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Without an agreement to allow artists to tour visa-free after Brexit, experts say the UK’s cultural life will be decimated.
Drunk Tank Pink is, in many ways, a typical second rock album in that it reflects on the madness caused by the first.
The electronic producer Oneohtrix Point Never on isolation, the “cloaked insults” of reviews, and what Mark Fisher got right about time.
Swift’s second album in less than five months bears the same sensitively wrought indie-folk flourishes as its older sibling, but is all the more evocative for it.
The best records of 2020, as chosen by New Statesman staff.
The Doncaster musician has cultivated a fanbase around his celebration of nonconformity, but his music is unadventurous.
The 16th studio album by the Australian six-piece, who have experimented in surfer rock, jazz and metal, reflects an entirely different way of understanding music.
Noughties pop-punk boyband McFly, now in their thirties, return to music after a decade with the audio equivalent of a gratitude journal.
On Positions, Grande moves seamlessly from character to character while maintaining her own highly specific brand.
Veirs is, quietly, one of the greatest living American songwriters.
On her debut album, Beabadoobee proves her talent with complex songwriting that goes deeper than a new millennium aesthetic.
