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Sean Shibe's latest album, Vesper, is a masterclass in guitar virtuosity and imagination. The album features a thoughtfully curated selection of works by three British composers: Thomas Adès, Harrison Birtwistle, and James Dillon.Shibe's playing is acutely articulate and technically impeccable as he surveys the guitar's expressive potential through the lens of these composers. The album includes Thomas Adès's Forgotten Dances, a homage to the baroque dance suite, which combines stately harmonics with sneaking slides and pounces.The revelation for some will be five melodic miniatures by Harrison Birtwistle, including Berceuse de Jeanne and Sleep Song, bewitching lullabies that showcase Shibe's mastery of the guitar. Beyond the White Hand, a thorny piece that lasts over 18 minutes, is a testament to Shibe's technical skill and musicality.The album concludes with James Dillon's 12 Caprices, a series of concise meditations that explore the relationship between the structure of the instrument and its modes of expression. Overall, Vesper is a mind-expanding and imaginative recital that showcases Shibe's virtuosity and musicality.

The album Asili ya Mama (Origin of Mother) is a collection of 10 energetic Tanzanian field recordings that tell women's stories with a vibrant trill. Put together by documentarian Ruth Ndeto and musician Msafiri Zawose, it showcases the rhythmic, melodic, and harmonic invention of women from the Wagogo, Waluguru, and Wasambaa communities.These songs have 'carried culture and music in everyday life', but rarely been heard beyond their communities. The album opener, Baba Mwenda, is a storytelling song warning against greed, featuring a brisk female singer and traditional shakers and tin drums. Other tracks, such as Chamsola and Chamwiloa, demonstrate the call-and-response singing and trilling vocal solos that are infectious and sparky.The themes of the songs are powerfully expressed through their performance. In Kuku Mnywa Maji, voices and instruments are woven together in tight repetitions, while in Mlembwe, deeper-pitched layers of harmony are built up like foundational stones. The album also features women leading men, expressions now recorded, archived, and shared widely, extending their beautiful power.

The musical Avenue Q has returned to the West End, bringing with it its unique blend of provocative puppetry, satire, and catchy songs. The show, which first debuted 20 years ago, has been updated to include modern references to AI, OnlyFans, and Spotify.Directed by Jason Moore, the production features a cast of actor-puppeteers, including Noah Harrison and Emily Benjamin, who bring to life a cast of lovable but flawed characters. The show's puppet designer, Rick Lyon, has created a cast of furry, Sesame Street-inspired characters that are both cute and subversive.The show's songs, written by Robert Lopez and Jeff Marx, are a highlight of the production, with numbers like If You Were Gay and Everyone's a Little Bit Racist tackling taboo subjects with humor and wit. The show's book, written by Jeff Whitty, has been updated to include modern references, adding to the show's timeless satire.While the story itself may not be especially strong, the production's sweet/subversive/manic charms make up for it. The show ends on a hopeful note, with a message that this too will pass, even for Trump.The production is running at the Shaftesbury theatre in London until 29 August.

Samuel Hasselhorn, now in his mid‑30s, has become a leading figure among the new generation of lieder singers. His latest collaboration with pianist Ammiel Bushakevitz forms part of Harmonia Mundi’s ambitious Schubert 200 project, which aims to record the entire catalogue of Franz Schubert’s songs before the 2028 bicentenary of his death.The album, aptly titled Hoffnung (German for “hope”), focuses on the composer’s optimistic output from 1826. It opens with a delicate rendition of Im Freien, where Hasselhorn’s clear diction and Bushakevitz’s lyrical phrasing create an intimate, nocturnal atmosphere that lasts six minutes.Across the record, Hasselhorn demonstrates a rare timbral and emotional flexibility. Dark, chocolate‑rich tones anchor his lower register, while the upper range remains light and airy, avoiding any hint of forced crooning. Highlights include the lyrical gems Alinde, Im Frühling and Der Wanderer an den Mond, each benefiting from his nuanced control.Moments of dramatic intensity—such as the wintery turbulence of Über Wildemann—reveal “an iron fist in a velvet glove.” By contrast, the buoyant Fischerweise bubbles with open‑hearted vitality, and Hasselhorn breathes fresh life into classic Shakespearean settings like Who is Silvia? and Hark! Hark! The Lark!Listeners can stream the album on Apple Music or Spotify via the embedded player above, experiencing a performance that not only honors Schubert’s hopeful spirit but also showcases the evolving artistry of today’s leading baritone.

Massive Attack has returned with their first single in a decade, 'Boots on the Ground', featuring the iconic voice of Tom Waits. The song is a seven-minute track that showcases the band's signature dark and experimental sound.The song's release marks a significant event in the music world, especially given Massive Attack's influential history in shaping the trip-hop genre with their debut album Blue Lines in the 90s. The band's music has since evolved to incorporate more abstract and disquieting elements, as evident in 'Boots on the Ground'.The track features a haunting intro and coda with Tom Waits's labored breathing, creating an unsettling atmosphere. Waits's vocals are unmistakable, and his presence elevates the song to a new level of intensity. The lyrics are surreal and disturbing, tackling themes of violence and authority.The song's accompanying video features the work of a documentary photographer, showcasing powerful images of Black Lives Matter protests, ICE raids, and homeless veterans. This visual component adds to the song's impact, making it a thought-provoking and timely release.'Boots on the Ground' is a fitting addition to Massive Attack's discography, reflecting the band's continued ability to push boundaries and create music that resonates with the current times. The song's dark and ominous tone, combined with Tom Waits's haunting vocals, makes it a standout track in the band's oeuvre.

The creation of the soundtrack for the film 'Mother Mary' was a collaborative effort between director David Lowery, actress Anne Hathaway, musician FKA twigs, and producers Charli xcx and Jack Antonoff. The film, which explores the story of a fictional pop star, required a soundtrack that captured the essence of 21st-century pop music.Lowery spent time studying the music of the last 25 years, including artists like Taylor Swift, Lorde, and FKA twigs, who appears in the film as a medium named Imogene. As the film's story emerged, Lowery's musical influences shifted towards artists like James Blake and Aldous Harding, who better captured the emotional tone of the film.Anne Hathaway, who plays Mother Mary, had a background in theater and had won an Oscar for her performance in the musical Les Misérables. However, the recording process for 'Mother Mary: Greatest Hits' was a new experience for her. She spent time with Jack Antonoff to record the soundtrack, exploring her vocal range and learning about production. She even changed minor lyrics to better fit her character.FKA twigs contributed to the soundtrack with her song 'My Mouth Is Lonely for You', which was not included in the final film but showcased her ability to create shimmeringly erotic and captivating music. Her other contribution, an ethereal song, was used in a scene featuring the dress Mother Mary requires from her former friend and designer, Sam.The soundtrack, 'Mother Mary: Greatest Hits', paints a uniform portrait of a 21st-century pop star with a cult-like following and avant-garde fashion sense. The music and performance footage have been acclaimed, with Hathaway and twigs delivering standout performances.Hathaway describes Mother Mary as a pop star who embodies a type of stardom that is neat, perfect, and huge, with a mass appeal that is slightly glossier than what twigs and xcx have experienced. The film implies that Mother Mary's fandom is attracted to her ecstasy and vulnerability, with fans feeling safe around her and seeking a motherly figure.

Jessie Ware's latest album, Superbloom, marks a return to her disco-pop roots, building on the success of her previous albums What's Your Pleasure? and That! Feels Good!. The album features a more straightforwardly retro sound, with lush orchestration and a focus on grownup pop.The album's sound is influenced by Table Manners, Ware's popular podcast co-hosted with her mother Lennie, which has attracted A-list guests like Margot Robbie and Paul McCartney. This crossover appeal is evident in tracks like Automatic, featuring a spoken-word appearance from Colman Domingo.Ware's songwriting and production are notable for their classiness and taste, with Superbloom showcasing her ability to craft great melodies and choruses. While the album may lack a standout hit like Free Yourself from her previous album, it is well-written and well-made, with a focus on disco-infused pop.The album's string arrangements are particularly noteworthy, avoiding glitterball cliches and instead evoking the ghost of Charles Stepney's psychedelic soul. Overall, Superbloom is a confident and well-crafted album that solidifies Ware's position as a leading figure in the disco-pop genre.

Moya Brennan's voice was a remarkable instrument that captivated audiences worldwide, particularly with Clannad's hit song Theme from Harry's Game, which reached No 5 in the charts in 1982, sung in Irish Gaelic.Her distinctive voice, described as light as a leaf, provided a sacred counterpoint to the band's layered harmonies and Prophet 5 synthesiser sounds, guiding them to new musical territories.Brennan's impact extended beyond music, influencing the transportive possibilities of traditional music in film and TV soundtracks, including Robin of Sherwood, Titanic, and the King Arthur film adaptation.Her singing and harp-playing, nurtured in her parents' remote tavern in County Donegal, formed the foundation of Clannad's unique sound, characterised by 'blood harmony' with her siblings and uncles.Brennan's legacy paved the way for global success of artists like Enya and influenced Kate Bush's The Ninth Wave and The Beloved's The Sun Rising.Throughout her career, Brennan collaborated with various artists, including Bono, Bruce Hornsby, and the Blue Nile, and continued to perform and record music until her terminal diagnosis with pulmonary fibrosis.Her final performance, an a cappella rendition of Clannad's Gaoth Barra Na dTonn on a RTÉ show, was profoundly moving, showcasing her enduring spirit and vocal talent.

Pet owners in Britain may soon be barred from purchasing flea‑control products for cats and dogs at local shops. The government has opened an eight‑week public consultation to consider restricting sales to veterinarians or pharmacists, arguing that professional oversight will ensure correct usage and reduce environmental harm. Current regulations allow these topical treatments—containing potent insecticides such as fipronil and imidacloprid—to be bought in any pet store. Once applied, the chemicals disperse into the animal’s fur, enter waterways through washing or swimming, and have been linked to songbird nest failures and massive bee mortality. Water minister Emma Hardy emphasized the government’s commitment to “restore nature and clean up our rivers,” noting that while the products are vital for pet health, their distribution should be limited to professionals who can advise on safe application. Research funded by the Veterinary Medicines Directorate (VMD) found that pet owners’ use of these treatments contributes to detectable levels of fipronil and imidacloprid in rivers and lakes. Environment Agency data reveal fipronil residues in 98% of water samples and imidacloprid in 66%, often exceeding toxicity thresholds for aquatic insects. One monthly flea treatment for a large dog contains enough imidacloprid to kill 25 million bees, underscoring the broader impact on pollinator populations. In the UK, fipronil is an ingredient in 66 veterinary products, while imidacloprid appears in 21. Abigail Seager, chief executive of the Veterinary Medicines Directive, acknowledged the dual role of these chemicals in protecting pets and people from parasites, but warned that “they are entering our waterways and may be having wider environmental impacts.” She called for diverse stakeholder input to balance medicine availability with ecological protection. The consultation follows a recent governmental pledge to ban imidacloprid and two other neonicotinoids—clothianidin and thiamethoxam—from agricultural use, reflecting a broader strategy to safeguard biodiversity.