Latest news with #TakeMeBack
Scotsman
08-07-2025
- Entertainment
- Scotsman
Bryan Adam announces intimate Roll With The Punches album tour
The Canadian rock icon is set for a series of intimate performances in celebration of Roll With The Punches from August 2025. Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Not content with stadium and arena shows, Canadian musician Bryan Adams is set for a series of intimate shows across the UK later this year. The hallowed musician is set to perform songs from his new album the week of it's release in several smaller locations. Here's where you can catch Bryan Adams in a more intimate setting and how you can get tickets to be part of the events. Music icon Bryan Adams is set to treat UK fans to a very special, intimate live performance this August, celebrating the release of his forthcoming album. Following his recent acclaimed arena tour, this exclusive gig offers an incredible opportunity to experience Adams and his band in a uniquely up-close setting as he celebrates the release of Roll With The Punches, out August 29, 2025. Advertisement Hide Ad Advertisement Hide Ad Bryan Adams will be celebrating the release of his new album with a series of intimate shows across the United Kingdom from August. |for the Invictus Games Foundation Fans who pre-order the new album will gain access to tickets at an exceptional price, allowing them to celebrate the album's launch during release week. Attendees will be among the first to hear songs from the new album performed live for the very first time in these amazing, smaller venues. But be warned – the show comes with a caveat: there is set to be a strict no-phones and no-recording policy, meaning you'll have to live in the moment rather than behind a mobile screen. But if that hasn't put you off, here's where you can catch Adams on his UK album launch shows and how you can get tickets to these intimate affairs. Where is Bryan Adams performing on his Roll With The Punches album release tour? The Canadian rock icon will be performing at the following venues on the following dates throughout August and September 2025. Advertisement Hide Ad Advertisement Hide Ad How can I attend one of Bryan Adams' album launch shows? To attend these exclusive intimate live shows, fans must purchase both the forthcoming album and tickets from 10am BST on July 8 2025 via the designated UK record store partners below: What has Bryan Adams been performing live recently? Ahead of the intimate performances planned later in the year, Adams has been performing some larger-sized gigs compared to what is to come - according to the musician performed the following set during his July 5 2025 performance at Töreshov, Töreboda, Sweden. Kick Ass Run to You Somebody Roll With the Punches 18 til I Die Take Me Back Go Down Rockin' It's Only Love Shine a Light Heaven Cuts Like a Knife You Belong to Me Twist and Shout (The Top Notes cover) When You're Gone The Only Thing That Looks Good on Me Is You So Happy It Hurts Never Ever Let You Go (Everything I Do) I Do It for You Back to You Summer of '69 Encore: Can't Take My Eyes Off You (Frankie Valli cover) Bryan Adams isn't the only rock act who has announced a series of shows later this year - check out the recent announcement of Stereophonics' arena tour to end 2025 with.
Daily Mirror
01-07-2025
- Entertainment
- Daily Mirror
Famous rapper orders food in Nando's and no one realises who he is
A British rapper was having a meal in Nando's when he overheard a group of men say they would love to meet him, so he decided to have a laugh at their expense Imagine being a celeb and craving the anonymity to enjoy a cheeky Nando's without the flash of cameras or eager fans clamouring for a selfie. That's just what rapper Tinchy Stryder experienced, but with a twist. He had a bit of fun when some unsuspecting fans failed to recognise him. The 38-year-old artist, born Kwasi Danquah III, couldn't help but overhear a group of lads expressing their wish to meet him. Seated behind them, Tinchy leaned over to enquire who they thought they'd spotted, curious to see if they'd twig that they were actually talking to the man himself. But the prank didn't quite go as planned, as the blokes remained clueless that they were in the presence of the noughties hitmaker. In a video clip, Tinchy, known for bangers like 'Number 1' and 'Take Me Back', quizzed: "Who did you say you just saw?" One of the diners replied simply: "Tinchy Stryder," oblivious to the fact that he was indeed conversing with the star. Tinchy couldn't resist playing along, jesting: "Tinchy Stryder? Where's he gone? I want to meet him". The encounter wrapped up with Tinchy pulling a surprised expression for the camera, having a giggle at the fan's expense. Social media users were left gobsmacked when a group of men eagerly met Tinchy Stryder but then failed to recognise him during their conversation. One fan nostalgically referenced his work, commenting: "Tinch, don't worry, you're still our star in the hood". Another chimed in with disbelief: "I would never not recognise Tinch". A nostalgic admirer wrote: "Bro where you at, I loved your music back in the day,". Curious fans also quizzed about his youthful appearance, wondering how he doesn't look a day over 20 despite approaching 40. Tinchy Stryder burst onto the scene in the early noughties, quickly becoming a pivotal figure in the UK grime movement alongside names like Dizzee Rascal and Wiley. Originally part of the grime crew Roll Deep, Stryder made waves in the underground music circuit before going solo. His first album 'Star in the Hood' dropped in 2007, highlighting his unique flow and sharp lyrics. But it was his sophomore effort, 'Catch 22,' that catapulted him into the limelight in 2009, featuring his chart-topping hit Number 1 with N Dubz. Stryder didn't stop there; he kept up the momentum by working with stars like Taio Cruz and Labrinth. His third studio album, 'Third Strike,' released in 2010, solidified his status in the UK music scene.
Daily Mirror
06-06-2025
- Entertainment
- Daily Mirror
Can you guess the location of each album cover?
David Bowie's Ziggy Stardust cover was shot as monochrome and vividly coloured afterwards but it's of a real location can you guess the place and for the locations for seven other iconic album covers Fans were stunned when American pop-rock band Haim featured a photo of themselves on Portland Street near Manchester's Piccadilly Gardens on the front of their new single, Take Me Back. They are far from the only band to put a UK street firmly on the uber-cool place map by using it on a record cover. The Beatles did it, as did Oasis, The Clash, The Jam, The Streets and Madness - to name but a few - as this great gallery of album covers shows. Now it's time to put your musical and geographical knowledge to the test. Take a look at the album covers and the photographs and see if you can name that street! 1. Manchester's Oasis went down south to film the cover of this iconic album, which celebrates its 20th anniversary. The setting was a popular location for record shops in the 1990s. 2. The Jam's 1977 masterpiece This Is the Modern World shows Paul Weller, Bruce Foxton and Rick Buckler, lurking under an overpass. That same year The Clash refers to the same road in their song about a certain city burning. 3. And pigs might fly … according to Pink Floyd's 1977 Animals album cover. But where is the landmark, that has recently had a very impressive facelift? 4. David Bowie's Ziggy Stardust cover was shot as monochrome and vividly coloured afterwards. The K West sign that hung above a furrier in 1982 has now been removed, but it remains an iconic street for Bowie fans 5. In 1977, The Clash released their debut studio album with a cove true to the spirit of punk rock—in a bohemian area popular with rebels young and old and home to iconic music venues like The Roundhouse. 6. The Beatles made this zebra crossing famous worldwide when it was used on the cover of their1969 studio album. Fans still flock here to recreate the image, outside the recording home of the Merseyside beat. But where is it? Lamar's 2015 Pimp A Butterfly album cover was shot in atmospheric monochrome and features a large group of black men and children, plus a baby cradled by Lamar himself on this US lawn, belonging to possibly the world 's most famous house. 8. English rapper Mike Skinner from The Streets chose this building in East Anglia for his 2011 Computer and Blues album after playing a student gig here. Answers: What's The Story Morning Glory, Berwick Street. Soho, London. The Westway, West London Battersea Power Station 23 Heddon Street, Soho, London, Alleyway directly opposite the band's 'Rehearsal Rehearsals' HQ in Camden Market, North London Abbey Road, near Abbey Road Studios, North West London The White House 1600 Pennsylvania Avenue NW, Washington, D.C. Norfolk Terrace halls of residence at the University of East Anglia.
Sydney Morning Herald
04-06-2025
- Business
- Sydney Morning Herald
Haim are everywhere right now. Even they don't know how they've managed it
Suddenly, Haim are everywhere. Open your browser and you'll be hit by one of their meme-inspired singles covers, lo-fi recreations of famous celebrity breakup paparazzi pics. Scroll TikTok and you'll see them doing a viral dance for lead single Relationships or new track Take Me Back. Head to YouTube and you'll see their cinematic video clip, directed by Paul Thomas Anderson and featuring internet boyfriend Logan Lerman, or viral clips of them playing live onstage while pop icon Addison Rae cavorts louchely in front of them. For a band that's been around forever (specifically, 12 years), whose last album, 2020's Women in Music Pt III, was their biggest yet, a Grammy-nominated album of the year featuring a cameo from Taylor Swift, to drum up such anticipation for their fourth album, the upcoming I Quit, is an impressive feat. Whatever viral marketing strategy they dreamed up in their record label's boardroom has clearly worked. 'There's no strategy, it's just us,' says youngest Haim sibling Alana, who you might've also seen strolling the red carpet at Cannes last month for the premiere of Kelly Reichardt's The Mastermind, in which she stars with another internet boyfriend, Josh O'Connor. 'We grew up watching SNL and had the amazing experience of watching Molly Shannon, Cheri Oteri, Ana Gasteyer and Maya Rudolph, all these women that were so unapologetically funny. All we ever wanted to do growing up is make people laugh, so that's how we take on all these things.' It's not quite the answer I was expecting. In fact, I had about 15 questions prepared around the realities of marketing in pop, about how artists don't talk about it much even though it's such a significant part of the job, especially in the streaming era where culture moves so fast and attention spans are frayed. I figured they'd learned something from Charli XCX's 'Brat Summer', about the power of a viral TikTok dance, of flooding web-space with crowd-pleasing shenanigans and canny collaborations. I'd set aside at least half of our 30-minute interview slot for an enlightening backroom discussion about the modern business of doing pop. But no, Haim – Este (39, bass and vocals) in brown, Alana (33, keys and vocals) in tan, Danielle (36, lead vocals and guitar) in black, huddled across my screen from a 'random room in a hotel in London' where they just played a show for BBC Radio One – are telling me this whole thing is just a lucky accident? 'Just doing our thang,' laughs Alana. 'I've been asking them to dance with me since they were born,' says Este. 'There are so many family videos of Este teaching us choreography and being like, 'No, your hands go here!' Honestly, we've been Este's lab rats for dance class since I was like two years old,' says Alana, and Este nods. 'No strategy,' Danielle repeats. 'But if anyone else has the answer for that, I'd watch that video as well.' Even so, the buzz for I Quit is real. Is it difficult for an established band, a dozen years into their career, to make people excited for album number four? Is there more effort involved in convincing people to listen? 'We're still in the pinch-me phase of the fact we get to tour the world together and put out albums,' says Alana. 'And especially for this album, we were all single making this album. We were going out, we were going to bars, we were dancing, we were getting drunk together again like we were 16 years old. All we were put on this earth to do is bring happiness and play music, and the fact we get to do that together is the greatest gift of all time. We're just riding the wave.' It helps when your fourth album is this good. I Quit is Haim at the peak of their creative powers. Coming out of Danielle's split from a decade-long relationship with Ariel Rechtshaid, the hit songwriter and producer who helmed the first three Haim albums, it feels like a seminal breakup album. If the band's Stonesy-rock DNA and California harmonies underpin each song, there are also intriguing experiments, no doubt prompted by the fact noted knob-twiddler Rostam Batmanglij (formerly of Vampire Weekend) has taken over lead producer duties. 'Watching Danielle and him producing was like watching a ballet,' says Alana. 'They speak the same language. And I've said it from the beginning, this is the closest we've ever gotten to sounding like how we've always wanted to sound. On Women in Music Part III, we kind of half-opened the door, and then with this album it's definitely the most Haim-sounding album we've ever made.' If you Ctrl-F'd my album notes, the word that comes up most is 'freedom'. In its free-for-all playfulness and Danielle's songs attacking all stages of post-breakup relief and grief, the album emits freedom sonically, thematically and, to start, even literally. On the raucous opener Gone, the band samples George Michael's Freedom! '90. You can picture Danielle with arms out, head to the sky, yelling 'freedom!' , as a gospel choir praises her overdue release from a bad relationship. It's a ridiculous way to open a breakup record: hilarious, over-the-top, celebratory and self-skewering all at once. 'That was the last song we wrote for the album,' says Danielle. 'We didn't mean for there to be a through-line or a story to the album, but as it was shaping up we were like, 'This is feeling like a really powerful story' and it felt like we needed an intro.' Inspired by Beyonce's Cowboy Carter, which she'd been listening to on repeat, Danielle realised Haim had never used a sample. 'So we were like, let's try it. We're such huge George Michael fans, we thought why don't we try to do this sample justice and try to invite the listener in on this little journey.' The process of securing a George Michael sample involves sending his estate a heartfelt email and then letting the lawyers do their job. 'Honestly, I was like, I don't wanna know, just tell me it's cleared,' laughs Alana. 'I think getting the approval of that estate was a really big deal for us, because we obviously are such big fans,' says Danielle. 'It's the first sample we've ever used, and it was very nice.' Weirdly enough, the song that launched Haim's I Quit era – lead single Relationships – was written on a plane from Melbourne to Sydney back in 2017, during the band's promo tour for their second album Something To Tell You, a remarkable result for such a short flight. 'It's amazing, but a little frustrating, that I get these weird waves of inspiration right as planes are taking off,' says Danielle. 'I just plucked out a few chords, and the chorus – 'I think I'm in love, but I can't stand f—ing relationships' – came down as something fully formed into my head, which, as songwriters, is really rare.' She showed it to her sisters as soon as they landed, who agreed there was something to it but suggested Danielle tuck it away till they got home as they were literally walking into album promo. When they got home they showed it to collaborator Tobias Jesso Jr, fixed some lyrics, and then held on to it for years. 'I think some people didn't get it at the time, but we always knew it was special,' says Danielle. 'It wasn't until, like, a year and a half ago that we finally cracked it open. The response to it has been amazing. We were all like, 'See, we knew it!'.' Holding on to a track for years isn't unknown to Haim: the same thing happened with their smash The Wire, which was written in 2008 but released in 2013. It does bring up an uncomfortable elephant in the room, though. Danielle was barely into her relationship with Rechtshaid in 2017. Was she already feeling misgivings that far back? The band fumble silently; I catch Danielle and Este stifle a smirk. 'It's weird, sometimes you're writing something and it doesn't really feel like it's pertaining to your life at the time and then some time will roll by and you'll be like, wait, I was really going through it then,' says Danielle. 'Or maybe I was forecasting something, I don't know. The songwriting gods are very mystical. But we love them, please don't ever leave us.' The pop canon is filled with beloved breakup albums: Joni's Blue, Alanis' Jagged Little Pill, Beyonce's Lemonade, Ariana's Thank U, Next. Do Haim think of I Quit as part of the same tradition? Danielle scrunches her lip. 'We think of it more as a 'being single' album,' she says. 'Because that's where we were, we were all single and exploring the feelings of being that.' To get back to the meme-making of it all, the idea to recreate famous celebrity breakup moments for their ongoing singles cover art – the image of Nicole Kidman, arms raised in ecstasy, leaving the courthouse after signing her divorce papers from Tom Cruise (debunked, but still); the image of Scarlett Johansson warmly embracing Jared Leto while he stares off bored into his phone – are these not thematic nods to the fallibility of high-profile relationships? Loading 'All that stuff just goes back to getting a computer,' says Alana. 'That's what we would do as siblings when we first got the internet, you would see all these photos for the first time and it just made us laugh. There's such a plethora of funny photos on the internet, and we just wanted to recreate them. It's fun.' I tell them I appreciated the obsessive level of detail on the Keira Knightley and Jamie Dornan picture for new single, Take Me Back. 'We just did that, like, three days ago when we were in Manchester,' Danielle laughs. Are there any more in the bag? 'Who knows, we have no idea. This is all very rough and tumble,' says Alana. 'Again: no strategy,' adds Este.
The Age
04-06-2025
- Business
- The Age
Haim are everywhere right now. Even they don't know how they've managed it
Suddenly, Haim are everywhere. Open your browser and you'll be hit by one of their meme-inspired singles covers, lo-fi recreations of famous celebrity breakup paparazzi pics. Scroll TikTok and you'll see them doing a viral dance for lead single Relationships or new track Take Me Back. Head to YouTube and you'll see their cinematic video clip, directed by Paul Thomas Anderson and featuring internet boyfriend Logan Lerman, or viral clips of them playing live onstage while pop icon Addison Rae cavorts louchely in front of them. For a band that's been around forever (specifically, 12 years), whose last album, 2020's Women in Music Pt III, was their biggest yet, a Grammy-nominated album of the year featuring a cameo from Taylor Swift, to drum up such anticipation for their fourth album, the upcoming I Quit, is an impressive feat. Whatever viral marketing strategy they dreamed up in their record label's boardroom has clearly worked. 'There's no strategy, it's just us,' says youngest Haim sibling Alana, who you might've also seen strolling the red carpet at Cannes last month for the premiere of Kelly Reichardt's The Mastermind, in which she stars with another internet boyfriend, Josh O'Connor. 'We grew up watching SNL and had the amazing experience of watching Molly Shannon, Cheri Oteri, Ana Gasteyer and Maya Rudolph, all these women that were so unapologetically funny. All we ever wanted to do growing up is make people laugh, so that's how we take on all these things.' It's not quite the answer I was expecting. In fact, I had about 15 questions prepared around the realities of marketing in pop, about how artists don't talk about it much even though it's such a significant part of the job, especially in the streaming era where culture moves so fast and attention spans are frayed. I figured they'd learned something from Charli XCX's 'Brat Summer', about the power of a viral TikTok dance, of flooding web-space with crowd-pleasing shenanigans and canny collaborations. I'd set aside at least half of our 30-minute interview slot for an enlightening backroom discussion about the modern business of doing pop. But no, Haim – Este (39, bass and vocals) in brown, Alana (33, keys and vocals) in tan, Danielle (36, lead vocals and guitar) in black, huddled across my screen from a 'random room in a hotel in London' where they just played a show for BBC Radio One – are telling me this whole thing is just a lucky accident? 'Just doing our thang,' laughs Alana. 'I've been asking them to dance with me since they were born,' says Este. 'There are so many family videos of Este teaching us choreography and being like, 'No, your hands go here!' Honestly, we've been Este's lab rats for dance class since I was like two years old,' says Alana, and Este nods. 'No strategy,' Danielle repeats. 'But if anyone else has the answer for that, I'd watch that video as well.' Even so, the buzz for I Quit is real. Is it difficult for an established band, a dozen years into their career, to make people excited for album number four? Is there more effort involved in convincing people to listen? 'We're still in the pinch-me phase of the fact we get to tour the world together and put out albums,' says Alana. 'And especially for this album, we were all single making this album. We were going out, we were going to bars, we were dancing, we were getting drunk together again like we were 16 years old. All we were put on this earth to do is bring happiness and play music, and the fact we get to do that together is the greatest gift of all time. We're just riding the wave.' It helps when your fourth album is this good. I Quit is Haim at the peak of their creative powers. Coming out of Danielle's split from a decade-long relationship with Ariel Rechtshaid, the hit songwriter and producer who helmed the first three Haim albums, it feels like a seminal breakup album. If the band's Stonesy-rock DNA and California harmonies underpin each song, there are also intriguing experiments, no doubt prompted by the fact noted knob-twiddler Rostam Batmanglij (formerly of Vampire Weekend) has taken over lead producer duties. 'Watching Danielle and him producing was like watching a ballet,' says Alana. 'They speak the same language. And I've said it from the beginning, this is the closest we've ever gotten to sounding like how we've always wanted to sound. On Women in Music Part III, we kind of half-opened the door, and then with this album it's definitely the most Haim-sounding album we've ever made.' If you Ctrl-F'd my album notes, the word that comes up most is 'freedom'. In its free-for-all playfulness and Danielle's songs attacking all stages of post-breakup relief and grief, the album emits freedom sonically, thematically and, to start, even literally. On the raucous opener Gone, the band samples George Michael's Freedom! '90. You can picture Danielle with arms out, head to the sky, yelling 'freedom!' , as a gospel choir praises her overdue release from a bad relationship. It's a ridiculous way to open a breakup record: hilarious, over-the-top, celebratory and self-skewering all at once. 'That was the last song we wrote for the album,' says Danielle. 'We didn't mean for there to be a through-line or a story to the album, but as it was shaping up we were like, 'This is feeling like a really powerful story' and it felt like we needed an intro.' Inspired by Beyonce's Cowboy Carter, which she'd been listening to on repeat, Danielle realised Haim had never used a sample. 'So we were like, let's try it. We're such huge George Michael fans, we thought why don't we try to do this sample justice and try to invite the listener in on this little journey.' The process of securing a George Michael sample involves sending his estate a heartfelt email and then letting the lawyers do their job. 'Honestly, I was like, I don't wanna know, just tell me it's cleared,' laughs Alana. 'I think getting the approval of that estate was a really big deal for us, because we obviously are such big fans,' says Danielle. 'It's the first sample we've ever used, and it was very nice.' Weirdly enough, the song that launched Haim's I Quit era – lead single Relationships – was written on a plane from Melbourne to Sydney back in 2017, during the band's promo tour for their second album Something To Tell You, a remarkable result for such a short flight. 'It's amazing, but a little frustrating, that I get these weird waves of inspiration right as planes are taking off,' says Danielle. 'I just plucked out a few chords, and the chorus – 'I think I'm in love, but I can't stand f—ing relationships' – came down as something fully formed into my head, which, as songwriters, is really rare.' She showed it to her sisters as soon as they landed, who agreed there was something to it but suggested Danielle tuck it away till they got home as they were literally walking into album promo. When they got home they showed it to collaborator Tobias Jesso Jr, fixed some lyrics, and then held on to it for years. 'I think some people didn't get it at the time, but we always knew it was special,' says Danielle. 'It wasn't until, like, a year and a half ago that we finally cracked it open. The response to it has been amazing. We were all like, 'See, we knew it!'.' Holding on to a track for years isn't unknown to Haim: the same thing happened with their smash The Wire, which was written in 2008 but released in 2013. It does bring up an uncomfortable elephant in the room, though. Danielle was barely into her relationship with Rechtshaid in 2017. Was she already feeling misgivings that far back? The band fumble silently; I catch Danielle and Este stifle a smirk. 'It's weird, sometimes you're writing something and it doesn't really feel like it's pertaining to your life at the time and then some time will roll by and you'll be like, wait, I was really going through it then,' says Danielle. 'Or maybe I was forecasting something, I don't know. The songwriting gods are very mystical. But we love them, please don't ever leave us.' The pop canon is filled with beloved breakup albums: Joni's Blue, Alanis' Jagged Little Pill, Beyonce's Lemonade, Ariana's Thank U, Next. Do Haim think of I Quit as part of the same tradition? Danielle scrunches her lip. 'We think of it more as a 'being single' album,' she says. 'Because that's where we were, we were all single and exploring the feelings of being that.' To get back to the meme-making of it all, the idea to recreate famous celebrity breakup moments for their ongoing singles cover art – the image of Nicole Kidman, arms raised in ecstasy, leaving the courthouse after signing her divorce papers from Tom Cruise (debunked, but still); the image of Scarlett Johansson warmly embracing Jared Leto while he stares off bored into his phone – are these not thematic nods to the fallibility of high-profile relationships? Loading 'All that stuff just goes back to getting a computer,' says Alana. 'That's what we would do as siblings when we first got the internet, you would see all these photos for the first time and it just made us laugh. There's such a plethora of funny photos on the internet, and we just wanted to recreate them. It's fun.' I tell them I appreciated the obsessive level of detail on the Keira Knightley and Jamie Dornan picture for new single, Take Me Back. 'We just did that, like, three days ago when we were in Manchester,' Danielle laughs. Are there any more in the bag? 'Who knows, we have no idea. This is all very rough and tumble,' says Alana. 'Again: no strategy,' adds Este.
