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Loyle Carner shared two new songs on Tuesday (May 6) from his upcoming album hopefully !, due for release on June 20 (Island EMI). “about time” and “lyin” are the third and fourth songs to be released as singles from the record following “all i need” and “in my mind,” which were released in April.
Both tracks were inspired by his role as a father, with “about time” – the LP’s closing track – featuring a snippet of Carner speaking with his young son, and “lyin” being informed by the changes in his life since having children.
The recent Billboard U.K. cover star recently announced a world tour that kicks off in October and runs through the U.K. and Europe, Australia and North America into 2026; his four shows at London’s historic O2 Brixton Academy in London sold out instantly. On June 27, he will headline Glastonbury’s Other Stage alongside Charli XCX and The Prodigy; headliners on the Pyramid Stage are The 1975, Neil Young and Olivia Rodrigo.
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Speaking to Billboard U.K., Carner discussed the new indie influences on the record such as Fontaines D.C., Mkgee and Big Thief, as well as forming his own band for the recording sessions. “I loved the anonymity of being in a band,” he shared. “I wanted to be around when the magic is happening and to not just be sent a beat after all the fun parts had already happened. I wanted to move away from the words being all that I can contribute.”
He added, “As a rapper, the insecurity is that I don’t have any musical talent or whatever, so I’m like, ‘F–k, I better fill every gap so people know that I was there, too.’ But now I don’t mind people hearing a song and I’m barely on it, because I’m so across from everything else [in the creative process].”
Carner’s new album, hopefully !, will be his fourth and his first since 2022. Carner’s debut Yesterday’s Gone (2017) was nominated for the Mercury Prize; Not Waving But Drowning (2019) landed at No. 3 on the U.K.’s Official Albums Chart; hugo (2022) landed a second Mercury Prize nomination and saw the Londoner headline the 35,000-capacity All Points East Festival in the capital.
Listen to his two new songs below:
Loyle Carner ‘hopefully !’ World Tour Dates
Oct. 7 – Stockholm, Sweden @ Annexet
Oct. 8 – Oslo, Norway @ Sentrum Scene
Oct. 10 – Amsterdam, Netherlands @ AFS Live
Oct. 11 – Amsterdam, Netherlands @ AFAS Live
Oct. 13 – Copenhagen, Denmark @ KB Hallen
Oct. 15 – Berlin, Germany @ UFO im Velrodrom
Oct. 16 – Hamburg, Germany @ Sporthalle
Oct. 18 – Munich, Germany @ Zenith
Oct. 19 – Zurich, Switzerland @ Halle 622
Oct. 21 – Frankfurt, Germany @ Jahrhunderthalle
Oct. 22 – Cologne, Germany @ Palladium
Oct. 24 – Paris, France @ Zenith
Oct. 25 – Brussels, Belgium @ Forest National
Nov. 2 – London, England @ O2 Academy Brixton
Nov. 3 – London, England @ O2 Academy Brixton
Nov. 4 – London, England @ O2 Academy Brixton
Nov. 5 – London, England @ O2 Academy Brixton
Nov. 7 – Cardiff, Wales @ Utilita Arena
Nov. 9 – Dublin, Ireland @ 3Arena
Nov. 12 – Glasgow, Scotland @ O2 Academy
Nov. 13 – Glasgow, Scotland @ O2 Academy
Nov. 14 – Glasgow, Scotland @ O2 Academy
Nov. 18 – Newcastle, England @ O2 City Hall
Nov. 19 – Newcastle, England @ O2 City Hall
Nov. 20 – Birmingham, England @ O2 Academy
Nov. 21 – Birmingham, England @ O2 Academy
Nov. 23 – Manchester, England @ O2 Victoria Warehouse
Nov. 24 – Manchester, England @ O2 Victoria Warehouse
Nov. 25 – Manchester, England @ O2 Victoria Warehouse
Dec. 2 – Brisbane, Australia @ Fortitude Music Hall
Dec. 4 – Sydney, Australia @ Sydney Opera House Forecourt
Dec. 6 – Melbourne, Australia @ Sidney Myer Music Bowl
Dec. 9 – Perth, Australia @ Metro City
Feb. 19, 2026 – Chicago, IL @ Thalia Hall
Feb. 21, 2026 – Toronto, ON @ History
Feb. 22, 2026 – Montreal, QC @ Beanfield Theatre
Feb. 24, 2026 – Boston, MA @ Royale
Feb. 26, 2026 – Washington, DC @ The Fillmore
Feb. 27, 2026 – Brooklyn, NY @ Brooklyn Paramount
March 3, 2026 – San Francisco, CA @ The Regency Ballroom
May 3, 2026 – Los Angeles, CA @ The Novo
British rocker Yungblud announced on Tuesday (May 6) that his new album, Idols, will be released on June 20, and confirmed that it is the first part of an upcoming double LP; the second part of the collection is yet to be announced.
The release is the artist born Dominic Harrison’s fourth album under the Yungblud moniker, and is described by the Doncaster-born musician as “a love letter to self-reclamation … to rock music … [and] to life in all it’s f–king madness.”
In an accompanying statement, Yungblud said that the record explores the theme of hero-worship. “We turn to others for an identity before turning to ourselves. Self-belief, self-reclamation, self-evolution and change. As we grow up, we lose our belief in magic and mystery. We begin to rationalize everything; our cage walls build up.”
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The LP was recorded in Leeds, England, near his hometown of Doncaster in Yorkshire, and he said in the press release that he “wanted to make a project that didn’t focus on singles or anything else except feeling and world-building,” and described the project as having “no limitations.”
That much was obvious with its lead single and album opener “Hello Heaven, Hello,” a nine-minute mini-rock opera and latest single “Lovesick Lullaby.” The record was produced by close collaborator Matt Schwartz, Bob Bradley and touring guitarist Adam Warrington.
Yungblud’s past two records — Weird! (2020) and Yungblud (2022) — both hit No. 1 on the U.K.’s Official Albums Chart, with the latter giving him a career high of No. 45 on the Billboard 200. Idols is his first record on Island Records (U.K.) and Capitol Records (U.S.) following his previous home of Geffen/Interscope.
Speaking to Billboard U.K. in August, he shared details on the label move. “It’s a new phase in my life and these labels are so classic, and this new album feels like it belongs on prestigious labels like that,” he said. “The last few months have been a lot more creatively fruitful and inspiring. I really had a choice about staying in the comfort zone or do I want to go to different places and experiment.”
Following its inaugural edition in 2024, his Bludfest event will return on June 21 in Milton Keynes, England, and features appearances from Yungblud, Chase Atlantic, Rachel Chinouriri and more.
See the Idols tracklist and his album announcement on Instagram below:
“Hello Heaven, Hello”
“Idols Pt I”
“Lovesick Lullaby”
“Zombie”
“The Greatest Parade”
“Change”
“Monday Murder”
“Ghosts”
“Fire”
“War”
“Idols Pt II”
“Supermoon”
Oasis’ reunion tour kicks off in just under two months, but there’s still plenty of questions around the shows, including: what will be played and who will be joining Noel and Liam Gallagher on stage when it all kicks off in Cardiff, Wales on July 4?
While a number of U.K. tabloids have been doing their best to get the scoop on the brothers’ reconciliation, frontman Liam has been using his X (formerly Twitter) profile to plant nuggets of information and strike down any inaccurate reports.
Over the weekend The Sun shared a pair of reports about the upcoming tour. One claimed that Noel and Liam were planning to have separate dressing rooms, and that friends of both brothers were restricted in where they could spend the after parties. It reported that “if you’re on Noel’s list but fancy going across to say hello to Liam, it’s going to be a case of trying to blag entry. It seems like they are totally separate events.” The report claimed: “It’s gutting for people who want to hang out with both of them but it seems they’re keeping it all at a distance.”
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Liam responded to the story and said that “After party’s are for w–––s,” throwing cold water on the idea that they were being kept separated. “I’m getting straight of after the gigs get my beauty sleep this level of sexiness doesn’t happen by staying up talking bollox to bellends.”
After party’s are for wankers I’m getting straight of after the gigs get my beauty sleep this level of sexiness doesn’t happen by staying up talking bollox to bellends— Liam Gallagher (@liamgallagher) May 3, 2025
A second article in the The Sun on Sunday said that Oasis were set to drop the song “Hello” from its setlist due to its connection to convicted pedophile Gary Glitter. The 1995 song, which opened their sophomore album (Whats The Story) Morning Glory?, features the lines “Hello, hello, it’s good to be back, it’s good to be back.” The lyrics and melody mirror Glitter’s 1973 song “Hello, Hello, I’m Back Again,” and Glitter was credited as a writer on the Oasis song alongside writing partner Mike Leadner.
The story added, “The lyrics of the song would obviously have been a good fit for the reunion tour but the band have decided to leave it in the past. It would be inappropriate to play it given its connotations to Glitter and his convictions.” Glam rock star Glitter was convicted of child sexual abuse in 2006 and has faced a number of court cases since; he is currently being held in a U.K. prison for breaching his release conditions.
The Sun’s reporting was once again slapped down by Liam on his X account on Monday (May 5), confirming that the song will appear on the setlist. “We’ll be playing HELLO trust me,” he responded to one fan. He also debunked a rumoured leaked setlist and confirmed that none of his solo songs would appear in the shows.
“Hello” featured prominently in the band’s setlist following its release and appeared at their 1996 appearances at Knebworth House, Hertfordshire. The song fell out of rotation around 2002, but was played a number of times during Liam’s solo tours from 2020 onwards.
The band are set to open their tour on July 4 at the Principality Stadium in Cardiff, before a further run of shows in the U.K. and Ireland, before heading to North America, Latin America, Asia and Australasia.
We’ll be playing HELLO trust me— Liam Gallagher (@liamgallagher) May 5, 2025
Alex Warren’s “Ordinary” continues to dominate the U.K. Singles Chart as it notches a seventh consecutive week at No. 1 on May 2. The hot streak makes “Ordinary” the longest running chart-topper in the U.K. since Sabrina Carpenter’s nine-week reign with “Taste” in 2024. The news also coincides with continued success on the Billboard Hot […]
Welsh rock group Stereophonics has earned its ninth U.K. No. 1 album with 13th studio LP, Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait, on May 2.
The band earned its first chart-topper in 1999 with Performance and Cocktails, and has appeared at the summit a further eight times with Just Enough Education to Perform (2001), You Gotta Go There to Come Back (2003), Language.Sex.Violence.Other? (2005), Pull the Pin (2007), Keep the Village Alive (2015), Kind (2019) and Oochya! (2022).
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The ninth No. 1 sees the four-piece leapfrog Oasis, Ed Sheeran and Led Zeppelin — all of whom have eight — and pulls them level with Bob Dylan and Take That on the all-time leaders list. The Beatles and The Rolling Stones are the only British rock bands to have landed more No. 1s with 15 and 14, respectively.
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The group will headline a number of massive outdoor and stadium shows in the U.K. this summer, including at Cardiff’s Principality Stadium and London’s Finsbury Park.
Swedish band Ghost has equaled its career high at No. 2 with its sixth album, Skeletá. The theatrical rockers, led by Tobias Forge under the Papa Emeritus persona, has hit the top 10 several times previously: 2018’s Prequelle (10), 2023’s Phantomime (8) and 2024’s Rite Here Rite Now (10).
Former X Factor winner James Arthur has netted a sixth top 10 with his new LP PISCES; he scored the top spot three times previously with 2016’s Back From the Edge, 2021’s It’ll All Make Sense In the End and 2024’s Bitter Sweet Love.
Sabrina Carpenter’s Short n’ Sweet nets another week in top five (No. 4) and Self Esteem hits a new peak with her third album, A Complicated Woman (No. 5). The new release saw the Rotherham-born artist sign to Polydor after years on indie labels with her previous band The Slow Club and earlier Self Esteem LPs. Speaking to Billboard U.K., she said, “This whole journey has taught me that what’s important is people and community. That’s what the music means to me.”
Olly Alexander, Charli XCX, Self Esteem, Neneh Cherry, Rina Sawayama, Jessie Ware and more are among the leading musicians to have signed an open letter on behalf of the U.K. music industry to offer solidarity to the trans community.
On April 16, the U.K.’s Supreme Court ruled that the definition of a woman is based on biological sex, and that a person with a Gender Recognition Certificate (GRC) in the female gender “does not come within the definition of a woman under the Equality Act 2010.” The U.K. prime minister Sir Keri Starmer has backed the ruling.
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The decision has been widely criticized, with protests and community action held by the trans community and its allies in the weeks since the ruling. In recent days, a number of authors and actors signed similar open letters decrying the decision and offering their support to the community. Dr Victoria McCloud, the U.K.’s first openly trans judge, is planning to appeal the decision to European Court of Human Rights.
The open letter, organized by artist Tom Rasmussen and publicist Tom Mehrtens with support from Alexander and his manager Martha Kinn, states that “the UK music industry is a vibrant, diverse landscape that thrives on creativity and inclusivity” that has “long celebrated a multitude of voices and identities, and the music industry here in the UK is one of our most trailblazing and culturally vital assets — one which trans, intersex and non-binary people are woven into in every aspect of the industry, past, present and future.”
Continuing the letter states that artists and and executives “must now urgently work to ensure that our trans, non-binary, and intersex colleagues, collaborators, and audiences are protected from discrimination and harassment in all areas of the industry — whether in studios, at venues, in offices, or at festivals.”
At the time of publication, over 330 names had added their name to the letter, which describes this as a “moment to amplify voices that need to be heard, to champion inclusivity and real justice, and to ensure that our industry remains a welcoming and trailblazing space for everyone.” The letter also calls on leading U.K. industry organizations — including major and independent labels, publishers, managers and trade bodies like PRS for Music, PPL, BPI and more — to “join us in condemning the Supreme Court ruling.”
Signees also include Shygirl, Jimmy Somerville, Lava La Rue, JADE (Little Mix), Mura Masa, Mabel, Jake Shears, CMAT, Wolf Alice, MNEK, Paloma Faith and more, alongside a number of employees from across the sector.
The letter also links out to actionable steps from promoters and community group Queer House Party to support and protest the decision. Read the full letter and see all the signatories here.
Counter-terror police in London have announced an investigation into videos of Belfast rap trio Kneecap allegedly calling for the death of elected British MPs and shouting “up Hamas, up Hezbollah.”
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The update comes after a period of intense scrutiny on the band following the group’s activity following their recent Coachella sets. At the end of their shows, Kneecap displayed messages on the war in Gaza, writing: “Israel is committing genocide against the Palestinian people. It is being enabled by the U.S. government who arm and fund Israel despite their war crimes. F–k Israel; free Palestine.”
The group have since faced criticism from a number of industry figures including Sharon Osbourne who called for the group’s U.S. visas to be retracted. Artists such as Massive Attack, Pulp and Fontaines D.C. have since expressed support for the group in a new open letter.
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On Thursday (May 1), a spokesperson for London’s Metropolitan Police said: “On April 22, we were made aware of an online video believed to be from a music event in London in November 2024. Following this, we were made aware of a further video, believed to be from another music event in London in November 2023. Both videos were referred to the Counter Terrorism Internet Referral Unit for assessment by specialist officers, who have determined there are grounds for further investigation into potential offenses linked to both videos.
“The investigation is now being carried out by officers from the Met’s Counter Terrorism Command and inquiries remain ongoing at this time.” The band are yet to be charged with any offence.
A video from the November 2024 concert appears to show one member of the band shouting “up Hamas, up Hezbollah.” Both groups are ascribed terror status in the U.K., and it is an offense to express support for either under anti-terror laws. A second video from November 2023 later emerged of the group allegedly saying: “The only good Tory is a dead Tory. Kill your local MP.”
Earlier this week the band issued a statement on the remarks, offering an apology to the families of Sir David Amess and Jo Cox; both were killed while standing as MPs in separate incidents in 2021 and 2016, respectively. “Let us be unequivocal: we do not, and have never, supported Hamas or Hezbollah. We condemn all attacks on civilians, always. It is never okay,” the group said. “We know this more than anyone, given our nation’s history. We also reject any suggestion that we would seek to incite violence against any MP or individual. Ever. An extract of footage, deliberately taken out of all context, is now being exploited and weaponised, as if it were a call to action.”
A number of the band’s shows have been cancelled by organizers in Germany following the remarks, and Cornwall’s Eden Project dropped the band from the Eden Sessions concert program. Festivals such as Glastonbury have faced calls from politicians to remove the band from its lineup.
In an open letter organised by Heavenly Recordings, Kneecap label, artists such as Massive Attack, Paul Weller and more say that “in a democracy, no political figures or political parties should have the right to dictate who does and does not play at music festivals or gigs that will be enjoyed by thousands of people.”
Billboard U.K. has approached Kneecap’s team for comment on the news.
Even the most patient and forgiving of Wolf Alice fans have had to learn how to love at a different rhythm than the fans of other artists. Waiting for a new record, without knowing if anything is coming at all, seems to have become a primary act of their devotion. “Is it over?” exclaimed one despairing Reddit user a few months back, exasperated by the British rock band’s radio silence throughout 2024. “No more music?”
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On April 22, after a near four-year wait, an eon in an ever-changing industry, their qualms were put to rest. Breaking cover, all posts on the London four-piece’s Instagram page were swiftly archived, while its previously dormant TikTok account began to flicker into life. Soon enough, a carousel of striking, retro-leaning images — including bassist Theo Ellis wearing a leather jacket adorned with a gem-encrusted ‘Wolf Alice’ motif — was uploaded with a call-to-arms caption: “We’ve missed u.” Major festival slots at Glastonbury and Radio 1’s Big Weekend, meanwhile, were also confirmed for the summer.
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Offering a glimpse of what may lie ahead, it’s a new look for the band, and a new way of marketing its music, heralding in the group’s next era with aplomb. Unlike most contemporary acts subject to mass idolatry, Wolf Alice’s online presence (which, historically, has been minimal) has never been part of the appeal. Dozens of accounts have instead become dedicated to posting whatever updates they can find, often rehashing photoshoots from their early career.
In a world of algorithm game-playing and lyrics bundled with gossipy subtext, the band’s songs — which deftly blend garage rock and shoegaze — function as talismans affirming the importance of standing tall by your convictions. The subtlety and class with which they choose to signal meaning to their audience is something that has long defined their music; in knowing relatively little about the band’s own inner lives, fans’ desire to get closer only grows stronger.
Young, terminally online pop fans feel drawn to the notion of artist folklore, having grown up watching the likes of Taylor Swift and Ariana Grande incorporate “Easter eggs” (hidden messages and references) into their videos. It’s an idea that extends to other genres that are popular in stan culture forums, where lost songs and “will-they-won’t-they” social media teasers are analyzed feverishly. In the case of Wolf Alice, the group has earned a committed Gen Z fanbase who gravitate toward them as much for the element of surprise as they do for the music.
The anticipation around the band’s next steps, therefore, couldn’t be greater. Wolf Alice’s last record, 2021’s Blue Weekend, ushered in a new commercial zenith, landing a nomination for the Mercury Prize (which the group won for 2017’s Visions of a Life), topping the Official U.K. Albums Chart and leading the band to its first-ever BRIT award the following year. The campaign steamrolled ahead across a further 12 months, during which they opened up for Harry Styles in stadiums across Europe and completed an extensive headline tour.
In 2025, each of the members are now approaching their mid 30s. No longer the wild-eyed 20somethings they emerged as with fiery 2013 EP Blush, they have spent the past decade quietly unlocking emotional discoveries in their songs, flowing with their shifting perspectives on ambition and desire. Across three studio LPs, it’s become clear that guitarist and lead songwriter Ellie Rowsell focuses on growing privately in order to bloom publicly; she can do huge indie hooks with the best of them (2015’s “Freazy” or the endlessly affecting “Don’t Delete the Kisses”), but has never sounded quite like any of her peers because of the strength of character at the center of her work.
Consistently ducking the expectations of indie’s upper echelons — the ones which the band vaulted into with 2015’s My Love Is Cool — has only further affirmed Wolf Alice’s influence and longevity. You can see the band’s gnarly, incisive showmanship in the likes of Wunderhorse or rising stars Keo, or hear the band’s incandescent take on indie throughout You Can’t Put a Price on Fun, the debut EP from Manchester-based artist Chloe Slater. “Seeing them live was the most joy I’ve ever felt,” the latter recently recalled of a formative Wolf Alice gig, which she credits with changing the course of her burgeoning career.
Intriguingly, the band’s period of downtime was interrupted last year with the announcement that it had left its longtime label home of Dirty Hit — home to The 1975 and Beabadoobee — to sign with Sony imprint Columbia. According to a report from The Independent, the move stemmed from the members wanting “to experience something different,” having previously been in the same deal for nearly a decade, and that Rob Stringer (CEO of Sony Music Group) “is a huge fan” of theirs.
Though Blue Weekend was rapturously received by critics, with The Observer describing it as “alchemically good,” the question of whether the band can level up to festival headliner status has long hung over reviews of its electrifying live performances. Groundbreaking things can happen if a band is given the time and space it needs to truly develop into greatness, and one can hope that with the support of a major label and a new team around Wolf Alice, the group’s music will be able to travel further than ever. It’s fascinating to think what they might do next.
Following before-and-after photos of Olly Murs‘ fitness journey going viral this week, the British pop star is reacting to what he calls “very disappointing” coverage of his body transformation.
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It seemingly started when a poll on X (formerly Twitter) asked users if they preferred the “before” or “after” version of Murs’ body, and whether they were male or female. The results showed that the majority of women voters thought the “before” looked better, while men voters chose the “after.”
After days of social-media debate (which seemed to dismiss the fact that only Murs needs to be happy with his own physique), the singer/songwriter and TV host weighed in on the chatter, sharing a photo on Instagram of a Daily Mail headline that read: “Bad luck, Olly! Women prefer your ‘huggable dad bod’ to the muscles you got in the gym.”
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“I wouldn’t normally comment on stuff like this but from what I’ve seen I just want to say that this journey at the start of the year was for many personal reasons and not one of them was to spark a debate and divide opinions,” Murs wrote in the caption. “So it’s very disappointing to see this kind of reporting!”
He ended with a message to his supporters and anyone else on their own fitness journey: “Big Love to everyone who’s been kind and to anyone out there improving themselves and making adjustments to their wellbeing. Love to you all, keep it up! ignore the noise!”
One of Murs’ fans decided to flip the narrative by providing her own “before & after” moment on X. “Thought I’d do my own Olly Murs comparison post since that’s all that’s on my feed right now… 15 years in the game..5 albums out of 7 went to number 1 and STILL selling out arenas ! you deserve every single bit of success @ollymurs.”
The “before” moment she shared was Murs’ audition on season 6 of the U.K.’s X Factor in 2009 — where the then-25-year-old declared his dream of becoming a “pop star” and finished as the runner-up — and the “after” is his Official Charts Company stats, which include five U.K. No. 1 albums and four U.K. No. 1 singles. In the U.S., Murs has scored two Billboard Hot 100 hits, including the top 40 hit “Troublemaker,” featuring Flo Rida, which peaked at No. 25 in 2013 and hit the Pop Airplay top 10.
In addition to his music career, Murs has found success as a TV personality, appearing as a coach on The Voice UK from 2018 to 2023.
Find Murs’ response to the online debate below.
thought I’d do my own Olly Murs comparison post since that’s all that’s on my feed right now…15 years in the game..5 albums out of 7 went to number 1 and STILL selling out arenas ! you deserve every single bit of success @ollymurs 👏❤️ pic.twitter.com/ALaAgpoAj6— antonia✨ (@antonia_704) April 29, 2025
The Great Escape annually signals the start of U.K. festival season, as Brighton turns into a mecca for new sounds each May. Recognized as Europe’s biggest hub for new music discovery, the event welcomes everything from must-see cult acts to leftfield oddities and rising stars to the seaside – encapsulating pop, rap and folk to […]
