Latest news with #LolaYoung
Daily Mail
a day ago
- Entertainment
- Daily Mail
Lola Young opens up on her sexuality with X-rated comment
Lola Young has opened up about her sexuality after she responded to a comment on her recent TikTok video. The Messy hitmaker, 24, who wowed fans with her performance at Radio 1's Big Weekend in Liverpool on Sunday, took to social media later that day and fans went wild for the post. Dancing and lip syncing to CMAT's track Take A Sexy Picture Of Me, viewers headed straight to the comments to share their love for the star. While one fan joked: 'no man deserves this' Lola unexpectedly replied as she confirmed she does not identify as straight writing: 'i like p***y as well u kno' [sic]. CMAT also loved the tribute to her song as she replied with a series of crying emojis and penned: 'i love u so much this is the best day of my life. ur so fit'. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the Daily Mail's new Showbiz newsletter to stay in the loop. The lyrics of CMAT's new song go 'I did the butcher, I did the baker / I did the home and the family maker / I did schoolgirl fantasies / Oh, I did leg things and hand stuff / And single woman banter / Now tell me, what was in it for me?'. Lola, who is a Brit School alum, has soared to stardom this year after she went viral with her hit song Messy and was even nominated for two BRIT Awards. And earlier this month the star took to social media to promote her ADHD medicine, Concerta, because it makes her 'see mess now and clean things up'. Lola highlighted that there was an 'over glamorisation' of the hyperactivity disorder which has broken out among Gen Z with many 'jumping on the bandwagon'. But, she argued, the glorification of ADHD in recent years has also helped break down the stigma and made sure 'people are aware of what it's doing to your brain'. The Croydon-born pop singer said: 'Six months ago I started taking Concerta and it has genuinely changed my life, my thought processing and it's changed how I see mess and I can clear up, I feel genuinely a lot happier. 'My experience on Concerta has been incredible, and I would highly recommend it. I think it's super important to break down the stigma of taking medication for mental health because, right now, if you had a heart condition, you may take some. 'So we should make sure physical health and mental health are viewed on par.' CMAT also loved the tribute to her song as she replied with a series of crying emojis and penned: 'i love u so much this is the best day of my life. ur so fit' Lola also emphasised the importance of getting a diagnosis of ADHD can 'change your life'. She said: 'Getting a diagnosis can help you understand, but I would also recommend getting the medication I am on, which is Concerta.' Concerta is a drug that increases attention and decreases impulsiveness and hyperactivity in patients with ADHD. People taking the drug will feel a sense of euphoria, a higher energy level and better focus and concentration. It is estimated 230,000 people in the UK are taking the medication for ADHD. Lola revealed she wrote the hit single, Messy, in her bedroom and said: 'It's been speculated that it's about my parents. 'It's massively about some close family but it's a combination. 'It's more about myself, I am too messy. I've never held a broom in my life, everything in my life is a mess so it's a very fitting track.'
Yahoo
2 days ago
- Entertainment
- Yahoo
Lola Young comes out as bisexual in a playful TikTok comment
Lola Young dropped some truths about her sexuality over the weekend, and did so with a single line of text in a comment on a TikTok video. The 24-year-old British alt-pop sensation, fresh off her Coachella set and the Billboard success of her breakout hit, 'Messy,' posted a video of herself dancing and lip-syncing to CMAT's 'Take a Sexy Picture of Me' while wearing a corseted grey hoodie and matching sweatpants. - YouTube In the comments section of the video, one user said, 'no man deserves this,' which prompted a response from Young stating, 'i like p***y as well u kno.' Lola Young commenting on her sexuality Prior to this, Young has never publicly addressed her sexuality, though she did confirm to British GQ back in 2021 that the first time she'd fallen in love was when she was 14. 'I believe in young love, for sure, but I believe love does not change depending on your life experience,' she said at the time. 'The person [I fell in love with] was great, but it just wasn't right.' She further clarified, 'I don't love love most of the time, but sometimes I do, and I don't like change, which means I like to stay in relationships as long as they last.' Young has been a rising star since she debuted with '6 Feet Under' in 2019, and 'Messy' took the number one spot in the charts in the UK, Australia, Belgium, Croatia, Ireland, and Israel. - YouTube Overall, Young's frank lyrics and unique sound have garnered her the attention, with 'Messy' initially becoming a viral sensation after it became a TikTok trending sound in 2024. Following her success at Coachella, Young's upcoming UK tour dates and festival appearances are also already selling out, and she's hinted at new music later this year. She has also shared more of her creative process on social media, giving us a deeper insight into how she works. See on Instagram Her comment about 'liking p***y' was well-received by fans, who continue to admire her blunt honesty. Be sure to follow her on social media platforms at @lolayounggg to stay up-to-date with her upcoming projects, and check out her tour page for details on upcoming shows.
IOL News
2 days ago
- Entertainment
- IOL News
Lola Young goes viral: cheeky confessions about her sexuality on TikTok
British singer Lola Young. Image: X/@lolayupdates Lola Young, known for her trending but now annoying song "Messy", gave TikTok a moment recently when she casually addressed her sexuality in response to a compliment. And in true Young fashion, it was cheeky, honest, and delivered with zero pretence. In a recent TikTok, the singer was seen dancing and mouthing along to CMAT's "Take a Sexy Picture of Me," dressed in a corseted athleisure outfit. A fan dropped what was meant to be a flattering comment: 'No man deserves this.' Simple, supportive, and clearly admiring her energy. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ But Young decided to sprinkle in a little clarification. With a wink of sass, she replied: 'I like p---- as well u kno,' (know). Direct? Yes. Funny? Definitely. Refreshingly honest? Always. "No man deserves this," which was meant to praise her appearance and presence. Some fans initially misinterpreted this as an insult, but the original commenter clarified their intention, emphasizing admiration for Young. Young used the moment to remind everyone that her appeal doesn't exist solely in the context of men, and in doing so, she subtly addressed her sexuality in public for the first time. This isn't the first time she's shared bits of herself outside the studio. In an interview with "British GQ," Long opened up about falling in love for the first time at just 14. 'I believe in young love, for sure,' she said. 'But I believe love does change depending on your life experience. The person was great, but it just wasn't right.' She admitted to having a complicated relationship with romance: 'I don't love love most of the time, but sometimes I do.' She added that change doesn't sit easily with her, often preferring the comfort of relationships even when they've run their course. 'Well, I do [know why]. It's a lot to do with my childhood,' she explained. 'But I just don't like change, so love is important to me as much as I may hate it.'
Wales Online
7 days ago
- Entertainment
- Wales Online
Charli XCX named songwriter of the year at The Ivors awards ceremony
Charli XCX named songwriter of the year at The Ivors awards ceremony Messy singer Lola Young took home the rising star award and Berwyn won best album for Who Am I at the awards ceremony at London's Grosvenor House on Tuesday Charli xcx (Image: WireImage ) Brat star Charli XCX has been named songwriter of the year at the 2025 edition of The Ivors. Messy singer Lola Young took home the rising star award and Berwyn won best album for Who Am I at the awards ceremony at London's Grosvenor House on Tuesday. Best contemporary song was won by Sans Soucis for Circumnavigating Georgia, while best song musically and lyrically was won by Orla Gartland for Mine, beating the likes of Young, Raye and Fontaines DC. Speaking about the winners, Tom Gray, chairman of The Ivors Academy, said: "Congratulations to every Ivor Novello Award-winning songwriter and composer. "On behalf of The Ivors Academy, it is a privilege to recognise their craft and achievements. Article continues below "Their lyrics and melodies are the most important foundations of music and there is no greater recognition than an Ivor Novello Award, judged by fellow songwriters and composers." Robbie Williams picked up the music icon award, The Killers frontman Brandon Flowers won the special international award and Self Esteem, whose real name is Rebecca Lucy Taylor, was given the visionary award. Myles Smith's Stargazing, co-written with Peter Fenn and Jesse Fink, was named most performed work, while Raffertie's soundtrack to The Substance took the gong for best film score. Article continues below Best video game score was won by John Konsolakis's work on Farewell North, and best TV soundtrack went to Vince Pope's True Detective: Night Country score. Irish rock band U2 were awarded their academy fellowship while Bloc Party's Kele Okereke, Russell Lissack, Gordon Moakes and Matt Tong took home outstanding song collection, with both awards previously announced. The Ivors celebrated their 70th anniversary this year, with previous winners including Amy Winehouse, Sir Paul McCartney and John Lennon.
Telegraph
7 days ago
- Entertainment
- Telegraph
Where have all the great pop hits gone?
The romantic ballad Ordinary by Californian singer-songwriter Alex Warren is – at the time of writing – enjoying its 10th week at number one in the UK singles chart. Released in February, the song is proving so popular that a special 'wedding version', stripped of its drums and thus tailor-made for that smoochy first dance, has had over 30 million plays on Spotify, twice as many as Ed Sheeran's most recent single Old Phone. But Ordinary is notable for another reason. Of the six songs that have topped the chart so far in 2025, it's the only one to have actually been released this calendar year. Compared to Ordinary, the rest of this year's chart-toppers are positively vintage. Beckenham-born Lola Young's Messy and US rapper Kendrick Lamar's Not Like Us both came out in May 2024 while Chappell Roan's Pink Pony Club, which was number one for two weeks in March, was, astonishingly, released in the second week of lockdown in 2020. Only Gracie Adams' That's So True, number one in January, can vaguely be described as current, having been released last October. A year ago the picture was so different as to be unrecognisable. By mid-May 2024, pop fans had been treated to fresh new hits galore. Sabrina Carpenter 's Espresso, Beyoncé's Texas Hold 'Em, Taylor Swift and Post Malone's Fortnight, Benson Boone's Beautiful Things, Tommy Richman's Million Dollar Baby and Roan's Good Luck, Babe! – to name just six of 2024's chart smashes – had all been released since the turn of the year. In the Official Charts Company's (OCC) list of the 20 biggest songs of 2024, 12 were released between January and mid-May last year. Yet in the OCC's interim list of 2025's 20 biggest songs so far, released in April, only one track is from 2025 – the ubiquitous, and increasingly extra ordinary, Ordinary. Mega-hits always come out in the early months, goes record industry thinking. The biggest songs of 2022 and 2023 – Harry Styles' As It Was and Miley Cyrus's Flowers, both of which bagged Brits and Grammys – were released in the April and January of those years respectively. All of which begs a pressing question: with the summer solstice just five weeks away, where are 2025's pop hits? 'Kids don't listen to the radio so something has to pop up on TikTok or YouTube in order to be a hit, and nothing really has,' is the glum take of one veteran record label boss. Even Private Eye, a magazine more used to dealing with corrupt MPs than corrupt MP3s, declares in its current issue that 'British pop has dried up'. There is, charitably, one mitigating factor behind this year's hits slump: 2024 was a blockbuster year. Superstars Billie Eilish, Beyoncé, Taylor Swift, Charli XCX and Carpenter all released new music last year and are now, bar Swift, on the 'touring' part of their album-tour-rest cycle (coming to the UK soon). But a gangbusters 2024 doesn't explain the fact that numerous much-vaunted 2025 comebacks have failed to light the cultural touchpaper as expected. New albums by Lady Gaga and The Weeknd have so far failed to capture the cultural zeitgeist, while Lorde's comeback single failed to reach the top 10. Ed Sheeran's commercial comeback Azizam, described by this newspaper as 'featherweight musical Esperanto', peaked at number three – relatively low for the Suffolk hit-machine – while his aforementioned Old Phone recently entered the charts at a lowly number 17. People are simply listening to less new music, a fact that has starkly come to the fore this year. Figures from music data company Chartmetric, crunched for the Telegraph, compared the number of Spotify streams received by two of last year's biggest hits with streams received by two of this year's biggest hits some 61 days after their respective releases. Espresso and Texas Hold 'Em, massive smashes in 2024, had been listened to 548 million and 305 million times at the 61-day mark. For Ordinary and Messy, chart-toppers this year, those figures were 198 million and 5.7 million. Chaz Jenkins, chief commercial officer at Chartmetric, offers one theory. He says the music industry has been 'gradually focusing on Q2' – the months of April, May and June – 'for releasing 'hero' tracks in recent years', meaning that hits might be just around the corner. We'll see. The bigger truth is that young people's listening habits have permanently changed. Generation Z – those born between 1997 and 2012 – simply don't consume music in the same way that they used to, and this should be of grave concern to the music industry. James Masterton runs the Chart Watch UK website and has been writing about the charts for over three decades. His take is sobering. 'Theoretically we should be in the middle of a golden age of pop music based on the available demographics. The really odd thing is that this hasn't emerged, which suggests that something deep-rooted has actually changed,' he says. Masterton's theory is this. Pop music goes in cycles and always reaches a peak in popularity some 13 or 14 years after the end of an economic slump. This is because birth-rates historically surge just as economic conditions improve, thereby yielding a large cohort of pop-crazy teenagers 13 or 14 years later. So people born in the good times of the mid-1960s became teenagers in the late 1970s, when – guess what? – sales of singles reached an all-time high. And children born in the Thatcher boom of the mid-to-late 1980s became teenagers in the late-1990s, when – again – sales of CD singles went through the roof. In theory, then, we should be seeing the same thing now. It was 14 years ago that we came out of the credit crunch and 13 years since the 2012 Olympics baby boom. Birth-rates rocketed, according to the ONS. The music industry in 2025 should therefore be making hay from music-mad teens. 'But where are they? Where is the pop music they're all engaging with?' says Masterton. Teenagers' circumstances have changed, he says. Yes, they're online lots (nearly four hours a day for 13-14 year-olds). But their time is split between YouTube, gaming, social media, TV and music. The music industry used to be driven by new releases, forcing teenagers to go to record shops (remember them?) to buy the latest tunes. Teens no longer have to do this due to streaming's 'all you can eat for a monthly fee' model, so they're less bothered by new releases. An old song by Queen, for example, is just as likely to pique a teen's interest as a new Lady Gaga single. 'Everything that has gone on in the past has now got this mass appeal and so music consumption today is not so confined to up-to-date new music made by new artists. It's actually the long legacy of popular music that accounts for the vast majority of consumption,' says Masterton. Great if you're Kate Bush, less so if you're just starting out. Add to this Gen Z's reputation as the 'abstention generation', some of whom embrace digital minimalism along with a rejection of rabid consumption, and you can see why the music industry has a problem. Familiarity has replaced newness in an industry that relies on newness to bring the money in. It's why songs can take years to reach number one (Pink Pony Club) rather than days, as in the past. It also explains the relatively slow burn of Messy and Ordinary. Chartmetric's Jenkins says the singles chart is no longer the summit of one mountain. Rather, it is 'the highest peak among a range of slightly smaller mountains'. Only once artists have climbed these smaller mountains – by, say, being number one in a specific subgenre or really getting into people's heads – do they 'qualify' to climb the central peak. 'If they perform well climbing that central peak, they can stay at or near the summit for a very long time. If not, they move back onto their original mountain pretty quickly,' Jenkins says. It's therefore entirely possible, if not likely, that Gaga or Sheeran's recent releases will rise back up the charts in future months once they've become part of people's sonic furniture. The corollary of all this is that record labels can no longer predict with any certainty what will be a hit, or when. Still, many labels chiefs remain chipper. Simon Robson, EMEA president for recorded music at Warner Music Group, foresees a 'great summer of music'. Last year the label increased its A&R (artist development) spend and the results are showing: Warners artists currently account for half of the UK top 10 and half of the top ten tracks in the Spotify Global Top 200 chart (Warner's Atlantic label is behind Warren's Ordinary). Robson concedes, though, that 'in today's diverse and dynamic music industry, hits can come from almost anywhere and travel everywhere'. Record companies like his, he says, 'can help artists navigate this new landscape'. Masterton, however, believes there's simply too much music out there. 'If people suddenly stopped making music tomorrow, we wouldn't necessarily feel the impact. It wouldn't be an emergency because you could go the rest of your life listening to music that has already been recorded and not run out of things to discover and enjoy,' he says. But music won't stop tomorrow. And 2025 still desperately needs hits. As Lola Young says, it's messy.
