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The Rise of Kwn: From Delivery Driver to R&B; Sensation Kwn, a 26-year-old British singer, has had a remarkable journey to stardom. She began working as an Amazon delivery driver in 2024 after being dropped from her label and struggling to make ends meet. However, her experience as a delivery driver was short-lived, lasting only five months. Kwn then took a bold step by releasing her single 'Worst Behaviour' directly to fans for £1.99, which generated significant interest and eventually led to her industry comeback. The Turning Point: 'Worst Behaviour' and Its Impact The release of 'Worst Behaviour' was a turning point in Kwn's career. The song's success led to her being in record label boardrooms, listening to music executives pitch her path to stardom. The song's remix with US R&B; A-lister Kehlani in February 2025, along with its accompanying music video, made Kwn go viral, garnering 33 million views and counting. Awards, Nominations, and Headline Tours Kwn's success has been recognized through various award nominations, including the Brits, Mobos, BET awards, and Ivor Novellos. She has also completed a headline tour across Europe, North America, and Australia. Kwn's music seems engineered to release a rush of pheromones, with her songs rooted in sumptuous, old-school R&B.; The Power of Authenticity and Connection with Fans Kwn emphasizes the importance of connecting with her fans, stating that "bums on seats are different" and that she wants her music to make people feel something and remember that she's human. Her fans, who she describes as "feral," have been instrumental in her success, with one fan even handing out signs during a gig in Orlando, Florida, that read, "The world is so much better with you in it." The Future of Kwn's Music Kwn's latest EP, 'And All Pride Aside,' is set to be released on June 26 on RCA. The EP promises to deliver more of her signature R&B; sound, with songs that are both steamy and heartfelt. With her unapologetic approach to music and her connection with fans, Kwn is poised for continued success in the music industry.

The Return of Kelsey Lu Kelsey Lu's second album 'So Help Me God' has finally arrived, seven years after their debut album 'Blood'. The long wait has been worth it, as the album showcases Lu's growth as an artist and their unique blend of pop, soul, and experimental sounds. A Holistic Artistic Practice Lu has been busy with various projects over the past seven years, including scoring movies, collaborating with other artists, and staging performance art pieces. They have presented these activities as part of a holistic artistic practice, rather than a portmanteau career. The Music 'So Help Me God' is a cohesive album that features a range of sounds and styles. The album's guest list is eclectic, with contributions from pop super-producer Jack Antonoff, jazz saxophonist Kamasi Washington, British singer-songwriter Sampha, and former Sonic Youth bassist Kim Gordon. The collaborations are beautifully sublimated, with each artist adding their own unique touch to the songs. Standout Tracks The album features several standout tracks, including 'Reaper', which starts out as a lovely piece of soft-focus pop-soul before taking a more experimental turn. 'Running to Pain' is another highlight, with a catchy melody and abstract arrangement. 'Cutting Off the Head of a Ghost' is an arena-ready ballad that sounds alternately triumphant and punch-drunk. A Worthwhile Wait 'So Help Me God' is an album that wears its weirdness lightly, with a graceful smoothness that makes it a joy to listen to. The production is subtle, with a focus on texture and atmosphere. Lu's voice is appealingly rich and potent, and the lyrics detail the break-up of a relationship in a way that is both vague and emotionally resonant. It's clear that Lu has a unique vision and a way of doing things that is worth waiting for.

The Lead: Beth Orton's Artistic Philosophy in the Age of AI Beth Orton, the acclaimed British singer-songwriter, has shared her thoughts on the intersection of technology and creativity in a recent interview. While discussing her illustrious career spanning decades, Orton made a striking statement about artificial intelligence's impact on music, expressing skepticism that AI "isn't going to have any beneficial influence on humans." This perspective comes from an artist who has navigated the evolving music industry while maintaining her unique voice and creative integrity. The Creative Journey: From Fear to Finding Her Voice Orton discovered her singing ability in 1989 while experimenting with theater, initially driven by a desire to confront her fear of performing publicly. "My biggest fear was singing in public and I wanted to do something I was afraid of," she recalled. This led her to transform a Rimbaud poem into what she imagined was a blues song, marking the beginning of her musical journey. Her talent was quickly recognized by producer William Orbit, who connected her with a singing teacher and helped launch her career, though Orton still struggles with identifying herself primarily as a musician. The Creative Process: Inspiration meets Craft When asked about her songwriting approach, Orton described a process where inspiration often strikes during everyday moments. "I get inspired and that's why I write. I could be walking in nature or having a conversation and it'll spark something in my head and I'll make notes," she explained. The elements of melody, words, and chords frequently emerge together, followed by the challenging work of refining these initial ideas. "The easy part is the la la la, here's the idea, here's the shape, here's the form, and then it's like: this all came unconsciously, how do I write to that standard consciously?" she noted, highlighting the difficulty of translating inspiration into finished songs. Musical Influences: Bowie's Wake-Up Call One of Orton's earliest musical memories involves hearing David Bowie's "Oh! You Pretty Things" as a child. "Anything he played was fucking loud. Mostly it was raging punk rock, but this one morning that track woke me up – he must have been up all night – and I heard something that made me feel excited for life. I was like: 'Wow, what the hell is that? I wanna find that.'" This experience exemplifies the profound impact that authentic human creativity can have, a theme that resonates with her later skepticism about AI-generated art. Industry Reflections: Authenticity in Commercial Pressures Orton reflected on her career in the music industry, particularly her experience with the album "Central Reservation" in 1999. She expressed discomfort with the pressure to conform to commercial expectations, noting that "it was like: 'Oh, she likes to be remixed. Let's get her remixed up the wazoo and that'll make this work and make it successful.'" This experience highlights the tension between artistic authenticity and commercial pressures that many musicians face, a challenge that AI might further complicate by potentially devaluing human creativity even more. The Economic Reality: Making Music Outside the Mainstream When asked about the financial challenges of being a musician outside the mainstream, Orton acknowledged the difficulties. "It is not easy. I think the lucky break is if you can make music for TV or films. That didn't happen for me and I have had to support a family," she shared. Despite these challenges, she found motivation in her dedication to her craft: "at a certain point it was like, well, there's no going back because I'm not good at anything. I'm useless at everything, but I can make music so I'll just keep doing that and hope for the best." The AI Question: Human Creativity vs. Machine Generation Orton's most controversial statement came when addressing the impact of AI on music: "Yes. It's pretty depressing. I still live in the hope that the real deal is the real deal and that only humans can make art the way humans can. And I think that's really important, spiritually and emotionally and energetically. I sound really hippy, I don't care. If you make music you feel maybe it can have an energetic influence in a powerful, positive way and I just can't see that AI is going to have any beneficial influence on humans." The Future Outlook: Preserving Human Artistry As AI continues to advance in creative fields, Orton's perspective represents a significant viewpoint from an established artist. Her stance emphasizes the irreplaceable human element in creative expression—something that cannot be replicated by algorithms, no matter how sophisticated. This viewpoint raises important questions about the value we place on human creativity in an increasingly automated world and challenges the notion that technology can fully replace the authentic, emotionally resonant qualities of human-made art.

The Unauthorized Image UseDua Lipa is suing Samsung for at least $15m (£11m, A$20.6m), alleging that the electronics company used a photo of her to sell its TVs without financially compensating her or seeking her permission. According to the legal complaint, filed in a US district court in California, Samsung began using an image of Lipa on an image of a TV screen printed on its cardboard packaging for "a significant portion" of its TVs sold in the US last year.Legal Claims and ResponseWhen the 30-year-old British singer became aware of the image in June 2025, she says she immediately demanded that the company stop using it but claims Samsung was "dismissive and callous" and "repeatedly refused." The lawsuit states that Lipa owns the copyright to the photograph, which was taken backstage before a performance at the Austin City Limits festival in 2024. Lipa is alleging copyright violation, a violation of the California right of publicity statute, a federal Lanham Act claim, and trademark claims.Financial Impact and DamagesThe lawsuit claims that Samsung had financially benefited from giving the appearance of her endorsement, with the lawsuit quoting alleged comments shared on social media from her fans. Lipa is seeking a permanent injunction against Samsung and "no less than $15m" in actual damages, plus punitive damages and legal costs. The suit also states that Lipa was "highly selective" in making product endorsements and had brand deals with Apple, Porsche, Versace, Bulgari and Nespresso, among others.Industry ImplicationsThis case highlights the growing importance of celebrity image rights in marketing campaigns and the potential legal consequences of unauthorized use. Samsung's conduct "makes a mockery of her hard work in establishing a successful brand and has deprived her of the ability to control and monetize her assets," the lawsuit reads. The case could set a precedent for how companies use celebrity images in product packaging and marketing materials without explicit permission.Future OutlookAs of now, Samsung has yet to respond to requests for comment. The outcome of this lawsuit could have significant implications for both the electronics industry and entertainment marketing. If Lipa prevails, it may lead to more stringent guidelines for companies using celebrity images in their marketing materials and potentially higher damages for similar violations in the future.

Harry Styles has announced the full programme for this year’s Meltdown Festival at the Southbank Centre, positioning the pop star as curator of a multi‑genre celebration that runs from 11 June to 21 June. In addition to headlining a solo show on 16 June at the Royal Festival Hall, Styles will perform amid his ongoing Wembley Stadium tour, while the festival showcases a broad spectrum of talent ranging from jazz to electronic dance music. The jazz segment features two sets by acclaimed US saxophonist Kamasi Washington: one dedicated to his album Fearless Movement and another titled “Jazz Legends Reimagined,” where he will reinterpret classic jazz compositions. Ethiopian‑born pioneer Mulatu Astatke returns after a farewell‑tour appearance, and the UK scene is represented by drummer Yussef Dayes and reed virtuoso Shabaka, who will join a collective of collaborators. Indie and rock offerings include LA band Warpaint (performing their sole gig of the year), British singer‑songwriter Nilüfer Yanya, and a mix of emerging and veteran acts such as Bar Italia, Stephen Fretwell and Getdown Services. Former Maccabees frontman Orlando Weeks will deliver a hybrid set of music and storytelling, while Devonté Hynes (known as Blood Orange) will present a classical‑inspired performance with musicians Adam Tendler, Cæcilie Trier and Tariq Al‑Sabir. On the pop front, rising stars Erika de Casier and Fousheé will provide some of the season’s most forward‑thinking tracks. The electronic roster spans ambient pioneer Beverly Glenn‑Copeland, an improvised collaboration featuring Jon Hopkins, Maddie Ashman and Leo Abrahams, high‑tempo EDM from Australia’s Ninajirachi, and a DJ set by James Murphy of LCD Soundsystem. A parallel programme of free, family‑friendly events will showcase “a mix of appearances from Styles’ favourite artists beyond music,” according to the Southbank Centre. Speaking about the festival, Styles said: “Music is my life; every artist involved in this year’s Meltdown festival means so much to me, both as a fan, and a musician. It’s a true honour to host legends who have paved the way for the generations that follow them, as well as new acts that have inspired me to push my creative boundaries.” Tickets become available on 9 April for Southbank members and 10 April for the general public, with the event promising a unique blend of established icons and cutting‑edge talent.