Kate Mossman is the New Statesman's arts editor and pop critic.
She has written hits for Rihanna, Cher and Christina Aguilera – and she's been dropped by a series of major labels. Is it finally time for LP?
I’m sure I’m not the only woman for whom Héloïse Letissier stirs up a half-forgotten feeling of wanting to be a boy.
For reasons lost to time, Baden-Powell visited an orphanage in rural Hungary and took a shine to my grandmother, then aged seven.
The caves, where families slept in three-tier bunk beds or pitches, had electric lighting, a canteen, a hospital and a police station.
This is a group who wrote their songs not for personal reasons but with tens of thousands of people in mind.
Somewhere in the 1990s, when Disney was enjoying a major renaissance, the Backstory arrived.
Grant represents a very human set of contradictions. In his songs, horrific experiences are set alongside transcendent ones; cynicism alongside childlike wonder
Journey wrote “Don’t Stop Believin’”, the most downloaded song from the 20th century. When their lead singer quit, the band spent years trying to replace him. Finally out of hibernation, he tells his strange story.
“If tables could speak, this one would doubtless have a tale or two to tell.”
A hangover is a day when you allow yourself to be a child.
