Little Mix

Since 2011 Perrie Edwards, Jesy Nelson, Leigh-Anne Pinnock and Jade Thirlwall have established themselves as one of British pop’s brightest acts. You'll be pleased to hear their new album ‘Glory Days’, led by the glorious and cheeky lead single 'Shout Out To My Ex', is only going to make this fact even more glaringly obvious. 

Signature hits including ‘Move’, ‘Wings’ and ‘Black Magic’ - the latter becoming their third UK chart-topper, stubbornly spending three weeks at the top last summer - have helped the Number One-selling girlband score over half a billion YouTube and Vevo views worldwide, alongside massive tours of the UK, Australia, Japan and the US – where their debut album smashed a record the Spice Girls held for almost two decades. 

In many ways, however, it was their third album, 2015's 'Get Weird', that was the real turning point. Released in the hugely competitive month of November it crashed into the chart at Number 2, spent the rest of that year in the Top Ten and by August 2016 had become the biggest-selling album of their careers. Even now it's currently nestled happily in the Top Ten selling albums of 2016, outselling the likes of One Direction, Sia and Rihanna. Rather than seeing their careers plateau or start to diminish with each album, Little Mix are revelling in bucking the trends of the more typical pop acts. 

Bolstered by the retro loveliness of 'Love Me Like You', the heart-rending ballad 'Secret Love Song' and a re-worked version of anti-dickhead anthem 'Hair' featuring actual legend Sean Paul, it's an album that cemented the band's confidence in their own sound. Its ridiculous success also meant they could head out on yet another arena tour, this time playing an incredible 60 shows across Europe (including another two sold out dates at London's O2 arena), Australia and Asia, and selling over 500k tickets. 

But what of the present? How does the world's biggest girl group maintain that status? If their new album is anything to go by it's by pouring their emotions into gargantuan pop songs that sparkle and snap in all the right places. Effervescent lead single 'Shoutout To My Ex' is a knowing, yet perfectly pitched, kiss-off that turns their experience of heartbreak into pure pop gold with a chorus that could crush buildings. 'FU' and 'Nobody Like You', meanwhile, continue their trend for vocally magnificent ballads, with the latter plucking on the heartstrings like a harp. Then there's 'Touch', a throbbing, thoroughly modern-sounding dance goliath that quite literally pulsates. 

Pop acts like Little Mix don't come along that often. Growing better and bolder with each new album, they understand the brilliance of pop music and how it relates to their passionate and loyal fanbase. Not interested in just chucking music out for the sake of it, their songs are personality-packed, carefree when they need to be and emotive at just the right moments. Hold on tight, things are about to go properly interstellar. 


Niall Horan

Niall Horan - Flicker

Flicker unveils a never-before-seen personal side of Horan” – Rolling Stone


Fresh from a US radio No.1 and an AMA nomination, Niall Horan releases his debut solo album 'Flicker'.

The 10 track album includes the global hits “This Town” and “Slow Hands” plus Niall's new single, “Too Much To Ask.” 

Other stand out tracks include the breezy mid tempo "On The Loose",  the beautiful "Seeing Blind" featuring country star Maren Morris and the deeply personal title track "Flicker".

Niall collaborated with producers Julian Bunetta, Jacquire King and Greg Kurstin to develop the distinctive sound he envisioned for the album.

 Niall says: "I wanted this album to be completely personal and the best way for me to get what I wanted out of the songs was to write them with friends. I’m very influenced by Americana, folk and country, and I wanted to make an album that’s based on these influences".

Apple Music’s latest short film, "On The Record: Flicker", offers an insight into Niall's creative process and this watershed moment in his career. Available exclusively on Apple Music, it features candid interviews and behind-the-scenes footage from recording sessions and acoustic rehearsals.

“This Town,” the album’s first single, has sold more than three million track equivalent units globally and combined streams now surpass 450 million worldwide. The follow-up,“Slow Hands,” went straight to No.1 in 44 countries. Named one of the “Best Songs of 2017 So Far” by Billboard, it topped the US Top 40 radio chart and has had more than 820 million combined streams worldwide.

Louis Tomlinson


Fresh from his recent MTV EMA win for 'Best UK & Ireland Act', Louis Tomlinson today releases his brand new single 'Miss You'.

Louis will perform the song on TV for the first time this Saturday night on The X Factor finale in the UK.

'Miss You' is an bittersweet ode to partying away the pain of missing someone you love.  Louis wrote the song with longtime One Direction collaborator Julian Bunetta, and it is produced by Afterhrs.

Louis says: "I wrote this song about a time in my life when I was going out partying every night. In hindsight throughout that time I was pretty numb and just going through the motions. Deep down it was always in the back of my mind that what I really missed was the girl that I loved. It was important for me to write something really honest. "

Louis's recent single 'Back To You' featuring Bebe Rexha and Digital Farm Animals has been a global smash reaching No.1 in 37 countries, being streamed over 220 million times and selling over 1 million copies. 

Louis is currently recording his debut solo album, due for release in 2018.



What do we expect from stars in 2017? Do we want head-spinning bangers, full of character and an indefinable swagger? Do we want them to showcase their songwriting chops on their own songs as well as knocking out some gold-plated hits for other people? Do we want them to lend their vocal talents to other people's songs to take them from a solid B+ to an all-out A*? In an ideal world, the answer to all of the above is yes.

Thankfully for the future of pop there's one new superstar-in-waiting that can do all of those things and more. Actually, thinking about it, she's already done all those things. That perfect popstar is RAYE, an 18-year-old South Londoner who's current CV includes two stellar EPs, a monstrous single in the shape of I, U, Us (co-written with Charli XCX), a writing credit on a future banger (Charli XCX's own After The Afterparty), a collaboration with Nas on the soundtrack to The Birth Of A Nation, features on huge tunes by the likes of Jonas Blue and Jax Jones, and a rib-rattling collaboration with UK rap ballbuster Stefflon Don on an off-the-cuff cover of Desiigner's Timmy Turner (RAYE also co-directed and edited the video). All this from someone who knows she has several absolute smashes up her immaculately designed sleeves (she's also got her own fashion label, don't you know) and is supporting Jess Glynne on her upcoming arena tour. “It sounds stupid but I want to be as big as I can be,” she states. “I want to be massive. I'm 18 and I'm just starting so let's go.”

In many ways RAYE's musicality was pre-determined. Her dad and granddad were both musical, the former playing keys in a band while both of them wrote songs. She'd also caught the songwriting bug from an early age, with piano lessons helping her formulate songs as she moved into double digits. “I started writing songs with my dad and we had a little mic and an interface to record stuff down. I have songs from when I was 10 singing about bullies in the playground and silly stuff.” Headstrong and determined, it was around this same time that RAYE decided she wanted to go to the Brit School. Of course she got in, but even before that – at the age of just 14 – she'd landed herself a manager. Once ensconced in such a creative environment, her songwriting talents flourished. “When I was at the Brit School I was doing recording sessions after school and on Saturday and Sundays. My first ever session was with Eg White [Adele, Florence & The Machine], which is mad.'

Itching to get started properly, she left the Brit School at the age of 16. More songwriting sessions followed, and while a career as a successful songwriter beckoned, RAYE knew she wanted to be an artist in her own right. She also knew she could offer up a different type of popstar to the ones she could see being successful. “I definitely always knew I wanted to be an artist. It's been a bit of a battle, more because of how you're supposed to look as an artist; skinny and conforming to how other pop stars are meant to be.'

Her instincts were quickly proven correct with the release of 2014's independently-funded Welcome To Winter EP, which housed Bet U Wish (over 1.8m Soundcloud plays) and Hotbox (half a million plays), the latter helping her secure a deal with Polydor after Olly Alexander from Years & Years told the head of the label it was his favourite song. 2016's Second EP, a brilliantly bolshy collection of in-you-face pop bangers centred on a dickhead boy, featured collaborations with Charli XCX (the aforementioned I, U, Us) and Stormzy (the low-slung defiance of Ambition). The steady shift in sound and a move towards something a bit more pop is all part of her masterplan. “I want to be a massive pop artist and I've always wanted to start in the right place so that's with the music I love. I've always wanted to do it in my own way, on my own terms.”



One Direction

It’s been five years since One Direction became third-place winners of The X Factor.

At that moment, the world fell in love with these ordinary boys who dreamt of becoming singers.

Since then, they’ve notched up 137 number ones, over 61 million sales worldwide, over 1 billion Spotify streams, 25 million Twitter followers and 38 million Facebook fans later - and the boys have succeeded in making their dream come true.

In November they released their fifth album, Made In The A.M. The one they say they are ‘most proud of’.

Their first album as a four piece comes at an exciting time for the band. Each of the 17 tracks featured on the Deluxe Edition came together with Niall, Liam, Harry and Louis at the helm. Countless hours were spent in studios all over the world while touring – and these are the 17 songs that best represent them.

“We are all incredibly proud of this album,” explains Niall. “We definitely believe this is our best yet and cannot wait to share it with all our amazing fans.”

To say One Direction is one of the hardest working bands in the industry is an understatement. A lot of sweat - and even some tears went into making this record.

‘[Harry’s] song was quite emotional for me to do,’ says Liam. ‘I may have shed one or two tears.’

Featuring on the album is yet another string of much loved collaborators, including Julian Bunetta, Ed Drewett, Jamie Scott, John Ryan, Wayne Hector and TMS  - a true testament to the boys’ place in the music world.

Lead single Drag Me Down went straight in at the top of the charts in the UK and 90 other countries. And as a special treat to fans, Niall, Liam, Harry and Louis have made album track Infinity available to download instantly while pre-ordering.


Tulisa is a superstar singer, multi-platinum selling artist and previous X Factor judge and without doubt one of the most written about female celebrities of our time.

Tulisa achieved massive success and recognition as part of the dynamite trio N-Dubz. Their albums 'Uncle B,' 'Against All Odds' and 'Love.Live.Life' have to-date sold over 1 million copies in the UK. A sold out Arena tour, over 100 million views on YouTube, a No.1 bestselling book and four MOBO Award wins. .

Tulisa was voted FHM’s Sexiest Women of The Year 2012. She has gone on to complete her first highly anticipated autobiography and launched her TFB clothing line which was exclusively release by the high street store Bank, for which she is also the face of.

Tulisa has over 3 million followers on Twitter and has become a national obsession, gracing the pages of tabloids daily and the cover of magazines on a weekly basis.

Nadine Coyle


Nadine Coyle


As one fifth of chart-mauling, award-winning, expectation-shattering girl band Girls Aloud, Nadine Coyle has already played her part in helping redefine pop. Under the watchful eye of experimental pop alchemist Brian Higgins and his band of merry men and women, aka production outfit Xenomania, Girls Aloud racked up a an incredible twenty-one UK Top Ten singles, twenty of those consecutively, with each one more batshit crazy than the one before. If each member of the band – who sashayed their way through a ten-year, five album career having launched on a now-defunct TV talent show in 2002 – had a role, then Nadine's was The Voice. Often demoing the songs with Brian ahead of the other girls during the band's tenure (they split in 2013, but more on that later), it's always been any discerning pop fan's dream for the pair to collaborate again on Coyle's solo material. After a false start with Coyle's Xenomania-free 2010 solo debut, Insatiable, that dream is now a reality, with the ludicrously amazing new single Go To Work (her first release since signing with Virgin EMI), a high-energy, deliciously vampy ode to making your man work for your affections. This isn't Girls Aloud 2.0, or even Nadine Coyle 2.0, this, finally, is Nadine Coyle: The Solo Artist. As Nadine says: “We weren't trying to make it sound like Girls Aloud, we weren't trying to make it sound the opposite, it was just a blank canvas. It's exciting.”

Having taken the pop world by storm, and with their latest album Out Of Control becoming their biggest-seller, Girls Aloud announced they were going on hiatus in 2009. The plan was to explore solo endeavours and then return with a new album a year later (they'd just signed a new three-album deal). Instead, the hiatus lasted longer than expected and Nadine released her solo album Insatiable in 2010. Having inked a publishing deal with EMI, the album was her chance to work with a myriad of different writers, moving her away from the pop factory of Xenomania. “I'd worked with Brian and I wanted to try these other people and just try new things,” she says now. The album featured collaborations with the likes of William Orbit, Guy Chambers and Julian Bunnetta, and while the music itself was sophisticated, high-end pop, the extra-curricular aspects of its release were a total nightmare.

Having signed an experimental deal with supermarket chain Tesco, rather than release it via a label, Nadine found herself in unchartered territory. “It was a really really really stressful time,” she says. “Stress levels through the roof. It seemed like a really good idea, but the infrastructure for that album was basically me. It was like 'what do I do? Do I have to do all this by myself?'.” Things got so bad that at one point Coyle asked her best friend, and total music industry novice, to be her manager. With CDs only being stocked in certain Tesco stores - “It wasn't available in my home town, for example. My parents were driving all over the place going 'nope, not in this one'” - and with no presence on iTunes, the album was hampered from the start. In the end the experience almost put Nadine off being a pop star full stop. “I fought with that on and off for a while,” she says. “Sometimes I was like 'this is it, I do not need to do all this to be a singer, I can just walk around and sing'. I didn't need all the stress. I definitely needed to get back home and I didn't do anything for a while.”

The stress-free life didn't last long, however, with Nadine moving her family to live with her in LA and together buying and running a restaurant, Nadine's Irish Mist. “The initial plan was to just chill in the sun and then we decided to buy a restaurant! It was not easy! It was great because we were all together because I left home when I was so young and I'm so obsessed with my family. But, yeah, it's just really really hard. It has to be a passion.”

In 2012, however, she was back in her comfort zone, with Girls Aloud reunited as part of their ten-year anniversary. “I couldn't wait,” she beams. “I was like 'I can do this'. It felt comfortable.” Prior to the public announcement in November of that year, Brian Higgins had been making trips to LA to start recording songs that would help fulfil that new three-album deal they'd signed in 2009. “[Brian and I] were recording with the thought process that this was a long-term thing, or as long as people wanted us around,” she says. Unbeknownst to Nadine, that wasn't how the rest of the band felt. On the last date of the hugely successfully Ten tour, and following the number 2 success of their barn-storming comeback single Something New, Nadinereceived a visit. “Just before the last show, before I got dressed, I was told that the girls wanted to break up the band. I was in the dressing room getting my make-up done and I was told by the management team.” Having always worked to a majority rule, there was nothing Nadine could do. Then came the next surprise; the band were to announce the split via a tweeted statement after the show was over. “So then I said, 'I don't want to be part of that'. Our manager read [the statement] out and I said 'remove my name from that, I don't believe in what that's saying'. It got sent late at night too, and they'd done it before we'd even left the venue, before they'd even finished taking down the stage.”

Sarah aside, Nadine hasn't heard from the rest of the girls since that final night of the tour in 2013, likening their relationship to that of co-workers who just had to get on with things. Not that she regrets the reunion, more that she wishes it had been billed as a proper farewell tour. What it did mean, however, was that she now had a clutch of Brian Higgins-produced bangers in her back pocket, but, once again, this being Nadine, things weren't quite as straightforward as that. In fact, it wasn't until 2015 that she and Brian reconnected. “I'd moved back to the UK and had a UK number, so no longer had the US one, and Brian had been trying to get in touch. Then one night I got into an Uber and there was a really good song on and I was like 'God, I need to start making really good music. Who does really good music...Brian Higgins!'. So I text him and he was like 'Nadine I've been trying to contact you!'. We met a few days later.”

Going into the sessions with a completely open mind, the pair slotted back into their respective comfort zones, Nadine belting out majestic pop songs while Brian and his coterie of production geeks weaved various lyrics and melodies together to make chart gold. Slowly they started building up a collection of songs, including the glistening, low-slung strut of You Got; a Call The Shots-esque semi-ballad called I Fall, and the ludicrous, brain-melting experimentation of songs like Girls On Fire and Fool For Love. “There are some bonkers ones on there,” she confirms. “Some of them are like assaults. It was all about finding what worked because my voice is on its own now, so there's no mixing of vocals.” A couple of the songs from those aborted Girls Aloud sessions also survived, the thread running through them being Nadine's powerhouse vocals. Then there's Go To Work, a sleek, dance-lead future classic that sounds simultaneously retro and forward-thinking. “When you're constantly writing you write a lot about relationships and so it was like 'what else annoys you about being in relationships?' and Sarah [Thompson, Xenomania songwriter] came up with this idea of writing about them being lazy and not getting up in the mornings. Then we started writing.”

As is the Xenomania way, Go To Work went through various permutations before pop alchemy was created. At one point, a couple of months after the song was recorded, Brian, unbeknownst to Nadine, played it in a meeting with the head of Virgin EMI, Ted Cockle. Refusing to initially tell him who was singing, Cockle was blown away, confirming details of a record deal right there and then. “I was jumping for joy when Brian called! I wanted to sign it right then. Even coming into the Universal building, who we'd done all the Girls Aloud stuff with, I want to cry a wee bit. Working with Brian again, all the things that have always been so good.” Fifteen years after her musical journey started, Nadine Coyle is back where she should be; creating gloriously off-centre, head-spinning pop songs to make people dance.