In one of the most exciting, if not surprising, turns of events this year, legendary sunglass house, Ray-Ban, has just appointed A$AP Rocky as its first ever Creative Director. Known not only for some of the catchiest, most recognisable rap songs for more than a decade, Rocky has carved out an equally successful career in fashion, and even film, so lending his wildly innovative style and creativity to one of the most iconic brands of the last century just makes sense.
Rocky’s first output with the brand will be the Blacked-Out Collection, a redesign of the Mega Icons with a brand new lens type, slated for release next month, April 2025.
“I’ve always admired Ray-Ban’s ability to stay true to its roots while constantly evolving,” said A$AP Rocky. “I’m excited to be part of the strong heritage and develop the next chapter for an iconic brand like Ray-Ban.”
“Ray-Ban transcends the eyewear industry; it’s not just a brand, it’s a lifestyle. For nearly 80 years, the brand has been on the faces of the most iconic musicians, artists, actors, and heroes, shaping and re-shaping the status quo and leading cultural revolutions of all the times. Today, we are welcoming A$AP Rocky into our family; he’s a visionary artist and creator. His ability to push the boundaries of the diverse worlds he explores, aligns with the Ray-Ban DNA. We are reinforcing the brand’s values of innovation, pioneering spirit, and courage. Let the future begin!” said Ray-Ban President, Leonardo Maria Del Vecchio.
It is now reported that one pair of Ray-Ban sunglasses sells every 1.6 seconds worldwide, but this wasn’t always the case. In the early ’80s, the company was on the verge of bankruptcy. Then came a film called Risky Business, starring a little-known actor named Tom Cruise, who donned the Wayfarers. Overnight, the brand skyrocketed in popularity, and the rest is history.
We can’t wait to see where Harlem’s finest leads Ray-Ban.
"Thrilling and terrifying all at once." That's how you could describe Chloe Qisha's rise to fame. So it's only natural that her latest single, "Sex, Drugs, & Existential Dread" is a raw extension of herself. Despite the whirlwind-paced industry, the Malaysian-born pop artist has declared to be "the biggest homebody", happiest lounging on the couch with her cats. Sure there's a little anxiety in the mix, but what's the excitement without a touch of existential dread?
Chloe Qisha's latest single, "Sex, Drugs, & Existential Dread"
Her latest single, "Sex, Drugs, & Existential Dread", might sound heavy but the upbeat melodies and subtle hints of funk-disco (a Chloe Qisha signature) say otherwise. Fresh off the success of a sensational debut EP in 2024, and recent sold-out shows in Manchester and London, Chloe's turning her late-night overthinking into a dream for all. It may just be the beginning for Chloe but it's already clear she's a force in the making.
We dig deep into Chloe's creative process and the inspiration behind her latest single "Sex, Drugs, & Existential Dread". From her playful yet introspective approach to songwriting, to what it's really like navigating the highs and lows of the music industry.
ESQUIRE SINGAPORE: You’ve described "Sex, Drugs, & Existential Dread" as what would be life without a bit of existential dread. Was there a particular moment or experience that sparked the idea for this track?
CHLOE QISHA: Yes! Me, Rob Milton (my producer) and Mary Weitz were listening to "Sex & Drugs & Rock & Roll" by Ian Dury and one of us said “what would be the modern version of that title today?” And we joked around saying things like "Sex, Drugs and Pilates", "Sex, Drugs and Green Juice" and then someone or other said "Existential Dread". That had one hell of a ring to it, so we decided to roll with it.
ESQ: What headspace were you in when you composed "Sex, Drugs, & Existential Dread"?
CQ: I was definitely in a silly, jokey mood. Just over the moon to be working with two of my favourite people to write songs with.
ESQ: What was your process in writing this single or in general?
CQ: We usually start listening to reference songs in the studio (it can be anything we’ve been inspired by, or something we’ve been listening to a lot recently), and then Rob will usually start playing something and we’ll start top lining from there.
ESQ: Your debut EP was well-received; how was making "Sex, Drugs, & Existential Dread" compared to your previous work?
CQ: Writing "Sex, Drugs, & Existential Dread" felt no different to writing the songs that we released in the last EP. They were all written within a similar time frame last year, so really it was just about picking which batch of tracks were going to be released first.
ESQ: With "Sex, Drugs, & Existential Dread", do you feel like you’re stepping into a new era of your artistry, or does this feel more of a natural evolution from your debut EP?
CQ: Definitely the latter, most of the songs you’ve heard were written within the same time frame, so it definitely felt like the songs we released this year are a nice progression from the EP last year.
ESQ: With your previous single, what does being a "21st Century Cool Girl" mean to you?
CQ: A "21st Century Cool Girl" is definitely a way of being! A quiet confidence, and a journey of learning to love and appreciate all versions of themselves.
ESQ: Do you think you embody the "cool girl" archetype?
CQ: Yes! At least I try! She’s definitely more evident when I’m doing things like performing live.
ESQ: Who are the women in music—past or present—that define "cool" for you?
CQ: Right now? Charli, Chappell, Sabrina, Tate... all the girlies!
ESQ: What are you listening to at the moment?
CQ: Djo, ABBA, Tate McRae and me.
ESQ: Is there a line in the song that listeners might not immediately catch but carries a deeper meaning for you?
CQ: "Till all the silly boys in filthy cars they left their scars, that cut me deep" is about all the super average boys I was hopelessly in love with in High School whom I'd placed on a pedestal. I blame it on the hormones.
ESQ: Listening to "21st Century Cool Girl" for the first time, it felt like a love letter to your younger self. What's something your teenage self would think about the artist you’ve become today?
CQ: I would like to think she’d be in awe of what we’ve achieved in such a short space of time. I also hope she’d feel empowered that we took the time to grow and feel settled and confident in ourselves before releasing music into the world.
Chloe Qisha
ESQ: What’s a song of yours that means something different to you now than when you first wrote it?
CQ: "Scary Movie" was the first song I wrote with my collaborator Rob. We initially wrote it about my apprehension about doing music full-time, and my anxiety about putting songs out in the world. Now I look at the song and it fills me with such joy, mainly because it marks the inception of our friendship and this incredible journey so far—it's the song that started it all.
ESQ: As an up-and-coming artist in the industry, do you feel pressured to be perceived in a certain way?
CQ: In some ways yes, and in some ways no. I count myself really lucky that I took the time to develop behind the scenes for a long time before I started releasing music, so I think I know myself really well—my frontal lobe is fully developed (all those good things)—so everything I put out into the world is very authentic to me. I rarely second-guess myself these days. So as long as I keep creating things and doing things that resonate with the person I am right now I don’t think you can go wrong with how that influences other's perceptions of you.
ESQ: You mentioned that you treated each day like you were in some 90s rom-com; what's your favourite rom-com?
CQ: Gosh, there are so many. My go-tos are You’ve Got Mail with Tom Hanks and Meg Ryan. I also love Under The Tuscan Sun with Diane Lane.
ESQ: What’s something about being a musician that no one has prepared you for?
CQ: The feeling when you leave a stage after a great show. It’s an immeasurable happiness that leaves you wanting more.
"Sex, Drugs, & Existential Dread" is available to stream
Flying in all the way from Berlin, Le Raclet presents a unique print pop-up inspired by the communal spirit of hotpot. Showcasing a carefully curated selection of silkscreen works, the event features limited-edition prints from artists such as Jeroen Erosie, Ruo Han Wang, Nadine Redlich and many more. With only a handful of each piece available, this is a rare opportunity to add to your collection.
When: Till 22 March Where: Knuckles & Notch, 261 Waterloo St, #02-25
Unfurling murmurs, an installation by Dylan Chan and Daniel Chong explores the tensions within fleeting queer moments. Blurring the lines between imagery and materiality, it forms structures that both invite and evade. The work embraces the fragility of memory—lingering like a quiet gesture, unfolding through movement and a watchful gaze. In these transient spaces, intimacy persists. Admission is free, but be sure to register in advance.
When: Till 6 April Where: DECK Open Ground, 120A Prinsep Street, Singapore 187937 Register here
Watch Nosferatu
Lily-Rose Depp (NOSFERATU)
It took a while, but it's finally here. Immerse yourself in the dark, haunting world of Robert Eggers' Nosferatu. With a staggering 41 wins and 161 nominations—including a nod for Best Achievement in Cinematography at the 97th Academy Awards—this film is a masterclass in visual storytelling and gothic horror. Eggers tells a chilling tale of obsession, where a tormented young woman becomes the object of desire for a terrifying vampire, unleashing a wave of unspeakable horror. If you’re craving a cinematic experience that’s as visually stunning as it is unnerving, go see Nosferatu.
ArtScience Museum's latest exhibition, Mirror Mirror: Journey Into the Mind, created in collaboration with Moment Factory, explores the connection between the mind and body. Step into a forest of mirrors or interact with a cosmic art space where your touch shapes an evolving mural, featuring works by Singaporean artist Genevieve Chua.
When: 1 March onwards Where: 6 Bayfront Avenue, Singapore, 018974 Get your tickets here
Leica just dropped its largest Southeast Asia flagship at South Beach Quarter, marking 100 years of iconic craftsmanship. Spanning 2,200 square feet, the space offers the full range of Leica cameras, cine gear, watches, and sports optics. There's even an in-house café (Café Leitz) serving exclusives like Leitz Kopi Blend and Noctilux Tea Blend, paired with a sleek indoor-outdoor vibe.
M&T (Monts & Terroirs) is a cheese bistro and boutique that brings the freshest French mountain cheeses straight to Singapore. Directly harvested from over 8,500 farms and 15,000 farmers, they pride themselves on championing sustainable rural farms and fair pay for producers.
Dive into their French Mountains sharing boards, featuring 3 or 5 cheese selections, cold cuts, or a mix of both—each served with a Bread & Butter Basket, Nuts & Jam. Or explore a curated menu where premium cheeses shine in dishes like the Angus Beef Burger, Comté Croque Monsieur, and Le Cordon Bleu Maison. C’est magnifique.
Pro tip: Close your eyes. Inhale the cheese’s aroma, then break it in half as you do so. Notice the shift in pungency before that first bite. It’ll enhance the experience.
If you've done any sauntering around New Bahru since its inception, you might've noticed a clanedestine Korean restaurant tucked in the corner of the ground floor. Odem, Singapore’s first craft Makkoli bar and restaurant, has recently released a new lunch menu focused on hearty one-bowl meals—each paired with banchan (think house-made kimchi and marinated quail eggs), rice, and seaweed soup.
Before we get to the mains, do yourself the favour of ordering their Brioche, a ridiculously addictive bun glazed with sweet soy, served warm with a smear of gamtae butter. Yes, we're still raving about it.
Weekend brunch brings the Kalbi Sando—beef short rib, perilla pickles, and aged cheddar on milk bread—and the refreshing Duck Guksu, featuring BBQ duck on perfectly chewy buckwheat noodles with perilla seed sauce. Chef Yumi’s Abalone Boribap, a nostalgic nod to her childhood, is a must: tender abalone, pearl barley, and a silky makkoli-abalone jus. These dishes are exclusive only to the weekend, so you'll want to make your plans accordingly. And yes, their makkoli flights are there if you’re feeling bold at noon on a Saturday.
Sidenote: They also have a weekday lunch menu, which includes the Hwe-Dupbap, a Korean-style chirashi loaded with fresh seafood, spicy perilla, and cho-gochujang, or the Seoul-Style Beef Bulgogi, where tender grilled beef meets crunchy veggies and glass noodles.
When: The brunch menu will only be available on weekends, from 11:30am to 2:00pm Where: 46 Kim Yam Rd, #01-17, Singapore 239351
When was the last time you've visited the Science Centre Singapore? I'd wager not very recently. But you now have an excuse to do just that. Space Explorers: THE INFINITE takes you aboard the International Space Station alongside NASA astronauts through stunning 360-degree footage captured in space. For an hour, you'll witness the first-ever spacewalk in virtual reality, explore a life-sized 3D model of the ISS, and watch the historic Artemis rocket launch. You'll even be able to see our earth from a perspective few humans ever have. Your ticket also includes access to Science Centre Singapore, making it a worthy outing to spend an entire day on.
When: Now till 24 March 2025 Where: Science Centre Singapore, 15 Science Centre Road, 609081
Every weekend—yes, every weekend—there's a new vintage marketplace spot open for you to find your next treasure. Whether its a cute digicam from @digi_cambam and @digicamsg, a visit to a makeshift tent for live tarot readings by @snowielogy, or a curated selection of vintage clothes, hand sculptured accessories and blind bags from @whowantsaynow, @dillydallydally, @woofie.co, @weare_.sg, and @vroomn_vintage, as well as many other hidden gems. So grab your friends or family, and come along to discover what's waiting at Resurrack's Vintage Market.
When: Every Saturday and Sunday, 3pm - 9pm Where: Resurrack Vintage Market, Bugis Street Art Lane
TUFF is hosting a renunion featuring Australian DJ Nate Du, co-founder of Conspiracy Music as part of his debut Asia tour. Known for his high-energy sets, he'll be joined by Millhouse, co-founder of Hanoi's THEM crew, along with Haute Encounters and YY founder Nikola. Expect a night of eclectic sounds and a lively atmosphere, bringing together a mix of international and local talents.
When: 1 March Where: 138 Robinson Road ##19-01 Singapore, 068906 Singapore Get your tickets here
From university gigs to running a record label and event series, DJ Dustin has built a name in the electronic music scene. He'll be bringing his signature atmospheric sound to RASA's floor, joined by local DJ guests Daytime Dancing and Sivanesh for a night of deep, immersive beats.
When: 1 March Where: 02-01, #02-02, Republic Plaza, 9, Raffles Place, Downtown Core, 048619 Singapore Get your tickets here
Forged, the cultured meat pioneers, are joining forces with Two Men Bagel House to reveal a new bagel creation: the Foie King. A warm, freshly baked bagel stacked with sharp cheddar, smoky honey mustard, juicy beef skirt steak, zesty jalapeño relish, and the star of the show—cultured foie gras made from Japanese quail cells. So now you can enjoy foie gras, minus the guilt.
There's going to be a launch party celebrating this collab. DJ Arms1 from Choice Cut Pizza & Records will be spinning live, and the talented artists from Dreamhouse Collective Tattoos will be on hand for free flash tattoos. Oh, and the first 30 orders will even snag a limited-edition T-shirt.
When: 1 March 2025, 11am - 3pm Where: Two Men Bagel House, 465 Joo Chiat Rd, Singapore 427677
My fellow cat lovers, it's happening. This weekend, Singapore's largest cat event is taking place at Marina Bay Sands. Whether you're a seasoned cat parent or a casual cat enjoyer on Instagram, the Singapore Cat Carnival is packed with a series of curated activities. Think cat fashion shows, talent contests, and breed showcases judged by pros. Dive into workshops on grooming, nutrition, and pet care led by veterinarians and animal welfare experts. Plus, shop exclusive products from local and international vendors.
When: 22nd-23rd February Where: Marina Bay Sands Expo & Convention Centre, Hall C
There's a fresh face in the local art scene, and it's making quite the statement. Meet Tokonoma—the brainchild of gallerist and art collector Ken Tan and art director Joash Thum—a gallery that thrives on defying labels. Think of it as the cool rebel of the art world where rules don't apply. Their debut exhibition, DNA (Design Nor Art), is a curated collection of eight intriguing objects that live somewhere in the grey zone between art and design. Highlights include Duchamp's iconic Bottle Rack (yes, the one that transformed a drying rack into art history) and a pair of Olivier People sunglasses made exclusively for Andy Warhol—because why not add a touch of Warholian flair to the mix?
When: 10 January-28 February Where: Tokonoma, #03-10, 16 Shaw Road By appointment only
Looking for your next cultural fix without breaking the bank? Head to the Central Arts Library (CAL) at the National Library Building, where a treasure trove of arts and culture content spanning books, music scores, and play scripts reside. But here's the kicker: their massive collection of 30,000 film titles, ranging from dance performances to theatre productions and operas, are all available in crystal-clear quality up to 4K resolution. There's even a cosy viewing room on level 8, complete with a surround sound system that'll have you feeling like you're front row at the theatre.
When: Everyday, 10am - 9pm Where: 100 Victoria Street, National Library Board, Singapore 188064
If you're finding yourself by your lonesome this Valentine's season, fret not. In the heart of Duxton, resides TLC Under One Roof, an event space turned self-love sanctuary. Here, you can indulge in Maha & Co’s cuisine, flash tattoos by Stefan Jude and Valerie Chio, tarot readings by Clifton Turner, grooming by fdcuts, manicures at The Nail Social, and soothing massages from SAVH. Bring a buddy or attend yourself—either way, it's time to indulge in a little self-care.
The Singapore Dog Festival is just around the corner. Located at Palawan Green, Sentosa, you'll get to explore a marketplace of local pet goods, join contests like Best Dressed and The Weight is Right, and snap pics at themed photo spots. With games, goodie bags, and chill zones, it’s gonna be a day of fun with your furry friend. For those without a dog, perhaps you'll make a new furry friend or two.
Think our little red dot's size limits its excitement? Think again. This weekend, the Aliwal Urban Art Festival proves there's no shortage of activities to dive into. From an urban art exhibition to live graffiti painting, music and dance performances, workshops, artist open studios, and a vibrant lifestyle arts market, there's something for everyone. If that's not enough, you can join a free skateboarding session and try your hand at some new tricks.
Aliwal Urban Arts Festival
When: 25 January, 12pm onwards Where: Aliwal Arts Centre, 28 Aliwal Street, Singapore 199918
Ten years of film screenings, ten years of goooood music and ten years of unforgettable parties—The Projector marks its 10th year anniversary this weekend with a band. Expect a special interactive screening of the 'best worst movie' ever, followed by a DJ party to keep the celebration going. With an all-day happy hour and a lucky draw in the mix, grab your friends and head down to celebrate. Oh and don't forget to RSVP—you might just win a coveted Project membership.
Get ready for a night like no other—FOMOHOMO's new queer party, BUMBUM, is pulling out all the stops. Headlining the event is none other than Lagoon, the first drag queen to ever curate a Boiler Room London gig, so you already know the beats will be next-level. Adding to the lineup are DJs Ketia, tashsan, and FOMOHOMO's own resident DJs Loyboy, Dineash, and Nicki Aiko. With this powerhouse crew behind the decks, you're in for an unforgettable night.
When: 25 January, 10pm onwards Where: MDLR, 62 Cecil Street, Singapore 049710 Grab your tickets here
The annual Singapore Art Week (SAW) is back, and perhaps better than ever—though art is subjective, so we’ll let you be the judge. Titled "Art Takes Over," SAW 2025 boasts over 130 events spread across ten days, ensuring there’s something for everyone. Highlights include highly anticipated exhibitions such as Art SG, S.E.A. Focus, and Light to Night Singapore, alongside Robert Zhao Renhui’s Seeing Forest installation, fresh from the Venice Biennale, and a rare glass art showcase by the Bangkok Glass Company.
When: 17-26 January Where: Check out the SAW 2025 website for times and locations
Beyond the exhibitions, there's a makers' market to awaken your creative side, and come evening, a lively music festival with sick jams awaits. Spanning two weekends, the first features acts such as indie stalwarts Subsonic Eye, experimental art rock collective sub:shaman, alternative R&B duo nkei, jazz-pop Alicia DC, and the eclectic South Korean alt-electronic duo Haepaary. Weekend two offers a dynamic mix, including neo-ethnic fusion ensemble Mantravine, whilst an immersive projection mapping display by indie art studio Kult, and plenty more to discover.
When: 17-18 (first weekend), 24-25 (second weekend) January Where: Singapore Art Museum, 39 Keppel Road, Singapore 089065
Art and design shop Shrub is hosting an exciting pop-up offering creativity and craftsmanship as always. The pop-up features a carefully curated selection of past and present objects, alongside video works by a range of emerging artists, showcasing fresh perspectives and innovative ideas. Adding to the allure, exclusive one-off pieces created in collaboration with Islands Peninsula will also be available for purchase.
When: 18 January-1 February, 10am-10pm Where: Excelsior Shopping Centre, 5 Coleman Street
Visit an Exhibition of Street Photography in Singapore
Sure, you could probably just go outside and see the vibrant streets of our city with your own eyes, but why do that when you can view the very same sights as pictured through the lens of celebrated visual archivist Aik Beng Chia instead, who’s been capturing the lifeblood of Singapore on his camera for 15 years. As part of Singapore Art Week 2025, his newest exhibition SingKaPor REMIXED presents a series of large-scale photographic collages that perfectly encapsulates the essence of Singapore’s urban landscapes and vibrant communities. Chia’s collages capture the intimacy and charm of everyday moments, with these new works expanding upon his previously more individual snapshots to offer a panoramic view of life in Singapore.
When: Till 26 January Where: 5 Lock Rd, #01-06 Gillman Barracks
PREVIOUSLY
Check out The Substance
(THE SUBSTANCE)
If you're looking for something thought-provoking this weekend, this might be it. The Substance by French filmmaker Coralie Fargeat offers a gripping dive into ambition, vulnerability and the social pressures shaping our lives. Starring Demi Moore and Margaret Qualley, this isn't just entertainment; it's an intense, emotionally resonant experience that feels both personal and universal. Carolie's direction brings each character's journey to life with personal performances and stunning cinematography, making it hard to look away. Not to hype it up too much but just saying, this could be my favourite film all-year-long.
I won't spoil too much so I'll just leave you on a cliff-hanger. The Substance explores the choices we make, leaving viewers with plenty to reflect on, and probably grossed out too—in a good way, of course. So don't miss it—this film will linger with you long after the credits roll (it's still lingering after watching it last week.)
Where: All theatres near you
Multi-talented artist, Afgan is one of Indonesia’s most celebrated artists. His trophy case backs this up, amassing critical recognition not just in Indonesia, but in the region. But he seems ready to burst out of the bubble he’s created for himself. Collaborations alongside global stars like Jackson Wang and Robin Thicke seem like just the start in the 35-year-old’s bid to break into a wider audience. But Afgan’s focus remains steadfastly on the artistry of things; the things he can control, the sounds he’s chasing—his true love, R&B.
Afgan's new EP, "Sonder" (SECRET SIGNALS)
Now, with the release of his new EP “Sonder”, Afgan delves deeper than ever before, exploring themes of insecurity, trauma, and the universal struggle for connection. In this exclusive interview, he opens up about reclaiming his artistic freedom, navigating the delicate dance between serving his loyal Indonesian fanbase while reaching for global audiences, and crafting music that feels like a heartfelt conversation with a friend.
ESQUIRE SINGAPORE: How would you describe your current sound?
AFGAN: When I was a kid, I was influenced by a lot of Black singers. So, I guess R&B is in my blood—that's how I sing. But it’s basically pop-infused with soul and R&B.
ESQ: You exploded onto the music scene with ballads. What caused the shift towards where you are now?
AFG: It’s because, well, when I first started, I was pretty much controlled by the label I was at. They felt like my voice suited vocal ballads, so we kept releasing ballads. Those songs became timeless; everybody loves them even now. But deep down, I always wanted to do R&B. So, around 2020 or 2021, I started releasing R&B records, and I’ve continued that up until now.
(SECRET SIGNALS)
ESQ: Was that something the label was okay with? Or was there pushback?
AFG: The first label I was with—well, we only did two albums, and then I moved to my current label. They’re very supportive of what I want to do. Now, I have complete freedom to release what I want. That said, the ballads are still a big part of my DNA, and I’ll always have to do both. R&B and ballads—they’re just who I am. My current team work with me not just as a job. They genuinely care about my well-being and want me to feel fulfilled in what I do.
ESQ: Say you’re curating a festival lineup of artists who inspire you. What would be your dream lineup?
AFG: Ooo okay…I pretty much listen to the legends—90s pop and R&B. I love Michael Jackson, Whitney Houston, Janet Jackson, Brian McKnight. I was so honoured to sing with Brian McKnight this year when he came with David Foster to Jakarta. It was surreal because I grew up emulating his singing, and suddenly, I’m on stage with him. It’s crazy—anything can happen.
ESQ: You’ve received an impressive array of awards. Is there one moment of recognition that holds special meaning for you, and why?
AFG: I’d say the MAMA Awards in Korea. In high school, I listened to a lot of K-pop—Big Bang, G-Dragon, that generation. I used to watch them perform at the MAMA Awards and imagined myself up there someday. A few years back, I won the Best Asian Artist Indonesia at MAMA. It felt like a full-circle moment.
ESQ: Your recent works reflect personal themes and vulnerabilities. Is it emotionally challenging to dig up old pasts and confront them?
AFG: Actually, it’s quite healing. Writing songs is like journaling. When you have so much going on in your mind, writing helps you structure it. It gives purpose to the emotions.
ESQ: Do you think artists should give themselves space to heal before creating art from their experiences?
(SECRET SIGNALS)
AFG: For me, it can happen simultaneously. Sometimes, when you really feel the pain and write it out, it helps you see things from a different perspective. That process gives your pain a purpose—it helps others feel less alone.
ESQ: Do you have a story you've been wanting to tell through your music but haven't found the right way to express yet?
AFG: Certain things I’m still processing. If I don’t know how to articulate something, I can’t convert it into lyrics. But once I’ve learned and understood it, I’ll be able to write about it.
There’s so much emotion, and it’s hard to pinpoint one thing. Sometimes you need time to heal, but other times, writing helps you process it.
ESQ: What personal experiences does your new EP, “Sonder” touch on?
AFG: I talk about insecurities and the fear of getting deeper into relationships because of past trauma. It’s about protecting yourself while navigating love and vulnerability.
ESQ: How do you balance staying authentic to your roots while appealing to a global audience?
AFG: That’s something I’m still figuring out. It’s challenging [to find] a middle ground that appeals to both my Indonesian fans and new listeners globally. My last EP was in English, but I plan to continue writing in Bahasa because it’s a part of me. I’ll do a mix moving forward.
ESQ: What do you hope listeners will feel after listening to your new EP?
AFG: I hope they feel less alone, like they have a friend. Sonder is about the idea of everyone having their own stories, their own struggles. Even if my life seems fun on the surface—touring, travelling—behind the scenes, we all go through real struggles. I want my music to connect people and remind them that we’re all the same.
Julian Broad/Netflix
Robbie Williams is one of the most successful recording artists in the history of the UK. He first rose to fame as a member of boy band Take That before launching a solo career. A semi-autobiographical movie about this life, Better Man, opens in select theatres. Williams, 50, lives in Los Angeles and spoke with Esquire in New York City in November.
I did a residency at the Wynn in Vegas, and because North America is not acquainted with what I do pervasively, I had to sell myself to the people who book the acts. I was like: Mate, I’m a swear-y Frank Sinatra with tattoos.
I’m in these stadiums doing these massive shows, but people at dinner parties are asking me if I still do music.
I feel as if I’m a brand-new artist again, and I’m about to experience my business in a way I didn’t the first time around because of mental illness and drugs and shit.
I played the Artful Dodger in a play when I was younger and got a standing ovation every night when I came on. It was intoxicating. I wanted whatever that was.
Dad and Mum split up when I was four. Mum kept the records: Ella Fitzgerald, Frank Sinatra, Dean Martin, Sammy Davis Jr. That was my library.
For my ninth or 10th birthday, my sister bought me two records: Pink Floyd The Wall and a collection of electro music. I didn’t get Pink Floyd at all, but this electro stuff was like Oh my God, I want to eat and drink it. So the music I heard growing up was a weird mixture of Glenn Miller and Afrika Bambaataa.
My nan taught me what real unconditional love looked like. Without her, I wouldn’t know.
I learned how to charm a room from my dad. He worked on holiday camps—the closest thing you’d get in America is the Catskills, but it’s a trailer park. I learned that a life in the entertainment industry was possible.
I learned how to work from my mum. Real work looked real depressing, because my mum worked all the hours that God sent her. The way my mum moved up out of her economic background—the wife of cannon fodder—to owning her own shop is equivalent or bigger than what I’ve achieved.
If I was born in the creator generation, I’d have been a YouTuber.
You spend the second twenty years of your life sorting out the first twenty years of your life.
I left school when I was sixteen with no qualifications, nothing higher than a D.
If I had been good at math, my mum would’ve pushed me to be a mathematician. As it happens, I was good at showing off, so my mum pushed me in my showing off capabilities. I’m good at getting eyes on me.
If I was born in the creator generation, I’d have been a YouTuber.
I didn’t even dream of music. I auditioned for a boy band, Take That, and got in. So this life in music has happened by mistake.
There were five boys all vying for position in life and the industry. We all loved each other, didn’t trust each other; were friends, but weren’t friends.
And then at home, there was a two-grand contract on my head to kill me, from local people who could do that.
It was because of jealousy. Hood shit.
Literally a hundred girls would book themselves in a hotel to be with me. This is not normal, so my idea of sex and my sexual relationship with women is warped.
Whatever happens when you get the bends is what happens when you become famous.
I don’t know how much a pint of milk is. It’s not my fault.
How do you write a pop song? Practice and get lucky. That’s it. I am one of the luckiest people on the planet.
Leonard Cohen wasn’t a pop-song writer; Thom Yorke isn’t a pop-song writer. Those are the things I wanted to write. What innately comes out of me is pure pop. I can’t help it.
What was the first time I missed? When I released a single called “Rudebox” in 2006. I was in the middle of a massive mental breakdown. When you miss your first shot after not being able to miss, it can buckle your confidence. You can have an existential crisis, which I tend to do.
I don’t think I’m a musical genius. There is a never-ending supply of melody that I find very natural. The tapper hasn’t turned off, touch wood.
How do you write a pop song? Practice and get lucky. That’s it. I am one of the luckiest people on the planet.
I’ve come up with an idea for my own hotel. I’ll do the design for it. Why can I do that? Because I can write a song. That same creativity can also choose bedsheets and wallpaper. That’s not confidence; that’s knowing that I can do it.
I used to be able to sing track seven off the album and the whole stadium would know it. These days I can sing the first single and the stadium don’t know it. It happens in everyone’s career. I don’t like that.
In my particular line of work, it’s not about you; it’s about them. I don’t want to get up and do the same songs every night, but I also want to facilitate the best evening possible because people have paid good money to receive that.
No fucking way I was getting married; I have, it’s been the making of me.
Money isn’t the top of the mountain, and the top of the mountain isn’t the top of the mountain. When you get to the top of the mountain in any profession, you have an existential crisis because it didn’t fix you.
Money gave me the ability to sit on my sofa with a cashmere caftan on, growing a beard, looking like a murderer, smoking weed, watching Real Housewives of Beverly Hills, and looking for UFOs in the evening. It made me lazy. But it also gave me enough space for me to realise, man, you need to do something with your life. I was 32.
No fucking way I was getting married; I have, it’s been the making of me.
No fucking way I was having children; I have, it’s been the making of me.
What have I learned from marriage? That I can keep my cock in my pants. I thought that was impossible. So far so good.
When my first kid, Teddy, arrived, it was terrifying for so many different reasons. I couldn’t look after myself. How on earth was I going to look after a precious soul?
There were like 375,000 people at Knebworth, which is like giving birth to 375,000 Teddies. Jesus. Existential crisis. Why are all these people here? What does all of this mean? How am I going to fill this stage? It’s only me. I don’t see what they see in me.
I made my legs walk to the stage when my legs didn’t want to walk to the stage.
The biggest experience of my life right now is being the captain of the good ship Williams. But I’m not overwhelmed by it now because of experience.
This might be incredibly wrong and sick, but there’s something to die for other than my wife and kids, and it’s the job. I don’t know why I find that empowering, but I do.
The job has given me a creative output that is probably saving my life and helping my mental illness.
I feel as though I’m about to get lucky again, and this time I’m grateful and happy. I’m wide-eyed. I’m new again.
Bowers & Wilkins is that marquee name that commands respect in the audiophile world. Their speakers? Unimpeachable. Their headphones? One of the high bars in sonic excellence. With the Pi8, the brand is going for another round with a pair of true wireless earbuds... and what do you know, I think they finally cracked it.
(We don't know what David Beckham has to do with the Pi8. Guess he's the ambassador for Bowers & Wilkins. We are just using this image to appease the SEO gods. Did it work? Let us know!)
(JK, don't.)
The Pi8 is the successor of the Pi7, which was greatly lauded at the time of its launch. So, how do you improve on that? Well, Bowers & Wilkins wasn't satisfied with how the Pi7 fitted so they rejig the structure, moving the mics and antennas about, making it smaller. Even the case that it comes in, it's slimmer and sleeker than its predecessor—the matte finish, the metal accents, the weight in your palm—it just whispers luxury.
Then there’s the sound. Dual hybrid drive units push out audio so rich, you can hear the air between notes. It can be a little bassy but overall the mids and highs kept it crisp, where I could hear the notes clearly and distinct. It’s the kind of sound profile that makes you want to dig through your music catalogue to hear what you’ve been missing.
The ANC (Active Noise Cancellation) is still impressive if not more. Not only does it hush out the world like that matronly librarian of yore, when its in transparency mode, it also lets the world in so naturally that you forget you’re wearing them.
Battery life? Five hours per charge and 16 more from the case. Not class-leading, but respectable. Wireless charging and fast-charging sweeten the deal. Bluetooth 5.2 keeps connections rock-solid, though multi-device pairing would have been a nice touch.
The Pi8 is pricey but you're paying for quality. And from what we are already hearing, it's not a bad price to pay for.
Get your Bowers & Wilkins Pi8 True Wireless Earbuds from TC Acoustic
Cigarettes After Sex is the kind of band that makes music so intimate it makes you want to selfishly tuck it away in the quietest corner of your heart. It’s something you wouldn’t lend out carelessly—not to friends, not to your cousin, not even to your sister. At least, that’s how it felt when I first stumbled upon Nothing’s Gonna Hurt You Baby back when I was an overly serious teenager who thought listening to a band called “Cigarettes After Sex” made me seem more interesting; compensating for the fact that I had never so much as held a girl’s hand.
X's album art (CIGARETTES AFTER SEX)
Years have passed since, and the band has become something of a phenomenon—amassing billions of streams and selling out shows worldwide across various continents. They belong to the world now. So, when the opportunity to watch them perform live at the Singapore Indoor Stadium presented itself, I jumped at it. Mainly involving a series of anxious texts to my editor-in-chief to secure the tickets (thanks for letting me have this one, big dawg).
Cigarettes After Sex is a band drenched in black—from their wardrobe to their album art, and even the mood of their music. It felt natural, then, to attend the concert clad in black and grey, as if merging with the aesthetic would somehow enhance the experience. I had known this “unspoken” dress code to be a TikTok trend beforehand, but actually seeing it in person and witnessing the sea of black fabric before my eyes felt oddly unifying. Dare I say, almost cult-like…? But more on that later.
The lights dimmed, leaving the stadium illuminated only by the constellated glow of mobile phones and the spotlights on stage, which beckoned the band to appear. Radio silence. The moment was as quiet as the stadium would be all evening. A slow inhale before the first note. Then, the soft hum of an electric guitar, provoking the crowd to exhale in a rapturous cry. That was, until, the coaxing voice of Greg Gonzalez took over.
“Do it with the lips that you kept when I finally kissed you.”
Greg Gonzalez (SECRET SIGNALS)
The stadium was pacified, and it fell back into silence. The band opened with X’s. which started a little shaky. Gonzalez spent the first half of the song finding his footing with the tempo of the instruments and the echo of the microphone. But when everything smoothed out, and the music finally settled, the sounds that invaded my ears swirled like velvet satin. Those smoky, ambient sounds of melancholia, intensified by Gonzalez’s androgynous voice, put me right in a daze.
Randall Miller (SECRET SIGNALS)
Jacob Tomsky (SECRET SIGNALS)
It’s difficult to recall specific moments, the way you sometimes struggle to separate one dream from another. The songs blurred together, not in a way that diminished them, but in the way time softens the edges of a memory. The stage production only sank me deeper into this state. Shifting greyscale visuals of majestic clouds and heavy thunderstorms decorated the main screen. A grainy shot of Jacob Tomsky banging on the drums. A sublime angle of Randall Miller’s silhouette playing the bass, captured in a shot you’d expect to see in an Ingmar Bergman film. You pair all that with the shadowy reverb of an electric guitar filling the space, and for a while, it felt like we were all floating in some kind of collective dream.
Yet, as I drifted through the haze of smoke and mist, there were moments when the air cleared, and specific scenes stood out. A flash from the pit below revealed a couple taking a picture of themselves as Sweet played in the background. The palpable excitement of friends contrasted with the pensive presence of those who attended the show alone. A couple holding back on physical shows of affection until the very end, as the show began slipping away.
(SECRET SIGNALS)
Gonzalez once described his music as “erotic lullabies”, which gives the optics of his soothing voice pacifying the crowd a whole new perspective. Just as I used to roll around in my room as an adolescent, playing their music to feel my emotions on a deeper level—it struck me how (almost) everyone in attendance probably did the same at some point, using their music as a form of reassurance and anxiety relief.
Every person—thousands of us, strangers, at various stages of life, were in that stadium. And we were all, in some capacity, thinking about love. The heated throes of budding love exemplified by the words, “I always will make it feel like you were the last one.” The ache of unrequited love in “He’s got so much in his heart / But he doesn’t know what to do.” The soft, guttural memory of a lost love reflected in “And when you go away, I still see you / With sunlight on your face in my rearview.” Cigarettes After Sex’s ability to distil the multitudes of love, longing, and lust into contemplative lyrics, smouldering guitar strums, and light snares is widely known. But to experience it in such a tangible manner was something special.
The band performed many favourites, including Nothing’s Gonna Hurt You Baby, Apocalypse, and Cry. All of it felt even better live, as the simmering ambience of the lighting and smoke made it feel as though we were inside Gonzalez’s head, just as he envisioned these songs. By the time Dreaming of You rolled around, I was entranced. Falling in Love pulled me under.
(SECRET SIGNALS)
Then came the moment when the spotlights descended upon the crowd. I don’t recall which song was playing, but I remember the light—blinding and all-consuming. For a brief moment, everything disappeared, and it was just me and that light. Pure and overwhelming. A kind voice serenading my ears.
The emotional high, the unspoken black dress code upheld by a sea of thousands, a charismatic frontman bathed in a spotlight, the collective chanting of lyrics—it all felt like some kind of cultic ritual in a moment outside of time. Before the concert, I’d joked about being prepared for a transcendental, spiritual experience, and while I didn’t quite get there, those damned spotlights came pretty close.
Kendrick Lamar just played a legendary show at the Caesars Superdome, folks. Following Samuel L Jackson introducing the Super Bowl halftime show as "Uncle Sam," Lamar ran through a medley of his greatest hits, including "Humble," "All the Stars," and "Not Like Us." SZA joined him for a duet, the choreography was brilliant, and Lamar even mentioned Drake's name while smirking for the camera.
Lamar's victory lap of a halftime show also featured his producer, DJ Mustard, as well as tennis superstar Serena Williams. From what I can see on social media, fans loved every minute of the Compton rapper's performance. Even if you don’t have any animosity toward Drake, you can’t deny the spectacle a whole stadium screaming, “A MINOOOOOOR!”
It's been a tough month for Drake following Lamar's five wins at the Grammy Awards last weekend. The Canadian hip-hop titan was photographed wearing one insane outfit choice after another. He even wore a hoodie with bullet holes at his most recent concert in Australia—presumably, just to prove that he was “still alive” throughout it all.
Meanwhile, Lamar swept the rap category at the Grammys. He also won both Record of the Year and Song of the Year. The whole Grammy Awards audience in Los Angeles—a room full of Drake’s peers, mind you—sang and danced along to Lamar’s hit diss track. After this? Someone, please check on Drake and make sure he’s okay.
(Editor's note: we wanted to embed the performance but the NFL is being a real dick stickler about IP. Feel free to check it out on YouTube via here.)
Below, check out the best reactions to Kendrick Lamar's Super Bowl halftime show.
This halftime is the best thing to happen to Kendrick Lamar and the worst thing to happen to anyone who has to explain what’s going on right now to their parents. #SuperBowl
OMG…..OMG……@kendricklamar did it. Not only did he rock the beat of “Not Like Is”……he sang the lyrics. He did it. Mentioned “Drake” by name too. Awwwww Damn! Helluva halftime show. The brother showed out.#Salute!
"Hello, I'm interested in pursuing civil litigation against the National Football League, the Fox Broadcasting network, Buick, Travis Kelce, and the entire Williams family.
If there's any lingering memory of living in the UK, it'll have to be the dutty nights out at clubs where Craig David was basically a permanent resident on the playlist. When I asked my uni friends about him, the unanimous response was obviously about his iconic track: "Insomnia". It's the kind of song everyone magically knows all the lyrics to, especially when it's blasting at your local pub or club (IYKYK).
For anyone feeling nostalgic bout "Insomnia"or his critically acclaimed debut album, Born to Do It, you're in luck—Craig David will hit the road in February. He'll be performing his signature R&B soul hits and fan-favourite tracks alongside special guest Lemar—the voice behind the iconic 2000s R&B hit, "If There's Any Justice" during his 11-date Commitment UK arena tour. To top it off, his stop in London will be held at the O2 Arena, where legends like Beyoncé, Tyler The Creator, and Charli XCX have graced the stage. Honestly, even the dreary British weather might feel bearable with Craig on tour.
Craig David
Fresh out of the studio, Craig has just dropped his latest track, "SOS", and it hits deep. "There’s a time in life when you come to a point of realisation that all of the playing it safe, being cautious & guarded around opening our hearts up to love, doesn’t work," said Craig. "Even if we have been hurt before. 'SOS' is all about that moment of feeling vulnerable, yet ready and open to taking a risk, a leap of faith to let someone know you are finally ready to let love in, however scary it may feel." Romantic and relatable? It's enough to tempt one to catch a flight to the UK to watch him live.
This year's been anything but quiet for Craig. Between teaming up with Wes Nelson for a London gig, performing at the Paralympic Homecoming Ceremony, BBC's Radio 2 in The Park and even making a surprise appearance at King's Cross Station... this might be the year of Craig David.
Since the release of their "Here It Goes Again" (treadmills have never looked more fun), OK Go has played with time ("The One Moment", "End Love") and choreography ("I Won't Let You Down", "Upside Down & Inside Out") to elevate their music videos to be more than just people performing on a stage. The quartet's latest endeavour is "A Stone Only Rolls Downhill" and even when you know how it is done, you're still wrapping your mind around how they do it.
OK Go's frontman, Damian Kulash worked with filmmaker Chris Buongiorno on the concept of the music video. From an Instagram post, Kulash stated that the song is about having a split-screen view of the world and the future: That, on one hand, you're watching the world crumble but one the other, you have to be optimistic for the next generation.
"And so that split-screen... I wanted to make a split-screen, but not like a magical, digital one that [just happens] behind the camera," Kulash says. "[I wanted] one that is made by us. By a very human, practical split-screen. Even though it's all phones, it's all very digital stuff. Recording of images like this is magical in the first place. I wanted to feel the people-ness of being split across all these different realities, and try to make it come together as one picture."
Using 64 iPhones (so far, there's no word on whether Apple came in as a sponsor) to act as a mosaic of 64 different videos that create a larger image. Filmed over eight days, the final draft consists of over two hours and 20 minutes of single-take clips and sometimes the images don't work in uniform but the overall feel feels like a tug-of-war, where all these smaller, different parts are struggling to form a single whole.
This isn't the first time that OK Go used dozens of smartphones as mosaics; Kulash directed an ad for the ASUS ZenFone 5 with dancing Ian Eastwood boogieing to the band's song, “I’m Not Through”, while donning a suit of 89 ZenFone 5s, in front of a wall of 1139 more ZenFone 5s. Now that's a very ungodly amount of smartphones.
If you're the sort who loves to find out how the magician saw the woman in half, there's a behind-the-scenes look at how "A Stone Only Rolls Downhill" music video came to be.
OK Go's next album, And the Adjacent Possible, which "A Stone Rolls Only Downhill" is from will be out in 2025
Beyoncé
Pop music is supposed to be popular, right? So we shouldn’t be surprised when the biggest artists actually do turn out to be the most interesting and acclaimed. But it doesn’t always work out that way, so when music from Beyoncé and Billie Eilish is lauded by critics, Taylor Swift has the biggest tour of all time, Charli XCX levels up to superstar status, Sabrina Carpenter, and Chappell Roan shoot into the stratosphere… well, at least it makes life easier for Grammy Award voters.
Speaking of the Grammys, you might recall that it was only a few years ago that their (since-dismissed) top honcho said that women needed to “step up” if they wanted to win the big prizes. We now live in a world where Spotify’s top five most-streamed albums of the year were all by women. Music may never have truly faced its #MeToo moment, but it’s pretty remarkable how dramatically the power has shifted.
Not that pop in the 2020s is all good times, as struggles with anxiety and racism and sexual identity ripple through so many of these mega-projects. And 2024 had plenty of extra-musical darkness, too, from the chilling and seemingly endless accusations of abuse against Sean “Diddy” Combs to Liam Payne’s gruesome death to the Kendrick Lamar-Drake beef, which definitely added some listening excitement but got creepy as it plunged deeper into the pedophilia allegations.
It was a strong year for country music commercially, if not creatively.
If the genre’s defining figures right now are Morgan Wallen, Zach Bryan, and Shaboozey, something bigger is going on. Other than a single from Billy Joel, his first new music in decades, the surviving boomer icons (the Rolling Stones, Paul McCartney, Bob Dylan, Bruce Springsteen) were all on the road but had no 2024 releases. Or maybe that territory is covered by biopics now; this year, we got Dylan and Bob Marley movies, with subjects from Springsteen to Michael Jackson to Linda Ronstadt currently in the works.
And out of that, somehow, it turned out to be a pretty great year. The albums that made it to the top represent a wide range of styles (sometimes impressively diverse on the same record) and the continual blurring of genres in a shuffle-and-playlist universe keeps pointing to a fascinating future. Trying to guess where it’s going? Good luck, babe.
Beyoncé, COWBOY CARTER
She said it when she announced the project: “This ain’t a Country album. This is a Beyoncé album.” Still, the battles raged on, the Grammys said yes, the CMAs said no. But the category debate actually did matter, because what Ms Knowles pulled off with Cowboy Carter was something bigger than just a genre exercise; it’s a consideration and commentary on American music across a broad spectrum, a triumphant and far-reaching statement and a joy to listen to. Remember that it’s only part two of a trilogy examining and reclaiming Black musical traditions. I’m dying to know what comes next.
Sabrina Carpenter, Short n' Sweet
The surprise of the year. For those of us who kinda sorta knew Carpenter as a one-time Disney star and as the other woman in Olivia Rodrigo’s 2021 masterpiece “Driver’s License,” the range, humour, and sophistication of these twelve songs was a revelation. “Espresso” and “Please Please Please” were the irresistible smashes, but a song like “Juno,” simultaneously evoking ‘60s and ‘80s pop, is built like a tank, stuffed with hooks and one-liners (“God bless your dad’s genetics,” “I showed my friends and we high-fived/Sorry if you feel objectified”) and somehow turns getting knocked up into an irresistibly flirty metaphor.
Jack White, No Name
One day in July, an unlabelled vinyl album was quietly slipped into the bags of all purchases made at Third Man Records’ stores in Nashville, Detroit, and London. It turned out to be Jack White’s sixth solo album, and online instructions to “Rip it!” and share soon followed. The album got a more proper release a few weeks later and rather than a toss-off, it was an unexpected triumph. White’s last few records have had their moments, but they’ve also suffered from trying a bit too hard; No Name places him firmly back in the scorching, sparse garage-blues territory he staked out with the White Stripes.
The Cure, Songs of a Lost World
Robert Smith said that the Cure’s first album of new material in sixteen years would be the band’s “most intense, saddest, most dramatic and most emotional” ever. It’s a lot to live up to, but Songs of a Lost World doesn’t disappoint. The eight gorgeous, atmospheric, sprawling songs, most of them familiar from the Cure’s recent tours, are more melancholy than bleak, and while there’s not a lighthearted “Friday I’m in Love” or “The Lovecats” to be found, the deep sense of commitment and yearning in “A Fragile Thing” reveal the unwavering passion of a band that remains entirely true to itself.
Sturgill Simpson/Johnny Blue Skies, Passage du Desir
I’m not sure if Johnny Blue Skies is an alter ego, a band name, or just a loophole that allows Sturgill Simpson to work around the retirement announcement that followed 2021’s The Ballad of Dood and Juanita. After moving to Paris in search of himself and watching his influence take over the country charts (Zach Bryan, Chris Stapleton), Simpson has emerged with a gorgeous, expansive set of self-reflective songs, revealing both humour (“Scooter Blues”) and deep introspection (“Who I Am”). He also reassembled his killer 2010s band, and the sound—dipping into ’70s country-rock and soul and tilting toward psychedelia—may be Simpson’s most alluring yet.
Kendrick Lamar, GNX
There’s only a glancing mention or two of Drake on GNX, but the year’s defining beef gave K.Dot the fire to fight for old-school rhyme skills, his hometown of Los Angeles, and his place in hip-hop history. (Shout-out to whoever out there said this is the first time someone followed up an album about going to therapy with an album that was even angrier.) Some were disappointed that this surprise release (apparently a surprise even to his label) didn’t have the thematic scope of To Pimp a Butterfly or Mr Morale & the Big Steppers, but the gunslinger mentality showed that comparisons to Tupac, who’s sampled on “Reincarnated,” are more apt than ever—Lamar has that same kaleidoscopic effect, encompassing poet, outlaw, activist, loudmouth, and introvert.
Billie Eilish, Hit Me Hard and Soft
What’s immediately apparent on Billie Eilish’s third album is the sheer musicality. It’s the most range, stylistically and vocally, that she’s displayed so far. After the electro-goth of When We All Fall Asleep, Where Do We Go? and the intimacy of Happier Than Ever, she (and her increasingly impressive collaborator/producer/brother Finneas) leap from the acoustic ballad “Wildflower” to the explosive twist in “L’Amour de Ma Vie,” often shifting gears and genres mid-song. It’s a striking display of boldness from the two-time Oscar winner, whether that means more singing and less of her signature whispering or going with the queer anthem “Lunch” as the first single. Remember that Eilish is still only 22 years old; just think of the places she’ll go.
MJ Lenderman, Manning Fireworks
The latest indie-rock sensation lives up to the hype. After three albums and work with the bands Wednesday and Waxahatchee, North Carolina native Lenderman hits his stride with a record that wears its influences on its sleeve (Neil Young, early Wilco, Jason Molina’s Songs: Ohia) but creates something distinctive and affecting. With a sharp eye for character and detail—playing an Ozzy song on Guitar Hero gets turned into a moving metaphor—and impressively sharp guitar playing, Lenderman’s songs might feel raggedy, but everything is in its right place.
Mdou Moctar, Funeral for Justice
Is Niger’s Mdou Moctar the greatest living guitar hero? Quite possibly—the soaring, screaming, psychedelic solos on his seventh album are unlike anything rock ’n’ roll currently offers. During his 2023 North American tour, a military coup back home made it impossible for Moctar to return to his country, and he resorted to a GoFundMe to enable the band to stay in the United States. Out of this incident comes Funeral for Justice, his most political album yet, excoriating both the impact of colonialism on African nations and the corruption of the local governments. You don’t have to speak the language, though, to understand the rage and confrontation in Moctar’s hypnotic, blazing fretwork.
Megan Moroney, Am I Okay?
Coming barely a year after her impressive debut, Lucky, these 14 songs prove that Megan Moroney is for real. She blends classic country wordplay and twang with the language and details (and anxiety) of a young woman in the 2020s. A title like “No Caller ID” risks sounding dated fast, but instead Moroney creates a truly distinctive and specific point of view. The catch in her voice will slay you, and the closing “Hell of a Show”—just verse, chorus, and out, barely a minute and a half—seals the deal.
Perry Farrell has always been a provocateur. As the flamboyant lead singer and frontman of Jane’s Addiction in the late 80s and early 90s, he combined an edgy, in-your-face sensibility with his band's high-energy hybrid of metal and punk. By the time Jane's Addiction disbanded in 1991, the group had paved the way for the grunge era and Farrell had earned a moniker as the Godfather of Alternative Music. He built on that résumé by leading the band Porno for Pyros and founding the music festival Lollapalooza.
Jane's Addiction reunited this year to release “Imminent Redemption,” the band’s first single featuring its original lineup in 34 years, and to hit the road for an extensive tour. Everything seemed to be going well, when Farrell, sixty-five, spoke to Esquire for this instalment of our long-running What I've Learned interview series, which is a conversation boiled down to its essence—only the subject’s wisdom appears. But on Friday, September 13, days after we went to press, Farrell had an onstage meltdown during a show in Boston. The singer started a physical altercation with lead guitarist Dave Navarro in the middle of the song "Ocean Size," and had to be restrained. On September 16, the band announced that it had canceled the rest of its tour, and Farrell apologized to his "bandmates, especially Dave Navarro, fans, family and friends" for his actions.
Part of what Jane’s Addiction had going for it was we were all very cocky because we’re all very good at our instruments. That can be amazing because you get to hear amazing virtuosity but you also lose something. You lose humility.
I've been simplifying my life over time. I don't like people that stick their head up too high. I like people that are selfless.
I have an older brother, 10 years older than me, and sister, eight years older. So you might wonder—it’s kind of odd to have children ten years apart.
My family was a broken family. My mother tried to save the family by having a child. It worked out horrendously. My father just went off with a woman and my mother ended up committing suicide. But there was something good. The one great thing is we all loved music. I got my love of music from my sister and my brother. At that time, it was the British Invasion.
On weekends, we'd sit on the porch in Flushing, Queens. People would come by, friends of my brother, friends of my sister and I got to hang out if I was the bartender.
When I first moved out to California, it was from Florida. Even though I was born in New York, in the seventies a lot of the New Yorkers migrated down to Florida. Wise Guys went down there. My dad moved his shop on West 47th Street to Hollywood, Florida.
When I first came to Los Angeles, I knew nobody. My life was basically—I washed dishes, I was a waiter, I was a busboy. I left home, and I had my own stories to tell.
I started as a singer around 1982. We were coming out of post-punk and goth was very popular, and we had not invented yet what they called alternative.
I’d comb my hair down in bangs. Go to a thrift store, get a psychedelic shirt, and show up for the audition. I didn’t even know how to plug in a mic. So sometimes I would get very embarrassed or dejected. They would say, “Have you ever done this before?” And I’d say, “Well, I know I could front a band, but I never have.”
I rented out a studio and I got a tape of Ziggy Stardust because I thought David Bowie was something I could pull off. There's a real skinny kid.
We would go out every night to hear what the sound was off the streets. I found a house in LA. It was very old. It was built for the movie stars. I just got a bunch of different bands to move in. You wrote your name up on the chalkboard if you wanted to rehearse that night. LA at that time was a hotbed of all the new bands.
"The style that I’m trying to fit is “shaman in the highlands of Peru.”
I learned that if you wanted to really have fun and really get radical, you couldn't go to the clubs. At that time, there was something called pay-to-play. Pay-to-play was this really grotesque deal where a lot of kids in the valley that were still living with their parents had to come up with, I think, USD500 to get booked, buy the tickets up front.
When people give me credit for being godfather of alternative, it was because I didn't have USD500.
I saw where I could do things differently. I noticed as a singer nobody was really using effects the same way the guitar players were. So to add to the party, I began to develop the art of dubbing vocals. I still think I’m ahead of the curve in that most singers don’t use effects onstage. They don’t have a pedalboard. I have a box that I keep up close because I use my hands a lot. I use my hands and my feet. It’s like I’m driving something.
Muscles don’t really work with rock ’n’ roll. I see a band with muscles, it looks funny to me. They should be fighting. Skinny kids, they should be making music or art. We don’t have to fight.
Part of writing a good song is that you have to give them a pinch of familiarity and then a pinch of “Wow, what was that? I never heard that before.” That way they can follow something they’ve never experienced and get there. And then at end of the song they'll feel smart because they're onto something few others know about yet.
I’m lucky in that I have Lollapalooza, because otherwise I would not keep my ears to the music at my age. I like to see where the music is going and then see how I fit in.
Everybody learns at such a quick pace now. Before you know it, everybody’s aware of your sound and they’re bored of you. I make a point to not put out too much product. Take my time.
These days I try to dress not ostentatiously. There was a moment in time when I liked to wear ostentatious things, had suits made in London, custom hats made by haberdashers. These days I like to dress so that I can be trusted amongst the people. I don’t want to be looked at and viewed as some flashy dresser.
The style that I’m trying to fit is “shaman in the highlands of Peru.” I like to wear ponchos. But all these things, they’re obtainable. If the simple man wanted to look at me and maybe bite some style, he could.
My dad was a jeweler. He dealt mostly in gold. I think there's a lot of power in beadery and there's a lot of history that goes with beadery in our country.
In my torrid past, I was a very bad drug addict. But what I would do—it really would save my life, each and every time—is I would take a trip and go surfing.
At my height I was surfing with professionals, some of the best in the world. We would go and live on boats for a few weeks, and I’d get my health back. It’s harder now, but I never want to stop surfing. I do believe that the ocean staying down by the ocean, swimming in the ocean, brings your health back. It almost brings you back to the womb. You’re weightless.
I like to study about Jah because I feel that’s a point of unity for the entire universe. It seems like a lot of the fights that start are over religion and if we can just simplify religion, that might be the key to peace.
Sex is the best feeling in the world, right? To be loved and then to be so closely bonded. I think that it is one of the important discussions of our lifetime, to know how to properly love and to know how to properly make love.
In my younger days, I had some great times in bed with people. But I would not advise having any love triangles or too many lovers, because every person deserves proper attention. And a broken heart will kill you just as much as anything.
How long do I want to be a touring musician? Until I die. But I can adjust it now at my age. I demand a day off to heal. The voice is a very fragile instrument. Once it swells, there’s nothing you can do about it.
Some of these musicians, they don't care. They'll play loud. And if they think that the crowd loves you, they'll play even louder.
People have had 30-some-odd years to learn to love us. They don’t get so freaked out by us. We sing along together, beautiful resonations in the room. I often get comments like “You changed my life.”
Maybe they hated themselves and now they love themselves. I’m glad I can still deliver to them.
