Latest news with #albumRelease
Daily Mail
4 days ago
- Entertainment
- Daily Mail
Louise Redknapp, 50, flaunts her age-defying physique in a black bikini as she enjoys a girls' trip to Manhattan
Louise Redknapp flaunted her age-defying physique in a black bikini as she enjoyed a girls' trip to Manhattan on Sunday. The singer, 50, looked incredible in the album of holiday snaps, as she stunned in her swimwear which she layered under a white shirt and paired with long black shorts. She appeared in high spirits for her trip as she could be seen posing in front of the Big Apple's famous skyline. Louise and her friend also shared a picture looking very glamourous in a white dress which featured a choker design. Alongside her fun Instagram post in the states, the blonde beauty penned: 'A little girls trip with Sue'. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's showbiz newsletter to stay in the loop. Louise's trip comes after the singer revealed if there are wedding bells on the horizon with her younger boyfriend, Drew Michael. The happy couple have been dating since October 2023 and have gone from strength to strength. The singer moved on with Drew after her split from Jamie Redknapp in 2017 after 19 years of marriage. They share two children together Charlie, 20, and William, 16. Now in a new interview as she releases her new album Louise has gushed over her partner after her tough marriage breakdown and spoken candidly about their future plans. She told The Sun: 'Drew's great. We're having a lovely time together. It took me a long time to get to that place and be open about anything. 'I was very guarded and scared. But I'm really enjoying having special times with someone. He's a great guy and super-kind.' Asked if there are wedding bells on the horizon she added: 'Oh, I'm not even thinking that far ahead. I'm not even going there. 'I just want to be proud of this and I want to really enjoy it. I've met a really great guy and I'm really happy. But you never know what the future holds.' She added in the interview that her two sons really get on well with Drew which makes life much easier. Louise also hit back at 'toyboy' criticism due to their nine-year age gap. She said being branded a 'cougar' is 'water off a duck's back' to her and that 'age is irrelevant' as she doesn't 'feel older than him'. The interview comes after she recently revealed why she was painted as the 'villain' following her split from ex-husband Jamie. Louise opened up about being accused of walking out on her family and how everyone had an 'opinion'. She told the Independent: 'I was the villain. I'd been lucky in my career because for many years I didn't really have a lot of scrutiny. Then bang, everybody's got an opinion.' 'Anything someone could perceive as negative, I cut out. Nothing I said was right. To defend myself was wrong. To not defend myself was wrong. I felt like I was walking up a one-way street with just nowhere to go on it.' Elsewhere Louise said she is now ready to push out of her comfort zone and she even features a number of 'sex noises' in her new single. She is preparing to release a new album Confessions and is really adamant about making 'progressive music' instead of being 'nostalgic'. Louise said she doesn't care what people think despite friends questioning whether there are 'too many sex noises' in her new track Get Into It, which features moans of ecstasy. Speaking about co-writer Jon Shave, who worked on Charli XCX's album Brat, she said: 'I got a text from Jon asking, "Are there too many sex noises on this?". And I was like, "Jon, there can never be too many sex noises!" 'I've had a lot of feedback like that. And I do understand it. I've always kept in my lane, done what people expected. Now I'm saying, 'f*** it!' It came after Louise discussed her divorce from Jamie on the Happy Place podcast and credited her two sons for keeping her going during the breakup. She said: 'If I didn't have my kids, I think I would've just given up. I think I just knew that my kids were my everything and they needed me.' The singer admitted that the public scrutiny of her marriage breakdown made the situation even harder to deal with. She added: 'But I can honestly say, when you're going through something so personal in your own turmoil in your own way, but then to get the barrage of judgment and nastiness. 'I never realised people could be so unkind and say such terrible things. I blew my mind.' 'I was going through a lot as it was, I was trying to be strong for my kids, whatever had gone on in our life was private - which I do believe that you're entitled to no matter what. 'And God, I was such a villain, and I was breaking like I was absolutely breaking. 'Beyond what I thought it was possible for a human to break and all along I'm still trying to be a mum. 'And it was just like every time I went out, and I was trying to put a brave face on and do things, like that was wrong if I didn't. 'I felt like everything I did was so wrong.' Following the split, Jamie found love with Swedish model Frida Andersson and they tied the knot in 2021 before having a son together.
Daily Mail
5 days ago
- Entertainment
- Daily Mail
Miley Cyrus puts on a leggy display in a racy corset dress as she poses for selfies with her adoring fans outside the Four Seasons Hotel in New York
Miley Cyrus put on a leggy display in New York on Thursday as she stepped out in a racy corset dress with a fringed skirt. The hitmaker, 32, put her enviable body on full display in the unusual garment as she greeted fans outside the Four Seasons Hotel. She completed the look with a pair of matching brown high heels and several smaller pieces of silver jewellery, styling her hair in messy curls. The star opted for minimal makeup as she excitedly signed autographs and posed for selfies following the release of her latest album Something Beautiful. Miley has recently made several appearances in the Big Apple as she promotes her album, which was released on May 30. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new Showbiz newsletter to stay in the loop. The Pink Floyd-inspired album is said to focus on themes of healing, with Miley stating that it is very much a visual album and this appears to be reflected in her recent outfit choices. Miley's latest head-turning outfit comes after she turned heads on Wednesday in a see-through black dress. She wore a simple pair of black pants underneath the floor-length dress, daring to bear her nipples as she stepped out in New York City. The Hannah Montana alum's curly brunette hair was styled in a messy updo and she wore designer sunglasses over her eyes. As she emerged from the backseat of a black SUV, Miley was greeted by a crowd of adoring fans. With a bodyguard in close proximity, Miley stopped to sign autographs and snap selfies before heading inside a nearby building. It was later revealed by a fan that Miley took a subtle swipe at her famous ex-husband Liam Hemsworth during her sidewalk autograph session. A Miley superfan, who is also named Liam, revealed that Miley declared him 'the best Liam' as she signed his vinyl copy of Something Beautiful. 'Miley writing 'the Best Liam' on my vinyl [crying-emoji],' captioned the superfan Liam as he shared a photo of Miley's signature to X (formerly Twitter) on Thursday. Liam and Miley confirmed their split in August 2019 and finalised their divorce in January 2020 after less than a year of marriage. The on/off couple first began dating in 2010 after meeting on the set of The Last Song and got engaged for the first time in May 2012. However, they then split up in September 2013 before reuniting in 2016, going on to tie the knot in December 2018 before splitting for good just eight months later. Miley has hinted at their problems in their relationship in her music, including alleged instances of infidelity. In 2021, Miley began dating her current boyfriend, Liily drummer Maxx Morando, who's one of the eight producers credited on her new album.
Irish Times
02-06-2025
- Entertainment
- Irish Times
‘We want to stop in our prime': Saint Etienne on their final album and why pop is a dying art
In St Etienne , it is usually Bob Stanley who suggests the band's tightly defined album concepts. What if you graft folk melodies to dance music ? Make vaporwave about early New Labour? While finishing ambient pop album The Night, released in the dark of last winter, Stanley pitched an even starker one for its successor: the end of their band. 'I didn't think I was saying anything uncomfortable or shocking,' says Stanley, affable and understated, in a park near his Bradford home. 'When you've known each other for so long you have a psychic thing anyway. It felt like we would all agree.' I meet Pete Wiggs and Sarah Cracknell in a London bar, separate from Stanley – no falling out, they assure me, simply living as they do across Yorkshire, East Sussex and Oxfordshire is a scheduling nightmare. Wiggs couches his thoughts about Stanley's proposition carefully. 'Once I got used to it, I thought it was a great idea. We've not split up acrimoniously, and have some control over it.' International, out in September, will be the final St Etienne album. Bringing together collaborators including Nick Heyward, Xenomania, Erol Alkan and the Chemical Brothers – who appear on the fizzing and life-affirming new single Glad – the album is a strictly-bangers leaving party for one of the most singular bands in British indie. Few albums are likely to contain rave hedonists Confidence Man and severe cult broadcaster Jonathan Meades, who provides text for the album's sleeve. 'I wanted to finish our album journey on a high,' says Cracknell. 'Do something really special and stop in our prime.' READ MORE Saint Etienne: Bob Stanley, Sarah Cracknell and Pete Wiggs. Photograph: Paul Kelly Stanley remembers a time in pop when most groups did finish, powering pop's forward motion. He argues that it has slowed, pointing to the decade it took for the hyperpop music on the PC Music record label – which he adored – to reach the mainstream on Charli XCX 's Brat last year. That type of underground-to-overground travel 'used to happen all the time, and it would take 18 months', says Stanley. Pop is 'clearly nowhere near as important as it used to be – we might as well be talking about jazz or modern classical, where there's great music but it's not really adding much [to culture]. But music wasn't that important before the 1920s, either.' Like St Etienne themselves, 'these things don't last forever'. What about the current crop of exciting women pop stars? Stanley praises 'the look, the sound, the artwork' of the 'properly great' Charli, Lana Del Rey and Sabrina Carpenter . But he maintains that 'music's just not as central to people's identities' as it was. If that sounds like a controversial position, he has others. 'I hate Glastonbury ,' he says. 'Can't stand it. A single setting for all kinds of music feels entirely wrong to me.' Stanley has always been opinionated about music. 'I loved Grease,' remembers Wiggs of his early teens growing up alongside Stanley in Croydon. 'Even then, Bob was telling me it was nothing on the original 50s stuff.' Later, the pair set up fanzines Pop Avalanche and Caff, but the indie music they covered became 'very dreary', Stanley says. 'When house and techno came along it was like, 'Oh, this is it.'' [ Forbidden Fruit 2025: daily line-ups, stage times, ticket information, weather forecast and more Opens in new window ] Neither of them were musicians, but radical, sample-heavy singles by UK producers Bomb the Bass and S'Express convinced them they didn't need to be. Though Wiggs later studied for a film music degree, Stanley wears his inability to play an instrument as 'an asset' – if he could play Chopin, he argues, his instincts as a pop fan might have diminished. Composer and orchestrator David Whitaker, who worked on their 1994 album Tiger Bay, saw his potential and offered him piano lessons. 'Lovely bloke,' remembers Stanley, 'but I was like, I really actually think I don't want to learn.' Besides, 'nobody ever asks Pet Shop Boys if they can play the piano'. Sarah Cracknell of St Etienne performing in London in 2016. Photograph: Robin Little/Redferns Learning songwriting on the job meant that their first single was a cover. Only Love Can Break Your Heart was a thrilling land-grab of Neil Young 's 1970 original, at once faster and slower with brisk house pianos and languid dub reggae. The pair's plan was to have rotating singers, in that case indie singer Moira Lambert, and down the pub they casually signed to friend Jeff Barrett's new Heavenly Recordings, who released the single in May 1990. Cracknell heard the single and loved it. Born to a showbiz Windsor family (her mother, Julie Samuel, was an Avengers star, her father, Derek Cracknell, Kubrick's recurring first assistant director), teenage Cracknell was galvanised by indie band Felt's shambling melancholy and spent the 1980s 'getting close to a record deal' with various bands. But she had given up, and was enrolled in drama school when Stanley's girlfriend suggested her for a featured vocal. 'I liked that she didn't sing with an American accent,' says Stanley of his first impressions, 'which then was unusual.' The producer who mixed the track, Brian Higgins, offered them a demo that they turned down: it became Believe by Cher. 'We'd probably be living in solid gold houses now,' says Stanley. But what attracted Cracknell to them? 'They had the 1960s, dance music and melancholy,' she smiles. Stanley and Wiggs asked Cracknell to become the group's sole, permanent singer, and the newly minted trio recorded debut Foxbase Alpha in the Mitcham council house of producer Ian Catt's parents. Using samples from bygone British pop and TV – there were too many legal challenges to US samples at the time – the album was powered by a tension between pop's past and present that would become a very St Etienne mix, packed with shout-outs to the city they had just moved to. 'I was always scared of London, growing up in Croydon,' says Stanley, who remembers marvelling over exotic neighbourhood names such as Shacklewell and Haggerston. 'This was when all the districts were very different from each other.' The trio explored London through its Irish pubs and Portuguese cafes, 'pie and mash shops, old London things'. That geography was all over their 1993 masterpiece So Tough, with trip-hop and wide-eyed symphonic pop bathed in bright echo – as if recalling a radio show from last night's dream. [ The Music Quiz: Which Queen song recently broke one billion streams on Spotify? Opens in new window ] They argue that they used success to do what pop fans, rather than what Stanley views as their more tribal indie peers, would prioritise, like releasing a Christmas single or wearing gold lamé suits on the telly. 'We were all quite hedonistic,' Cracknell says of those years, 'but maybe that's why we stayed together? We used to go out to clubs a lot.' This led to remixes by Andrew Weatherall and Autechre. 'We went to watch Bonfire Night fireworks in Highbury with Aphex Twin,' remembers Stanley, after visiting the elusive producer at his flat to commission a remix. Despite inviting a nascent Oasis to support them – Stanley had met Noel Gallagher as a roadie, and they all loved the band's Live Forever demo – they avoided being dubbed Britpop, which Stanley today terms 'nationalistic' and 'the absolute antithesis' of their project. The pounding Eurodance of 1995's He's On the Phone protested against that era's guitars, and became their biggest hit. The producer who mixed the track, Brian Higgins, offered them a demo that they turned down: it became Believe by Cher . 'We'd probably be living in solid gold houses now,' says Stanley. Recording International was low on drama – 'because we're English', says Stanley – until final song The Last Time, written as a farewell to each other and their loyal audience Reinventing for Y2K, they decamped to Berlin with glitchy electronic trio To Rococo Rot, who teased them about indulgences such as changing chords. They dialled down the bleeps and thuds of the city's club scene, resulting in their subtle and slept-on album Sound of Water. Its second single, Heart Failed, bitterly surveyed New Labour Britain and its market-driven urban regeneration: 'Sold the ground to a PLC / Moved the club out to Newbury / Sod the fans and their families.' That flattened culture was explored again in the 2005 documentary St Etienne made with film-maker Paul Kelly about East London's desolate Lower Lea Valley before it disappeared to Olympic development. Throughout their career, Stanley is proud that St Etienne got 'no bigger or smaller' in the size of venues they played, and cites Bob Dylan and Prince as role models for staying true to oneself. They all credit their decision to swear off long tours as key to longevity. 'How the hell do people do this?' Stanley remembers thinking after even a relatively brisk jaunt. 'That, and we've all got complimentary personalities,' says Wiggs. 'No horrific egos,' agrees Cracknell. More recently, 2021's I've Been Trying to Tell You used the melancholic vaporwave genre to examine late-90s nostalgia (they were disappointed that no one worked out that its track names were all horses that won on the day of Labour's 1997 landslide). By the time of The Night, Stanley was suffering sleepless nights raising a small child while Wiggs and Cracknell were fretting about older children leaving home. The drizzly, downbeat album contained spoken word from Cracknell mourning the 'energy and belief' of their 20s and was provisionally titled Tired Dad. They were 'talking to people of a similar vintage to us, and being honest about it', says Wiggs. Recording International was low on drama – 'because we're English', says Stanley – until final song The Last Time, written as a farewell to each other and their loyal audience. 'I found it very difficult to get through singing it without crying,' says Cracknell, whose confiding and soulful vocals have arguably been St Etienne's greatest asset. 'It was the last song we recorded for the album, and the realisation really hit me.' Outside the project that has consumed them for three decades, Wiggs is working on a film soundtrack, Stanley is writing more books (he has already written two door-stopping histories of pop music), and the two will continue their celebrated archival pop compilations for reissue label Ace Records. Cracknell winces that she has 'not thought past the end of 2025', which makes her anxious. Is there a risk their end might not be permanent? 'I don't think there is,' says Stanley, who is looking forward to meeting his bandmates and their families without talking shop. Wiggs and Cracknell's kids are, they tell me proudly, 'like cousins'. Cracknell, an only child, was 'always collecting siblings' – until St Etienne. Asked what she is most proud of, it is not their 13 albums or Top of the Pops appearances, but their friendship. 'That we have such a bond between the three of us,' she says, looking out now to the bar's exit. 'And that will never go.' – The Guardian International by St Etienne will be released by Heavenly Recordings in September.
Daily Mail
28-05-2025
- Entertainment
- Daily Mail
Rita Ora flashes her cleavage in a snake print dress as she joins chic Anya Taylor-Joy at a Miley Cyrus listening event at Chateau Marmont
Rita Ora and Anya Taylor-Joy were among the star-studded guests at Miley Cyrus ' listening event for her new album at Chateau Marmont in Los Angeles on Tuesday. Rita, 34, was seen arriving wearing a snake print dress with a pair of knee-high boots and a velvet trench coat at TikTok Presents the Something Beautiful album release. The cut-out section of the dress showed off her ample assets and she accessorised with a gold chain necklace to complete the look. The singer wore her curly locks in a loose bouncy style and opted for a glamorous face of make-up including heavy eyeliner. The Queen's Gambit actress, 29, was spotted outside the venue wearing a black blouse and trousers underneath a cream faux fur jacket. 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. Anya added a pendant necklace to her look with a pair of ballet flats, sweeping her blonde hair back into a sleek bun and adding a touch of natural make-up. She was joined at the event by her husband Malcolm McRae and they were spotted looking cosy and holding hands on a sofa at the event. Malcolm looked smart in a black suit, which he wore with a white shirt and tie. A surprise attendee was U2's Bono, who was spotted leaving the event in the back of a car wearing his signature tinted round shades. The event came as Miley shared new images to Instagram on Tuesday to support her ninth studio album Something Beautiful. The songstress shared sexy snaps where she showed off her chest, stomach and perky behind, while writing: 'Easy Lover out May 30th with Something Beautiful the album.' The album is already getting great views, with AP saying: 'Over the years, the Grammy winner has demonstrated that she is unequivocally a pop star. 'She's also a dedicated student of contemporary music history and various genres, something she's made clear through her love of performing cover songs and across her diverse discography (lest anyone forget her 2020 glam rock-inspired concept album, Plastic Hearts). Anya added a pendant necklace to her look with a pair of ballet flats, sweeping her blonde hair back into a sleek bun and adding a touch of natural make-up She was joined at the event by her husband Malcolm McRae and they were spotted looking cosy and holding hands on a sofa at the event 'On Something Beautiful, Cyrus proves that she is most in her element musically when firmly holding onto those myriad identities, weaving together an inventive tapestry of pop, rock, electronic, disco and even funk - like in the album's soulful, heartache anthem, Easy Lover. 'Most of Cyrus' album comprises ABBA-channeling earworms; End of the World has a piano riff that screams Dancing Queen. But she balances 70s nostalgia with belting vocals and wide-ranging instrumentation throughout. Cyrus arguably hasn't had this kind of sonic variation on a record since 2010's Can´t Be Tamed. 'Something Beautiful is accompanied by a musical film of the same name, which will premiere in June at the Tribeca Film Festival. The aptly named first track, Prelude, is a narrated introduction, which gives the wrong impression that the album only serves as a score to the film. It stands on its own. 'That's because most of the 13 tracks reflect Cyrus's work over the past two decades. More To Lose, for example, is a big-hearted ballad that sounds like it could have been featured on a Hannah Montana soundtrack, though her vocals and musical sensibilities have matured. 'Walk of Fame - her upbeat collaboration with Brittany Howard - also harks back to her early discography, reminiscent of songs like Liberty Walk and Scars on Can't Be Tamed. 'Cyrus draws on other past eras too, like in Pretend You're God, which evokes the psychedelic sound of her 2015 album, Miley Cyrus & Her Dead Petz. 'The album does benefit from a newfound sense of structure, perhaps from the presumed guardrails in place by the accompanying film. Where Cyrus has previously struggled to fit certain songs, especially ballads, into the context of her previous albums - the stripped-down Wonder Woman felt arbitrarily tacked onto the otherwise elaborate Endless Summer Vacation, for example - there is a continuity throughout Something Beautiful in its eclecticism. 'There's an electronic, energetic pivot toward the second half of the album, specifically in the tracks Reborn and Every Girl You've Ever Loved.' 'The latter sounds strikingly like something Lady Gaga would have put on Born This Way. Coincidentally, there is a narrator on the song who sounds eerily like Gaga. 'In many ways, the record is a return to form for the 32-year-old, whose pop reputation has always been in tension with her interest in other genres. But she also demonstrates, through those electronic songs in particular, how her sound has evolved and expanded over time.'
Yahoo
28-05-2025
- Entertainment
- Yahoo
Inside Miley Cyrus' Private Performance at Chateau Marmont
'We've been in this room a lot,' says Brandi Cyrus to a packed and cozy room inside Los Angeles' famed Chateau Marmont. Tonight, she's returned – alongside her mom Tish Cyrus and other family and friends, including actress Anya Taylor-Joy – to celebrate the release of her sister Miley's forthcoming ninth album, Something Beautiful, out Friday (May 30). More from Billboard Morgan Wallen's 'I'm the Problem' & 'What I Want' With Tate McRae Launch Atop Billboard's Country Charts Post Malone Brings Out NBA Legend Allen Iverson for 'White Iverson' Performance in Philadelphia Nicki Minaj Reveals Why She Doesn't Want to 'Rush' Into Her Next Album Hosted by TikTok for Miley's superfans, the superstar personally invited those in the room. And while they knew they would be among the first to hear her new album – the event was billed as a listening session – what they didn't know was that Miley would be performing songs old and new. After singing along to already-released tracks including 'Something Beautiful,' 'End of the World,' 'More to Lose' and the much-teased 'Easy Lover,' Something Beautiful's remaining six songs (not including interludes) earned a variety of first takes. 'This is a long one,' said one fan of 'Golden Burning Sun.' And of 'Pretend You're God' another said it was reminiscent of 'Midnight Sky,' while another questioned if they heard saxophone, though their friend was too busy dancing to answer. Second to last track 'Reborn' sounds like it could have existed on Lady Gaga's Mayhem in another form and closing track 'Give Me Love' caused a hush to fall over the crowd. 'No skips,' said one fan over applause. As the room started to realize the album was over, heads slowly craned to the back entrance. 'Is she coming?' whispered one fan, wondering if Miley would show. And at promptly 6:59 p.m., she did. Joined by drummer Maxx Morando, guitarist Jonathan Rado and pianist Michael Pollack – all of whom co-wrote and or co-produced on the album – Cyrus opened with the ballad 'More to Lose.' She then addressed the intimate room: 'Playing these nights at Chateau, they were invite-only, super exclusive, just my closest friends and my family and this was the way I discovered the album. Because if it can't stand up with me [and my band], then what are we even doing?' 'Because for me, I love making music with everybody on this carpet – I don't do stages now,' she continued with a laugh. 'Watching [the album] become this butterfly and have this metamorphosis and evolution, it's so reflective of my life and everything I'm experiencing.' Cyrus and her band then delivered the sultry 'Easy Lover' followed by her Hot 100 No. 1 smash 'Flowers' ('this has been one of the most exciting songs I have gotten to put out into the universe,' she said). And while starting to speak of her journey over the past two decades with her fans, she cautioned, 'I'm not singing 'The Climb,' but I could…'' – and thankfully, Pollack took that as a green light to begin playing the song on keys. More thankfully, Miley took the bait and soared through a portion of the beloved hit. She then closed her 45-minute set with 'End of the World.' 'We really did grow up together,' Miley said. 'As we grow, there's things we gain and things we leave behind – and I've never wanted that to be you.' She then teased that Something Beautiful is 'just the appetizer,' revealing, 'My next album is about to be extremely experimental, so have fun with that.' As Brandi said earlier of her sister, 'her evolution is always a surprise…I have personally seen the passion and precision she pours into every detail … it's why everything she does is so sickening.' 'Thank you for being here with our family and close friends in this amazing, special place,' Brandi concluded. And for longtime Miley fans, it's not only a special place but a sacred one, too. As Miley mentioned, we've all seen the clips online of her performing at the Chateau for a chosen few as she pieced her album together. But tonight, it was her biggest fans who were the chosen ones — and it really was something beautiful. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
