CaledonianGonzo

Might be more to do with their agent / management. If they're currently seeking representation then maybe their usual avenues are starting to dry up. Not sure if they'll be up in Edinburgh this year.

FFS having to edit every post I make to fix the pronouns.

I'm sure Toby Young and the Free Speech Union have already rallied to the cause.

Looking more and more like a tactical faux pas- folk didn't have enough time to digest the album proper before the second tranche arrived - and whether deserved or not the latter 15 tracks will always have an air of also rans about them. She should have put a bit more breathing space between them.

For further context, there's a long post halfway down this thread from someone who was there at the time https://www.cookdandbombd.co.uk/forums/index.php?topic=105718.60#quickreply_anchor As noted elsewhere Currie can be aggressive to audience members and seems to have some other sketchy behaviours, but I dont think this is something they should lose their livelihood over.

Yeah that Afriquoi slot popped off. I'd seen them on Truth Stage previously and it was a bit quiet, but WH slapped.

Gossip are headlining a stage

Yes, they can be abusive to audience members in a way that can cross a line

There was a bit of interesting discussion on the night in Soho Theatre itself on cookdandbombd when it happened. As someone who's stirred Currie's wrath in the past for not being sufficiently laudatory in my response to their act - more than once as it happens - there probably is some complexity here. But in the main I think they've been hard done by.

Seems like it is true, though

Saw them in Edinburgh a couple of weeks back - great fun

It's a decent rule of thumb for sure, but this woman has left some absolute stormers off her main album. In the old world maybe most of them would probably have wound up as b-sides, but that's obviously a moribund concept. Not saying that there's not an argument for keeping a stockpile handy and not releasing everything you record, but - she also doesn't do that - hence all these Vault tracks. Probably at some future point more tracks will surface from this period. Just massively prolific. She's like Robert Pollard.

The bonus tracks are all taken from the extra 15 that arrived after the main album - and noone buying the limited variants knew that that was about to happen.

Fair - but Google suggests it was her first interview in 4 years, which is still sufficiently intermittent to suggest most outlets have nothing to lose by taking the gloves off. Unless you count incurring the wrath of the fanbase - which surely doesn't matter that much to an embittered music journo.

Not defending it, cos it is a grift, but this time they do all have different bonus tracks on them.

Not seen any interviews with her for a while. Years maybe. NME gave it a kicking fwiw, even though they're more of a K-Pop news aggregator than much else these days.

This year our tickets were secured by our least prepared mate who arrived into the fray at 9.30 and got in on his first click.

When you sense that another downswing in popularity increases the chances of her d@bbing up at the G.

Mik Artistik is the good Sleaford Mods - and furthermore he doesn't sh*t his pants when politics raises its head.

Maybe they'd had enough of bants-loving edgelords hassling the staff by saying they identify as attack helicopters and so on.

Too much content here to have a definitive opinion on it after one or two listens imho. There's maybe not enough stylistic variation to sustain the length, but song for song it eats.

Son's crying now - cheers.

It's longer than The White Album, The Wall, Mellon Collie and the Infinite Sadness, Live-Evil. Only Sandinista has it beat.

Nah: The visitors to Arrivals will be transported through a portal to an alien jungle planet, immersed by an audio visual world coded in solar punk, carnivorous plants, cyborg beasts and space pirates. The space bridges across nostalgia to futurism, a sensory feast of vivid lights and colours, remixing the worlds of pulp sci-fi classics within a newly redefined South Asian aesthetic. https://www.glastonburyfestivals.co.uk/areas/shangri-la/arrivals/

I assume the relative scarcity of US rap is a fee expectation vs Glasto budget meets UK profile thing rather than a deliberate booking policy.