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Charlie Puth and Hikaru Utada Deliver Bilingual Gem “Home” Ahead of World Tour

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Charlie Puth releases “Home” featuring Hikaru Utada today via Atlantic Records, accompanied by an official music video directed by Hunter Moreno. The song arrives weeks ahead of his fourth studio album ‘Whatever’s Clever!’, due March 27. Written for his wife Brooke, who is expecting their first child, “Home” is among the most personal music Puth has released, and it lands with the kind of warmth and melodic precision that has made him one of the most consistent hitmakers in the game. Listen here.

The collaboration is genuinely special. Utada, one of Japan’s most celebrated artists and a figure with serious international credibility, contributed original Japanese lyrics to an English song, a challenge she describes as both surprising and joyful. “It was obvious to me when I first heard the demo that this is a deeply personal song for Charlie that comes straight from his heart,” Utada shares. The bilingual result is one of the most inventive vocal pairings Puth has brought to record.

‘Whatever’s Clever!’ features a remarkable guest list: Coco Jones, Kenny G, Kenny Loggins, Michael McDonald, Ravyn Lenae, and Jeff Goldblum all appear across the album’s twelve tracks. The project follows Puth’s Super Bowl LX performance last month at Levi’s Stadium, where he opened the game with a nationally praised rendition of “The Star-Spangled Banner,” backed by a full orchestra and Kenny G.

The Whatever’s Clever! World Tour launches April 22 at Viejas Arena in San Diego, running through a full North American leg before a European and U.K. run in June and July. The tour hits Madison Square Garden on May 29, the Eventim Apollo in London on July 15, and the Anfiteatro di Pompei on July 24, among dozens of stops across both continents.

With 35 billion career streams, four GRAMMY nominations, and nine multi-platinum singles behind him, Puth is arriving at this album cycle with real momentum and something worth saying.


2026 North American Tour Dates:

April 22 – Viejas Arena – San Diego, CA

April 24 – Arizona Financial Theatre – Phoenix, AZ

April 25 – Santa Barbara Bowl – Santa Barbara, CA

April 28 – Honda Center – Anaheim, CA

April 29 – Kia Forum – Los Angeles, CA

May 1 – Bill Graham Civic Auditorium – San Francisco, CA

May 3 – WAMU Theater @ Lumen Field – Seattle, WA

May 5 – Doug Mitchell Thunderbird Sports Centre – Vancouver, BC

May 7 – Veterans Memorial Coliseum – Portland, OR

May 9 – Maverik Center – Salt Lake City, UT

May 10 – Bellco Theatre – Denver, CO

May 13 – Starlight Theatre – Kansas City, MO

May 15 – Rosemont Theatre – Rosemont, IL

May 16 – The Armory – Minneapolis, MN

May 19 – Fox Theatre – Detroit, MI

May 20 – TD Coliseum – Hamilton, ON

May 22 – MGM Music Hall at Fenway – Boston, MA

May 23 – Mohegan Sun Arena – Uncasville, CT

May 26 – EagleBank Arena – Fairfax, VA

May 29 – Madison Square Garden – New York, NY

May 30 – Hard Rock Live at Etess Arena – Atlantic City, NJ

June 1 – Spectrum Center – Charlotte, NC

June 3 – Synovus Bank Amphitheater at Chastain Park – Atlanta, GA

June 5 – Hard Rock Live – Hollywood, FL

June 6 – Addition Financial Arena – Orlando, FL

June 9 – Ascend Amphitheater – Nashville, TN

June 11 – Moody Center – Austin, TX

June 12 – The Pavilion at Toyota Music Factory – Irving, TX

June 13 – 713 Music Hall – Houston, TX


2026 European & U.K. Tour Dates:

June 27 – Tinderbox – Odense, Denmark

June 30 – Grƶna Lund – Stockholm, Sweden

July 1 – Allas Live – Helsinki, Finland

July 3 – Stavern Festival – Larvik, Norway

July 5 – Stadtpark Open Air – Hamburg, Germany

July 6 – myticket Jahrhunderthalle – Frankfurt, Germany

July 8 – Barts Festival – Barcelona, Spain

July 9 – Mad Cool Festival – Madrid, Spain

July 13 – Olympia – Paris, France

July 15 – Eventim Apollo – London, UK

July 18 – O2 Academy – Birmingham, UK

July 19 – Iveagh Gardens – Dublin, Ireland

July 21 – Usher Hall – Edinburgh, UK

July 22 – Manchester Academy – Manchester, UK

July 24 – Anfiteatro di Pompei – Pompei, Italy

July 25 – Villa Erba – Cernobbio, Italy

July 27 – Budapest Park – Budapest, Hungary

July 28 – Forum KarlĆ­n – Prague, Czechia

July 30 – Progresja Summer Stage – Warsaw, Poland


Whatever’s Clever! Tracklist:

Changes

Beat Yourself Up

Cry (featuring Kenny G)

Washed Up

New Jersey (featuring Ravyn Lenae)

“Don’t Meet Your Heroes”

“Home” (featuring Hikaru Utada)

“Hey Brother”

“Sideways” (featuring Coco Jones)

“Love in Exile” (featuring Michael McDonald and Kenny Loggins)

“Until It Happens to You” (featuring Jeff Goldblum)

“I Used to Be Cringe”

Live Nation Settles DOJ Antitrust Lawsuit, Caps Service Fees and Opens Amphitheaters to All Promoters

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Live Nation Entertainment, Inc., the world’s leading live entertainment company, announced today that the company has reached a settlement with the United States Department of Justice in the antitrust lawsuit brought by the DOJ. The company has consistently maintained that the DOJ’s allegations were without merit, and a portion of the original claims were dismissed by the court before trial began. This settlement will resolve all remaining matters with the DOJ, without any admission of wrongdoing, and the settlement will be reflected in a final proposed judgement that will be submitted to the court for approval.

Live Nation Entertainment issued the following statement:

ā€œWe are pleased to have settled our lawsuit with the United States Department of Justice. Today marks a major step in improving the concert experience for artists and fans throughout the United States. Live Nation is proud to lead the way enhancing this experience with our amphitheaters, which will be open to all promoters, allowing these promoters to decide how best to distribute up to 50% of the tickets, and capping ticketing service fees at 15%. By giving artists greater flexibility in choosing their promotional partners and ticketing strategy while also keeping the cost of a concert more affordable for fans, we are putting more power where it should be – with artists and fans,ā€ said Michael Rapino, President and CEO of Live Nation Entertainment.

In addition, Live Nation will be divesting its 13 exclusive booking agreements with amphitheaters nationwide. All owned and operated amphitheaters will continue to be operated by Live Nation as open venues, promoting competition and maximizing show volume.

In ticketing, Ticketmaster will be providing both exclusive and non-exclusive ticketing proposals to all major concert venues, which preserves the rights of venues to seek the type of contracts they preferred over the years while providing the government with restrictions to mitigate their concerns. At the same time, for venues that choose to do so, they may distribute some portion of their tickets through other primary ticketing marketplaces.

ā€œWe have never relied on exclusivity to drive our ticketing business, it has simply been the result of having the best products, services and people in the industry. We are happy to take greater steps to empower artists and venues in their ticketing decisions, and are confident we will continue to succeed on the quality of what we deliver,ā€ continued Rapino.

This settlement will also include an eight-year extension of the company’s consent decree with the DOJ, including retaliation and conditioning terms, providing venues ongoing comfort the company does not condone such behavior.

There is no financial component to the settlement with the DOJ. This does not settle the claims of all plaintiffs in the lawsuit, and the company has created a $280 million settlement fund to address the states’ damages claims.
About Live Nation Entertainment
Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts and Live Nation Media & Sponsorship. For additional information, visit www.livenationentertainment.com.

Metal Powerhouse Alissa White-Gluz Unleashes Ferocious New Band Blue Medusa on the World

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Alissa White-Gluz is done waiting. The internationally acclaimed vocalist and one of the longest-serving female death metal frontwomen in the genre’s history has launched Blue Medusa, an all-new band built entirely on her terms. The announcement landed on International Women’s Day, a choice White-Gluz made deliberately. “Building stronger platforms for women in heavy music is something I care deeply about,” she says. “Medusa turned people to stone. I want to pave the road in sapphire.”

Blue Medusa is a trio at its core, with White-Gluz flanked by guitarists Alyssa Day and Dani Sophia. “The musical chemistry I feel with these women is really bringing me back to life,” White-Gluz says. Live, drummer Delaney Jaster and bassist Alicia Vigil round out the lineup. Five women. Full firepower. White-Gluz describes the sound directly: blazing guitar solos, crushing riffs, brutal vocals, fast and aggressive drums, and lyrics built to make you think.

This is not a pivot or a side project. White-Gluz spent years at the forefront of Arch Enemy’s most commercially and creatively successful period, expanding the band’s global reach across the world’s biggest metal stages. Blue Medusa takes everything that made her essential and removes every ceiling. “It’s my creative melting pot,” she says. “Everything fans enjoy about the energy, intensity and performance they’ve always experienced on stage with me is still here, even stronger.”

New music is coming soon, and Blue Medusa already has live dates locked in. The band makes its live debut at both Louder Than Life and Aftershock festivals, two of the heaviest-hitting events on the North American festival calendar. For a new band, that is an extraordinarily strong opening statement.

White-Gluz has spent two decades carving space for herself in a genre that didn’t always make room. Blue Medusa is what happens when someone that focused and that talented stops sharing the wheel entirely.

Thomas Rhett Takes the ‘Soundtrack to Life’ Tour Nationwide This Summer

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Thomas Rhett is hitting the road this summer with the Soundtrack to Life Tour, a 20-plus city run promoted by Live Nation launching in July. Rising stars ERNEST, Kashus Culpepper, Zach John King, Vincent Mason, and Conner Smith rotate through support slots across the run, with Emily Ann Roberts opening every night. Presales begin Wednesday, March 11 at 10AM local time, with the general on-sale Friday, March 13 at 10AM local time. All ticket info is at ThomasRhett.com.

Rhett is bringing a live show that has earned serious praise from every corner, and he is doing it on his own terms. “I’ve always believed a great song can take you right back to a moment,” he shares, “and that’s what I hope the fans take away from our shows this summer.” The tour opens at home in Nashville before rolling through arenas and amphitheatres coast to coast, wrapping in late October.

The timing lines up with Thomas Rhett’s strongest creative stretch in years. His latest release, ‘About a Woman (Deluxe)’, now spans 25 songs and includes collaborations with Blake Shelton, Teddy Swims, Tucker Wetmore, Lanie Gardner, and current Top 5 single “Ain’t A Bad Life” featuring Jordan Davis. The record has been called his best work yet, and the setlist this summer will reflect the full scope of a catalog built on 24 Number Ones and 16 billion streams.

Beyond the Soundtrack to Life Tour, Rhett joins Morgan Wallen for four dates on the Still the Problem Tour and makes a highly anticipated return to the U.K. for a three-night run at Wembley Stadium with Luke Combs. For an artist with eight ACM Awards, five GRAMMY nominations, and five CMA Triple Play awards to his name, this is a summer without a slow moment.

VIP packages are available through vipnation.com and include premium seats, guided backstage tours, access to the Thomas Rhett VIP Lounge, and exclusive gift items. This is a big touring year for one of country music’s most consistent hitmakers.

The Soundtrack to Life Tour Dates:

July 9 – Nashville, TN – TBA

July 11 – Greenville, SC – Bon Secours Wellness Arena

July 16 – Hartford, CT – The Meadows Music Theatre

July 17 – Gilford, NH – BankNH Pavilion

July 18 – Hershey, PA – TBA

August 13 – Columbia, MD – Merriweather Post Pavilion

August 14 – Bethel, NY – Bethel Woods Center for the Arts

August 20 – Evansville, IN – Ford Center

August 22 – Grand Rapids, MI – Acrisure Amphitheater

September 10 – Louisville, KY – KFC Yum! Center

September 11 – Columbus, OH – Schottenstein Center

September 12 – Cuyahoga Falls, OH – Blossom Music Center

September 17 – Austin, TX – Moody Center

September 18 – Dallas, TX – American Airlines Center

September 19 – Tulsa, OK – BOK Center

October 1 – Los Angeles, CA – Kia Forum

October 2 – Anaheim, CA – Honda Center

October 3 – Sacramento, CA – Golden 1 Center

October 9 – Albuquerque, NM – First Financial Credit Union Amphitheater

October 10 – Phoenix, AZ – Talking Stick Resort Amphitheatre

October 22 – Des Moines, IA – Casey’s Center

October 23 – Kansas City, MO – Morton Amphitheater

October 24 – Omaha, NE – CHI Health Center

Hip-Hop Legends De La Soul Bring Joy, Grief, and “Cabin in the Sky” to the Tiny Desk

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De La Soul took the Tiny Desk on March 3, De La Soul Day, and delivered something that felt like a celebration and a reckoning at once. Pos and Maseo performed highlights from their latest album, Cabin in the Sky, alongside classics including “Stakes is High” and “Breakadawn,” backed by a full live band anchored by drummer and music director Daru Jones. The set was warm, sharp, and alive with the group’s signature humor, but the absence of David Jolicoeur, Trugoy the Dove, who passed away in 2023, gave the whole performance a layer of weight that no setlist could paper over.

Both remaining members were candid throughout the planning process about what Dave would and would not approve of creatively, and the result honors him without leaning on sentimentality. This is De La Soul doing what they have always done, just carrying more with them now. The concert also marks year three of the group’s catalog being back under their own control, a hard-won milestone after a decades-long legal battle that kept their music off streaming platforms until just weeks after Dave’s passing.

Norwegian Prog Veterans Green Carnation Confront Time Itself on Stunning New Single “I Am Time”

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Green Carnation are three decades deep and still operating at a level most prog acts never reach. “I Am Time” is the second advance single from Part II of their ambitious album trilogy, A Dark Poem, due via Season of Mist. It is the emotional peak of Sanguis, a record the Norwegian veterans describe as their most personal and grief-laden chapter yet.

The song hits with double bass, stormy tremolo picking, and a central melody that dissolves like sand through an hourglass. Vocalist Kjetil Nordhus delivers with gloomy, measured restraint, and the result is devastating in the best possible way. The track’s closing surge is one of the most powerful moments Green Carnation have committed to record in years.

The writing process took the band to a cottage in the woods of Norway, where Nordhus and bassist and lyricist Stein Roger Sordal found the connective tissue between two separate song ideas. “We tried letting the intro flow into the lead guitar part that takes over,” Nordhus explains. “It worked perfectly.” The song is built around time as a character, relentless and non-negotiable. “I can’t be tamed, I am not for sale.”

Sordal frames the lyrical core directly: “The lyrics are about how we should respect and cherish the time that we have.” Nordhus adds that Part II deals with personal loss and sadness, though the album is not without light. Sanguis pushes the emotional range of A Dark Poem considerably further than Part I, and “I Am Time” makes that case immediately.

Sanguis is available for pre-order and pre-save now, with vinyl formats including Black, Gold Splatters, Transparent Green and Purple Marbled, and several additional variants. If Green Carnation’s first installment signaled a powerful return, this one confirms they are nowhere near finished.

Trey Calloway’s “Truck Around” Is the Country Party Anthem You Didn’t Know You Needed

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Trey Calloway is back with “Truck Around,” a rough-and-rowdy country party anthem built for gravel roads and open skies. The new single celebrates trading city life for a night of pure freedom, with lyrics that land hard and stick fast. Calloway writes from lived experience, and it shows. This is authentic country storytelling with a good-time engine under the hood.

The song’s hook is immediate. “A long bed for dancing, moonlight romancing, and a great big world on the outskirts of town” is the kind of writing that earns its place on a playlist and keeps it. Calloway puts it plainly: “‘Truck Around’ is really an invitation to trade the concrete jungle for a gravel road. Sometimes all it takes is watching a sunset from a tailgate to remember what really matters.” Hard to argue with that.

The timing is strong. Calloway is currently in the studio working on a new EP due in summer 2026, co-writing and recording alongside producer Phil O’Donnell, whose track record speaks for itself. O’Donnell has written Number 1 songs for George Strait, Blake Shelton, and Montgomery Gentry, and has worked with Cody Johnson, Chris Janson, Craig Morgan, Clay Walker, Aaron Watson, and Craig Campbell. That pedigree adds serious weight to what’s coming.

Calloway is also building his live presence with shows on the road and in Nashville, including an upcoming performance at the Inspirational Country Music Awards at the Grand Ole Opry House on April 6. The momentum is real. Features in Whiskey Riff, American Songwriter, Cowboys & Indians, and RFD-TV have widened his reach considerably, and the buzz around his “Must Have Had a Good Time” video has kept his name in the conversation.

More releases are on the way, and Calloway is clearly hitting his stride. “Truck Around” is a confident, well-crafted single from a country voice worth following closely.

ABBA’s Magic Lives On: Mamma Mia! Returns to Toronto for a Summer Run

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Mamma Mia! is coming back to Toronto, and this city has a history with this show that runs deep. The global smash musical returns to the Princess of Wales Theatre from August 4 to 30, 2026, presented by Mirvish Productions. Tickets go on sale March 16 at 10AM at mirvish.com or by calling 1.800.461.3333.

Toronto knows this show better than almost anywhere. Mamma Mia! had its North American premiere right here at the Royal Alexandra Theatre in 2000, running until 2005. It has returned to Mirvish stages four times since, selling out every engagement. This city does not tire of it, and the show keeps delivering.

The numbers behind Mamma Mia! are staggering. Seventy million people have seen it live worldwide. Fifty productions. Sixteen languages. More than $7 billion at the box office. Built on the songbook of ABBA, written by Catherine Johnson, directed by Phyllida Lloyd, and choreographed by Anthony Van Laast, this is a production that has earned every superlative thrown at it.

The sunny, warmly comedic story of a mother, a daughter, and three possible fathers on a Greek island is as irresistible now as it was at its 1999 London premiere. The 25th Anniversary production made a triumphant return to Broadway in August 2025 at the Winter Garden Theatre, the same stage where it first opened in 2001. The momentum is real and it arrives in Toronto this summer.

With music and lyrics by Benny Andersson and Bjƶrn Ulvaeus, and produced by Judy Craymer, Richard East and Bjƶrn Ulvaeus for Littlestar in association with Universal Music Group, Mamma Mia! remains one of the most joyful, full-throated theatrical experiences anywhere on stage. This August run at the Princess of Wales is not to be missed.

11 Songs That Turn a Bad Day Around

The alarm is too early, the weather’s wrong, the commute’s worse, and the small annoyances start stacking up like badly filed paperwork. By mid-afternoon you’re convinced the universe has decided to run a small experiment at your expense.

This is where music comes in. Not the heavy, contemplative kind. What you need is a sonic reset. A song that lifts the mood, shakes the dust out of your brain, and reminds you that three or four minutes of sound can change the chemistry of a day.

Here’s a short recovery playlist. Different decades, different styles, but all capable of nudging things back in the right direction.

“All the Small Things” — Blink-182
Three minutes of pop-punk sugar rush. The guitars are bright, the chorus is massive, and the whole thing feels like a reminder not to take anything too seriously.

“Best Day of My Life” — American Authors
This song runs on pure optimism. Big stomping drums and shout-along vocals make it sound like the soundtrack to a small personal victory.

“Dreams” — Fleetwood Mac
It floats instead of pushes. Stevie Nicks’ voice and that smooth groove create a calm emotional reset when everything else feels chaotic.

“Float On” — Modest Mouse
One of the great lyrical shrugs in modern rock. No matter how bad things get, the song keeps repeating the same idea: somehow, we’ll float on.

“Good as Hell” — Lizzo
A confidence injection disguised as a pop anthem. Lizzo turns self-doubt into swagger and makes it feel contagious.

“Island in the Sun” — Weezer
Warm guitars, relaxed tempo, and a melody that feels like a quiet vacation. It’s the musical equivalent of stepping outside for fresh air.

“Lovely Day” — Bill Withers
Few voices carry reassurance like Bill Withers. The groove is gentle but steady, and that famously long note near the end feels like a deep breath.

“Put Your Records On” — Corinne Bailey Rae
Soft, breezy, and comforting. It doesn’t try to overpower a bad mood. It simply nudges it aside.

“Shiny Happy People” — R.E.M.
Bright guitars, playful energy, and a chorus that practically grins. Sometimes cheerful absurdity is exactly what a rough day needs.

“Take It Easy” — Eagles
Laid-back country-rock wisdom. The message is simple: relax, breathe, and stop carrying more weight than you need to.

“Unwritten” — Natasha Bedingfield
An uplifting reminder that the story isn’t finished yet. The chorus opens up like a window, and suddenly the day feels a little less boxed in.

Arctic Monkeys Lead an All-Star Cast on ‘HELP(2),’ a Landmark Charity Album for War Child UK

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Arctic Monkeys have released “Opening Night,” their contribution to ‘HELP(2),’ the new collaborative charity album in support of War Child UK. The album is out now, arriving as one of the most ambitious and purposeful multi-artist records assembled in decades. The band put it simply: “We are proud to support the invaluable work War Child do and hope the record will make a positive difference to the lives of children affected by war.”

‘HELP(2)’ was inspired by the landmark 1995 charity album ‘HELP,’ originally led by Brian Eno and featuring Oasis, Blur, Radiohead, Massive Attack, Portishead, and more. That record raised over Ā£1.2 million for children affected by the Bosnian conflict, sold over 70,000 copies on its first day, and reached number one on the UK compilation charts. Nearly three decades later, the need is even greater. When ‘HELP’ was first released, around 10% of the world’s children were affected by conflict. Today that figure has nearly doubled to almost 1 in 5, representing 520 million children worldwide.

The new album was recorded predominantly across one extraordinary week in November 2025 at London’s Abbey Road Studios, under the stewardship of producer James Ford. The contributor list is staggering: Anna Calvi, Arlo Parks, Arooj Aftab, Bat For Lashes, Beabadoobee, Beck, Beth Gibbons, Big Thief, Black Country New Road, Damon Albarn, Depeche Mode, Ezra Collective, Foals, Fontaines D.C., Graham Coxon, Grian Chatten, Kae Tempest, King Krule, Olivia Rodrigo, Pulp, Sampha, The Last Dinner Party, Wet Leg, Young Fathers, and more.

The sessions produced genuinely extraordinary moments. Damon Albarn, Grian Chatten, and Kae Tempest’s supergroup was joined by Johnny Marr, Dave Okumu, Portishead’s Adrian Utley on guitar, Gorillaz’ Seye Adelekan on bass, Femi Koleoso on drums, and an all-star choir including Jarvis Cocker, Carl Barat, and Declan McKenna. Graham Coxon ended up playing guitar on Olivia Rodrigo’s cover of The Magnetic Fields’ “The Book of Love.” Wolf Alice’s Ellie Rowsell received an invitation to join Anna Calvi, Nilufer Yanya, and Dove Ellis on “Sunday Light” on the day of recording itself.

Academy Award-winning filmmaker Jonathan Glazer served as Creative Director, working with Academy Films to oversee the visual component of the project. His concept, “By Children, For Children,” handed cameras directly to children, inviting them into the studios to film the artists without restriction. Glazer’s team also worked with fixers and filmmakers in Ukraine, Gaza, Yemen, and Sudan to gather footage filmed by children on the ground in conflict zones. The result connects the music directly to the children it exists to help.

Producer James Ford reflects on the experience with clarity: “The experience of making the album itself has been very powerful, and dare I say life affirming for me personally, against the backdrop of a very difficult year. I’m extremely proud of the results and of the efforts made by all involved.” That feeling carries through every track on the record.

War Child UK has spent 30 years delivering immediate aid, education, specialist mental health support, and protection to children affected by conflict. The organization currently operates in 14 countries including Sudan, Gaza, Ukraine, and Syria, working daily in communities and refugee camps to create safe spaces for children to play, learn, and access psychological support. With conflicts escalating and funding cuts hitting hard, the need for this record could not be more urgent.

‘HELP(2)’ is out now. It is a powerful, sprawling, and deeply necessary record, one that channels an extraordinary collection of musical talent toward something that genuinely matters. Every purchase counts.

‘HELP(2)’ Tracklisting:

Arctic Monkeys – “Opening Night”

Damon Albarn, Grian Chatten & Kae Tempest – “Flags”

Black Country, New Road – “Strangers”

The Last Dinner Party – “Let’s do it again!”

Beth Gibbons – “Sunday Morning”

Arooj Aftab & Beck – “Lilac Wine”

King Krule – “The 343 Loop”

Depeche Mode – “Universal Soldier”

Ezra Collective & Greentea Peng – “Helicopters”

Arlo Parks – “Nothing I Could Hide”

English Teacher & Graham Coxon – “Parasite”

Beabadoobee – “Say Yes”

Big Thief – “Relive, Redie”

Fontaines D.C. – “Black Boys on Mopeds”

Cameron Winter – “Warning”

Young Fathers – “Don’t Fight the Young”

Pulp – “Begging for Change”

Sampha – “Naboo”

Wet Leg – “Obvious”

Foals – “When the War is Finally Done”

Bat For Lashes – “Carried my girl”

Anna Calvi, Ellie Rowsell, Nilufer Yanya & Dove Ellis – “Sunday Light”

Olivia Rodrigo – “The Book of Love”