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The Revival of Sugar Bob Mould has never seemed to have much interest in looking back. The bridges to a Hüsker Dü reunion were burned long before drummer and songwriter Grant Hart died in 2017; the notion that Mould might revive Sugar, the band who scored three unlikely UK Top 10 albums of ferocious alt-rock in the mid-90s, seemed ridiculous. But here we are: after three New York shows, Mould, David Barbe and Malcolm Travis are touring the UK and Ireland. The Performance Some things have changed: the seething sea of moshers at 90s shows is now a placid lake of the nodding middle-aged. Travis, 73, seems to drum with the minimum amount of movement possible, wisely given the searing heat inside the Forum. Others haven’t: JC Auto, which closes the main set, remains brutal and churning, thrillingly intense. Mould still stomps in circles around the stage like a man furiously searching for his lost remote control. The Music Mould, arguably, is the man who brought melody to American hardcore punk, and Sugar continued his desire for big tunes and searing guitars. When he plays alone, it can be hard sometimes to pick out the melodies behind the trebly sheets of guitar, but the ballast of the rhythm section holds the tunes in place, and the pop smarts of If I Can’t Change Your Mind and Gee Angel burst out of the PA. The Vocal Dynamics The songs sung by Barbe don’t fare quite so well – his voice is smooth and high and gets a little lost in the mix. You can hear he’s singing during Company Book, but it’s more a texture than a selection of words, floating atop the guitars. That same texture, though, adds depth to his harmonies, giving Sugar a warmth that not all their contemporaries could manage. The Future There’s no time for messing around, just a furious charge through 23 songs in 90 minutes, including two recorded for the reunion – Long Live Love and House of Dead Memories – suggesting that Sugar might stick around to do more than tour gen X nostalgia. We can only hope. Sugar play Ulster Hall, Belfast, 26 May; then tour the UK and Ireland until 4 June

The Passing of a Jazz Colossus: Sonny Rollins at 95Legendary saxophonist Sonny Rollins has died at the age of 95, leaving behind a legacy that redefined the boundaries of jazz improvisation. Often hailed as the "greatest living improviser," Rollins was not merely a musician who played songs, but a visionary who transformed them into spontaneous, ever-evolving masterpieces.The Art of the Spontaneous MasterpieceRollins's genius lay in his ability to treat familiar standards—such as St Thomas and Mack the Knife—as mere triggers for his extraordinary imagination. His performances were characterized by a unique blend of dissonance and melodic recall, described as a "conjuror spinning plates" that kept the familiar melody in motion while exploring abstract variations.Technical Mastery: His "inner metronome" was so strong that he often pulled bands along rather than following them.Physicality: His stage presence was iconic, marked by a lurching, shambling figure and a characteristic emphatic shoulder shrug on accents.Iconic Albums: Landmark recordings like Saxophone Colossus (1956) and Way Out West (1957) remain essential listening for jazz enthusiasts.A Legacy of Enduring Record Sales and Cultural RecognitionRollins's career spanned over seven decades, a rarity in the music industry. His influence is quantified not just by sales, but by the profound respect he garnered from peers and institutions alike.Historical Impact: He was a pivotal figure in the hard-bop movement, working alongside Clifford Brown and Max Roach.Civic Honors: In 2010, he was awarded the National Medal of Arts by Barack Obama at the White House.Longevity: He continued to perform solo sets into his 80s, maintaining a rigorous touring schedule without a support act.Redefining Jazz Improvisation and PerformanceRollins's approach to music was revolutionary. He pioneered the use of the Williamsburg Bridge in New York as a practice space, leading to the creation of his 1962 album The Bridge. His later work, influenced by trips to India and Japan, incorporated elements of funk, soul, and calypso, expanding the genre's reach beyond traditional jazz circles.The Lasting Resonance of the "Saxophone Colossus"While Rollins battled self-doubt and took significant sabbaticals to refine his craft, his return to the stage always brought a renewed intensity. His death marks the end of an era for jazz, but his recordings ensure that his unique voice—blending lyrical storytelling with aggressive, freewheeling spontaneity—will continue to inspire musicians for generations to come.

The Life and Legacy of Sonny Rollins Sonny Rollins, one of the greatest jazz saxophonists of all time, has died aged 95. His death was announced on his website on Monday, 'with deep sorrow and profound love'. His publicist Terri Hinte also confirmed the news. A Jazz Icon's Early Life and Career Rollins was born Walter Theodore Rollins in New York City in 1930, and raised in its Harlem district, earning the nickname Sonny from his grandmother. Inspired by a piano-playing sister and violin-playing brother, as well as jazz heroes such as Louis Jordan and Fats Waller, he started learning the saxophone when he was seven. The Saxophone Colossus With more than 60 albums released from the late-1940s onwards, including collaborations with Miles Davis, Thelonious Monk, John Coltrane and others, Rollins was one of the last living stars of the bebop generation, who took jazz from a predominantly dance or ballad form into startlingly expressive new territory. A Life of Innovation and Experimentation Rollins once described himself as 'primitive … I’m going with my feelings more than my brain', and it was this willingness to break with convention and embrace improvisation that helped chart a new course for jazz alongside Davis, Charlie Parker and others in the bebop scene that soon loosened further into hard bop and post-bop. A Lasting Impact on Jazz He was sidetracked by heroin, though, and in 1950 committed an armed robbery to raise funds to feed his habit, later describing himself as 'really a despicable character … I alienated everybody except my mother'. He was jailed for 10 months on Rikers Island in New York, but managed to kick his habit with a rehab programme in 1955.

The Disco Legend Returns to the SpotlightLost in Music, He's the Greatest Dancer, Thinking of You and We Are Family – many artists would long for just one of these songs at any time in their career, but for Sister Sledge they all appeared on a single side of one of their albums. As she brings these and the rest of the disco group's still-sensational catalogue to the Electric Paradise festival this summer, Kathy Sledge will be joining us to answer your questions.The Rise of Sister SledgeKathy is one of four Sledge sisters along with Debbie, Joni and Kim, who formed the group as children in the mid-1960s, picking up gigs at churches and local events in their home city of Philadelphia as the Sledge Sisters. After flipping the name around, they got a record deal and their first chart success came in the UK in 1973, with the Top 20 hit Mama Never Told Me.The Chic Collaboration That Defined an EraFurther commercial success eluded them for a few years – though that's no reflection on the quality of early disco material such as Pain Reliever – until their label paired them with Chic's Nile Rodgers and Bernard Edwards. Sister Sledge's poise and charisma shone from the aforementioned hits the pair wrote for them, collected on the album We Are Family. The title track reached No 2 in the US and it, along with the others, endure as pinnacles of the disco era.Chart Success Through the DecadesRemixed versions of those songs came back around in 1984 and 1993, each to great success particularly in the UK, though the group's only UK No 1 single was in a very different style in 1985, with the swaying neo-60s pop of Frankie.A Solo Career and Continued PerformancesKathy took the lead vocal on some of their biggest hits, and after Sister Sledge went on hiatus in 1987, she had a solo career interspersed with occasional Sister Sledge reunions, and later – amid some legal wrangles with her sisters – solo tours of Sister Sledge material. Next up she'll perform at Electric Paradise in Milton Keynes, on 8 August, alongside other legends of the era such as Grace Jones, Candi Staton, Kool and the Gang and more.Your Questions for the Disco IconNow 67, Kathy has been in countless nightclubs and recording studios around the world across her multi-decade career, so there's plenty to ask her. Post your questions in the comments below before 6pm GMT on Wednesday, and we'll publish her answers later in the week.

The Lead In a heartfelt interview, singer-songwriter Liz Lawrence opens up about her new album Vespers, a poignant tribute to her sister Jessie, who passed away suddenly in 2024. The album marks a significant departure from Lawrence's previous work, embracing a more stripped-back, elegiac sound as she navigates the complexities of grief. Lawrence's Journey with Grief Lawrence recounts the months following her sister's death, during which she found solace in the music of female vocalists like Lisa O'Neill, Adrianne Lenker, and Joanna Newsom. As she slowly returned to her own music, Lawrence realized she needed songs that allowed her to revisit the "space of contemplation, reflection and sadness." This journey led her to create Vespers, an unvarnished and personal tribute to her sister. The Creation of Vespers Eschewing the muscular indie pop of her previous albums, Lawrence self-produced Vespers, which features delicate string arrangements and a more subdued tone. The album was written during a three-week burst of creativity six months after her sister's accident, and it is characterized by its raw emotion and poignant lyrics. Exploring Grief Through Music Lawrence's music often grapples with the complexities of grief, and Vespers is no exception. Songs like "Exploded Into Flowers" and "Sister" showcase Lawrence's ability to convey the pain and sadness of loss through her lyrics and melodies. The album also explores the theme of finding a space for grief in a world that often prioritizes productivity and capitalism. The Impact of Grief on Life Lawrence reflects on how her experience of grief has changed her perspective on life and work. She notes that her priorities have shifted, particularly with regards to her niece and nephew, and that she now approaches her music with a greater sense of purpose and connection. The Future of Vespers Lawrence hopes that Vespers will resonate with others who have experienced loss, and that it will provide a sense of comfort and connection. Despite initial reservations about releasing the album, Lawrence has come to terms with the idea that her music can help others navigate their own experiences of grief.

In Memoriam: Dennis Locorriere’s Passing Marks End of an EraThe music world mourns the loss of Dennis Locorriere, co‑frontman of Dr Hook, who died on Saturday following a long fight with kidney disease. Management described his final months as a testament to his "remarkable strength, dignity, and resilience."Locorriere’s Role in Dr Hook’s Rise to 1970s‑80s StardomJoining the group in its early days, Locorriere shared lead vocals with Ray Sawyer and contributed bass, guitar, and harmonica. From 1969 to the 1985 farewell tour, he was the voice behind the band’s biggest hits, including the iconic When You’re In Love With a Beautiful Woman.Band originally called “Dr Hook and the Medicine Show.”Signed to CBS in 1971.Key singles: “Sylvia’s Mother” (Top 5 US/UK, 1972), “The Cover of Rolling Stone” (US Top 10, 1972).Chart‑Topping Hits and Their Commercial FootprintWhen You’re In Love With a Beautiful Woman – UK No 1 for three weeks in 1979, US Top 10, 17‑week chart run.“A Little Bit More” – five consecutive weeks at UK No 2 in summer 1976.“Sharing the Night Together” – US Top 10 and today’s most streamed Dr Hook track.“Sexy Eyes” – transatlantic hit in 1980.Legacy for Soft‑Rock and Streaming AudiencesThe band’s signature multi‑voiced harmonies, driven by Locorriere’s boyish yet soulful timbre, left an indelible mark on soft‑rock. Even after Dr Hook’s 1985 farewell, Locorriere toured as “the voice of Dr Hook” and released three solo albums (2000‑2010), keeping the catalogue alive for new listeners.How Locorriere’s Music Will Continue to Influence Future GenerationsWith streaming platforms highlighting tracks like “Sharing the Night Together,” younger audiences are discovering the band’s blend of humor, disco‑pop, and country‑rock. As tribute concerts and re‑issues surface, Locorriere’s contributions—both as performer and occasional songwriter—are poised to inspire upcoming singer‑songwriters seeking a balance between commercial appeal and authentic storytelling.

The Lead Anne-Sophie Mutter, the German violinist, celebrated 50 years on the concert platform with a special anniversary concert at the Barbican Hall. The event marked a career spanning over five decades, with more than 50 albums and four Grammy awards. Mutter's Anniversary Performance Mutter's anniversary tour began with a concert that showcased her commitment to new music and emerging artists. Rather than revisiting past triumphs, she chose to highlight contemporary works, including Aftab Darvishi's Likoo, a poignant lament for solo violin. The Data Analysis The concert featured a mix of new and established pieces, including works by André Previn, Mutter's longtime collaborator and sometime husband. While the Barbican Hall was not fully packed, those in attendance were treated to a display of Mutter's virtuosity and emotional depth. The Impact Analysis Mutter's dedication to championing new music and young artists was evident throughout the performance. Her passion and brilliance on stage inspired a new generation of musicians and music lovers alike. The inclusion of Beethoven's "Archduke" Trio, with cellist Maximilian Hornung and pianist Lauma Skride, showcased the power of collective musical expression. The Prediction As Mutter continues to tour and perform, her legacy as a champion of classical music and a supporter of emerging artists will only continue to grow. Her 50-year milestone marks a significant contribution to the world of classical music, and her influence will be felt for generations to come.

Triple‑Album Release Sparks Mixed ReactionsCanadian rap superstar Drake launched three full‑length projects on the same day, a strategy that has drawn sharp criticism for its sheer volume and perceived lack of focus.Drake Unveils Three Simultaneous Albums: Iceman, Maid of Honour, HabibtiThe three records—Iceman, Maid of Honour and Habibti—were promoted through high‑profile stunts and a video projection on Toronto’s CN Tower. While die‑hard fans celebrated the “munificence,” most listeners found the rollout overwhelming.Numbers Behind the Release: 43 Tracks, Over 2.5 Hours, Chart PerformanceTotal tracks: 43Running time: more than two and a half hoursIceman produced standout tracks such as “Ran to Atlanta” and “National Treasures.”Previous album Some Sexy Songs 4 U entered the US charts at No 1 and sold 1 million copies.Drake claims his deal with Universal netted him $360 million, a figure he references in the lyrics of “Make Them Pay.”Industry and Fanbase Reaction to the Bloated Triple DropCritics note that the albums suffer from filler, inconsistent guest contributions (e.g., a bored‑out 21 Savage on “B’s on the Table”), and over‑reliance on Auto‑Tune. The diversity between the dance‑floor focus of Maid of Honour and the R&B; lean of Habibti fails to produce memorable hooks, leading many to compare the effort to a “ChatGPT‑generated” Drake album.Legal context adds pressure: Drake is embroiled in lawsuits over alleged gambling‑stream fraud and a protracted dispute with Universal, which he frames as “slavery” in his lyrics.What the Future Holds for Drake’s Career and Label RelationsIf the triple‑album strategy erodes his broader audience, Drake may need to recalibrate his release cadence and focus on quality over quantity. The outcome could influence how other major artists negotiate label contracts and consider multi‑album drops in an era of streaming‑driven consumption.

The Legacy of Cesária Évora Cape Verde, an archipelago off the coast of Senegal, is home to around 800,000 people. For decades, the country's music was little known beyond its borders. That changed in 1992 when Cesária Évora released her album 'Miss Perfumado', which became a crossover hit across Europe, selling 500,000 copies in France alone. In the US, Évora became the biggest-selling African artist of the 20th century. The Rise to Fame Évora's music career began with performances in bars in her early teens. She recorded music in the 1960s, but it wasn't until 1985, when she was discovered by José da Silva, a Paris-based Cape Verdean musician, that her career took off. Da Silva founded the Lusafrica label specifically for her, and her album 'Mar Azul' (Blue Sea) in 1991 marked a turning point in her career, leading to her international fame. The Impact of Her Music Évora's music introduced the world to traditional Cape Verdean mornas, mournful ballads sung in the Kriolu language. She collaborated with top Cuban and Brazilian musicians, and famous fans like Caetano Veloso and Bonnie Raitt made guest appearances on her albums. Évora's influence can be detected in later artists, including Madonna, who requested Évora to sing at her wedding. The Personal Story Évora's life was marked by hardship and struggle. Raised in poverty, she was placed in an orphanage at 10. She struggled with alcoholism and depression but found solace in her music. Despite her international fame, Évora remained humble and dedicated to her homeland. The Future of Her Legacy Évora's legacy continues to inspire new generations of musicians. A concert at London's Barbican will celebrate her music with mornas performed by rising Cape Verdean singers. Her impact on African music and global culture is undeniable, and her name will continue to be celebrated for years to come.