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Massive Attack  

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I came here with slight concern at how I was going to cope with the O2, a venue I have been to only once before and hated it. It was like going to a gig in a really horrible corporate shopping centre. Well, it was even worse than my previous memory of it. Massive Attack are a band I've loved for years and I last saw them at Eden Project in 2018 which I can safely say was one of the best gig experiences I've ever had. This gig, on the other hand, was literally one of the worst. The queue to get in the venue was around a mile long, and I imagine those at the back of it didn't get in until halfway through the gig. There was only one bar and the queues were also ridiculous, with the most awful range of drinks. The band's performance to me seemed disconnected and in it's own weird little bubble, with patronising political visuals that I thought were pretty out of touch and reminded me of something I would have made in a Year 9 art project. I don't disagree with the political messages they used but it was pretty unsophisticated and amateur visual communication considering it's 2019. We ended up stood towards the back as being short, I couldn't see a thing if I was stood in the crowd. I was dismayed when they played Teardrop and you could barely hear it from the back of the standing section. Really poor quality sound compared with many other gigs I've been to and particularly disappointing knowing that this band are usually known for their strict adherence to quality. The highlight for me was hearing Horace Andy's incredible voice on Angel and Man Next Door. He brought the soul to this soulless venue and disconnected performance. I will not be returning to the O2 again, no matter how tempting the artists are.

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Just saw them this evening at Radio City/NYC. Folks...as good as the Mezzanine CD is...do NOT waste your time on watching them live. This was the WORST EVER LIVE PERFORMANCE I HAVE EVER BEEN TO (and, trust me, I have been to a gazillion and have traveled the globe to see favorites even if they were not playing in US.) Here are four reasons why I WANT A REFUND! -

1. They were late. There's no opening band. Do NOT waste time then

2. The strobes are a bloody lawsuit in the waiting. The ticket should have a RED disclaimer on it about the incessant use of strobe as they can cause seizures for those who are prone to it. SERIOUSLY!

3. CUT THE CRAP WITH THE POLITICAL MESSAGING BULLSHIT! We already KNOW this stuff, do not need Social Media 101 class videos playing in the background and how it is impacting us - do NOT insult your audience - we ALREADY know this. The whole imagery/video/messages treat you as if you are a kid. What a put-off.

4. AND, finally, ENGAGE! Engage with the audience. Welcome them! Acknowledge us! Say a WORD to them as in "THANK YOU!" We are paying for you to be here, we made you who (you think) you are. These fucking morons didn't even have the decency to either say, "hello, thank you," or "goodbye"....Even bigger names like Depeche Mode, Tool and Metallica, at least, acknowledge their audience with a simple "thank you" if not their full-fledged stage bows. All of these (less than) massive folks came off as purely arrogant and a waste of our time. ONE AND DONE! Never will consider seeing them live again. Cheers.

Having celebrated a quarter-century together last year, Massive Attack are well and truly old hands these days - not that it’s had any negative impact on the adventurousness of their live shows. Last year saw them continue to push the boundaries of audiovisual entertainment with their experimental collaboration with filmmaker Adam Curtis at the Manchester International Festival - 1500 people in an old train station that went out of commission two years before the band even formed, utterly engrossed by films at once arresting and heartbreaking and soundtracked by an array of cover versions that saw the Bristol duo draw upon every shred of musical ingenuity they have. Away from the more esoteric side of their live incarnation, their more conventional shows remain awesome spectacles, too; with giant LED screens allowing them to apply their music to political and social backdrops, and an expanded live lineup that features a revolving selection of guest vocalists, the brooding disquiet of most recent studio effort Heligoland has been weaved in seamlessly alongside cuts from nineties classics "Mezzanine" and "Blue Lines." Having evidently mastered both the recorded and live sides of their craft, Massive Attack’s staying power has moved them beyond simply being one of Britain’s most vital musical groups - they’re edging towards institution status.

Famous in the musical world for being the go-to locale for trip-hop in the '90s, Bristol's reputation was helped along by artists such as Portishead. Arguably the biggest force in those circles was Massive Attack, who were one of the pioneering groups in the scene at the time. Famed for merging electronica, dub, post-rock and dance, the (now-)duo of D and G (Robert Del Naja and Grant Marshall) are one of the biggest electronic forces around today, and have been at that zenith for almost two decades.

Boasting hits like Tyson, tracks like the darkly erotic “Angel”, psyched-out acidtronica anthem “Unfinished Sympathy” and one of the world's most covered tracks, “Teardrop” (as also seen on the House OST), Massive Attack's sets are studded with pinnacles. You may not even realise quite how much you know by the outfit – their music often creeps into film soundtracks or on TV shows. Live, they focus on creating an intense atmosphere, using darkness as an essential tool. Lights are also prominent features, and the band themselves often lurk in the shadows, preferring to use visual effects like video clips, montages, and strobes as focal points. They cultivate an aura to lose yourself in. It's dance music, but it's the most emotional, soul-touching, mind-boggling dance music ever made.

While MA still inventively play with music codes, there is some major flaws in that show. The concept based on random visual «Youtube» sampling to illustrate how badly we managed inequalities on earth is creating rather interesting and weird moments : like when the public is applauding/shouting because they like the song while what they see on the screen are images of bombing. This is disturbing...but and artistically relevant. The main problem is simple, it's the set list : MA are progressing more or less in a binary mode : one song from Mezzanine, one cover song that most of the public doesn't know. It's cool to acknowledge their influences, but the public is there to hear MA, not songs they don't know by bands they don't know. This is disruptive, which could be interesting, but in fact it's just a bummer, the show just doesn't work in that form. The concept is taking over the actual show and that's not cool. MA should realize that and adjust. When you do a show where the public is super high for the first songs and they finally sit down on their chair calmly by the middle of the show instead of getting higher and higher, well, it's kind of problematic. That said, there are some nice ideas here and there and their political message is positively refreshing in a way.

As soon as Massive Attack announced their new tour, I've managed to buy the pre-sale tickets for their first London show.

It was my first time inside the O2 Academy in Brixton and at first I was quite surprised by the venue: the stalls floor is not flat but is pending towards the stage, giving a chance to see something even to the short ones like me.

The supporting band already playing on stage was the "Young fathers", and I have to say they could be much better with a good sound engineer, as their voices are great but no good ensemble with the drums.

Finally at around 21 Massive Attack arrived on stage and it has started: two drums, one base, two synths and many turning at the microphone.

The background video screening was quite impressive, bright (too bright!) and psychedelic at the beginning, but very powerful, transforming the concert into a whole exhibition.

The sound was just amazing from my position (middle-center of the stalls).

They started with some new songs then played some old ones, together with hits like Karmacoma, Teardrop, Angel..

It was simply fantastic.

I agree with other comments here, there was no interaction with the public. I actually felt like that was the message they wanted to come across. This is what we have to say and we are not playing 20-year-old music that is out of date, we have a message to come across, deal with it. Like it or not, they kinda shoved it in everyone's faces. I don't think many people enjoyed the message and actually even cared for it, they just went there for a pint a bit of a night out. I was seated the whole time and people were walking around, getting beer and popcorn like they didn't give a shit at all. It was hard to concentrate with people going around and getting food and drink every 2 minutes. I don't understand well why this is permitted when it completely takes from the experience of the performance. just go out for a pint and listen to the album or something, ruining other people's experiences really is bad. and also, soooo many people leaving after teardrop, so many people leaving in the middle of the concert or falling asleep. Seriously, THIS MAKES NO SENSE!!

Massive Attack´s performance at Mad Cool 2018 was cancelled at the last minute, supposedly because of sound interference from one of the other stages. None of the other bands had a problem with sound interference, and as far as I understand, other bands agreed to drop their levels/delay their performances to allow Massive Attack to go on, but no agreement could be reached. Also, what band expects to play at a festival with no other bands playing on other stages, unless they´re closing the main stage? No announcement was made until after their performance was supposed to be finished, meaning the 25,000 people waiting couldn´t even go and see another band instead. Obviously I can´t know exactly what went on, but from the outside it appears like they got annoyed because they were in the dance tent instead of on one of the main stages and decided at the last minute not to play. Poor, poor show. A lot of very disappointed fans, and handled terribly.

Excellent, Exquisite and Emotional.

The music of Massive Attack is distinctly identifiable and seeing them live lived up to expectations.

With certain orchestral and no-lyric aspects to their music, any visual display show that accompanies Massive Attack becomes important. In this case it was spectacular and the lights complimented the music well. There were heavy political comments and imagery, particularly focusing on the war in Syria. Undoubtedly much of the audience were surprised by this with many not sure how to feel about it. But if you're an artist with a message why not take the stage and do something with the thousands of people at your mercy!

Overall a great night out. Word must be mentioned towards the fantastic venue that the Brixton academy is. A perfect place for this gig (and many others!)

They have been my favourite band since the 90s, their show and performance was great and as usual their political messages and feeling of unity that they create was strong, but it wasn't loud enough, it was like listening to a car radio from outside the car. Too many tickets sold, in my opinion, thousands of people queuing for over an hour to get food and drink, I could see people leaving while they were playing looking disappointed, as it was hard to see anything. We left during the last song as We didn't want to get stuck getting out, after all there were 27,000 people in a very small space, We weren't the only ones, thousands of others had the same idea. Such a shame that the organisation was so poor, I look forward to seeing Massive Attack again in better conditions.

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Massive Attack tour dates and tickets 2024-2025 near you

Want to see Massive Attack in concert? Find information on all of Massive Attack’s upcoming concerts, tour dates and ticket information for 2024-2025.

Massive Attack is not due to play near your location currently - but they are scheduled to play 13 concerts across 9 countries in 2024-2025. View all concerts.

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Massive Attack Confirm First US Show in Five Years at iii Points in Miami

The 2024 lineup also boasts Justice, Jamie xx, Arca, Jungle, Parliament Funkadelic, and more

Massive Attack have confirmed their first US live show in five years at this year’s iii Points Festival in Miami, Florida, which they’ll headline alongside acts like Justice, Jamie xx, Arca, Jungle, Parliament Funkadelic feat. George Clinton, Kaytranada, and PinkPantheress.

The two-day music festival goes down October 18-19th, 2024 at Mana Wynwood in Miami. Tickets, including GA, GA+, and VIP passes, go on sale beginning Friday, June 14th at 1:11 p.m. ET.

Get iii Points Tickets Here

iii Points’ 2024  lineup also boasts Rick Ross, Raekwon, ISOxo, REZZ, Vintage Culture, Mochakk, Jacques Greene, DJ Shadow, DJ Koze, Channel Tres, Bladee, Toro y Moi, Tinlicker, Snow Strippers, BLOND:ISH, Sega Bodega, Isabella Lovestory, Yung Lean, Mall Grab, horsegiirL, Ben UFO, Bar Italia, Bad Gyal, and more. See iii Points’ 2024 lineup poster below.

Last week, Massive Attacked played their first proper show in five years at Gothenburg Film Studios in Gothenburg, Sweden, which saw them team up with Elizabeth Fraser of Cocteau Twin to perform “Song to the Siren” for the first time live together.

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+ MASSIVE ATTACK PUBLISH TYNDALL CENTRE

For climate change research, live music roadmap +.

https://www.tyndall.manchester.ac.uk/research/reports

https://www.tyndall.manchester.ac.uk

https://www.ecotricity.co.uk

Following an extremely difficult & frustrating period for live music during the COVID19 pandemic, Massive Attack are now pleased to publish and offer as an open resource to our industry the Roadmap to Super Low Carbon Live Music , commissioned by the band & produced by the Tyndall Centre for Climate Change Research – a specialist body that brings together scientists, engineers, economists, and social scientists to accelerate society’s transition to a sustainable low carbon future and avert climate catastrophe. 

As an immediate response to this substantive exploration, we’ve designed 6 major emissions reduction modules for our 2022 tour, to trial implementation, carry out modelling on interactive practicalities and transferabilities, and to then bring all project learning together in a major UK testbed show to proliferate change. 

We’re also excited to be working with industrialist Dale Vince and Ecotricity to design bespoke convergence partnerships with a variety of music arenas and venues – so we can create far greater renewable energy capacity for the UK grid, help train event staff to run and generate sustainable operations, and to introduce vegan food options in front and back of house set ups. 

In relation to the roadmap overall, we’re pleased that the UK music industry now has a comprehensive, independent, and scientifically produced formula to facilitate its own compatibility with the Paris/1.5 degrees climate targets. Given the unique profile, reach and emotional resonance of our art form, it’s crucial that live events lead the way in these urgent developments, and that as a sector overall our actions match our words. As the report states:

“Only a material and fundamental shift in practices and technology globally can prevent catastrophic climate change. How live music stakeholders and the industry as a whole embrace climate action is a part of this global response.”

In examining current UK live music practices specifically, Tyndall analysts identified “the need for an urgent and significant reassembly of practices in the sector” and that despite some good work and efforts “progress must be rapidly accelerated and substantial shifts in industry practice are needed.” As a band of thirty years touring history, we agree with both conclusions. 

But primarily, we feel the Tyndall roadmap presents all in the live music sector with a range of opportunities to innovate and lead the field in combating the climate emergency. 

Blending report recommendations into all future live performance planning will now allow us to experiment with innovative technologies, and to develop further unique relationships with Local Authorities, promotors, venues, system designers and transport and power providers to create new production models, to share as open resources with live music operations of any size or scale. 

We’re keen to accelerate potential solutions that are beginning to emerge as collectively, we begin to provide answers to direct challenges emanating from the Tyndall report: 

For indoor shows, which venues and promoters can provide “plug and play” options to remove the constant and unnecessary movement of touring production freight that often duplicate within 24-hour show-to-show cycles? How easily can venues switch their power supplies to genuinely renewable sources that materially increase new solar and wind capacity for the UK grid overall? 

For our festival sector facing the inevitability of increased environmental measures within the licensing framework and the urgent replacement of diesel power: what role can central and local government now play in the provision & viability of clean battery technology for festival events? Where can new local & national partnerships with promoters be created, that plug events into the power grid and create localised supply chains, including catering, services, and equipment?

And for both: how do we incentivise audience travel via rail; where can we utilise pre-sale periods for rail travellers, smart-to-rail ticketing, freestanding event-specific offer pages operated by train providers, and ultimately for major events – the experimental use of individual chartered trains? Who are the partners to collaborate on smart-routing tours, adapting transportation possibilities to the lowest carbon emitting option, and test electric freight options & the viability of rail freight networking?

We hope that our own processes, discussions, and partnerships can prove useful in answering these questions in clear, quick, and transferable ways, in order that tours can be designed with GHG emissions reductions as an equal priority. 

Too often carbon reduction targets can seem overwhelming or unattainable, but we know from our own experience of band travel via rail (achieving an instant 31% reduction overall in the most carbon intensive band activity) and the availability, now, of biogas HGV technology that offers 90-95% GHG emissions reductions – that immediate action is possible. And our own discussions with renewable power providers and transport operators demonstrate more existing opportunities for positive change. 

Tyndall researchers state: 

“super low carbon practices can only be delivered if they are central from the inception of a tour. Super low carbon needs to be baked into every decision – routing, venues, transport modes, set, audio and visual design, staffing, promotion etc … this requires the various actors in the sector to use their direct power as well as their wider influence to overcome barriers and champion new practices.”

Massive Attack are committed to using whatever direct power or wider influence we have to forward these objectives. But we also want to see these transitions carried out fairly and equitably, in order that smaller independent venues and festivals who have suffered so badly during the COVID 19 pandemic don’t suffer further – and are financially supported in their own adaptations, by both the government and the sector overall. As the report makes clear:

“We recommend that the sector act collaboratively to support smaller venues and festivals that may struggle to meet improved regulation and standards to be well positioned for the net zero transition.”

As we now approach the critical COP26 moment, the call from the UN Intergovernmental Panel on Climate Change for “rapid, far-reaching and unprecedented changes in all aspects of society” will be ringing in our ears. We hope the Tyndall Roadmap fires a starting pistol for the music industry to embrace the multiple opportunities for change the report authors have provided, and that live music can lead the way in decarbonising the world. 

“Code red for humanity” could not be more vivid. We must act now. 

The full Tyndall Centre for Climate Change Research roadmap can be found here

THE TYRANNY OF NORMAL

There are scenarios for which neither a placard nor a hashtag is sufficient. From the moment 17-year-old Darnella Frazier’s smartphone lens recorded the nine-minute murder of George Floyd in Minneapolis, we – in the US, the UK and beyond – entered such a scenario. In this sense, Darnella’s lens can be seen as a portal through which the world cannot reverse.

The distress and outrage expressed globally since the killing, and the police brutality that (as night follows day) that energy provokes has been harrowing to watch. The reflex to share this material is inescapable, and the technology to propagate and distort it is at our fingertips. We know how to cultivate outrage. Can we now learn to challenge inevitability?

In the glare of breaking news, the spectacular physical and digital reaction to racism and brutality is elevated and can be cathartic to all. But in the days to come, it’s in the tyranny of “normal” where the battle for justice will be faced.

The tyranny of normal for black people on either side of the Atlantic means the sickening, immutable numbness of police murder, assault, economic and social degradation and segregation, tokenised visibility and a jury that’s always rigged.

The tyranny of normal for white people in those two countries, means a profound ignorance of our colonial history that still informs and enforces the present; of never seeing or hearing a black colleague crying in a bathroom cubicle, of never experiencing a criminal justice system that reaches a verdict in the patrol car, and of never feeling that any type of opportunity is deeply conditional.

Can we avoid “Black Out Tuesday” being one isolated day beside a whitewashed 364?

The challenge for all who wish to see an end to racism now lies in the everyday and commonplace. That challenge might mean resisting the powerful algorithms and corporate brand platitudes that seek to appropriate human emotions, and instead to choose to act on what can be seen in plain sight. Our biological lenses can be as important as Darnella Frazier’s digital version.

Thinking, learning, educating, listening, and intervening to the point of personal discomfort are now radical acts to be deployed at home, socially, in the workplace and in the streets.

Showing up, daily, after the spectacular stops trending and the words on placards have changed is the imperative.

Black Lives Matter.

PS: In the spirit of personal recommendations, here’s ours: “ 13th” by Ava DuVernay

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Massive Attack Postpone Mezzanine XXI North American Tour Dates

The Mezzanine XXI Tour has hit an illness-related delay, but Massive Attack plan to honor all tickets in the fall

Monday, March 11 in Montreal was expected to be the first date on Massive Attack's hotly anticipated Mezzanine XXI Tour of North America, but unfortunately "due to illness," the fans will have to wait. More details will be provided on March 14 regarding the postponement.

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The tour was originally expected to close on April 2 in San Diego, but now all venues will be rescheduled in the fall. "All current tickets will be valid for the new dates," Massive Attack said on Facebook . "The band are deeply sorry for any inconvenience and are looking forward to bringing the show to the USA and Canada soon."

Released in 1998, the album Mezzanine represented a return to the spotlight for Massive Attack. Their trip-hop blend of grooves was and is contagious, and in the '90s the hip-hop and sound-collage potential of dance DJ-ing revealed a potential that has since become mainstream. However frustrating the delay, fans are sending best wishes for a return to health and are planning to catch Massive Attack's trip-hop grooves this fall.

Prince 2004–2007 Albums To Be Re-Released—And That's Just The Beginning

Photo: Jeff Kravitz/FilmMagic

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly . Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly .

"Hip-hop. Ice Cube . This is for hip-hop," he said. "This is for Snoop Dogg , Doggystyle . This is for Illmatic , this is for Nas . We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal , Anna Wise and Thundercat ). He also won Best Music Video for the remix of Taylor Swift 's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN ., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers .

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Photo:  Rachel Kupfer  

A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea

James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown . The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton , who created P-funk, an expansive, Afrofuturistic , psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic . Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis , Silk Sonic , and Omar Apollo; and Kendrick Lamar , Flying Lotus , and Thundercat , respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels , while its sparkly sprinklings can be heard in pop from Dua Lipa , Doja Cat , and, in full "Soul Train" character, Silk Sonic . There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin ’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music , Amazon Music and Pandora .

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism . Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and " Norma " is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers , from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea 's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’ s "Get It Right" and Gladys Knight ’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat .

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo , is a sunny, playful French disco journey.

Franc Moody

Franc Moody 's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether .

The Rise Of Underground House: How Artists Like Fisher & Acraze Have Taken Tech House, Other Electronic Genres From Indie To EDC

Photo: Steven Sebring

Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage

"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,   Cage , and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage , the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself , details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside , reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of " VH1 Storytellers " and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [ Laughs ]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside . We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

** Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore ? **

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go . If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts , and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on " Viva La Bam "  back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [ Laughs ] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [ Laughs ] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

Living Legends: Nancy Sinatra Reflects On Creating "Power And Magic" In Studio, Developing A Legacy Beyond "Boots" & The Pop Stars She Wants To Work With

Graphic: The Recording Academy

Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

The 2023 GRAMMY Award nominees for Best Country Solo Performance highlight country music's newcomers and veterans, featuring hits from Kelsea Ballerini, Zach Bryan, Miranda Lambert, Maren Morris and Willie Nelson.

Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.

Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.

Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."

Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business. 

As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.

Kelsea Ballerini — "HEARTFIRST"

In the tradition of Shania Twain , Faith Hill and Carrie Underwood , Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.

Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt." 

There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.

Zach Bryan — "Something In The Orange"

Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.

After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon. 

"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.

Miranda Lambert — "In His Arms"

Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes , a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.

In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."

Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall. 

Maren Morris — "Circles Around This Town"

When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest .

Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production. 

Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.

Willie Nelson — "Live Forever"

Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."

Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver , is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar. 

Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley , Kris Kristofferson and Waylon Jennings . Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.

2023 GRAMMY Nominations: See The Complete Nominees List

• 1 Massive Attack Postpone Mezzanine XXI North American Tour Dates
• 2 GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
• 3 A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
• 4 Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage
• 5 Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

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Ukraine-Russia war latest: US warns North Korea against sending troops to Ukraine - as NATO appoints new chief

NATO has appointed a new secretary general - while the US has warned North Korea against sending troops to fight in Ukraine. Meanwhile, Evan Gershkovich has been seen before the start of his behind-closed-doors trial in Russia.

Wednesday 26 June 2024 20:05, UK

• David Cameron discusses Trump and Ukraine in hoax call recording released by Russian pranksters
• NATO appoints new chief
• US warns North Korea against sending troops to Ukraine
• US journalist seen ahead of trial in Russia
• Your questions answered : Has Western media been honest about Ukrainian military failures?
• Big picture : What you need to know this week
• Listen to the Daily above and tap here to follow wherever you get your podcasts

Ask a question or make a comment

That brings an end to our live updates on the conflict in Ukraine for this evening.

We'll bring you any major updates overnight. In the meantime, you can scroll through the blog below to catch up on the day's developments.

Vladimir Putin today held a phone call with the interim president of Iran, Mohammad Mokhber, the Kremlin has said.

The Russian president and Mokhber discussed "mutually beneficial bilateral cooperation in all key areas", including energy and "large-scale infrastructure projects".

Russian energy giant Gazprom announced earlier today the signing of a memorandum with the National Iranian Gas Company (NIGC) to supply Russian pipeline gas to Iran.

As many football fans will be aware, the Ukrainian men's national team have been playing against Belgium in a crucial match in the European Championship in Germany.

Soldiers in the Donetsk region have been taking a break from the conflict there to watch the match in Stuttgart - where Belgium supporters rose to applaud as the Ukrainian national anthem was played before kick off.

Ukraine must win the game or hope there is a winner in the match being played simultaneously between Romania and Slovakia (or a win for Slovakia if Ukraine lose) if they are to qualify for the knock-out stages of the tournament.

The United Nations Security Council has condemned a deadly attack that targeted churches and synagogues in Dagestan.

Twenty people were killed, most of them police officers, during the attack on Sunday.

Five gunmen were also killed, while at least 46 people were taken to hospital with injuries in the predominantly Muslim region.

The statement from the UN Security Council said: "The members of the Security Council condemned in the strongest terms the heinous and cowardly terrorist."

Russian pranksters have released footage of David Cameron being tricked into thinking he was speaking to a former Ukrainian president.

The Foreign Office (FCDO) announced at the start of June that a "number of text messages were exchanged followed by a brief video call" between Lord Cameron and someone who claimed to be Petro Poroshenko.

In the casual video call published by website Guido Fawkes, Lord Cameron discusses Labour, Donald Trump and Vladimir Putin's invasion of Ukraine with someone purporting to be Petro Poroshenko.

Mr Poroshenko was Ukrainian president between 2014 and 2019, and has remained a prominent figure in the country since leaving office.

Earlier this month, the UK Government made the hoax call public knowledge to stave off any attempts to manipulate video footage of the former prime minister from the communications.

Asked by the imposter if he believes anything will change after the general election, Lord Cameron says Labour has been "as enthusiastic" in their support for Ukraine as the Conservatives.

He said: "I don't think you'll see change. Obviously if they win it will be a new government, there will be some getting up to speed on some issues, but I think fundamentally they've supported everything we've done.

"I think the Labour Party, if they win, will continue that approach."

Asked about his engagement with former US president and current presidential candidate Mr Trump, Lord Cameron says the Republican would want to "back the winning side" in Ukraine but his attitude is "hard to predict".

He says: "I had dinner with (Trump) and my aim was to convince him not to block money for Ukraine, because obviously the speaker, Mike Johnson, wanted two things: he wanted to vote the money for Ukraine but he also wanted to keep his job, and I thought it was important to try to make sure that Trump backed him sufficiently to do that, which is what happened in the end."

He adds: "I think ultimately (Trump) will calculate at the time what's right for him.

"I think the key thing is if we can make sure that Ukraine is on the front foot and Putin is on the back foot by November, then he will want to support the winning side, as it were, and that's what we've got to ensure.

"It's hard to predict exactly what his attitude will be but that's the most important thing."

Elsewhere in the video, the imposter can be heard saying that not sending Ukraine an invitation to Nato is a "bad signal".

In response, Lord Cameron says: "There's not going to be an invitation because America won't support one.

"So what I've said to the president, (Volodymyr) Zelenskyy, is: let's try and get the best language we can about Nato support for Ukraine. But don't, let's not, we mustn't have an argument between Nato and Ukraine before the summit."

Later in the video, Lord Cameron discloses a conversation he had with Kazakhstan's foreign secretary Murat Nurtleu during a visit to the country earlier this year.

Lord Cameron says: "Kazakhstan are convinced that Putin wants a slice of the north of Kazakhstan.

"(Nurtleu) said Ukrainians are dying for Kazakhstan, they are putting their lives at risk to hold back  Russia  and that benefits us."

At the end of the call, the imposter says: "Thank you, my friend. It was nice to see you again, and I remember our first meeting with Lord Hague and Bernard and Lily Vie."

The FCDO said it had released details of the exchange publicly over dears it could be "manipulated".

The call was carried out by Russian pranksters who use the aliases "Vovan and Lexus" and appears to have lasted around 15 minutes.

The duo are well-known in Russia and have claimed to have duped a string of politicians and celebrities in the past including Sir Elton John, US statesman John McCain, Prince Harry and JK Rowling.

The Foreign Office said today that the call looked like a Russian information operation designed to distract attention from Moscow's war in Ukraine.

A spokesperson for Britain's Foreign Office said in a statement: "We made public the fact that this call happened weeks ago, to do the right thing and make sure others were warned of the risk at the earliest opportunity. 

"The Foreign Secretary understood this was a private call with a Ukrainian politician.

"This is clearly Russian, and is standard practice for information operations. Disinformation is a tactic straight from the Kremlin playbook to try to distract from their illegal activities in Ukraine and the human rights abuses being committed there."

It did not answer a question about the video's authenticity, which Sky News has not independently verified.

The US is reportedly moving towards lifting a ban on American military contractors deploying to Ukraine, according to a group of US officials familiar with the matter.

The US is said to be looking for ways to speed up the maintenance and repairs of Ukraine's weapons systems.

The equipment that has sustained significant damage in combat currently has to be transported out of the country to Poland, Romania, or other NATO countries for repairs, which takes time.

US troops are also available to help with maintenance and logistics, though this is only from afar via video chat or secure phone.

One advanced system that officials say will likely require regular maintenance is the F-16 fighter jet, which Ukraine is set to receive later this year.

The policy is still being drafted by US officials and has not yet received final sign-off from President Joe Biden, officials said.

"We have not made any decisions and any discussion of this is premature," one administration official told CNN.

"The president is absolutely firm that he will not be sending US troops to Ukraine."

The White House has been determined since the war began in 2022 to limit both the danger to Americans and the perception that the US military is engaged in combat there.

The US state department has also warned Americans against travelling to Ukraine since 2022.

European Union countries are looking to set up a new sanctions regime to counter hybrid attacks, draft European Council conclusions showed today.

EU leaders will meet tomorrow and Friday to discuss critical issues including the war in Ukraine, the Middle East, security and defence and recent political events in Georgia.

Discussing a new framework to target hybrid attacks that have been rising over the last year is also on the agenda.

"The European Council strongly condemns all types of hybrid activities... including intimidation, sabotage, foreign information manipulation and interference, disinformation, malicious cyber activities and the instrumentalisation of migrants by third countries," the draft conclusions stated.

"In response to Russia's destabilising actions abroad, the European Council reiterates its call for work to be taken forward in the Council to establish a new sanctions regime."

NATO said in May it was "deeply concerned" about recent hybrid attacks that affected several EU countries, notably those on its eastern flank, and blamed Russia.

Moscow regularly denies Western accusations that it is involved in hybrid attacks.

What are hybrid attacks?

NATO define hybrid attacks as threats that combine military and non-military as well as covert and overt means, including "disinformation, cyber attacks, economic pressure, deployment of irregular armed groups and use of regular forces".

These kinds of attacks are below the threshold of open armed aggression but are intended to manipulate the targeted government and society indirectly.

They aim to cause public panic, soften the targeted country's authorities, and force decisions desired by the aggressor.

They can be conducted by agents of secret services or special forces, non-state mercenaries, private military contractors or recruited local criminals. 

China is not neutral when it comes to the Russia-Ukraine war and has sided with Vladimir Putin, according to the US ambassador to Beijing.

Nicholas Burns said that despite its claims of neutrality, China was providing a range of technologies to Moscow while maintaining strong trade ties with Russia throughout the conflict.

Speaking in the Chinese financial hub of Shanghai, he said Russia's invasion, now in its third year, had become an "existential crisis" in Europe.

"We think it's a major mistake to allow Chinese companies, by the thousands, to be sending so many components, technology components, microprocessors (and) nitrocellulose to Russia to reinforce and strengthen the defence industrial base of the Russian Federation for this brutal war," Mr Burns said.

China "is not neutral, but has effectively sided with Russia in this war", the ambassador added.

Beijing has refused to refer to Russia's invasion as such, and has blamed NATO for provoking Mr Putin. Prior to the invasion in February 2022, China and Russia signed an agreement vowing a limitless friendship.

EU sanctions

Meanwhile, China has called on the European Union to "unconditionally" stop sanctioning Chinese firms.

The EU's 14th package of sanctions on Russia included several companies located in Hong Kong, as well as two global satellite giants.

The firms are now subject to drastic restrictions over sales of "dual-use goods and technology" that could be used for the "enhancement of Russia's defence and security sector".

Beijing hit back on Tuesday, saying it opposed "unilateral sanctions with no basis in international law" and had lodged "stern representations" with the EU.

"The development of normal exchanges and cooperation between Chinese and Russian businesses does not target any third party," foreign ministry spokeswoman Mao Ning said at a regular press briefing in Beijing.

By Ivor Bennett, Moscow correspondent

In general, the official line from the Kremlin on this case is that it's a matter for the court and it therefore can't comment.

That was the answer last week when Vladimir Putin's spokesman, Dmitry Peskov, was asked why the trial would be held behind closed doors.

Russia insists its courts are independent, and that justice must be left to run its course.

Today, the line evolved slightly. Mr Peskov said the case was "not so resonant" in Russia.

That's not how it felt at the courthouse in downtown Yekaterinburg.

There were dozens of camera crews and photographers there, including a local outlet called Scream TV, which appeared more interested in us, as foreign media, than the case itself. 

The US accuses Russia of stockpiling Americans, like Evan Gershkovich, to use as human bargaining chips.

If that's the case, it feels like the Kremlin is trying to maximise its leverage, because Mr Peskov also said today that there was currently no sign of a possible exchange.

Moscow is working on a "big treaty" with Iran, Russia's foreign ministry spokesman Maria Zakharova has said.

Ms Zakharova's comment appeared to be a reference to a comprehensive bilateral cooperation agreement that is being negotiated between Tehran and Moscow.

Earlier this year, it was reported that Iran had supplied Russia with ballistic missiles.

Reuters news agency reported that the Iranian regime had supplied around 400 missiles to Russia for the first time since Vladimir Putin launched his full-scale invasion.

The munitions included many short-range ballistic missiles, with the ability to strike targets at a range of between 186 and 435 miles.

And in January, Russia's foreign ministry said that a new interstate treaty reflecting the "unprecedented upswing" in Russia-Iran ties was in the final stages of being agreed.

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The influential, Bristol-based collective will play the Royal Hospital Kilmainham on Sunday, August 28.

Published on

Massive Attack have announced a date for a concert in Dublin this summer. The influential Bristol-based collective will play the Royal Hospital Kilmainham on Sunday, August 28.

Tickets for the concert go on sale this Friday, February 18, and start from €59.50. Visit The band’s official website for further information.

Massive Attack were formed in Bristol in 1988 by original band members Robert ‘3D’ Del Naja, Adrian ‘Tricky’ Thaws, Andrew ‘Mushroom’ Vowles and Grant ‘Daddy G’ Marshall.

‘Pre-Millennium Tension’: How Tricky Challenged Expectations To Find Artistic Freedom

The dare announces debut album, ‘what’s wrong with new york’, ‘new forms’: roni size’s legendary drum’n’bass album.

Del Naja still leads the group, who have released five studio albums and sold over 13 million records worldwide. The band last played Ireland in 2018 when they appeared at the Electric Picnic festival.

The group made their breakthrough with 1991 hit album Blue Lines . That title and the group’s 1997 release Mezzanine were both included in Rolling Stone’s list of 500 Greatest Albums of All-Time.

The band’s leader Del Naja is well-known for his environmental activism and ahead their 2022 tour the group announced that they would be taking steps to reduce emissions at its concerts this year .

“We’ve designed 6 major emissions reduction modules for our 2022 tour, to trial implementation, carry out modelling on interactive practicalities and transferabilities, and to then bring all project learning together in a major UK testbed show to proliferate change,” the band said in a statement.

Their Kilmainham concert is one of a number of headline events coming to Ireland this summer. Former Oasis frontman Liam Gallagher will also perform at Kilmainham the night before Massive Attack, on August 27.

In October, Westlife announced they will play the Aviva Stadium and Páirc Uí Chaoimh in July and August as part of their upcoming world tour. Ed Sheeran will be playing a number of dates in Croke Park, Cork, Limerick and Belfast across April and May. US pop sensation Billie Eilish will perform four nights in Dublin and Belfast in June .

Meanwhile, this summer will also see the return of the Dublin music festival Longitude, with Doja Cat, A$AP Rocky, and Tyler, The Creator headlining.

Listen to the best of Massive Attack on Apple Music and Spotify .

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Tickets are now on general sale for Massive Attacks first UK show in five years which will take place on the Clifton Downs on 25th August 2024.

The all day show  will trial new standards for the decarbonisation of live music. 

The event will mark the culmination of 25 years of climate activism on the part of the band, and a first physical fruition of their collaboration with climate scientists and analysts. 

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Massive Attack pull out of all tour dates until August due to band member’s ‘serious illness’

Trip hop collective said band member is ‘now in recovery’, article bookmarked.

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Massive Attack have cancelled all of their tour dates until August because one of their band members has been suffering from a “serious illness”.

In a post on Instagram on Thursday (24 March), the trip hop collective wrote: “For the past few months, a member of Massive Attack has been contending with a serious illness. We are pleased to say they are now in recovery.

“This process is positive but also challenging and ongoing, which unfortunately means that Massive Attack are not presently in a position to fulfil our live shows scheduled for May, June, and July 2022.”

They said they “deeply regret any inconvenience or disappointment caused – particularly to the fans with whom it’s always an honour to engage, and to our production crew who, owing to other global events, have already had to wait too long to do what they do so well”.

The band had been due to perform in Belgium, France, Spain, Norway, Italy, Czech Republic and Germany.

Massive Attack are seemingly still set to headline Edinburgh’s Connect Music Festival on 26 August and play in Dublin on 28 August.

The band’s Robert Del Naja recently offered fans a chance to purchase limited-edition prints to help raise funds for victims of the Ukraine conflict.

He also called out the UK government’s response to the growing number of refugees seeking help as they flee their war-torn home.

“DON’T WAVE FLAGS / WAVE VISAS,” he wrote in multiple messages to the Home Office earlier this month.

The Independent has a proud history of campaigning for the rights of the most vulnerable, and we first ran our Refugees Welcome campaign during the war in Syria in 2015. Now, as we renew our campaign and launch this petition in the wake of the unfolding Ukrainian crisis, we are calling on the government to go further and faster to ensure help is delivered. To find out more about our Refugees Welcome campaign, click here . To sign the petition click here . If you would like to donate then please click here for our GoFundMe page.

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Massive Attack cancel tour dates as member battles “serious illness”

"This process is positive but also challenging and ongoing"

Massive Attack have cancelled their upcoming tour dates due to a band member’s battle with a “serious illness”.

In a post on social media today (March 24), they said the band member had been unwell for the “past few months” but was now “in recovery”. It has not yet been announced which member of the band has been unwell.

They wrote: “For the past few months, a member of Massive Attack has been contending with a serious illness. We are pleased to say they are now in recovery.

“This process is positive but also challenging and ongoing, which unfortunately means that Massive Attack are not presently in a position to fulfil our live shows scheduled for May, June, and July 2022.

“The ban deeply regret any inconvenience or disappointment caused – particularly to the fans with whom it’s always an honour to engage, and to our production crew who, owing to other global events, have already had to wait to long to do what they do so well.”

The statement concluded: “We thank you for your patience and support.”

pic.twitter.com/9PbZRbWIzA — Massive Attack (@MassiveAttackUK) March 24, 2022

As yet, Massive Attack are still due to headline Connect Music Festival in Scotland this August.

The festival announced earlier this year that Massive Attack would perform alongside the  The National and The Chemical Brothers at the event, which takes place at Edinburgh’s Royal Highland Centre from August 26–28.

Other names on the bill for the rebooted event include Mogwai ,  Little Simz ,  Self Esteem , Black Country, New Road ,  Jon Hopkins ,  Black Coffee ,  Bonobo ,  Bombay Bicycle Club ,  John Grant ,  LOW ,  Idlewild  and more.

Massive Attack will take to the Grand Parade Stage on the Friday; The Chemical Brothers will top the bill on the Saturday; and The National will close out proceedings on the Sunday.

Last week (March 15), Massive Attack announced plans to sell off new artwork to help victims of the Ukraine conflict.

All proceeds from the sales went to the Disasters Emergency Committee ‘s (DEC) Ukrainian humanitarian appeal.

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Massive Attack