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Glastonbury Festival have unveiled details of its annual Emerging Talent Competition for 2025.
Open to new U.K. and Ireland-based acts in any musical genre, the free-to-enter contest gives emerging talent the chance to play at Woodsies, one of the festival’s main stages.
The winner will also receive a £5,000 (about $6,121) Talent Development prize from charitable funder PRS Foundation. Two runners-up will each be awarded a Talent Development prize of £2,500 (about $3,060).
Artists can enter the competition for one week only using the form on the official Glastonbury website from 9 a.m. GMT on Jan. 29 through 5 p.m. GMT on Feb. 5.After the entry period closes, a panel of 30 of British music writers will compile a longlist of 90 acts, which will then be narrowed down to a shortlist of eight artists by judges including Glastonbury co-organizers Michael and Emily Eavis. A live final hosted in the village of Pilton, near the festival site, will decide the winning act, though a date for the event is yet to be announced.
In a statement, Eavis said: “We know how hard it is for new acts to take their first steps towards a career in music — particularly with the challenges facing small venues in this country — so the Emerging Talent Competition is a hugely important part of Glastonbury’s annual calendar. I can’t wait to hear the entries from across all the musical genres. And it’s free to enter, so you’ve nothing to lose!”
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The festival team has also stated that they are committed to diversity and inclusivity and welcome entries from disabled artists, who will be supported to ensure they are not disadvantaged by the competition process.
The winner of the 2024 competition was the Jamaican-Irish rapper JayaHadADream, who has since performed at other major U.K. festivals including Reading & Leeds and Boomtown. Other previous Emerging Talent Competition finalists include singer-songwriter Declan McKenna, recent Mercury Prize recipients English Teacher and rapper Flohio.
Tickets have sold out for Glastonbury Festival, which will take place at Worthy Farm, Somerset on June 25-29. On Jan. 3, it was announced that Neil Young will headline alongside his new band The Chrome Hearts, just days after he stated would withdraw from the festival, having called it a “corporate turn-off.”
Rod Stewart, meanwhile, has been confirmed to take on this year’s traditional Legends Slot on the Sunday afternoon. Other names rumored to appear across the weekend include Charli XCX, The 1975, Sam Fender and Olivia Rodrigo. The full lineup is expected to arrive in the spring.
GRONINGEN — The Eurosonic Noorderslag Festival (ESNS) has long marked the official start of Europe’s music calendar. The festival, which just wrapped its 39th edition, looks to set the agenda for the upcoming year, with a particular focus on the live space.
From Jan. 15-18 in Groningen, Netherlands, a diverse lineup of emerging artists were presented to festival bookers, promoters, potential managers, media and other industry professionals. The goal: celebrate and champion artists and scenes throughout Europe and strengthen ties between markets.
At the heart of ESNS sits the The European Talent Exchange Program which promotes and assists festival bookings for the upcoming summer. By connecting 333 artists from 33 countries with 131 festival bookers and a number of stations within the European Broadcast Union (including the U.K.’s BBC Radio), the initiative aims to showcase artists from diverse regions and genres. The program has helped previous breakout artists, including Fontaines D.C., Idles, and English Teacher, secure bookings across Europe’s renowned festival circuit.
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“In today’s fast-evolving music industry, it’s increasingly difficult to uncover the hidden gems and truly exceptional acts,” said Tamás Kádár, CEO of Sziget Cultural Management, which runs Budapest’s Sziget Festival.
“With over 5,000 applicants every year, ESNS does an incredible job of curating a selection that not only supports artists in gaining recognition but also provides a vital resource for bookers like us,” he added. “Even if we can’t catch every performance live, the curated list allows us to discover new talent for Sziget. It’s a testament to the shared commitment to fostering quality music and supporting emerging talent.”
A number of acts made compelling cases during their appearances; unlike other showcase festivals, acts at ESNS only perform once at the event. Ireland’s Cardinals, signed to influential indie So Young records, brought intensity and bite to the city’s beloved Vera venue. The walls of the space are adorned with some of the names that went on to become international icons: Joy Division, The White Stripes, U2 and more all played early shows in the space.
Iceland’s Sunna Margrét expertly toed the line between folktronica and upbeat indie pop in her material, while Manchester-based Anthony Szmierek, who is due to release his debut album Service Station At The End Of The Universe in February, brought wit and humour to his rave-inspired bangers. Cork group Cliffords also drew a packed room on their debut show in mainland Europe, further solidifying the indie band place as ones to watch in 2025.
ESNS provides a boost for events like Focus Wales, a yearly showcase festival which takes place in Wrexham, north Wales. Andy Jones, co-founder and booker, says that their presence “ensures that Focus Wales and, more broadly, Wales as a music market, is part of the wider conversation with the European music community.”
He adds that the challenges facing the U.K.’s grassroots venues are impacting the ability for artists to level-up into festival headliners. “When I compare the current state of play to how things were even five or six years ago, it’s clear there’s a big problem that needs to be addressed,” said Jones. “I believe the good work Music Venue Trust is doing is vital, but it is time for Governments to do more, to ensure these vital cultural spaces are protected.”
Brexit brought immense challenges for many artists from the U.K. and significantly reduced the margins for profits. Jones is calling for “some real progress on simplifying the movement of artists in and out of the U.K., which will only reap benefits for all involved. This is also frankly, long overdue.”
Kádár concurs: “Artists face difficulties in standing out and reaching their audiences in a crowded market. Viral moments on platforms like TikTok can create sudden fame, but sustained recognition requires more. Added to this are rising costs – travel, accommodation, and the scarcity of funding – making it harder than ever for bands to tour successfully.”
The panel discussions and workshops held at Oosterport, the city’s cultural events center, covered a wide range of topics. In his keynote address, Alex Hardee, partner/agent of Wasserman Music in London, discussed the changing landscape for live agents and how they can react and respond. “We have to work harder for our commission and provide a bigger service,” he said, highlighting the company’s approach to securing new artists, as well as discussing the value of support slots and the “talent drain” that festivals are facing when booking headliners.
Throughout the program, the festival hosted additional discussions on the role of private equity investment into the live music space, the use of artificial intelligence in the creative and administrative process of making music, and how independent labels and boutique festivals can thrive in uncertain circumstances.
There were moments of celebration, too. The European Festival Awards celebrated honorees including Open’er Festival in Poland which scooped the best major festival prize and We Love Green for its commitment to making their event eco-friendly. In addition The Music Moves Europe Awards, a key component of the European Union’s efforts to support musicians, saw a number of acts secure grants of €10,000 ($10,321) including Yamê from France and Uche Yara from Austria.
ESNS may have highlighted the scale of the challenges ahead, but it’s one that Jones and his contemporaries are ready to meet head on. “I think it’s an exciting time, musically, with so much great new talent coming through. At the same time, it is encouraging that there seems to be a shared view, across Europe and including the major players in the industry, that there is a real responsibility now; for us all to create a more equitable industry going forward.”
British pop and R&B artist Mabel has opened up about how standing up for herself has impacted her decade-long career.
In a recent episode of the BBC’s Miss Me? Podcast – on which Mabel is currently standing in for host Lily Allen while she takes a mental health break – the Londoner explained that after years of hard work building her artistic identity, she’s had to set clear boundaries to protect herself from uncomfortable and often invasive discussions about her work.
Born Mabel McVey (though known mononymously), the pop star signed with Polydor at age 18. In the years that have followed, she has released two studio albums (2019’s High Expectations and 2022’s About Last Night…) alongside a handful of mixtapes and EPs. She has earned six top 10 hits, including 2019’s “Don’t Call Me Up,” which peaked at No. 3, on the U.K.’s Official Singles Chart and has since surpassed 1 billion Spotify streams.
In more recent years, however, she has drip-fed a number of singles, the most recent being the Ty Dolla $ign collab “Stupid Dumb” in October. Later that month, she confirmed to ELLE Sweden that she had been working in hitmaker Max Martin’s studio with her brother on her third LP, though the project has been delayed a number of times.
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Speaking to Miss Me? host and broadcaster Miquita Oliver on Jan. 16, Mabel discussed how she has been previously labeled by some as “difficult” or “a nightmare” when holding her ground over decisions related to her musical output. “The foundation of the problem is not listening to the artist, and not giving the artist space and time to figure out who they are within their creativity. I think that’s the main problem: our voices are not heard,” she said.
“I used to get so many people all the time saying things like, ‘Oh, her mum [musician Neneh Cherry] was one of a kind and she’s just a ‘whatever’ popstar,” Mabel continued. “I’m just like, ‘Well, I’ve been given no real support or time to figure [things] out – other than those small little moments of clarity like [singles] ‘Finders Keepers’ or ‘Vitamins.’”
Oliver, who is the cousin of Mabel, asked about the importance of autonomy in the music industry, to which she responded: “Sadly, there’s no duty of care. Particularly as a young woman, it’s so easy to get molded into something – which is usually based on another female [pop act]. It’s like, ‘This person has done this, so this is what you should do.’”
She added: “The reason why I’ve been making music that [people say] ‘has been heard before’ is because I have five million different people’s opinions [getting in the way], constantly. So I’m like, ‘How am I meant to be making something that’s groundbreaking, different and authentic when there’s so many cooks in the kitchen.’”
Mabel also explained how, going forward, when it comes to making new music, she is focusing on listening solely to the opinions of her “close protection team” made up of family members, friends and her fiancé, Preye Crooks. She added that she has been through therapy and as a result, has “found [her] voice” and is now “stronger,” both physically and mentally.
“I’m very grateful and blessed still. I have travelled the world doing what I love, and performing is still the best thing ever. I’ve been able to work with my brother [producer Marlon Roudette], that’s been really beautiful,” Mabel said. She later concluded, “I love what I do so much, but how long I will keep fighting for … I’m not sure, which is really sad.”Having come to mainstream prominence with her Bedroom EP in 2017, Mabel joined Harry Styles on his debut U.K. arena tour the following year before completing her own headline run. She went on to be nominated for British Breakthrough Act at the 2019 BRIT Awards, as well as receiving nods at the MOBOs and U.K. Music Video Awards.
Listen the full episode below. The conversation regarding the music industry begins at the 27-minute mark.
Coldplay’s Chris Martin thanked his Indian audience on Saturday (Jan. 18) for “forgiving” British colonialism, as the band’s Music Of The Spheres dates kicked off in Mumbai. The band performed at DY Patil stadium in Mumbai to 75,000 fans, where Martin expressed his gratitude for a warm welcome, despite Britain’s past colonial rule in India. […]
Chappell Roan has returned to No. 1 on the U.K. Official Albums Chart with The Rise and Fall of a Midwest Princess, 15 months after its initial release in September 2023. Explore Explore See latest videos, charts and news See latest videos, charts and news The debut LP from the Missouri singer has spent 40 […]
Gracie Abrams continues her reign over the U.K.’s Official Singles Chart, landing her eighth week at No. 1 with “That’s So True.”
The track, from the U.S. songwriter’s second LP The Secret Of Us, first hit the top spot in November, where it remained for five consecutive weeks until Wham!’s festive classic “Last Christmas” reached the summit. “That’s So True” marked Abrams’ first No. 1 in the U.K., and has stayed in the top spot following the holiday season.
Abrams’ closest challengers also maintain the same chart positions as the tally datedJan. 10. ROSÉ and Bruno Mars team-up “APT.” stands at No. 2, while Lola Young’s “Messy” comes in once again at No. 3.
Gigi Perez’ previous chart-topper “Sailor Song” lands at No. 4, while “The Days” from Bolton-born DJ and producer Chrystal rounds out the top five.
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2025 BRITs Rising Star winner Myles Smith continues his hot streak with “Nice to Meet Ya” rising to No. 6. It marks his second top 10 single in recent months, with silvery pop anthem “Stargazing” having peaked at No. 4 last year before being named by the Official Charts Company as the biggest single by a British act of 2024.
Sabrina Carpenter’s “Bed Chem” (No. 10) returns to the top 10 for the first time since November, while Chappell Roan’s “Pink Pony Club” is also enjoying a comeback moment, leaping six places back into the top 20 (No. 16).
Elsewhere on the chart, Hozier’s BBC Live Lounge cover of Arctic Monkeys’ “Do I Wanna Know?” – initially released in 2014 – enters at No. 26, having recently taken off on TikTok. This marks the fifth top 40 single from the Irish musician. “Push 2 Start” from Afrobeat superstar Tyla, meanwhile, earns a brand new peak this week (No. 23). Notably, influential alt-pop artist Imogen Heap earns a major career first, as she gains her first-ever U.K. top 40 entry as a solo act with “Headlock” (No. 37). Originally featuring on 2005 LP Speak for Yourself, the track’s resurgence is thanks to its inclusion in the 2024 horror game Mouthwashing.
Throughout his career, Kele Okereke has never been one to stand still. When Billboard UK calls the Bloc Party vocalist and guitarist to discuss The Singing Winds Pt. 3, his new solo album released Jan. 17, Okereke paces around his London home for the duration of our chat, working his mind (and body) while he reflects on an illustrious career in music — one that has never remained in a single place.
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Okereke’s new project is his seventh solo studio album since 2010, and the third installment to his Elements project, which has taken inspiration from the forces around us. It kicked off in 2021 with The Waves Pt. 1 and was followed by The Flames Pt. 2 in 2023, both born out of a necessity to create during lockdown. Each collection is written and produced solely by Okereke in his home studio and with minimal tools.
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“It was important to me to do everything myself and for every sound to be made by my guitar,” he says. “During the lockdowns, I was at home and not really sure what I was going to do with my life, but I knew that I still wanted to be creative. It forced me to go back to the guitar. It gave me a new appreciation for the instrument.”
In the coming months, Okereke will head out on the road to tour this project, his first time using loop pedals and building each song live on stage. Then it’s back to Bloc Party to celebrate the 20th anniversary of its beloved 2005 debut album Silent Alarm, which the band will be playing in full across the U.K. at some of its largest outdoor shows to date.
Upon release, the LP landed to No. 3 on the U.K.’s Official Albums Chart and has endured as an essential of 21st century indie rock. A sonic fusion of influences from post-punk to electronica, plus lyrics that touched upon the British government’s disastrous war in Iraq and Afghanistan during the mid-’00s, set the group apart both from chaotic, romantic contemporaries like The Libertines and fashionable, sexy art-school graduates like Franz Ferdinand.
The group released a number of records in the ensuing years, notably 2007’s cult classic A Weekend In The City (No. 12 on the Billboard 200) and more recently 2022’s Alpha Games. Okereke still leads from the front with founding member Russell Lissack (guitars), plus Louise Bartle (drums) and Harry Deacon (bass) now completing the lineup; other founding members Matt Tong and Gordon Moakes left the band in 2013 and 2015, respectively.
As he releases The Singing Winds Pt. 3 and preps an upcoming tour with Bloc Party, Okereke speaks to Billboard UK about the project, his upcoming memoir and the enduring appeal of Silent Alarm.
You’re on the third installment of this project with The Singing Winds Pt. 3. What has it given you creatively?
It started very much as an accident or chance. It’s given me a focus and has been a somewhat indulgent but incredibly enjoyable way to throw myself into music. When I started making solo records [in 2010] it was very much a reaction to the fact that with Bloc Party, we were a guitar band and I wanted to get away from that. I wanted to explore other worlds and that’s what I did with the first four records – they were all coming from different places.
You started releasing the project in 2021. Did you anticipate it unfolding over this time period?
I always knew that it was going to take a while. When you’re writing these songs, you have to live your life and be inspired. Back then when I was working on The Waves, I didn’t really know what the next records were going to sound like, but [after] a year of living and experimenting, and being creative with Bloc Party and working on something very different, it shows you where you need to go next. I knew it was going to be a longer form project, but I really like the pace. I’m composing and writing a lot at home and you’re waiting for inspiration to spark.
Is each LP a reaction to the last in the series?
Doing these interviews and looking backwards retrospectively you can see a path, but at the time you’re just inching around in the dark. When I was making The Waves, it was tonally all in one place so I knew that I needed to go somewhere different next. To me when you listen to that record, it feels like you’re bobbing on water – there’s no drums or percussion, it’s just this floating thing. Whereas with The Flames the sounds are very brittle and abrasive and extreme, and it’s been interesting to see that in the writing process.
The point about this project is that I wanted each of these elements to have quite a different sonic and emotional personality. They’re all connected to the classical elements and it’s interesting to consider how I could refer to those elements in the song and the lyrics and the textures of the record.
On this release there’s a lot of candour, particularly on “The Arrangement” which highlights a broken romantic relationship. You’ve always been vulnerable in your songwriting, but as you get older and have your own family, do you censor yourself at all because of the real-world consequences?
There are moments of vulnerability in this record, and throughout my career I’ve always written from an emotional place, but in the past things would be hidden in abstraction and just glimpses of my personal life; for the most part I’ve been quite guarded in things.
With this next Bloc Party record, it’s very personal and confessional, and I’ve never really done that as a songwriter. I’ve always preferred an element of distance. But in the past year I’ve been through quite an unbelievable time and had some very difficult relationships with people, and this is the only place to put all of that.
This next [Bloc Party] record I’m making will be about the study of a fleeting relationship from start to finish. And it’s going to be incredibly personal, but I’m excited about that because it’s something I’ve never really done before. I’ve never really spoken directly, and this time I will.
Can you tell us anything more about what listeners might hear?
Without wanting to go into too much detail, I had a relationship with someone that wasn’t honest and I think I need the world to see that. So this next Bloc Party record is going to come from a place of necessity. We’ve written everything and we’ll be recording soon, and hopefully will be out in 2026. The only thing I will say is that ‘heartbreak’ is a term that people keep bandying around about these songs. It’s going to be emotional, for sure.
You’re heading out on the road this summer for the 20th anniversary of Silent Alarm. What’s your relationship like to that album?
Obviously I’m thankful that it has resonated and stood the test of time. Before we made that record we had a bit of a name for ourselves and a song or two out and it was this underground, exciting thing. But when we made the record we knew we had to strive further than what people were expecting of us.We knew it had to be expansive and there was this fear that we might be pushing it too far when we were in the studio, but we didn’t succumb to that, and I’m glad that we managed to express what we wanted to express. I’m glad that it worked and we made the best record we could, because it has stood the test of time.
Kele Okereke
Eleanor Jane
At the end of last year you released Another Weekend In The City, a companion record of B-sides from around the time of your sophomore album. It must be nice to see that excitement towards other pieces of music from throughout your career, not just Silent Alarm…
It’s nice to be able to go back and listen to those records, and to remember where I was when I wrote them, the conversations that I was having and the people that were in my life. That’s the stuff that comes back to me when I go back to these songs and I don’t really do that so often. I had to do it for Silent Alarm as I had to relearn the songs. I’ve always been obsessed with looking forward, but I am recognizing that we’ve done something quite good and it’s nice to bask in that sometimes.
Both records and 2008’s Intimacy had instant success on the charts and took you around the world. How did that feel in the moment?
Growing up when we were listening to music and going to shows, they weren’t bands that were on the cover of the NME and weren’t that in your face. So when that stuff started happening for us it was surreal to feel like we’d leapfrogged somehow where we thought we were going to be.
On top of the success we were having, it was nice that people were noticing us outside of the U.K. in the US, Europe and Australia and that we weren’t just a British band. There are still a lot of bands that are successful in the U.K. but don’t necessarily translate to other territories for some reason, but for us it felt quite immediate that people all around the world were curious about us – and that’s maintained.
I’ve heard that you’re in the process of writing a memoir. How’s that going?
I can’t say much about it but I’m about halfway through. I’m enjoying it, for sure. I was a little bit reluctant before because I’ve always been quite a private person, and there was something about the idea of writing my life in my words and I wasn’t sure if I wanted to do that. But I started it and it’s amazing what has come back to me and my life over 20 years ago. Things that I never thought about or remembered unless I was doing this process. It’s giving me a perspective on things that I wouldn’t have had unless I forced myself to stop and look back.
I suppose it gives you the chance to write your own story in your own words. The discourse when you started your career was written by other people, particularly the indie press which had a bigger influence back then…
Having been around for so long, you have the sense that people have an understanding or belief about who you are or the perception of who you are, so it’ll be fun to present my story in my words. That was something I found very frustrating at the start of our career: you’d do interviews with journalists and you’d talk passionately and have a great conversation, then you’d read the interview and it would just be a reduction of everything you said. The one line where you inadvertently mentioned another band, it’d get taken into the pull quote where you slagged someone off.
There was so much of that at the start of our career, and I realized very quickly that I had to insulate myself from that. I just stopped reading the interviews, reviews and features because even though we were successful and it was a positive time, it also felt like a bit of a caricature of who I knew we were.
Alpha Games got a great response from fans. Does the wider response to your music from fans or critics impact you these days?
I think very early on that to do this job the right way, I had to not listen to what anyone else said… from our immediate team to the fans as well. I know that might sound controversial, but once the record is out there it’s not mine anymore. I only listened to Silent Alarm recently to relearn the songs; I’m never going to have the experience that other people have listening to my music, but I’m fine with that. Why I do this job is that I love creating music, and pulling ideas out of the air and making them come back through the speakers. The only thing I serve is that process is bringing songs into the world. So once they’re done and out there, that’s it for me.
Maybe that sounds naïve, but that’s the way I’ve been operating for the past 20 years, and probably the reason why I’ve made so much music in these past few years — because that’s why I do it. I know I’m in a fortunate position with the success I’ve had, but also this is my life and I love it. I feel grateful that 20 years later I’m still able to create.
The Singing Winds Pt. 3 is out now on Kola.
Kasabian, Clean Bandit, Rag’n’Bone Man and more have been announced for Brits Week 2025, which will see a host of acts play intimate venues throughout London, Glasgow and Bexhill in February and March.
The concert series is organized in conjunction with the upcoming Brit Awards, which will will take place on March 1 at The O2 Arena in London. Nominees are expected to be announced in the coming weeks alongside news of this ceremony’s performers and host.
Brits Week will kick off on Feb. 17 with Cat Burns performing at east London’s Moth Club and continues with shows from Joy Crookes, Rachel Chinouriri, Frank Turner, Nova Twins, Blossoms, Tom Walker, Soft Play and more. See the full run of shows below.
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The Brits Week concert series was first held in 2009 with all proceeds of the shows benefitting War Child, a charity that supports young people caught up in conflicts across the globe. Since 2009, the Brits Week concert series has raised £7.4 ($9.02) million for the organization, according to a press statement.
Tickets for the events go on sale later this week, with a War Child presale taking place this Thursday (Jan. 16) before a general sale on Friday (Jan. 17) at 10 a.m. GMT.
Several huge acts have performed at Brits Week over recent years, including Ed Sheeran (2022), The 1975 (2023) and Coldplay (2016).
In December, Luton-born musician Myles Smith was announced as the recipient of The Brits’ Rising Star award for 2025, which tips rising stars for future success. Smith beat out competition from Elmiene and Good Neighbours to scoop the prize. Previous winners include Adele (2008), Sam Smith (2014) and most recently The Last Dinner Party (2024).
Brits Week 2025 lineup:
February 17 – Cat Burns – London, England @ Moth ClubFebruary 18 – Joy Crookes – London, England @ Islington Assembly HallFebruary 20 – Rachel Chinouriri – London, England @ OmearaFebruary 21 – Frank Turner – London, England @ 93 Feet EastFebruary 24 – Nova Twins – London, England @ OmearaFebruary 25 – Kasabian with Blossoms – London, England @ O2 Shepherd’s Bush EmpireFebruary 28 – Clean Bandit and Friends – London, England @ The PalladiumMarch 3 – Tom Walker – Glasgow, Scotland @ King Tut’s Wah Wah HutMarch 4 – Soft Play – London, England @ Village UndergroundMarch 5 – Rag‘n’Bone Man – Bexhill, England @ De La Warr Pavilion
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There’s plenty of prospects to get excited about this year.
01/13/2025
Gracie Abrams‘ breakout hit “That’s So True” has secured a seventh non-consecutive week at No. 1 on the Official Singles Chart (Jan. 10). “That’s So True” first hit the top spot back in November and lasted at the summit for five consecutive weeks into mid-December until Wham!’s festive classic “Last Christmas” interrupted her run at […]