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“‘2001’ feels like a postcard from the past,” the frontman said in a press release. “We moved to Brighton around that time, we were a young band, and there was the feeling of the first taste of independence. The moment you get those freedoms, you’re surrounded by temptation. The references to beachside candy and Brighton rock are symbols for drugs and hedonism.

“This was written in the depths of the pandemic winter, and there’s an escapist desire to break out from the feeling of being cooped up, both in terms of the pandemic and adolescence.” Watch the video above now.

Foals headed out on a UK tour last month and in the early weeks of this month, where they gave the live debuts of some of the tracks on the upcoming record. The band premiered the album’s title track in Newcastle, while ‘2001’ and recent singles ‘2am’ and ‘Looking High’ got their first airings in Edinburgh.

Speaking to NME about the forthcoming ‘Life Is Yours’ back in February, frontman Yannis Philippakis described the opening title track as a trancey, tropical balm, evoking what he called “an optimism and consolation after a dark time”.

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“This is our idea of a going out record,” Philippakis continued about the album on the whole. “We were thinking about parties, club nights and being drunk on the bus at 2am trying to get home. All of it: the excitement before you go out, meeting up with your friends, the wild abandon. ‘Who’s got the pingers? Where are we going?’ This is all of that youthful excess of going out.”

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In April, the singer discussed her pregnancy with Vogue, sharing “Planning? I wouldn’t say planning. But certainly not planning against it. I don’t know when I ovulate or any of that type of s–t. We just had fun,” she said. “And then it was just there on the test … Then I was in the doctor’s office the next morning and our journey began.”

A$AP Rocky and Rihanna in the video for ‘D.M.B.’. CREDIT: YouTube/A$AP Rocky

The Fenty fashion founder also discussed her approach to pregnancy style, adding, “I’m hoping that we were able to redefine what’s considered ‘decent’ for pregnant women. My body is doing incredible things right now, and I’m not going to be ashamed of that. This time should feel celebratory. Because why should you be hiding your pregnancy?”

Back in February, Rihanna promised fans that new music is still on the way, after she officially announced her pregnancy. Her most recent album was 2016’s ‘Anti’.

While she added that she is focused on “one thing at a time,” Rihanna clarified that music will still land at some point. “Yes, you’re still going to get music from me,” she said. But when the journalist suggested that the mum-to-be could include lullabies on her new album, she replied: “My fans would kill me if they waited this long for a lullaby.”

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Meanwhile,A$AP recently released a video featuring Rihanna for his track, ‘D.M.B.’, which is an acronym for ‘Dat’s My Bitch’. The video is an ode to a classic love story, with the pair depicting ride-or-die characters in a devoted relationship despite their circumstances.

Elsewhere, Rihanna recently became the world’s richest female musician, according to Forbes, with a net worth of $1.7billion (£1.3bn), largely thanks to her Fenty Beauty business and Savage X Fenty lingerie line

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“We will be releasing a new album,” Smith told NME. “I get fed up of saying this now! We will be playing from October and the new album will be out before then. We walked on [stage at the Ivors today] to a bit of new music, actually. Hopefully no one recorded it!”

At this point, Shakira interrupted the interview to shake hands with “her favourite band of all time”, before Gallup replied: “It is a surreal day”.

Back to ‘Songs Of A Lost World’, Smith then confirmed that “it’s almost finished”.

“Reeves [Gabrels] our guitar player has come over from America for the day just to finish a couple of solos, I’ve got to finish a couple of vocals,” he revealed. “Essentially it’s a 12 track album. It’s there, it’s kind of half-mixed and half-finished. It’s a weird thing. It’s kind of evolved over the last two years. It hasn’t always been a good thing to have been left alone with it. You pick at it, like picking at seams, and everything falls apart.

Smith continued: “It’ll be worth the wait. I think it’s the best thing we’ve done, but then I would say that. I’m not doing an Oasis when I say that, ‘IT’S THE BEST FOOKIN’ ALBUM’. A lot of the songs are difficult to sing, and that’s why it’s taken me a while.”

The Cure. CREDIT: Andy Vella

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Discussing the themes and character of the long-awaited follow-up to 2008’s ‘4:13 Dream‘, Smith said that the album “doesn’t have very much light on it” and that it sounds “more like ‘Disintegration’ than ‘Head On The Door’.”

“It’s pretty relentless, which will appeal to the hardcore of our audience, but I don’t think we’ll be getting any Number One singles off it or anything like that!” he laughed. “It’s been quite harrowing, like it has for everyone else.

“I’ve been more privileged than most, but lockdown and COVID has affected me in as much as I’ve lost an entire generation of aunts and uncles in under a year. It’s things like that which have informed the way I’ve been with the record.”

Smith added: “Essentially we recorded two albums in 2019. I’ve been trying to finish two at the same time, which is pretty much impossible. One is nearly ready to go.”

As for the mysterious second record that they’ve been working on, Smith said Cure fans would likely have to wait a little longer to hear that.

“While there are a handful of really good songs, I’ve kind of fallen out of love with others so we’re going to have to record another four or five perhaps,” he said. “If it gets finished, it’s very upbeat. It’s the flip-side to the first one.

“I can’t wait to sing it, actually. I feel quite distraught singing the same songs over and over again.”

Speaking of accepting their Ivor Icon Award with Gallup, with whom he has been part of The Cure’s line-up since 1978 and 1979 respectively, Smith explained what the prize meant and why they songwriting collaboration worked.

“It is a strange one. I was thinking about it when we were walking up to collect the award – it felt strange to be leaving the other three at the table,” he said. “We got an NME Award a couple of years back for Best Festival Headliner. That meant a lot because we don’t often get recognised for that side of what we do live, but this is completely different.

“For me, it’s really lovely that Simon is up there with me. It’s criminal really, because he’s been there all the time.”

As for how they work together when penning material, he said: “With Simon, we send demos back and forth. Because I write the words, I decide what songs are going to progress and which ones aren’t. Often it’s the case that with hindsight I pick the wrong songs.

“I’ve just finished doing the ‘Wish’ remaster, and there are so many of Simon’s demos that never got past the demo stage and remained instrumental – purely because I couldn’t think of any words for them. That’s really sad, because some of them were really great!

“They’re all coming out as instrumentals, and I think there are about 36 unreleased songs coming out on the package. That’s the same every time we do anything. There’s always loads of music, and a lot of it is Simon’s. I just run out of words!”

The Cure’s Robert Smith and Simon Gallup CREDIT: David Wolff – Patrick/Redferns

Fans will get the chance to hear new material live at The Cure’s upcoming 2022 UK and European tour. 

Asked if the gigs will be their legendary usual three hours plus in length, he replied: “Not if my band has anything to do with it! It will be slightly shorter than in the past, if I’m honest. It will be about two and a quarter hours, I think. That’s short!

“There will be a smattering of new stuff as we play through. Essentially the strength of the band live is the catalogue and the songs that we’ve got so it would be pretty dumb to play an hour of new music. Although some people would prefer us to do that!”

Smith added: “The size of the venues we’re playing, you need to engage everyone in the venue. You can’t just concentrate on the handful of people down the front. If it happens it’ll be great…that’s if Europe exists by the time we start…”

Last August, Gallup announced that he had left The Cure. However, in October, he told a fan on social media that he was still a member of the band. The bassist appeared on stage with Smith at the Ivors tonight, although he did not make an acceptance speech.

Smith’s last public appearances were for the BandLab NME Awards 2022 – where he picked up the Best Song In The UK Award for his Chvrches collaboration ‘How Not To Drown’ and after performed the track together live for the first time along with a cover of The Cure’s ‘Just Like Heaven‘ – and then again for a repeat performance of the songs with Chvrches at their Brixton Academy headline gig a week later.

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But today (May 18) his lawyer Ben Brafman confirmed that Shkreli has been released.

“I am pleased to report that Martin Shkreli has been released from Allenwood prison and transferred to a BOP halfway house after completing all programs that allowed for his prison sentence to be shortened,” he said in a statement to The Washington Post. 

In 2020, Shkreli was denied an early release from prison after he petitioned to be let out so he could continue the “significant research” he’d be conducting into finding a vaccine for coronavirus.

Martin Shkreli pictured in 2017. CREDIT: Drew Angerer/Getty Images

But the judge described his attempt at a shortened sentence to be another example of the “delusional self-aggrandising behaviour” that he often exhibits, while also citing the few number of COVID-19 cases at Shkreli’s prison, and his lack of a pre-existing condition that would make him more likely to catch the virus.

Earlier this year, he was barred from the drug industry and ordered to return the $64.6million (£47.2million) in profits that he made by price-gouging the drug Daraprim in 2015.

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Meanwhile, shortly after Shkreli’s incarceration, RZA said he had attempted to reclaim the CD copy of ‘Once Upon A Time…’.

Although the album was never released to the public, Shkreli did play clips of it during a live-stream in 2017. One of the stipulations Shkreli was bound to when he purchased the collection was that he couldn’t reproduce it for at least 88 years, per copyright law.

After Ghostface Killah publicly branded Shkreli a “shithead” and criticised his decision to raise the price of Daraprim, Shkreli threatened to erase Ghostface’s parts on the album.

Last year, RZA expressed his regret over selling the CD, recalling how the album ended up “in the wrong hands” in 2015. “[Shkreli] made the deal before it was revealed of his character, of his personality, and all of the insidious things he would go on to do,” he explained at the time.

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“He’s busy in the studio. He still does all his writing and singing, and it keeps him really happy… He’ll never stop singing and writing. We’ve built him a big studio here [at the house in the UK], so he can do it all at home. And he can’t wait to come back, to be honest with you.”

Back in April, Ozzy said that his latest album was finished and would be released this year. “I’m so happy to let everyone know that I finished my new album this week and delivered it to my label Epic Records,” he said in a post at the time.

He added: “I’ll be sharing all the information about the album and its upcoming release with you in the next several weeks.”

During her conversation with Norton, Sharon also talked about how she and the legendary singer are moving back to their Buckinghamshire estate.

“I’m back here [in the UK] for three weeks right now,” she said in the interview. “And then I go home again for three and then come back here for a couple. So I’m going back and forth until Christmas until we move here permanently.

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“I’m bringing my hubby back. The kids are so American, they don’t wanna come back here. So it’s just Ozzy and I.”

The Black Sabbath frontman’s most recent release was 2020’s ‘Ordinary Man‘. In a five-star review, NME said “Ozzy Osbourne has already done more for music and popular culture than anyone had any right to expect. For someone who helped to invent modern metal, he’s held a stunning number of surprises up his cloak sleeve (see: a wildly successful solo career and genre-defining reality TV show). This rollicking album is yet another.”

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“I’m going to be heading back out on tour this November,” Weeks shared in a post. “Top top top venues in lots of the cities I didn’t get to on the tour just been.” He went on to share that “the new record is pretty much written” and “by November it’ll be done.”

Weeks also promised the added dates would feature new songs as well as tracks from ‘Hop Up’ and ‘A Quickening’, adding: “If I don’t see you in a festival field this summer, then I’ll see you in November”

A post shared by @orlandoweeks

Orlando Weeks tour dates are as follows:

NOVEMBER
17 – Bristol, Thekla
18 – Oxford, O2 Academy 2
19 – Norwich, Arts Centre
21 – Glasgow, King Tut’s Wah Wah Hut
22 – Liverpool, Arts Club
23 – London, Heaven
25 – Nottingham, Rescue Rooms
26 – York, The Crescent Community Venue
27 – Manchester, Gorilla

“It was quick, which often it isn’t,” Weeks previously told NME about his experience of writing ‘Hop Up’. “I didn’t feel stuck at any point or on the lyrics or any song sections. Also, I wasn’t doing it in my flat where small people and partners are trying to sleep in another room. I was going to a friend’s empty workspace and making loud noises, drinking beer, shouting and playing the trumpet badly.”

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He added: “With this record, I was just trying to make something positive without needing to explore difficult things. It’s just to savour and cultivate joyful things.”

In a four-star review of ‘Hop Up’ NME said: “This is an album about embracing the hopefulness of new life and striving to share Weeks’ singular, miraculous happiness with anyone who might be dragging their feet, stumbling upon the songs with little excitement about a currently dreary day-to-day.

“You finish this collection feeling lighter, a little more optimistic about what the world has to offer.”

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They will play further shows in Luxembourg (May 22) and Brussels (May 23) later this week.

Coming up…

-SuedeHQ pic.twitter.com/O90SMZ7G1y

— Suede HQ (@suedeHQ) May 18, 2022

The band recently released a new photojournal called So Young: Suede 1991-1993.

The journal, which was compiled by drummer Simon Gilbert, documented his arrival in the band in 1991 through to 1993, when the group’s self-titled debut album reached number one.

Speaking about the project at the time, Gilbert said: “So Young is the book that’s been in my head for over 30 years. When I was getting into music I was more interested in seeing bands away from the bright lights of Top of the Pops. Photos of the Pistols in the pub or The Clash at a checkpoint in Belfast fascinated me, and filled me with visions of what it was actually like to be in a band.”

Meanwhile, Suede also previously called on their fans to submit voice recordings for their next record, detailing a list of instructions which included singing and shouting “along when we ask you to”.

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“Everything you send in will be gratefully received. If you can do two or even three recordings, that would be even better,” the band said at the time.

View Suede’s tour schedule and remaining tickets, here.

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The band have shared a goofy video for their cover of ‘Darlin” today (May 18), which is originally taken from The Beach Boys’ 1967 album ‘Wild Honey’ – you can view it below. They shared the cover previously in 2020.

“In the spring of 2020, we started a list of our favourite Brian songs – a very long list,” the duo explained in a statement. “We chose songs without any regard to their chart performance. The obscure ones hit us just as hard as the more popular songs – and all are ripe for re-imagining, re-interpreting, and re-inventing.

“Brian writes songs of beauty and loneliness and vulnerability better than anyone – and by sequencing them next to popular songs of confidence and love and fun, it creates a more complete picture of life on earth.”

Wilson added: “Zooey and Matt did such mind-blowing versions of our songs. The harmonies are beautiful and right on. I love this record!”

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The tracklisting for ‘Melt Away: A Tribute To Brian Wilson’ is:

1. ‘Darlin”
2. ‘Wouldn’t It Be Nice’
3. ‘Til I Die’
4. ‘Deirdre’
5. ‘Melt Away’
6. ‘Good To My Baby’
7. ‘Don’t Talk (Put Your Head On My Shoulder)’
8. ‘Don’t Worry Baby’
9. ‘This Whole World’
10. ‘Kiss Me, Baby’
11. ‘Do It Again’ ft. Brian Wilson
12. ‘Heads You Win, Tails I Lose’
13. ‘Please Let Me Wonder’
14. ‘Meant For You’

She & Him are set to embark on a series of US tour dates next month in support of the album, which kicks off in Denver, Colorado on June 13 with stops in Utah, California, Oregon, Washington, and Vancouver.

The tour makes a stop in Los Angeles on June 25, before its final September stop in Vienna, Virginia. Tickets for the shows are available here.

She & Him’s most recent tour was for their holiday albums, ‘A Very She & Him Christmas’ and ‘Christmas Party’, in 2019.

Marilyn Wilson-Rutherford, the first wife of the Beach Boys co-founder, recently sued the musician over a deal he recently struck for the royalties of a number of Beach Boys songs.

Wilson agreed to a reported $50million (£38.1million) deal with Universal Music Publishing Group in relation to his song catalogue back in December, though the deal was not announced at the time.

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“Justin captured rare studio footage of the recording of ‘Doomscroller’ and we used it like a visual anchor, as evocative places outside the room keep creeping in,” Metric’s Emily Haines said in a statement about the band’s new video, which you can watch below.

“These traces of life on earth that appear and disappear throughout the song subtly mirror the shifting moods of the music.”

The band have also announced details of their new Metric mobile app, which can be downloaded here and provides access to limited edition vinyl, exclusive content, tickets and more.

“Metric has been working on an app to streamline the essentials and also to create a space where we can get off the usual platforms and stay in touch directly with people who know why they are there,” Haines added. “Cutting through the noise is something we’ve done since the beginning so this app feels natural.”

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Metric will embark on a North American tour in August in support of ‘Formentera’, with UK and European dates set to be announced soon. You can find tickets to the North American tour here.

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In the clip, Rico can be seen wearing black lipstick and sunglasses as she blows out smoke rings cut between shots of a city.

Black punk pic.twitter.com/Fosuo4kQcN

— TACOBELLA (@Rico_nastyy) May 16, 2022

This new music follows the release of her single ‘Vaderz’ featuring Bktherula back in April. Last year, the rapper teased that she’d be releasing a new project called ‘Rx’ but it’s not clear if this yet-to-be released track will appear on the project.

Rico also teamed up with Doja Cat at Coachella this year, to perform the track ‘Tia Tamera’, a single taken from the deluxe version of Doja Cat’s debut album ‘Amala’.

Earlier this year, Nasty spoke out about fans encouraging her to twerk on stage.

“This is probably the worst thing that you could put up while a female rapper is performing, even if she is gonna twerk, even if that’s what she does,” she said, before adding “this is so disrespectful.”

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She continued: “It’s pointing to this ever being why I’m on stage or pertaining to anything I’ve ever done in my career. That’s not what I do. You go on my Instagram right now. Do I have videos doing this? There’s people that do and they look great doing it but I don’t do this.

“And for all my young girls…I mean, you do what you want to do and it’s all lit and fun… I’m just trying to make art and perform my songs and go. I’m not trying to be something that I’m not. You shouldn’t try to make somebody something that they’re not.”

In a four-star review of her most recent full-length release, NME said ‘Nightmare Vacation’ was full of “energetic rap for the club and the moshpit”.

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He continued: “My message is the same, it will always be; i will continue to be nothing but myself and encourage others to do the same. there is simply no other option. i hope it provides my beautiful family who have followed me throughout this journey answers about themselves but also questions and challenges, but most importantly I hope it fills them with love.

“You have provided me with an antidote for the emptiness and loneliness I’ve felt in the past. you have given me a voice. so here is my story. why did i call it “YUNGBLUD”? because nothing in my life has ever made more sense.”

A post shared by YUNGBLUD (@yungblud)

News of Yungblud’s upcoming new album follows the release of ‘Memories’, his recent collaboration with Willow, which arrived earlier this month alongside a Colin Tilley-directed video.

In March, Yungblud released another single, ‘The Funeral’, which saw Ozzy Osbourne make an appearance in the video. Both songs are expected to feature on ‘YungBlud’.

Meanwhile, Yungblud hit back at critics of his music this week, saying that he’s made it his “mission” to get them “wearing a Yungblud t-shirt next year”.

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The Doncaster singer-songwriter opened up to SPIN about being misunderstood as an artist. “To Exploited fans, I’m a fucking poser,” he said. “To fucking Ariana Grande fans, I’m scary.”

However, Harrison conceded that receiving such a polarising response is part and parcel of being an authentic, well-known musician: “Ask any great, true, rock and roll artist. They’ve been ridiculed. But this is real. You saw it last night. Everyone’s dressed like each other, but there’s a thousand cultures in a room. It’s fucking liberating.”

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“Despite the ups and downs inherent, I’ll always be grateful for the profound privilege of being to able to grow up travelling the world playing music with the band. None of that would be possible without the fans of the band, so for that I sincerely thank you all so much for allowing me the opportunity.”

He concluded: “I wish the best for AILD moving forward, and I hope to see all of you sooner rather than later.”

A post shared by Josh Gilbert (@josh_gilbert)

As I Lay Dying have announced a replacement for Gilbert in the form of Miss May I’s Ryan Neff. They’ve also announced that Ken Susi of Unearth will play guitar on the band’s upcoming tours following Hipa’s departure.

“As we have been nearing our first tour back since the beginning of 2020, there have been several developments within AILD that we’d like to share with our fans,” the band wrote on Instagram. “The past couple years off from the road with the uncertainty of how or when touring would pick up again has provided time to consider new endeavours in life apart from AILD.⁣
⁣
“Josh Gilbert has decided to exit AILD to pursue other musical opportunities. Josh has been a strong contributor musically for AILD since joining in 2007 so we are grateful for all his contributions and his friendship over the years. We wish him all the best and are excited to see where this new path takes him in life.⁣”

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Going on to explain that they will honour their touring commitments for the rest of the year, the band introduced their new members.
⁣
“We are thankful to have Ryan Neff, of Miss May I taking on bass and vocal duties for our upcoming tours,” they wrote. ⁣”Joining us on second guitar for these two tours will be our good friend Ken Susi of Unearth…Ken’s style of guitar playing is closely related to AILD so we are excited to have a close friend and ripper of a guitar player joining us.⁣”

A post shared by As I Lay Dying (@asilaydying)

As I Lay Dying reunited in 2018 following several years of inactivity after frontman Tim Lambesis was arrested over a plot to have his wife murdered.

He pled not guilty to a solicitation-of-murder charge, with Lambesis’ lawyer saying that his judgement was “devastatingly affected by his steroid use” when the alleged incident occurred. He was sentenced to six years in prison in May of 2014, and was released on parole in December of 2016.

In a 2018 statement, Lambesis told fans that those “who support As I Lay Dying are not supporting the person I once was.”

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“Eric Clapton is unfortunately suffering from COVID having tested positive shortly after the second concert at the Royal Albert Hall,” a statement on Clapton’s website reads. “He has been told by his medical advisors that if he were to resume travelling and performing too soon, it could substantially delay his full recovery.

“Eric is also anxious to avoid passing on any infection to any of his band, crew, promoters, their staff and of course, the fans.”

Clapton’s website adds that the Zurich and Milan gigs will be rescheduled “within the next six months”, with “the present hope being to be able to resume the tour starting with the concerts in Bologna on May 20 and 21”.

Eric Clapton performs live, 2020. CREDIT: Getty Images

“It is very frustrating that, having avoided COVID throughout lockdown and throughout the period when travel restrictions have been in place, Eric should have succumbed to COVID at this point in time, but we very much hope he will be sufficiently recovered by the end of the week to be able to perform the remainder of the planned performances,” the statement adds.

Clapton has been outspoken in both interviews and his recent songs about lockdown restrictions and COVID vaccines, saying back in January that he wasn’t “concerned with being misunderstood”.

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Last summer, the musician said he would not perform concerts that require proof of vaccination – although he did play at such a show in September. He has also teamed up with Van Morrison and shared his own songs that criticise pandemic safety measures, including August’s ‘This Has Gotta Stop’.

Back in March, The Rolling Stones’ Keith Richards gave his view on Clapton’s controversial stance on the pandemic.

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Speaking to NME earlier this year, the rapper said he was “a proud Mancunian” and that his upcoming album will be “100,000 per cent a proper Manchester album,” that leans into the city’s proud musical heritage.

Check out the clip here:

Manchester shit ✌️ who wants it?

👀 https://t.co/80zsoRGuGU pic.twitter.com/F3nI0mskmC

— Aitch (@OfficialAitch) May 16, 2022

Recently, Aitch teamed up with Giggs on a slick new single, ‘Just Coz’, taking to London’s streets in an official music video.

Produced by WhyJay and LiTek, ‘Just Coz’ sees the BRIT nominee and Peckham rap heavyweight Giggs “do something a bit rowdier’.

In a press statement, Aitch said of the collaboration: “It was natural, I got in the booth and I said what I had to say. Giggs got in the booth and said what he had to say. We had a good laugh, it was an honour to work with the big man. Giggs taught me a lot of stuff; he’s my guy for life.”

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The release of that follows Aitch’s last solo single, ‘Baby’, which dropped in March. Prior to that, the rapper had teamed up with the fast-rising ArrDee to release ‘War’, a collaboration the latter artist told NME “just happened organically.”

Back in December,  Aitch also said that he would pay £7million to Liam Gallagher if he would feature on his next album.

He also reiterated his plans to NME on the red carpet of the BRIT Awards 2022, where he told us of his plans to meet Gallagher at the ceremony and talk him into a collaboration.

Asked how he’d go about starting up a conversation with the former Oasis frontman, the 22-year-old replied: “I’ll just say, ‘Why are [you] not on my album yet?’ See how it goes from there.”

Speaking to NME for this week’s Big Read, Gallagher responded saying that he won’t be appearing on his album, adding: “He ain’t got seven million fucking quid – he ain’t got fucking seven fucking quid, never mind fucking seven million.”

He continued: “Listen, I don’t do that – that’s not for me, man. He seems like a nice lad, but I don’t wanna be on anyone’s album.”

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• Indie
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• Stone Roses

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She also closed her final ‘Dynasty Tour’ show last Friday (13 May) at New York’s Terminal 5 by teasing a new song.

Now, she has shared a dramatic trailer which features snippets from her forthcoming record.

Hold The Girl
The new album
September 2 2022https://t.co/1r1X9PKSmk pic.twitter.com/nw59Im5ra4

— RINA SAWAYAMA (@rinasawayama) May 16, 2022

Reviewing her debut, NME awarded the record five stars and said it was a “deeply personal self-portrait that lays waste to genre constraints.”

Sawayama, meanwhile, performed as part of the BandLab NME Awards 2022 earlier in March, where she was also awarded the iconic middle finger for Best Live Act Supported By Grolsch.

In her acceptance speech, Sawayama spoke of how she posted an ad in the back of NME trying to get some bandmates when she was 15 years old. “Those bandmates didn’t exactly work out,” NME‘s Will Richards noted in his review of Sawayama’s performance, “but those joining her on stage tonight are a perfect fit.

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“Everything revolves around Sawayama though, a genre-fusing, always surprising, boundary-breaking star of the future.”

She also recently teamed up with Brazilian singer-songwriter and world-renowned drag queen Pabllo Vittar on the single ‘Follow Me’.

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