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Emily Bootle is the New Statesman’s editorial assistant.
After years of relying on the music streaming service, I found its endless playlists were eroding my love of music.
Noughties pop-punk boyband McFly, now in their thirties, return to music after a decade with the audio equivalent of a gratitude journal.
The music critic, author and librettist on his Goldsmiths-shortlisted novel Mr Beethoven, and using fiction to better understand history.
Watching The Magic Flute, I was unprepared for the emotion that would hit me at the curtain call.
On Positions, Grande moves seamlessly from character to character while maintaining her own highly specific brand.
As online clothing sales recover in the wake of Covid-19, our unsustainable habit is proving hard to quit.
On her debut album, Beabadoobee proves her talent with complex songwriting that goes deeper than a new millennium aesthetic.
Netflix's new series Emily In Paris wants to be a progressive chick flick, but its unquestioning embrace of capitalism kills any warmth.
The former Spice Girl’s new release combines empowerment pop with buoyant energy – and a few flat moments.
In a year lacking in comforting familiarity, the TV show’s formulaic charms have renewed appeal.