Latest news with #EthelCain
The Guardian
5 days ago
- Entertainment
- The Guardian
‘I've long struggled with my identity in pop': Ethel Cain on fandom, first loves, and being inspired by David Lynch
Something strange happened to Hayden Anhedönia in January. The 27-year-old artist known professionally as Ethel Cain was finishing off her upcoming album Willoughby Tucker, I'll Always Love You when she had to go to court. 'I got into some traffic trouble,' she says coyly in her soft southern lilt. The plan was to drive from the courthouse in her home city of Tallahassee, Florida, to Toronto to wrap the album with her longtime collaborator Matthew Tomasi. 'Listen,' she continues, leaning forward into her webcam – a glint behind the eyes, conspiratorial tone in the voice. 'I don't know what happened in that courthouse, but I walked out of there having been put on probation. I couldn't go to Canada. I couldn't go anywhere.' As a result, Tomasi flew down to Tallahassee. They holed up in Anhedönia's tiny home studio and didn't leave until it was done. When they weren't working, they watched Twin Peaks for the first time. 'Every day it was wake up, work, Twin Peaks, work, Twin Peaks, work …' They binged the whole thing in two weeks. Anhedönia even hunted down the synths that composer Angelo Badalamenti used on the soundtrack and sprinkled them on a few of her own tracks. One night they finished working, watched the final episode, and went to bed. She woke up to the news that David Lynch had passed away. 'I was really happy that I finished the show while he was still alive,' she says. The synths 'felt kind of like an homage. A way to keep David and Angelo and Laura [Palmer] alive in some small way.' Lynch's work stages epic battles between darkness and light, pitting the purity of the individual against the corruption of the world; small-town life versus primordial forces of evil. The same battle plays out on Willoughby Tucker, which tells the story of what Anhedönia describes as 'a deeply traumatised love story between two kids who are in love, but the world weighs on them'. It's also present in her debut album, 2022's Preacher's Daughter, a southern gothic tale of a teenage girl named Ethel Cain who flees the confines of her religious upbringing only to be murdered and cannibalised by her boyfriend. The grisly subject matter made for unlikely breakthrough material, but Preacher's Daughter ended up becoming one of 2022's most critically lauded pop breakouts. In the space of a few months, Anhedönia jumped from collaborating with niche SoundCloud rappers to being featured in Forbes' 30 Under 30 and fronting campaigns for Givenchy, Marc Jacobs and Miu Miu. When Preacher's Daughter was rereleased on vinyl this April, it broke into the Top 10 in the UK, Australia, the Netherlands and the US, where Anhedönia made history as the first publicly trans musician to reach the Top 10 of the Billboard albums chart. As far as ascents to fame go, Anhedönia's was a baptism of fire. She has attracted the kind of invasive, obsessive fandom typically reserved for A-list pop stars. Owing to her sharp cultural commentary and eviscerating political takes – in a viral post after Trump's election, she wrote 'If you voted for Trump, I hope that peace never finds you' – her social media accounts are routinely trawled for 'problematic' content, and her criticism of the US healthcare system has been discussed on Fox News. Speaking to the Guardian in July 2023, Anhedönia expressed a desire 'to have a much smaller fanbase'. 'I've long struggled with my identity in pop,' she reasons now. 'I love pop music, but my issue for a while was the way fandoms operate.' Having seen the violence and trauma of Preacher's Daughter spun into flippant memes, she had feared that any future release would be similarly received. 'I've since made my peace with that. At the end of the day, you make what you make and you put it out and people can do what they want with it.' A recent firestorm over screenshots of things posted when she was 19, however, shows how merciless the spotlight can be. A slew of comments, including the use of racial slurs and rape jokes, were dug up from a 'shameful' period during which she tried to be as 'inflammatory and controversial as possible', as she phrased it in a lengthy apology. 'That was my account and those were my words', she wrote, adding that she was now 'truly sorry from the bottom of my heart'. But she hit back at further online speculation that she was 'pedophile, a zoophile, or a porn-addicted incest fetishist'. She had been, she wrote, the target of a 'transphobic/otherwise targeted smear campaign' that had also led to her personal accounts being hacked and family doxed and harrassed. Anhedönia holds several positions that can be hard to reconcile. She's a trans woman who grew up in the conservative southern Baptist community in the Florida panhandle, and still has a deep love affair with the area. She looks like one of the ethereal sisters from The Virgin Suicides, and talks like a girl next door refilling your coffee at a roadside diner, peppering her musings on existentialism and Eraserhead with homely expressions of geez and whatnot. She has experienced sexual trauma and assault, while her music often leans – in her words – 'into sadomasochism' and 'the taboo'. Those nuances are often not acknowledged. 'A lot of people don't know how to interface with media that contains negativity or perversion or sexuality or immorality,' she says. 'It's not the first instinct to engage with these things critically – but when you see a bad character on screen, the movie shouldn't hold your hand and say: Hey, that's the bad guy. That's your job.' In January, Anhedönia released Perverts – an experimental departure from Preacher's Daughter, let alone standard pop fare. Billed as a standalone project, the hour-and-a-half sprawl of ambient, drone and slowcore compositions roots around themes of shame, guilt and pleasure. There are no hooks, no choruses and barely any lyrics. Rather, its unsettling blend of industrial murmurs and desolate spoken word reflects Anhedönia's experience of wandering 'the Great Dark' – her term for a brief but 'scary' winter when she was struggling to adjust to life after coming off tour. Some listeners found it a challenging listen; others considered its references to madness and masturbation alienating. But it successfully reasserted the wide spectrum of Anhedönia's music, which switches from soaring heartland pop-rock to sprawling abstract noise. 'Now that the other end of the Ethel Cain spectrum has been established, I feel like I have a full range,' Anhedönia says. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion The second instalment of the Preacher's trilogy, Willoughby Tucker serves as the prequel to Preacher's Daughter, and has a similar structure – a pop-oriented first half full of youthful optimism, which plunges into slow burning instrumentals and thundering power ballads as the hammer of reality comes down. Beginning in the summer of 1986, it finds Ethel Cain as an insecure teenager 'trying to navigate her first love in a broken world and a broken town'. It wasn't the plan to go back in time. Anhedönia intended to move forward, on to more 'mature' things, but something kept nagging at her. 'That Ethel's entire story began with the love that she had for this boy … It felt like it needed telling. And come hell or high water, it was going to get told. It was practically seeping out of me.' Finishing the album was 'honestly really sad, especially knowing where Preacher's Daughter goes. Sometimes it's hard for me to listen to. I tell myself it's all fictional, but sometimes I'll catch a lyric and it'll resonate exactly with how I'm feeling. And I remember that it's coming from me.' Part of the difficulty in making Willoughby Tucker was the fact that Anhedönia had, at 27, recently entered into her first ever relationship. As she worked on this album, all her own 16-year-old anxieties came back. 'Love was always my final frontier,' she says. 'I never explored it. I never processed anything. I never progressed past the idea of love that I had as a teenager.' There were times when she was crying every day, begging for the album to be finished. She's glad of the process now. 'I see Ethel Cain as a piece of me that I separate from myself and discard, so that I can make good decisions in life,' she says. 'If Preacher's Daughter was my learning experience of what not to do with trauma and healing, Willoughby Tucker has been my experience of what not to do in love.' In the real world, bleak as it is, Anhedönia is determined to live well. Smiling between two long curtains of mousey brown hair, she reels off a list of reasons to get up in the morning: 'A great breakfast, a beautiful sunrise, paying for someone's groceries if they can't.' And then there is love – in her view the most 'high-risk, high-reward' feeling in the world. A few days before we speak, she 'hard launched' her new relationship, sharing a video of her new boyfriend lifting her up on a truck parked on a dirt road, and kissing her. 'Ethel Cain lived and died loving and praying to be loved back,' Anhedönia says. 'The entire Preacher's trilogy is centred around love. Love lost, love gained, love perverted, love stolen. Love is everything to us. It doesn't matter what you love or who you love, but that you love something – and that love is what propels you forward every day. For better or worse, I think that is a beautiful thing.' Willoughby Tucker, I'll Always Love You is released on 8 August.
The Guardian
6 days ago
- Entertainment
- The Guardian
‘I've long struggled with my identity in pop': Ethel Cain on fandom, first loves, and being inspired by David Lynch
Something strange happened to Hayden Anhedönia in January. The 27-year-old artist known professionally as Ethel Cain was finishing off her upcoming album Willoughby Tucker, I'll Always Love You when she had to go to court. 'I got into some traffic trouble,' she says coyly in her soft southern lilt. The plan was to drive from the courthouse in her home city of Tallahassee, Florida, to Toronto to wrap the album with her longtime collaborator Matthew Tomasi. 'Listen,' she continues, leaning forward into her webcam – a glint behind the eyes, conspiratorial tone in the voice. 'I don't know what happened in that courthouse, but I walked out of there having been put on probation. I couldn't go to Canada. I couldn't go anywhere.' As a result, Tomasi flew down to Tallahassee. They holed up in Anhedönia's tiny home studio and didn't leave until it was done. When they weren't working, they watched Twin Peaks for the first time. 'Every day it was wake up, work, Twin Peaks, work, Twin Peaks, work …' They binged the whole thing in two weeks. Anhedönia even hunted down the synths that composer Angelo Badalamenti used on the soundtrack and sprinkled them on a few of her own tracks. One night they finished working, watched the final episode, and went to bed. She woke up to the news that David Lynch had passed away. 'I was really happy that I finished the show while he was still alive,' she says. The synths 'felt kind of like an homage. A way to keep David and Angelo and Laura [Palmer] alive in some small way.' Lynch's work stages epic battles between darkness and light, pitting the purity of the individual against the corruption of the world; small-town life versus primordial forces of evil. The same battle plays out on Willoughby Tucker, which tells the story of what Anhedönia describes as 'a deeply traumatised love story between two kids who are in love, but the world weighs on them'. It's also present in her debut album, 2022's Preacher's Daughter, a southern gothic tale of a teenage girl named Ethel Cain who flees the confines of her religious upbringing only to be murdered and cannibalised by her boyfriend. The grisly subject matter made for unlikely breakthrough material, but Preacher's Daughter ended up becoming one of 2022's most critically lauded pop breakouts. In the space of a few months, Anhedönia jumped from collaborating with niche SoundCloud rappers to being featured in Forbes' 30 Under 30 and fronting campaigns for Givenchy, Marc Jacobs and Miu Miu. When Preacher's Daughter was rereleased on vinyl this April, it broke into the Top 10 in the UK, Australia, the Netherlands and the US, where Anhedönia made history as the first publicly trans musician to reach the Top 10 of the Billboard albums chart. As far as ascents to fame go, Anhedönia's was a baptism of fire. She has attracted the kind of invasive, obsessive fandom typically reserved for A-list pop stars. Owing to her sharp cultural commentary and eviscerating political takes – in a viral post after Trump's election, she wrote 'If you voted for Trump, I hope that peace never finds you' – her social media accounts are routinely trawled for 'problematic' content, and her criticism of the US healthcare system has been discussed on Fox News. Speaking to the Guardian in July 2023, Anhedönia expressed a desire 'to have a much smaller fanbase'. 'I've long struggled with my identity in pop,' she reasons now. 'I love pop music, but my issue for a while was the way fandoms operate.' Having seen the violence and trauma of Preacher's Daughter spun into flippant memes, she had feared that any future release would be similarly received. 'I've since made my peace with that. At the end of the day, you make what you make and you put it out and people can do what they want with it.' A recent firestorm over screenshots of things posted when she was 19, however, shows how merciless the spotlight can be. A slew of comments, including the use of racial slurs and rape jokes, were dug up from a 'shameful' period during which she tried to be as 'inflammatory and controversial as possible', as she phrased it in a lengthy apology. 'That was my account and those were my words', she wrote, adding that she was now 'truly sorry from the bottom of my heart'. But she hit back at further online speculation that she was 'pedophile, a zoophile, or a porn-addicted incest fetishist'. She had been, she wrote, the target of a 'transphobic/otherwise targeted smear campaign' that had also led to her personal accounts being hacked and family doxed and harrassed. Anhedönia holds several positions that can be hard to reconcile. She's a trans woman who grew up in the conservative southern Baptist community in the Florida panhandle, and still has a deep love affair with the area. She looks like one of the ethereal sisters from The Virgin Suicides, and talks like a girl next door refilling your coffee at a roadside diner, peppering her musings on existentialism and Eraserhead with homely expressions of geez and whatnot. She has experienced sexual trauma and assault, while her music often leans – in her words – 'into sadomasochism' and 'the taboo'. Those nuances are often not acknowledged. 'A lot of people don't know how to interface with media that contains negativity or perversion or sexuality or immorality,' she says. 'It's not the first instinct to engage with these things critically – but when you see a bad character on screen, the movie shouldn't hold your hand and say: Hey, that's the bad guy. That's your job.' In January, Anhedönia released Perverts – an experimental departure from Preacher's Daughter, let alone standard pop fare. Billed as a standalone project, the hour-and-a-half sprawl of ambient, drone and slowcore compositions roots around themes of shame, guilt and pleasure. There are no hooks, no choruses and barely any lyrics. Rather, its unsettling blend of industrial murmurs and desolate spoken word reflects Anhedönia's experience of wandering 'the Great Dark' – her term for a brief but 'scary' winter when she was struggling to adjust to life after coming off tour. Some listeners found it a challenging listen; others considered its references to madness and masturbation alienating. But it successfully reasserted the wide spectrum of Anhedönia's music, which switches from soaring heartland pop-rock to sprawling abstract noise. 'Now that the other end of the Ethel Cain spectrum has been established, I feel like I have a full range,' Anhedönia says. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion The second instalment of the Preacher's trilogy, Willoughby Tucker serves as the prequel to Preacher's Daughter, and has a similar structure – a pop-oriented first half full of youthful optimism, which plunges into slow burning instrumentals and thundering power ballads as the hammer of reality comes down. Beginning in the summer of 1986, it finds Ethel Cain as an insecure teenager 'trying to navigate her first love in a broken world and a broken town'. It wasn't the plan to go back in time. Anhedönia intended to move forward, on to more 'mature' things, but something kept nagging at her. 'That Ethel's entire story began with the love that she had for this boy … It felt like it needed telling. And come hell or high water, it was going to get told. It was practically seeping out of me.' Finishing the album was 'honestly really sad, especially knowing where Preacher's Daughter goes. Sometimes it's hard for me to listen to. I tell myself it's all fictional, but sometimes I'll catch a lyric and it'll resonate exactly with how I'm feeling. And I remember that it's coming from me.' Part of the difficulty in making Willoughby Tucker was the fact that Anhedönia had, at 27, recently entered into her first ever relationship. As she worked on this album, all her own 16-year-old anxieties came back. 'Love was always my final frontier,' she says. 'I never explored it. I never processed anything. I never progressed past the idea of love that I had as a teenager.' There were times when she was crying every day, begging for the album to be finished. She's glad of the process now. 'I see Ethel Cain as a piece of me that I separate from myself and discard, so that I can make good decisions in life,' she says. 'If Preacher's Daughter was my learning experience of what not to do with trauma and healing, Willoughby Tucker has been my experience of what not to do in love.' In the real world, bleak as it is, Anhedönia is determined to live well. Smiling between two long curtains of mousey brown hair, she reels off a list of reasons to get up in the morning: 'A great breakfast, a beautiful sunrise, paying for someone's groceries if they can't.' And then there is love – in her view the most 'high-risk, high-reward' feeling in the world. A few days before we speak, she 'hard launched' her new relationship, sharing a video of her new boyfriend lifting her up on a truck parked on a dirt road, and kissing her. 'Ethel Cain lived and died loving and praying to be loved back,' Anhedönia says. 'The entire Preacher's trilogy is centred around love. Love lost, love gained, love perverted, love stolen. Love is everything to us. It doesn't matter what you love or who you love, but that you love something – and that love is what propels you forward every day. For better or worse, I think that is a beautiful thing.' Willoughby Tucker, I'll Always Love You is released on 8 August.
USA Today
10-07-2025
- Entertainment
- USA Today
Ethel Cain statement apologizes for racism, criticizes 'smear campaign' against her
Ethel Cain is speaking out after controversial comments from her past resurfaced. The singer-songwriter, whose legal name is Hayden Silas Anhedönia, shared a lengthy statement July 9 addressing a series of social media posts made public recently in which she used derogatory and racist language. Cain, 27, verified that the screenshots (mostly from Twitter and the now-defunct platform CuriousCat) were authentic, and launched into an explanation of her late teenage years, seemingly to explain the surfaced comments. In them, Cain uses a racial slur, makes a rape joke, and employs fatphobic and xenophobic language. USA TODAY has reached out to Cain's reps for comment. "I spent my later high-school years being extremely progressive and 'SJW' as they called it at the time, as a way to reject the indoctrination of my environment and rebel against the prejudice, hatred, and ignorance of the culture I grew up in," Cain wrote in the statement posted to a shared Google Drive. "SJW" refers to social justice warrior, a person who has taken up several social causes sometimes overzealously. "After moving out of my parents' house, I fell into a subculture online that prioritized garnering attention at all costs. I flip-flopped again, rejecting all notions of my former 'cringe SJW' behavior and intended to be as inflammatory and controversial as possible," she continued. "I would have said (and usually did say) anything, about anyone, to gain attention and ultimately just make my friends laugh." Cain, a Florida native, catapulted to popularity in 2022 with her debut album "Preacher's Daughter." Her dreamy, ambient sound explores American Gothic themes, drawing on her own upbringing in the Southern Baptist church. With singles like "American Teenager," Cain turns her pen to the holes in American exceptionalism, tearing apart her religious raising and the tragedies of a state at war. Her comments, dating back to 2017 and '18, stand at odds with the version of herself projected in the music. "I could tell you that I had no idea at the time the platform I would have in the future, or tell you I just have a dry and extremely sarcastic sense of humor, or make any other kind of excuse, but there's no place for excuses in this matter," Cain continued in her statement. "At the end of the day, I am white, so while I can take accountability for my actions, there's no way for me to fully understand the way it feels to be on the receiving end of them. All I can say is that I am truly sorry from the bottom of my heart, to anyone who read it then and to anyone reading it now. Any way you feel about me moving forward is valid. "This was a chapter of my life I look back at shamefully. I am not proud of my actions, and I have done my best to bury it as I feel strongly that no good can come from it," she wrote. "As I move forward through my life, I aim to use my platform for good, for change, and for progress." Shifting from atonement to anger, Cain went on to accuse a group of intentionally leaking the screenshots, not to promote dialogue but to smear her online. "All of these things resurfacing are not the actions of a well-meaning individual concerned by something they discovered easily and casually on the internet," she argued. "These are screenshots obtained through extensive digging, hacking, and cooperative effort amongst a group of individuals who do not care who else is hurt by witnessing this media as long as I am ultimately hurt the worst in the end. "I've known that all of these separate pieces of my past have been found and hoarded over the past couple years as I've been tipped off in various ways," Cain continued. "This massive smear campaign has been a long time in the making, waiting for the right moment to be unleashed, and now it finally has. "All they crave is the complete emotional destruction of me as a person," she wrote. "Personal accounts of mine have been hacked, my family has been doxxed and harassed, photos of me as a child and intimate details of my past have been passed around for fun." Cain, who is transgender, went on to address one by one the series of accusations made against her by what she called a "transphobic brigade of individuals." The accusations run the gamut, drawing not only from the social media screenshots but from deep dives into the art that she used to promote her music. Taking accountability for the racism baked into many of her earlier comments, Cain said that's where she would stop, and that the other "ridiculous material" was mere "brutal slander." "No I am not a violent misogynist fetishizing the 'female experience'. No I am not the creator of child pornography, nor am I a pedophile, a zoophile, or a porn-addicted incest fetishist," she said. "I urge you to recognize the patterns of a transphobic/otherwise targeted smear campaign, especially in this political day and age. "This entire situation is negligent, sensationalized, and extremely dangerous not only for myself but for all my loved ones."
Express Tribune
10-07-2025
- Entertainment
- Express Tribune
Ethel Cain responds to backlash for past racist statements and allegations in full statement
Ethel Cain has come under intense scrutiny after old social media content from her teenage years resurfaced online, prompting widespread backlash and serious allegations. The posts, mostly dating from 2017 to 2018, were circulated on Reddit and X (formerly Twitter), and appear to show the artist using racist language, promoting offensive humour, and referencing taboo topics. Among the most serious claims are allegations that Cain, then 19, used the N-word and posted anti-Latino remarks like 'build that wall!' She was also seen in a photo wearing a shirt reading 'LEGALIZE INCEST' and has been accused of creating art interpreted by some as referencing child sexual abuse. Other content included rape jokes, fat-shaming, and a post allegedly making light of sexual abuse involving animals. Critics further allege that Cain knowingly signed to Dr. Luke's publishing company, Prescription Songs, despite public knowledge of his legal battle with Kesha. A promotional poster for her 2022 album Preacher's Daughter also drew criticism for resembling a real missing child notice, with many calling it careless and offensive. Additionally, Cain has been accused of fetishising trauma and the female experience in her work—claims she strongly denies. In a statement shared on July 9, Cain confirmed the posts were hers, saying, 'That was my account and they were my words.' She added, 'I am truly sorry from the bottom of my heart,' but insisted many of the more extreme allegations are the result of a 'targeted smear campaign.' She said her actions as a teen were driven by a desire for attention and rebellion against her upbringing. Cain also revealed that she had been raped at the time some of the content was created, and that some work was an attempt to process trauma. Her new album Willoughby Tucker, I'll Always Love You is set to release August 8.
Metro
10-07-2025
- Entertainment
- Metro
Singer Ethel Cain admits she is 'not proud' of disturbing posts after backlash
Ethel Cain has posted a lengthy message after a slew of disturbing posts emerged, including her wearing a t-shirt which said 'legalise incest' on it. Screenshots began circulating, said to be shared by the 27-year-old singer in 2017 and 2018, featuring offensive language and alleged child pornography. Another image that Cain is accused of drawing and sharing on the site Curious Cats, parodied a missing persons poster for a nine-year-old girl who was murdered. Initially shared by X account Herweirdsilas, posting under the name 'Exposing', the questionable content quickly gained traction. After a few days of the images circulating Cain, whose real name is Hayden Silas Anhedönia, addressed the controversy via a Google Doc, admitting to the posts. She wrote that at 19 – during the time of the posts – she had 'fallen into a subculture online that prioritised garnering attention at all costs'. The American Teenager singer added: '[I] intended to be as inflammatory and controversial as possible. I would have said (and usually did say) anything, about anyone, to gain attention and ultimately just make my friends laugh.' Addressing her use of the N-word directly, Cain continued: 'At the end of the day I am white, so while I can take accountability for my actions, there's no way for me to fully understand the way it feels to be on the receiving end of them. 'All I can say is that I am truly sorry from the bottom of my heart, to anyone who read it then and to anyone reading it now. Any way you feel about me moving forward is valid.' In her statement – which can be found here – Cain directly addresses each post, including the incest t-shirt, which she clarifies was 'never sold as merch'. 'Regarding the topic of incest in my artwork, it's a layered experience,' she wrote. 'I have always been interested in creating art centered around the taboo. 'Rather, as a lonely and confused child I had my own complicated personal struggles with the concept during puberty (in a hypothetical manner, not involving anyone in my actual family). I have since untangled these feelings and I now understand their root. 'While sometimes the topic of incest may get intermingled on a song with my own experiences of sexual abuse or my own familial traumas, I have never and would never fetishise such a sensitive subject.' She said she was 'not proud of her actions' and has tried to 'bury' this past in order to move forward with her life. However, even if she looks back 'shamefully' at the time, Cain stated the resurfacing of her posts is 'not the actions of a well-meaning individual'. 'These are screenshots obtained through extensive digging, hacking and cooperative effort amongst a group of individuals who do not care who else is hurt by witnessing this media as long as I am ultimately hurt the worst in the end,' she accused. Cain, a transwoman, called this a 'targeted smear campaign' against her and urged fans to 'recognise the patterns of transphobia'. 'To try and sum everything up, no I am not a violent misogynist fetishising the 'female experience',' she wrote. 'No I am not the creator of child pornography, nor am I a pedophile, a zoophile, or a porn-addicted incest fetishist. More Trending 'This information was hoarded until the perfect moment arose to unleash it. In this case, a baseless attempt to assassinate my boyfriend's character became the catalyst. 'He will address these claims in his own time on his own terms and I support him wholeheartedly. This entire situation is negligent, sensationalised, and extremely dangerous, not only for myself but for all my loved ones.' Cain's posts were made around the time of her early EP releases. She has since gone on to release three studio recordings – the latest of which is due out in August. Her previous album Preacher's Daughter and January 2025 release Perverts both saw moderate chart success in the US and UK. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Grammy-winning star battling cancer fears 'cruel' deportation under new Trump law MORE: Rock frontman addresses 'deafening booing' at Black Sabbath's and Ozzy Osbourne's final concert MORE: Fall Out Boy icon steps away from band to 'avoid permanent damage' to hand
