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Harry Styles Announces New Album Kiss All The Time. Disco, Occasionally

Posted on 15/01/2026 by Boris Clair

Speculation has been rife for the last few weeks that Harry Styles is planning his musical comeback.

The chart-topping singer has been keeping something of a low profile since his mammoth Love On Tour world jaunt came to an end in 2023, but just after Christmas, he grabbed fans’ attention with the upload of a video called Forever, Forever, including footage of him performing a piano instrumental on stage in Italy.

The video ended with the message “we belong together”, with posters containing this slogan also popping up all over London in the last few weeks.

Following this, it was rumoured that Harry had been voice-noting select fans with snippets of new music, fuelling speculation that new music was on the way.

On Thursday evening, Harry finally confirmed this to be the case, with his fourth album Kiss All The Time. Disco, Occasionally coming in mere weeks.

When is the release date for Harry Styles’ new album Kiss All The Time. Disco, Occasionally?

So far, little is known about the release other than the fact it was produced by Kid Harpoon, with whom the former One Direction star collaborated on his last album Harry’s House, and it consists of 12 months.

Oh, and it’s coming on 6 March – so there’s not long to wait at all.

Harry Styles' new album Kiss, All The Time. Disco, Occasionally is out in March — Harry Styles’ new album Kiss, All The Time. Disco, Occasionally is out in March

Kiss All The Time. Disco, Occasionally is the follow-up to the award-winning singer-songwriter’s 2022 album Harry’s House.

Harry’s House spawned the hit singles As It Was, Late Night Talking and Music For A Sushi Restaurant, and went on to win Album Of The Year at both the Brit Awards and Grammys.

Off the back of Harry’s House, the British star also scooped two additional Grammys for Best Pop Vocal Album and Best Engineered Non-Classical Album, as well as the Brit Awards for Best British Artist, Song Of The Year and Best British Pop Act.

Since going solo in 2015, Harry has racked up two number one singles, the aforementioned As It Was and his debut release Sign Of The Times, as well as two chart-topping albums.

You’re About To Feel Old – 20 Songs That Are Turning 20 in 2026

Posted on 03/01/2026 by Boris Clair

2006 was a hell of a year for music. Looking back on the songs that came out … 20 years ago … filled me with nostalgia for a simpler time in life but also made me realise how many BOPS came out in a relatively short period of time.

After all, this was the time that Sandi Thom wished she was a punk rocker with flowers in her hair, when Gnarls Barkley was Crazy and when Girls Aloud saw the year out with pop banger Something Kinda Ooh.

Let’s look back in time at this incredible year…

Songs turning 20 in 2026

LDN & Smile by Lily Allen

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Now that we are officially in a Lily Allen era once again, it’s worth looking back to 2006 when the storytelling singer released two of her biggest tracks: LDN and Smile, the latter of which reached number one in the charts.

Gnarls Barkley – Crazy

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This song was EVERYWHERE and was another number one hit in the UK charts in 2006.

Sorry if we’ve put it back in your head after all these years.

Nelly Furtado – Maneater

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My Chemical Romance – Welcome To The Black Parade

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My fellow elder emos, this is our time to rise up. Slowly, Don’t want to put our backs out.

Yes, the anthem Welcome To The Black Parade is about to turn 20. It was a real turning point for our modern definition of emo music and shot MCR to success, three albums into their career.

I still remember crying at the original Black Parade tour and swearing to “Carry on”, bless.

Scissor Sisters – I Don’t Feel Like Dancin’

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Following the release of their self-titled album in 2004, Scissor Sisters came roaring back to the pop scene in 2006 with this bop and actually made it to number one in the charts.

Totally deserved.

Take That – Patience

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Much to the unbridled joy of boyband lovers across the UK, Take That returned to the charts with their power ballad Patience. It was a very welcomed return for the boys and they’ll be touring the UK in 2026, too.

Turns out their fans just needed a little patience. Sorry.

Justin Timberlake – Sexyback

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It’s been 20 years since this came out and I still don’t understand why we let him away with this but credit where credit is due, the song did reach number one in the charts in the UK.

Black Eyed Peas – Pump It

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The Black Eyed Peas have had some hits and misses but this song, in my opinion, still absolutely slaps. It’s fun, it’s fast and the lyrics are verging on nonsensical. Delightful.

Rihanna – SOS

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One listen to this and you’ll be joining the hoardes of people begging Rihanna to come back to making music. What a song.

The Kooks – Naive

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The anthem for many an Indie Cindy, Naive was EVERYWHERE. It’s hard to watch a TV show or film aimed at teens in the 2000s that didn’t include this earworm of a song.

The Automatic – Monster

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This song and video actually are quintessentially 2006. Indie-pop, incredibly silly and catchy as hell. It’s not as popular these days and tbh, you really did have to be there.

Snow Patrol – Chasing Cars

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Before this song seemingly belonged to Grey’s Anatomy, it was dominating the airwaves and TV screens here in the UK. It’s arguably the song that Snow Patrol are known for more than any other but bafflingly, it only reached 6 in the charts. Wild.

Amy Winehouse – Rehab

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Similarly, when people think of the late Amy Winehouse, they likely think of her track Rehab. It’s a bittersweet track these days but at the time, singing the repeated “no, no, no” was essential in clubs.

Shakira – Hips Don’t Lie

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Do we know what “hips don’t lie” means? No. Have we or will we ever care? Absolutely not. A timeless pop classic from one of the most talented pop starlets of our time.

Leona Lewis – A Moment Like This

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We can’t mention the early 2000′s without at least once mentioning reality tv show The X Factor. Leona Lewis won in 2006 and had a Christmas #1 with her anthem A Moment Like This.

Gwen Stefani Ft Akon – The Sweet Escape

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After the success of her (problematic but honestly brilliant) album Love Angel Music Baby, Gwen Stefani came soaring back to the charts with this catchy bop which includes an incredible admission of “acting stink”.

Speaking of Akon, though…

Akon Ft Eminem – Smack That

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Listen, this song is not classy but it is very catchy and I remember sending it over Bluetooth to my friend because “you just have to listen to it, I promise”. It was a different time, okay?

Infernal – From Paris To Berlin

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Fun fact: This was on my running playlists for a good 10 years. The perfect dance track and one that many of us will remember being part of our first ever club experiences.

Muse – Supermassive Black Hole

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For real ones, this song is synonymous with the Twilight film series. However, it was also an anthem in its’ own right reaching 4 in the charts and being every Muse fans’ example of how exciting their music can be.

It’s me, I’m the annoying Muse fan.

Happy new year!

Meaning Behind The Song Driving Home For Christmas Is So Heartwarming

Posted on 22/12/2025 by Boris Clair

Chris Rea died today, leaving behind a legacy of 25 solo albums and several number one hits but most especially, his 1988 Christmas classic Driving Home for Christmas.

The song is regularly on Christmas playlists and is often the soundtrack of people travelling to be closer to their loved ones during the festive season. However, the story behind the song is a little more nuanced than just a festive ditty.

Speaking to The Guardian in 2016, the singer said: “It was 1978, coming up to Christmas. It was all over for me: I was just about out of my record contract, and my manager had just told me he was leaving me.

“I just needed to get home to Middlesbrough from London, but the record company wouldn’t pay for a rail ticket, and I was banned from driving.”

He did have to take a long drive…

He went on to say: “My wife got in our old Austin Mini, drove all the way down from Middlesbrough to Abbey Road studios to pick me up, and we set off back straight away. Then it started snowing. We had £220 and I was fiddling with it all the way home.”

A far cry from the wholesome road trip depicted in his song, their drive home was actually quite frustrating. Chris and his wife kept getting stuck in traffic, gazing over at other miserable drivers and struggling to get home.

“Jokingly, I started singing: ‘we’re driving home for Christmas…’ then, when street lights shone inside the car, I started writing down lyrics.”

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Their arrival home was life-changing

“We eventually got home at 3am. It was so cold inside the house that the snow tumbled on to the doormat and didn’t melt.

“There was one letter – from PRS America. My song Fool (If You Think It’s Over) had been a hit in the US, so there was a cheque for £15,000. We went from being down to our last £220 to being able to buy a house.”

A Christmas miracle, if you will.

The song was shelved for almost a decade

After encouragement from his bandmate Max, Chris revisited his old festive song: “I’d never intended to write a Christmas hit – I was a serious musician! So initially, the song came out on a B-side.

“Then a DJ flipped it over and started playing it, so Max suggested we re-record it and add some strings. Max played the distinctive jazzy intro, we did a classic 1950s Christmas carol-type arrangement, and loved it. At first, it was another radio hit – but then it started re-entering the Top 40 every year.”

Once he got past his ego, Chris indulged in the song with the rest of us.

“I used to be terrified the song would ruin any credibility I had left, but now we have a laugh with it.

“If I’m ever stuck on the M25 – the Road to Hell – I’ll wind the window down and start singing, “I’m driving home for Christmas” at people in cars alongside. They love it. It’s like giving them a present.”

Chris Rea, Driving Home For Christmas Singer, Dies Aged 74

Posted on 22/12/2025 by Boris Clair

British singer Chris Rea has died at the age of 74.

Announcing the news on Monday afternoon, a spokesperson confirmed that the musician had died earlier that day following what was described as a “short illness”.

“It is with immense sadness that we announce the death of our beloved Chris,” the statement said.

“He passed away peacefully in hospital earlier today following a short illness, surrounded by his family.”

The Middlesborough-born singer was perhaps best known for his festive hit Driving Home For Christmas, first released as a single in 1988, which has gone on to become a festive classic, resurfacing in the charts in the run-up to Christmas each year due to streaming.

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As well as a love of music, Chris was a car fanatic, with BBC News pointing out that this inspired many of his songs (not least his signature festive hit).

Over the course of his career, Chris had several hits including 1978’s Fool (If You Think It’s Over), 1987’s Let’s Dance and 1988’s On The Beach, as well as the top 10 The Road To Hell.

He also released 25 studio albums, most recently in 2019, and enjoyed back-to-back number ones in 1989 and 1991 with The Road To Hell and Auberge.

In his lifetime, Chris was nominated three times for the Best British Male prize at the Brit Awards.

In 1994, when he was still in his early 30s, Chris was diagnosed with pancreatic cancer, for which he underwent an operation to remove his pancreas, gallbladder and part of his liver. He also suffered a stroke in 2016.

Chris had been married to his wife Joan Lesley since 1968, with the pair sharing two daughters, Josephine and Julia.

This article has been updated to correct a typing error.

Christmas Number One 2025: Kylie Minogue Ends Wham!’s Winning Streak

Posted on 19/12/2025 by Boris Clair

After two years of Wham! at the top of the festive chart, the UK has a new Christmas number one in 2025.

On Friday evening, it was announced that Kylie Minogue’s latest single XMAS was number one on this year’s Christmas chart.

The accolade is noteworthy for a number of reasons, not least because XMAS is an Amazon Music exclusive, meaning it’s not available to stream on the most popular platforms like Spotify, Apple Music or Tidal.

Kylie is also celebrating her first UK number one in more than two decades, having last topped the charts in 2003 with Slow.

Kylie Minogue performing at the Jingle Bell Ball earlier this month

In response to her first solo Christmas number one – and her eighth overall – the Australian pop superstar enthused: “It’s hard to put into words how special this feels. Being Christmas number one really is the most wonderful gift!

“I’m so thankful to everyone who’s been listening and sharing the love and I’m wishing you all a very Merry Christmas!”

As for the rest of the chart, Wham!’s Last Christmas gets the silver medal for this week at number two, while Mariah Carey’s All I Want For Christmas Is You is at three.

Rounding off the top five are Brenda Lee’s classic Rockin’ Around The Christmas Is You and Together For Palestine’s new charity single Lullaby.

Kylie is now the only woman to have had number one in four different decades – the 1980s, 1990s, 2000s and 2020s – with only Elvis Presley, Elton John and Queen being able to boast the same.

XMAS is taken from the reissued version of Kylie’s seasonal album Christmas, which was revamped earlier this year in celebration of its 10th anniversary.

She was previously a featured vocalist on the oft-overlooked second version of Band Aid’s Do They Know It’s Christmas?, which was released in 1989 and topped the Christmas chart in the UK that year, though XMAS is her first festive number one as a solo performing.

Sabrina Carpenter Hits Out At White House For Using Her Song In ‘Disgusting’ Video

Posted on 02/12/2025 by Boris Clair

Sabrina Carpenter has hit out at US president Donald Trump’s administration after the White House used her song to soundtrack a video she has described as “evil and disgusting”.

Responding on the same platform on Tuesday afternoon, the Grammy winner wrote: “This video is evil and disgusting. Do not ever involve me or my music to benefit your inhumane agenda.”

“This post honestly makes me sick,” she responded. “My music is about love, unity, and spreading positivity – never about division or hate.”

Katy Perry Sets The Record Straight After Latest Music Video Sparks AI Speculation

Posted on 26/11/2025 by Boris Clair

Katy Perry has a message for those speculating that she relied on generative AI to create her latest music video.

Earlier this year, the Grammy nominee unveiled the stand-alone single Bandaids, alongside an accompanying music video which took inspiration from the Final Destination horror films.

In the clip, Katy plays a character who has several brushes with death over its four-minute runtime, including one sequence in which she is seen sawing through a tree-branch she’s sitting on, before falling straight to the ground.

Certain visual elements of the video led some to question if artificial intelligence tech was used to help create it, but Katy set the record straight in a behind-the-scenes Instagram post showing her on set, shared on Tuesday night.

“For those of you that thought this was AI… it wasn’t,” she wrote in the caption. “Cool dude.”

Bandaids is the first new music from Katy since her split from her long-time partner Orlando Bloom, prompting some suggestions that the lyrics were inspired by the break-up.

“It’s not what you did, it’s what you didn’t, you were there, but you weren’t,” the California Gurls star sings in the opening verse, adding: “Got so used to you letting me down, no use trying to send flowers now, telling myself you’ll change, you don’t, Band-Aids over a broken heart.”

Simon Cowell Reacts To Those Who ‘Blame’ Him For Liam Payne’s Death

Posted on 25/11/2025 by Boris Clair

Simon Cowell has responded to those critics who “blame” him for the sudden death of former One Direction singer Liam Payne.

The TV and music mogul mentored Liam during his and his One Direction bandmates’ time on The X Factor in 2011, and later signed them to his now-defunct Syco record label for the duration of their time together.

In October of last year, Liam died tragically at the age of 31 after falling from a hotel balcony in Argentina.

Prior to that, the chart-topping singer had spoken publicly about issues relating to his mental health and substance abuse, and a toxicology report found alcohol, cocaine and prescribed drugs in his system at the time of his death.

During a new interview with Rolling Stone, Simon was asked about Liam’s death, stating: “When I heard the news, it really hit me. I saw him a year before this happened. He came over to my house. We talked about his son and being a dad.

“I remember saying, ‘Music is not everything. Don’t let it run your life anymore. Find something else that you are passionate about’.”

Simon continued: “You ask yourself that question: ‘Could I have done anything more? What would’ve happened to Liam if he hadn’t been in the band?’.

“Having spoken to his mum and dad recently, all they kept telling me was he was so proud of what he had achieved. I wish I could turn back the clock, of course. When I spoke to him that day, I felt really good about him. I thought, ‘Wow, you seem in a really good place’.”

Asked about those who would put the blame on him for the circumstances leading to Liam’s death, the Britain’s Got Talent judge insisted he doesn’t “read any of this stuff because if I did, you would just torture yourself”.

“The idea that you are essentially responsible for somebody’s life, 10 years after you’ve signed someone? You can’t do that,” he added.

Last year, Simon was among the guests at Liam’s funeral, where his four 1D bandmates were also in attendance.

Months before Liam’s death, Simon sparked controversy when he claimed that his “one regret” when it came to One Direction was not being made the legal owner of the group’s name, which even appeared to spark a response from members of the group at the time.

’I Want To Be The Example I Needed Growing Up: Your Next Pop Obsession Eli On Living Her Dream

Posted on 01/11/2025 by Boris Clair

If there’s one thing to know about the singer-songwriter Eli, it’s that she loves pop music. Like, really loves it, with an appreciation that stretches right back to her childhood, a knowledge that verges on encyclopaedic and a passion that shines through not just in her music and her visuals, but also when we catch up with her just days before the release of her debut album, Stage Girl.

The first time Eli recalls being stopped in her tracks by pop music was hearing Mariah Carey’s Christmas album as a child in her family home.

“I know it’s a random one. I wish I could say that Glitter was being played in my house, but it wasn’t,” she tells HuffPost UK, referring to the oft-forgotten Mariah soundtrack album that eventually became a fan-favourite many years after it was initially released.

“My parents would play that album during the holiday season, and it was one of the first times that, in an insanely impactful way, I was hearing something and I was like, ‘what the fuck is entering my ears right now?’.

“I hate to say this, because people say this about a lot of singers and it’s cliché, but it felt like heaven’s gates were opening. Hearing her, while I was hanging ornaments on the tree, I was like, ‘I need to Shazam this’ – too scared to ask my parents like, ‘hey, who is this?’.”

From then, a young Eli quickly became obsessed with Miley Cyrus – or, more specifically, her Disney alter-ego.

“I live for Hannah Montana,” Eli enthuses. “Now, later in life, I’m owning the fact that she was such a big influence, because maybe from 15 to 20 or something, I would not want to say that. I would be like, ‘no, I love Björk’, or like, ‘I’m really into cool shit’. But Hannah Montana is cool as fuck.”

Eli has been a pop fan since childhood, which she's channelled into her much-hyped new album — Eli has been a pop fan since childhood, which she’s channelled into her much-hyped new album

Looking back, it’s not too hard to imagine why Eli – growing up as a queer child in suburban Massachusetts, with what felt like impossible hopes of pursuing her own dreams – would feel an affinity to Miley’s character in the show, an unremarkable schoolgirl by day, who could don a blonde wig and become someone else entirely.

“There were so many layers underneath what the Disney corporation was putting forward,” she says of Hannah Montana. “That is my favourite stuff, when it peeks through. It reminds me of myself, and my little repressed life.

“Until now, I feel like a lot of things were being hidden, that were trying to shine through – things that I love about myself as a human now.”

Eli’s love for Miley continued as the former child star’s career evolved, and she shed her Disney image on songs like Can’t Be Tamed and during her headline-grabbing Bangerz era.

“Seeing it all unfold, it was so cool to see someone escape this place that may have been a bit repressed, or conservative, or ‘got to be bottled up’, ‘got to appeal to the masses’ and ‘appeal to the conservatives’ or whatever,” she says.

“I don’t want to intellectualise it too much, but it’s freaking incredible. And Hannah’s also a drag queen, and also I’m Trannah Montana – so I live for all of it.”

There’s an obvious reason Eli’s love of pop runs so deep. For the 25-year-old, it often felt like a lifeline during the more difficult and isolating times she faced in her own adolescence.

“Growing up in the prime MTV music video era, I’m seeing Britney Spears, and I’m thinking ‘who the fuck is this woman?’, and everything I ever wanted is being reflected back at me,” she recalls. “And I’m feeling ashamed about it, and confused about it. I’m also feeling invigorated and excited.”

Eli on the cover of her new album Stage Girl

For that reason, Eli is particularly upset about how pop has historically been so readily dismissed by so-called “serious” music critics and commentators, which she puts down to the fact it has always been a genre enjoyed by women and the queer community.

“It’s misogyny, and it’s patriarchy,” she states. “And it’s like, fuck your rock band. Fuck your boring dad music. It will never be Britney, it will never be Rihanna, it will never ever be Beyoncé, it will never be Madonna, it will never be the glitz, the glam…”

“And not even the glitz and glam!” Eli continues, interrupting her own train of thought. “They tried to do the glitz and glam with fucking glam rock. It’s such an annoying thing, too, when people value [men embracing ‘glam rock’] as high fucking art. And I’m like… from California Gurls and Teenage Dream, I’m getting double, triple, quadruple artistry in that than any of these boring rock bands.”

“Not David Bowie,” she quickly points out. “Sorry, David Bowie, it’s not about you. But some of these examples – what? You fuck with them because they’re men, and they can wear their hair all colourful, and wear a jumpsuit, but [women] can’t? Fuck you!”

She laments that this “double standard” even permeates those who love pop, pointing out: “Growing up with Kesha and Rihanna and a lot of others, it was like, ‘they can’t sing’. And that shit got to me. I was like, ’oh can they not sing? What is this?’.

“It’s not good, because it affects everyone. You’re so young and impressionable, and there’s so much internalised misogyny, homophobia, all these horrible fucking things.”

Because of this, Eli found that she often felt a mixture of emotions about owning up to loving the pop stars she idolised when she was growing up.

Listing key moments like seeing Katy Perry’s debut album cover for the first time at Barnes And Noble, or watching tour clips of Ariana Grande on YouTube, Eli remembers “crying in my bed, feeling like, ‘oh my god, I could never be a beautiful feminine woman who embodies everything that I feel like life is about’”.

“They felt like these incredibly important moments in my life, that for a while I was embarrassed by, because of, probably, a lot of the judgement that comes from a lot of the, like, horrible things that men do…” she admits.

For that reason, when Eli was putting Stage Girl together, she had in the forefront of her mind that she wanted to create something her younger self would be proud of.

Eli counts pop legends like Katy Perry, Mariah Carey, Britney Spears, Ariana Grande and Miley Cyrus' Hannah Montana years among some of her earliest inspirations — Eli counts pop legends like Katy Perry, Mariah Carey, Britney Spears, Ariana Grande and Miley Cyrus’ Hannah Montana years among some of her earliest inspirations

“Everything from the titles to the lyrics to the sound choices in my production to the cover art of the singles and the cover art of the album, it’s all about little five-year-old Eli, six-year-old Eli, 12-year-old Eli… what would have grabbed her?” she says. “What would have sucked her into this project and made her feel like, ‘I want to listen to this’?”

Much has been made of the Y2K aesthetic Eli appears to be leaning into in the sound and visuals for her new music, something many other pop artists have had success with in the last few years.

For Eli, though, there’s a deeper meaning to it all.

“It’s not a Y2K project, it’s not trying to recreate any kind of sound from the past,” she insists. “But it’s using sounds and things that existed at a time when I was not feeling safe, and was feeling dysphoric and very detached and a lot of the hard things that [still] make me [sad] – and reclaiming and to trying to give newer generations a place to escape into.”

Eli affirms that she’s happy she’s reached a place where she feels more comfortable “really showing up as me, and really letting myself exist as I am, even in a time when it’s scary to me”.

“It’s always, I guess, been scary to some extent,” she says, pausing, before changing tact. “But also fuck that, who cares? Let’s ignore the fact that it’s scary. No it’s not scary, actually, pause! I’m living!!”

At this, she beams a smile and lets out an excited scream.

“Being able to be in my body and showing up to music in such a new and exciting way for myself” is something she suggests “subconsciously unfolded” more and more as work on Stage Girl got underway.

“Everything was falling into place as I made pop songs that were just kind of out of… inauguration [terror],” she explains. “The [2024] election to the inauguration is when it started. It was like, ‘maybe I will be locked up and killed’, I was very scared, and still am scared! But…” she trails off again. “Ugh, we’re back to the scared.”

“But,” she insists. “I wanted to to lean into the joy, and lean into the glamour, and I think that is the driving force. I need that example, and I needed that example, and I had that example from women. And under the family tree of women, how amazing would it be if I’d had that from a trans woman?”

“It’s a small part of the work to be done,” she concedes. “But I do think art has an important place to [create that space] where a young trans woman or a young queer kid could dive into and could exist in, and – on the surface level, – dress up in a costume and have some fun.

“But under all of that, they could really explore, and unpack, and reclaim things that newer generations will also have to face because unfortunately, things are regressing in some ways. I would love to exist on the joyful side, or exist on the side where I am providing the escapism that I needed.”

Eli hopes that Stage Girl can be an antidote to some of the fear and anxiety many within the LGBTQ+ community are feeling in the current political climate

And it’s not just her own complicated past she wants to reclaim on Stage Girl.

For the last few years, there’s been something of a reckoning over 2000s pop culture, whether that’s the way certain female pop stars were treated by the media, the overworking that many young musicians faced or the exploitation of contestants on shows like The X Factor and American Idol (Eli notes that she tried out for almost all these shows, but never got anywhere with any of them).

Alongside the Stage Girl album, Eli’s accompanying visuals have centred around a fictitious reality series of the same name, with which she hopes to create a more inclusive and welcoming space out of something that could previously have been associated with bullying and toxicity.

“There were some lovely, incredible things about seeing somebody who I saw myself in, who was like, ‘I’m working this day job’, or ‘I’m a 16-year-old girl and I’m from a random town and here I am, Jordin Sparks, here to perform’,” she says of her younger years spent watching American Idol. “That is amazing in itself. Her standing up there and showing the endless bounds of talent she has, that is beautiful.

“What’s not beautiful is… I don’t know if I should go into detail. But even watching back Jordin Sparks’ audition, I’m a little off-put by the way these male judges treated her. I mean I’m very off-put, honestly, by a lot of the moments that happened in all of those seasons. There were so many examples.”

Eli’s exposure to those kinds of shows from a young age, and the “abuse and bullying” faced by the contestants even led her to question whether the music industry was for her.

“I loved singing when I was little,” Eli explains. “I loved singing so much, it felt so joyful. But for the person who grew up watching all those shows – and has now made a project that touches upon talent shows and that kind of thing – there was something so horrifying, that I carried with me for years, watching these judges abuse and bully people, who were showing up with their ambition or with their dreams, and just getting completely made fun of in a very terrifying way.

“There was a period of years, where I was like, ‘well I can’t be a singer, because not only am I going to be bullied by these people and judged and ridiculed, also how do I know how what I’m showing up as, and what I think sounds beautiful, is going to be received?’”

As for Eli’s own pop dreams, they’re something that were established when she was a young child and “never left” her.

“My parents always tell this story,… we were at some kind of family gathering and I was just jumping on the tables at, like, four years old singing The Wiggles, trying to perform,” she enthuses. “And then I would put on shows for my family. My brother and I thought we were like The Jonas Brothers. And then [came] the internet – freaking singing on the internet, because where else was I gonna do it?

“I went behind my parents’ back because they were a little conservative. They were like, ‘you can’t make a social media account’ – which maybe is kind of fabulous of them, looking back. But I didn’t listen. I was just posting covers with tons of hashtags… I had a business email in my bio, and I was like, ‘I’m going to be a fucking star’.”

“And that never went away. I’m still mentally ill,” she adds with a laugh.

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Anyone who’s engaged with Stage Girl so far will know that Eli’s sense of humour is an important part of her personal brand. Her videos have a home-made, DIY feel that allow her warmth and charm to shine through, and she’s also not afraid to lean into the ridiculous side of things to raise a smile or a laugh.

Eli says it’s “refreshing” to be releasing music at a time when other artists (she specifically lists Sabrina Carpenter, Audrey Hobert, Zara Larsson and Chappell Roan, while also pointing out that early Katy Perry was also an influence on her) are allowing their senses of humour to shine in their artform.

“It’s disarming, and it’s also so inviting,” she says. “We need to laugh!”

However, she admits that injecting humour into her art is also something she’s still “trying to find the balance” with.

“Obviously laughing is actually the life force, laughter is amazing,” she says. “But it’s also sometimes used to mask up serious things, and I’m trying to make sure I stay away from that.

“I sometimes lean into the humour to take away from my sincerity. Sometimes. So, as much as, yes, in my music there’s always going to be humour, and I also think humour is being explored a lot more in pop music in a fierce fucking way, and I also love being able to have the humour and also be like artistic seriousness and have them exist at the same time and have that be a beautiful collage of it… this past month for a second I was like, ‘OK, wait, I’m being a little too silly’.”

“I just don’t want to make a mockery of myself,” she admits. “I don’t want to be a parody act. I hate that word. Sometimes industry people call the Girl Of Your Dreams music video a parody, and I’m like, ‘baby, no’.”

Eli points out that her humour has also had its uses while navigating the music industry behind the scenes, too.

“I thought I needed to show up to a big label meeting with all the big dogs, and really wear my business casual whatever or serious suit, serious face,” she shares.

“But how fabulous to be in those rooms [as myself]. And the humour sometimes can be used as a force to be like, ‘guys what the fuck are we doing here? Why are you doing this? Why are you exploiting me? Why are you exploiting tons of artists?’. It also challenges a lot of things that need to be unpacked within our systems, here in America, the crazy capitalistic music industry jargon and legal things that exist.”

“It needs to be challenged by a chubby 25-year-old trans woman who is just making a mockery of some of this behaviour,” she says. “Girl. Oh my god.”

Having been “working at this forever”, Eli says she’s still a little in disbelief that her debut album is now within reach.

“I thought I was just going to feel like every other release, like, kind of complex feelings of, like, ‘oh why am I not Beyoncé?’, but also, ’oh my god, amazing that anyone is listening to this’, which is the usual way it goes with the singles,” she admits.

“But I went to bed last night, and I had this, like, tickle in my tummy that felt like before Christmas. I was like, ’oh, it’s release week’. I was so excited.”

“In some ways… that feeling is similar to, like, when Yours Truly came out,” she admits, referring to the debut album by Ariana Grande, another of Eli’s personal idols. “That is kind of the epitome of a perfect pop album to me, a life-changing album.

“When that came out, I was, like, on the Instagram, Twitter, social media, internet wave with her, I live for a roll-out on the internet. So, the idea of putting out an album? Living the album roll-out fantasy is, like… it’s crazy that it’s happening.”

And for the former Hannah Montana stan, her trademark 2000s-esque fedora has become like her version of the character’s transformative blonde wig, opening the door to her own op dreams.

“It really is,” she agrees, accompanied by another excited scream. “We were working with a stylist a couple of weeks ago, which is, like, a whole new thing for me, because usually it’s just me in my bedroom. And they were like, ‘girl, this fedora’. And I was like, ‘hold on!’.

“You’ve got to fight for your art! Like, they don’t understand, this fedora represents a lot more than just an ugly hat. Like, girl…”

Eli’s debut album Stage Girl is out now.

On The Jaw-Dropping West End Girl, Lily Allen Sets A New Bar For The Confessional Break-Up Album

Posted on 24/10/2025 by Boris Clair

As soon as Lily Allen announced her return to the pop world with her fifth album West End Girl last week, it was clear the press was going to have a field day.

Lily has been a tabloid fixture since she first burst onto the pop scene more than 20 years ago, and at the height of her fame, was arguably as known for her headline-grabbing antics and personal drama as she was for her frank and confessional songwriting.

West End Girl is not just her first release in seven years, but the first since her much-publicised split from her second husband, Stranger Things actor David Harbour. The pair tied the knot in Las Vegas in 2020, after which they relocated to New York with Lily’s two daughters from her first marriage, and were first reported to have split at the beginning of this year, after David was spotted on the exclusive dating app Raya (which is where he and the Smile singer also first met).

In the lead-up to her new album’s release, Lily described the collection as a “mixture of fact and fiction”, telling British Vogue it was “inspired by what went on in the relationship”, with its creation seeing her go through a mix of “confusion, sorrow, grief, helplessness”.

Lily also shared that the album was both written and recorded over an “intense 10-day period” in December 2024, the same month she announced she was taking a break from the spotlight to spend time in a residential facility to rest and focus on her mental health.

A week after it was announced, West End Girl debuted on Friday, and as predicted, the album is truly jaw-dropping in its candour and frankness. Of course, no one but the two parties involved can really know how much artistic license was employed, but the album paints a picture of a woman whose life slowly starts to unravel when she somewhat hesitantly agrees to open her marriage to a man she’s uprooted her life and moved across an ocean for.

Lily Allen's latest album West End Girl is quite possibly her most personal to date — Lily Allen’s latest album West End Girl is quite possibly her most personal to date

The sense of dread and paranoia only grows as the story unfolds and our heroine’s husband appears to “move the goalposts” and repeatedly violate the terms of the “arrangement” that he’d set in place, ultimately taking its toll on her until she finds herself struggling to carry on.

Naturally, much has already been made of the song’s lyrics, and understandably so – this is Lily at her most unfiltered, lifting the lid on the ugliness of a break-up in a way that even Adele or Taylor Swift daren’t.

“We had an arrangement, be discrete and don’t be blatant, there had to be payment, it had to be with strangers,” she sings on Madeline, an imagined conversation between herself and a woman she discovers her husband has been sleeping with.

On Relapse, Lily opens up about her struggles to hold onto her sobriety at the height of her personal issues, while Tennis sees her opening up about feeling like she is losing the man she loves to someone else.

“I can’t get my head round how you’ve been playing tennis, if it was just sex, I wouldn’t be jealous,” she claims.

Then, there’s the much-discussed Pussy Palace, when she comes back to her marital bed to find “sheets pulled off the bed, strewn on the floor, long black hair, probably from the night before”.

“Duane Reade bag with the handles tied, sex toys, butt plugs, lube inside, hundreds of Trojans, you’re so fucking broken,” Lily continues, in one of her new album’s most-cited lyrics, before questioning if she’s “looking at a sex addict”.

Lily Allen as depicted in the striking artwork for her new album West End Girl

Still, as revealing as these lyrics are, it would be remiss to reduce West End Girl to just its more sensationalised moments. For one thing, it’s much smarter than the straightforward “woman scorned” narrative that is inevitably going to be applied to an album with song titles like 4Chan Stan, Monogamummy and the aforementioned Pussy Palace.

As the name West End Girl highlights, this is Lily’s first musical release since she embarked on her career in theatre, appearing in productions like Hedda, The Pillowman and her Olivier-nominated turn in 2:22 A Ghost Story. It’s a fitting name for the album, too, as West End Girl feels like a piece of theatre in itself.

A collection that’s undoubtedly intended to be enjoyed as a piece of work from start, the album runs roughly chronologically allowing the narrative of the central break-up to play out in real-time, with Lily also taking on numerous different characters (in a spoken-word interlude at the end of the first track, she recreates a phone call in which an unheard party first floats out the idea of an open relationship, while on Madeline, she adopts the titular character’s American accent to assure our protagonist that “lies are not something that I want to get caught up in”).

Early reviews have picked up on the fact that West End Girl bounces from genre to genre, encompassing everything from bossa nova to dancehall and flamenco to drum and bass, all sprinkled with the pure pop Lily best showcased on her second album It’s Not Me It’s You (which, incidentally, is a sentiment the Brit Award winner revisits on closing track Fruityloop).

As well as showing off Lily’s skills as a songwriter, the frequent genre-hopping mirrors the unpredictability and chaos of the album’s central narrative, and a feeling of not knowing what’s next. Meanwhile, some of West End Girl’s more salacious moments are also among its sweetest-sounding – few could have predicted that a song called Pussy Palace would actually be a devastating ballad more akin to Lily cuts like Three or Littlest Things than the claws-out pop she’s often associated with (it’s worth pointing out, too, that Lily has probably never been on in better voice than she is on West End Girl, which is saying something as her vocals have always been one of the more unfairly-underrated parts of her art).

So, while the sordid details, irreverent lyrics and tea-spilling might be what have many listeners initially hitting play on this new release from Lily, those who stick around will find there’s so much more to enjoy on West End Girl than the surface-level tabloid drama that a release like this will invariably conjure up. The fact is, Lily has set a new bar not just when it comes to her own work, the break-up album in general.

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