknown, following a hunch they'd make it big. And they did. Garbage's self-titled 1995 debut peaked at No.4 in the Australian charts and went on to sell four million copies worldwide. Since then, the band's seven albums have sold more than 17 million copies. Manson still gets teary when she talks about Gudinski. 'Michael saw me as a human being,' she says. 'He acknowledged my loyalty and witnessed me as the soft yielding mess that I actually am in real life. And when somebody sees you for how you really are, you are bound to them forever.' The mid-1990s was a pivotal period in music, the release of Garbage coinciding with Alanis Morissette's Jagged Little Pill, Björk's Post, Oasis's (W hat's the Story) Morning Glory? and No Doubt's Tragic Kingdom. Now 58, and with two hip replacements behind her, Manson returns with her band for their eighth studio album, Let All That We Imagine Be the Light. The release feels like a chance for Garbage to finally embrace a sunnier disposition, trading emo anthems for hope in the face of fear. It's music fuelled by a defiance that comes with age, a perspective that's matured, and a self-confidence that's finally been acknowledged. 'I had to put positive thinking into practice and imagine something bigger and better than myself.' SHIRLEY MANSON Manson knows that in 2025, her band is competing with the likes of Chappell Roan, Dua Lipa, Taylor Swift and Gracie Abrams for attention. That hasn't deterred Garbage's ambitions to keep making music for their loyal followers, just tempered the band's expectations. 'You can't have the same cultural impact you had when you were young,' says Manson. 'That is the province of youth, and how it should be.' Manson wrote most of the songs for Let All That We Imagine Be The Light in 2023 and 2024 during two bouts of post-operation rehab in the LA home she shares with husband Billy Bush, Garbage's recording engineer. She had been told she would be walking three days after surgery, but each time took three months, while a diet of painkillers led to brain fog. But rather than feel sorry for herself, the situation inspired positive thinking. 'At first, I thought it was a tragedy that I was so crippled, but it turned out to be a gift,' she says. Loading She elaborates, 'I couldn't bear weight on my legs – it was frightening. I think I was clinically depressed, and I knew that if I didn't change my thinking about my health, about the dark events happening in the world at the same time, I would die of a broken heart. So, I had to put positive thinking into practice and imagine something bigger and better than myself. I employed a positive way of thinking for the first time in 58 years and was astounded by the results.' Sisyphus, the first song she wrote for the new album, points to the recovery process. 'It's about learning how to garner all my powers to recover and walk again,' she says. 'It was good to learn new things about myself, to reacquaint myself with the idea of patience and employ it for the first time in my life.' Earlier this year, a UK tabloid criticised Manson for looking 'unrecognisable' in a new promotional photo, a huge blow for someone who's spent her entire career fighting sexism. Asked about it now, Manson hits back: 'How can anyone expect to look the same as they did in their 20s? I don't even want to try.' Another new song, Chinese Fire Horse, is an ode to that inner feminist fire, calling out those who put women down. 'A few years ago, I had two journalists in different countries, one male and one female, ask me when I was going to retire. I was 54 at the time and completely thrown back on my heels. How did they have the audacity to ask me that question? Nobody would ever ask this question of the men in my band, who are considerably older than me – Butch [Vig] will be 70 this year. 'It was then I realised the experience of an ageing woman in our culture has never really been fully investigated in pop music. Bob Dylan has never written a song about what it's like to be an ageing woman.' She acknowledges that there's now a wave of female rock stars enjoying success in their 70s and even 80s. 'Women like Deborah Harry, Patti Smith, Stevie Nicks, Chaka Khan and Chrissie Hynde are the first wave who have ever done it,' she says. 'It's thrilling, and I can't think of anything more beautiful than pointing younger women to this messaging. 'When society tells you that you're dead at 25, they're lying to you. You have agency into your 80s thanks to these women. I am sick and tired of men being told how beautifully they age and how great they are. Well, how about we start talking about how great, gallus and courageous women are, because we haven't had any doors opened for us?' Away from the spotlight, Manson often turns to her inner circle – including fellow musicians Peaches, Santigold and the Yeah Yeah Yeahs' Karen O – for support. She still travels back to Scotland to visit her 88-year-old father and laughs while observing that, where she grew up, nobody cares that she went to LA and became a rock star. Manson lost her mother to dementia in 2008. While sad, it was another experience that gave the singer a spur to re-evaluate her life. 'I kept waiting for someone to recognise that I was enough,' she says. 'It wasn't until my mother died that I realised, 'Wow, I'm on my own now. I have no Joan of Arc in front of me. It's me versus the world and I have to value myself.'' That, however, doesn't make the sting of public scrutiny any easier, and Manson continues to attract media attention based on what she wears, both on and off the stage. 'I always ask myself, 'How can I be as authentic as possible with the clothing choices I make?'' says the woman who caused a ruckus in the 90s by wearing a T-shirt with the slogan 'Don't touch my tits'. Loading 'I don't want to play dress-up and I'm uninterested in being fashionable,' she continues. 'I don't give a f--- about fashion because I don't want to look like everybody else, nor do I want my identity consumed by the mainstream. Yes, I love beautiful clothes, but I'm not consumed by them.' Keeping it simple is her approach now. 'I feel very concerned about the unbelievable waste the fashion industry is creating. I am trying to be more conscious. I am re-using pieces over and over again. 'Am I perfect? No. Do I make mistakes? Yes. But I will never wear fur. I am eating fewer animal products nowadays, and I'm sure that within a few years I'll be wearing rubber Crocs 100 per cent of the time, not 99.9 per cent.'
Sydney Morning Herald
28-06-2025
- Entertainment
- Sydney Morning Herald
Eight albums and two hip replacements: Shirley Manson shows no sign of slowing down
This story is part of the June 29 edition of Sunday Life. See all 13 stories. I am an outspoken person,' says Shirley Manson on a Zoom call from her home in Los Angeles. 'It comes naturally to me, and it's how I was brought up. I don't get easily frightened. As a result, I get it in the neck, but I don't allow it to shut me up.' It's fair to say the Scottish lead singer of rock band Garbage doesn't suffer fools gladly. You'll often find Manson on social media calling out humanitarian crises and weighing in on cancel-culture debates and world politics. She has firm views on Gaza, Ukraine, Sudan, Haiti and the Congo. 'According to the way I was parented, you need to say something when people can't stand up for themselves,' she explains. 'Sometimes I get frustrated when people don't speak out, but not everybody has a robust psyche like me.' Manson first caught our attention in 1995 when she burst onto the music scene with Garbage's hit single, Only Happy When It Rains, a song penned with founding member and drummer Butch Vig, who famously produced Nirvana's 1991 breakthrough album, Nevermind. The late Michael Gudinski toured Garbage in Australia and New Zealand while the band was still relatively unknown, following a hunch they'd make it big. And they did. Garbage's self-titled 1995 debut peaked at No.4 in the Australian charts and went on to sell four million copies worldwide. Since then, the band's seven albums have sold more than 17 million copies. Manson still gets teary when she talks about Gudinski. 'Michael saw me as a human being,' she says. 'He acknowledged my loyalty and witnessed me as the soft yielding mess that I actually am in real life. And when somebody sees you for how you really are, you are bound to them forever.' The mid-1990s was a pivotal period in music, the release of Garbage coinciding with Alanis Morissette's Jagged Little Pill, Björk's Post, Oasis's (W hat's the Story) Morning Glory? and No Doubt's Tragic Kingdom. Now 58, and with two hip replacements behind her, Manson returns with her band for their eighth studio album, Let All That We Imagine Be the Light. The release feels like a chance for Garbage to finally embrace a sunnier disposition, trading emo anthems for hope in the face of fear. It's music fuelled by a defiance that comes with age, a perspective that's matured, and a self-confidence that's finally been acknowledged. 'I had to put positive thinking into practice and imagine something bigger and better than myself.' SHIRLEY MANSON Manson knows that in 2025, her band is competing with the likes of Chappell Roan, Dua Lipa, Taylor Swift and Gracie Abrams for attention. That hasn't deterred Garbage's ambitions to keep making music for their loyal followers, just tempered the band's expectations. 'You can't have the same cultural impact you had when you were young,' says Manson. 'That is the province of youth, and how it should be.' Manson wrote most of the songs for Let All That We Imagine Be The Light in 2023 and 2024 during two bouts of post-operation rehab in the LA home she shares with husband Billy Bush, Garbage's recording engineer. She had been told she would be walking three days after surgery, but each time took three months, while a diet of painkillers led to brain fog. But rather than feel sorry for herself, the situation inspired positive thinking. 'At first, I thought it was a tragedy that I was so crippled, but it turned out to be a gift,' she says. Loading She elaborates, 'I couldn't bear weight on my legs – it was frightening. I think I was clinically depressed, and I knew that if I didn't change my thinking about my health, about the dark events happening in the world at the same time, I would die of a broken heart. So, I had to put positive thinking into practice and imagine something bigger and better than myself. I employed a positive way of thinking for the first time in 58 years and was astounded by the results.' Sisyphus, the first song she wrote for the new album, points to the recovery process. 'It's about learning how to garner all my powers to recover and walk again,' she says. 'It was good to learn new things about myself, to reacquaint myself with the idea of patience and employ it for the first time in my life.' Earlier this year, a UK tabloid criticised Manson for looking 'unrecognisable' in a new promotional photo, a huge blow for someone who's spent her entire career fighting sexism. Asked about it now, Manson hits back: 'How can anyone expect to look the same as they did in their 20s? I don't even want to try.' Another new song, Chinese Fire Horse, is an ode to that inner feminist fire, calling out those who put women down. 'A few years ago, I had two journalists in different countries, one male and one female, ask me when I was going to retire. I was 54 at the time and completely thrown back on my heels. How did they have the audacity to ask me that question? Nobody would ever ask this question of the men in my band, who are considerably older than me – Butch [Vig] will be 70 this year. 'It was then I realised the experience of an ageing woman in our culture has never really been fully investigated in pop music. Bob Dylan has never written a song about what it's like to be an ageing woman.' She acknowledges that there's now a wave of female rock stars enjoying success in their 70s and even 80s. 'Women like Deborah Harry, Patti Smith, Stevie Nicks, Chaka Khan and Chrissie Hynde are the first wave who have ever done it,' she says. 'It's thrilling, and I can't think of anything more beautiful than pointing younger women to this messaging. 'When society tells you that you're dead at 25, they're lying to you. You have agency into your 80s thanks to these women. I am sick and tired of men being told how beautifully they age and how great they are. Well, how about we start talking about how great, gallus and courageous women are, because we haven't had any doors opened for us?' Away from the spotlight, Manson often turns to her inner circle – including fellow musicians Peaches, Santigold and the Yeah Yeah Yeahs' Karen O – for support. She still travels back to Scotland to visit her 88-year-old father and laughs while observing that, where she grew up, nobody cares that she went to LA and became a rock star. Manson lost her mother to dementia in 2008. While sad, it was another experience that gave the singer a spur to re-evaluate her life. 'I kept waiting for someone to recognise that I was enough,' she says. 'It wasn't until my mother died that I realised, 'Wow, I'm on my own now. I have no Joan of Arc in front of me. It's me versus the world and I have to value myself.'' That, however, doesn't make the sting of public scrutiny any easier, and Manson continues to attract media attention based on what she wears, both on and off the stage. 'I always ask myself, 'How can I be as authentic as possible with the clothing choices I make?'' says the woman who caused a ruckus in the 90s by wearing a T-shirt with the slogan 'Don't touch my tits'. Loading 'I don't want to play dress-up and I'm uninterested in being fashionable,' she continues. 'I don't give a f--- about fashion because I don't want to look like everybody else, nor do I want my identity consumed by the mainstream. Yes, I love beautiful clothes, but I'm not consumed by them.' Keeping it simple is her approach now. 'I feel very concerned about the unbelievable waste the fashion industry is creating. I am trying to be more conscious. I am re-using pieces over and over again. 'Am I perfect? No. Do I make mistakes? Yes. But I will never wear fur. I am eating fewer animal products nowadays, and I'm sure that within a few years I'll be wearing rubber Crocs 100 per cent of the time, not 99.9 per cent.'
News.com.au
19-06-2025
- Entertainment
- News.com.au
Garbage singer Shirley Manson warns ‘expensive' Australia may miss out on more big tours
Shirley Manson confirms there are 'plans afoot' for '90s industrial pop pioneers Garbage to return to Australia later this year for their first tour in almost a decade. The rebel siren who has stalked the country's biggest stages over the past three decades says the delay in returning down under to play to one their biggest fanbases in the world, isn't for a lack of desire. It's a numbers' game. Manson reveals the band, which features famous producers and hitmakers Butch Vig, Duke Erikson and Steve Market, are offered the same fees to play in 2025 as they were paid in the late '90s. As Garbage get ready to head out on a massive US tour in support of their eighth studio album Let All That We Imagine Be The Light, the alt-rock goddess says the explosion in costs from flights and accommodation to staging and freight is putting younger rock bands out of business. 'There are plans afoot to come this year but it's getting increasingly difficult for bands to come to Australia,' she says. 'It's very expensive for us, flights, hotels, wages, everything, and the fees for a band like us, not always but sometimes, remain the same as what we were being paid in the '90s. 'I don't think people fully understand how difficult it is for bands to survive and that is why we are seeing less and less bands because the expense of touring for a band just becomes impossible to sustain. 'We have managed to survive an industry that's brutal by being really canny with the money; none of us live wildly, I drive a f---ing 10-year-old Prius.' Manson has been to hell and back over the past couple of years. She underwent hip replacement surgery to fix the damage wrought by a stage fall she suffered in 2016. Last year her other hip broke and she went through the same operation and recovery process all over again. Dealing with her human frailty, and the sociopolitical flux of her beloved America, where the Scottish singer has lived for decades, tested her spirit. Like all songwriters, when the brain fog of pain and medication lifted Manson set up a small recording studio in her bedroom and channelled her feelings into lyrics for the new record's songs. 'It's the first time I've sort of recorded my part of the bargain independently of the band; it's my era of independence!' she says with pride. 'I was recovering from two major surgeries over the course of two years so I was bed bound and my whole life got sort of turned upside down and all my habits got just disrupted, which was actually in the end, really great both for me and the band. 'It just changed the dynamic completely, which after 30 years is a real gift because of course if you're familiar with one another and familiar with your patterns of working, things can get very predictable.' 'Being in pain and having to learn to walk again was no picnic but I'm grateful for the upheaval in the end because it changed my thinking and it turned out there was a lot of silver linings to this misery.' The 58-year-old sounds different on the songs. Maybe it was the painkillers, perhaps it was the pain but her already expansive, emotive voice has found bolder new colours. Like on Sisyphus, where she channels her recovery – 'This little body of mine is going to make things right' into a soaring electronic club track that is ripe for a cover version from her labelmate Kylie Minogue. The pair were both mentored by the late great Australian music mogul Michael Gudinski. 'Oh my darling Kylie, she would kill that track actually,' Manson says. 'I have such a massive love for her. 'I really try to explore different parts of my voice, with every record that we make. And I really tried to push myself to not stick to what I know so if you hear any new colour in my voice after 30 years, that's the greatest compliment you could possibly pay me.' Manson has a lot of love for the new generation of female pop artists who share her passion for using their art and platform to speak out against injustice. The singer has never shied from using her songs and her social media to protest, and has been buoyed by other women raising their voices from Lady Gaga to Chappell Roan. 'We are screaming about the same bullshit as we did in the '90s. I'm very excited, however, by the new generations of young artists. They really fill me with a lot of joy,' she says. 'Whether they know it or not, they're coming from our school. 'And we've had a dearth of provocative and alternative voices for about 20 years with the advent of uber pop artists who are just ginormous and take up so much space and were well-behaved and sort of conservative. 'I'm not knocking pop, I love pop, so I love seeing these enormous pop stars now who are getting involved in trying to improve our communities and are being courageous, way more courageous than my generation.' Let All That We Imagine Be The Light is out now.
