“Proof that one song is all it takes” as James Blunt’s Twitter biography put it. He knows what he’s known for, and in his post-superstar era he’s played his hand with great skill, cultivating a self-deprecating persona on social media as an[…]

The pattern for recent hip-hop Number 1s on Popular – Nelly’s pair being the best example – has been the chart-topper as a kind of medal for services rendered, generally coming an album cycle after the artist’s more vital work. Mostly[…]

In 2004 I took on the worst project of my professional life; worst in the sense that it was miserable and time-consuming and also in the sense that I did it very badly. A certain mobile phone company wanted to know what their rivals were doing online[…]

The long twilight of Oasis is reaching its end, at least in Popular terms. The 00s took them from the kings of English rock to a drab fixture and finally a running joke, bigmouths promising a return to form which never comes. This is almost the last […]

This is going to be one of those annoying reviews which takes the billion-view signature hit of a highly successful artist and picks away at production choices which – objectively! – have been extremely successful. “Lonely” is not a o[…]

The success of Elvis’ reissues – a promotional gimmick which actually managed to hack the charts – made a strong case that the new pop of 2005 simply wasn’t able to capture the wider public imagination. This record makes it inarguable[…]

McFly’s biggest hit, crossing the 500k sales barrier partly because it was the official Comic Relief single. The Carole King cover is doing most of the hard work on that front, with a video involving the lads helping out in Uganda, and the song sto[…]

“Dakota” has a curious reputation. A lot of music fans I know see it as Stereophonics’ best song. That in itself is hardly unusual. But many of those people also see it as the band’s only good song. Which is odder – these guys have eigh[…]

There are meetings between genres where creative sparks fly and new hybrid forms can be glimpsed, like undreamed-of particles in a supercollider. There are also meetings between genres which feel more like high level EU summits – whatever happe[…]

There is a 2005 single, a huge hit, and many will tell you it’s producer Rich Harrison’s masterpiece. On that record, cut-ups of funk breaks are rearranged at oblique angles in a 21st century update of James Brown’s rhythmic modernism, buil[…]