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.
Originally published on Esquire US
While January may be coming to a close, the Lunary New Year is just getting started. If you're already caught up in family reunion meals or the hustle and bustle of Lunar New Year celebrations, fear not—we've got you covered. From art exhibitions, film screenings, to parties with greaaaat beats, and everything in between, here's a curated listicle of things to do this weekend.
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.
When: 25 January, 12pm onwards
Where: Aliwal Arts Centre, 28 Aliwal Street, Singapore 199918
For more information, check out artshouselimited.sg
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.
When: 25 January, 8pm onwards
Where: The Projector, Cineleisure (Level 5)
RSVP here
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
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
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
Make reservations here
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
Make reservations here
Gladiator 2 is a cinematic spectacle that demands to be experienced in theatres, bringing together the genius of Ridley Scott with the powerhouse talents of Paul Mescal and Denzel Washington. Mescal steps into the spotlight as a compelling new hero, delivering a raw and emotionally charged performance, while Washington adds his legendary gravitas to a key role that elevates the story. With breathtaking visuals, and epic battles, it's the kind of cinematic experience that delivers the grandeur of ancient Rome. Here's our full review of it.
Where: All theatres near you
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
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
Enter The World of Studio Ghibli where you can visit the worlds of your favourite films. At the museum, stream through 11 of their best films such as My Neighbour Totoro (1988), Kiki's Delivery Service (1989), Princess Mononoke (1997), Spirited Away (2001) and Howl's Moving Castle (2004), transporting visitors into iconic scenes of the movies. Take a peak at how the films were made with its 16 art installations showcasing Studio Ghibli's creative process. Oh and be sure not to miss the interactive exhibits and dedicated photo spots for cute pics.
(STUDIO GHIBLI)
When: Until 2 February 2025
Where: ArtScience Museum Singapore
Get your tickets here
The world’s largest light, sound and multimedia event is finally in Singapore. Expect a series of festive activities throughout its run, like “The Enchanted Maples” where visitors can enjoy glowing maple leaves and treats from the Sugar Shack as well as a winter wonderland named the “Walls of Lights” and more. illumi strongly prides in their commitment to sustainability through energy-efficient LED lighting and nighttime operations that conserve energy, so don't be worry bout 'saving electricity'.
When: Until 2 February 2025
Where: Bayfront Event Space, Singapore
Get your tickets here
Returning for its fifth edition, Culture Cartel—Singapore’s street culture convention is back, and this time with the theme “ICONS Uprising”. This year’s event celebrates the pioneers who laid the groundwork for street culture and the emerging talents redefining its boundaries. Covering art, fashion, music, tattoos, and toys, the three-day extravaganza promises an immersive experience, featuring exclusive drops from over 250 global brands and artists. True to the convention’s spirit, attendees can also meet renowned street personalities, including Canadian TikTok sensation David Huynh, who will be showcasing his signature vintage-cartoon-inspired artwork in Singapore for the very first time.
When: 18-19 January, 11am-10pm
Where: Singapore Expo Hall 5, 1 Expo Drive
Get your tickets here
Celebrate the Year of the Snake with Martell’s tribute to Chinese culture at The Golden Age Journey: L’Or de Jean Martell—Assemblage du Serpent pop-up. Limited to just 500 individually numbered bottles, is presented in a beautifully reimagined Baccarat crystal decanter that captures the mysticism of the serpent. Visitors can immerse themselves across five elemental zones inspired by Chinese geomancy—Water, Earth, Fire, Wood, and Gold, while uncovering the artistry behind this exclusive blend of over 700 eaux-de-vie.
Highlights include a gold-scaled photo wall, a heritage walkway showcasing Martell’s 300-year legacy, an Infinity Photo Wall symbolising water’s life-giving essence, and olfactory pods offering a sensory journey into its rich flavours.
When: 10–12 January
Where: 72-13 Mohamed Sultan Road, Singapore
It’s not everyday that you walk into a coffee shop in Geylang and experience DJs blasting out chill, laidback tunes—that’s exactly what you’ll get when you head down to the long-standing Keng Wah Seung Cafe to catch @kopicatsss. This DJ collective is back for the fifth volume of what they do best—laying down sick beats at the unlikeliest of locations, from iconic institutions of Singaporean cuisine to niche bookstores. This time they’ll be spinning at Keng Wah Seung Cafe, a renowned Hainanese nestled in the midst of Geylang that’s been around since the 50s. Catch the kopicats, joined by guest star DJ/barista @a_fiq, as they cook up the sickest tunes to go alongside your kopi and wanton mee.
When: 11 January, from 2pm until 6pm
Where: 783 Geylang Rd, Singapore 389672
“Cats, in particular, teach us to be ourselves, whatever the odds. A cat, except through force, will never do anything that goes against its nature. Nothing seduces it away from itself.“
—Alice Walker, We Are the Ones We Have Been Waiting For
"Cats in a Floating World" is a curated exhibition that explores cats in all their mysterious glory—from aloof apartment dwellers reflecting city lights in their eyes to playful calicos romping through traditional gardens. Drawing on Japan's rich artistic tradition where cats have long been revered as spiritual beings, fourteen artists reimagine these beloved creatures across various mediums and styles. Blurring the line between reality and dream, the exhibition delves into the cultural and emotional ties between humans and their feline counterparts.
When: Now till 29 December, 12pm - 8:30pm
Where: 45 Tras St, Singapore 078984
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Originally published on Esquire US
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.
Originally published on Esquire US
In 2007, I met a largely pre-problematic Kanye West at London’s Landmark Hotel.
I was there to interview him about his upcoming third album, Graduation.
West was busy, as befitted the overachieving multi-hyphenate.
(Graduation brilliantly combined elements of euro-disco, rock, rap, krautrock, dancehall and about a million other genres, featured guest spots from everyone from T-Pain to Chris Martin, and came with a cover drawn by the Japanese pop artist Takashi Murakami.)
West had, he told me by way of an introduction, been up all night mixing a video, planning his live shows and I forget what else—possibly designing trainers.
Not a problem, he explained.
“I don’t need sleep.”
It was 10am. As the interview got underway, West put his feet up on the sofa in the five-star foyer—and promptly nodded off.
It sticks in the memory because an almost identical thing happened to me in another hotel room a couple of weeks later, with Nas.
This time, as the Illmatic hitmaker slumped forward, his PR was on-hand.
“He’s just thinking,” she said.
But them the snoring started, and the game was up.
You can blame jet lag (American superstars flying into London to do last-minute promotion). You can blame my boring questions (to lose one rapper may be regarded as a misfortune, to lose two looks like carelessness).
Either way, the musicians’ blushes (as if they cared!) were saved to some extent by the fact they were both wearing sunglasses.
The precise point at which I switched up my Paxman-like interrogation technique to expertly put them at their ease to such a degree they were comfortable grabbing forty winks may never be known—their eyes were obscured by dark glasses.
The issue of wearing sunglasses indoors came up again this weekend, following an appearance by another overachieving American multi-hyphenate.
Pharrell was a guest on The Graham Norton Show.
As we’ve come to expect from the show’s charmingly random guestlist, he was sandwiched between Billy Crystal, promoting something called Before on Apple TV, and Emily Mortimer and Hugh Bonneville, doing the rounds for Paddington in Peru.
While Bonneville and Crystal were wearing traditional dark suits, Pharrell came dressed as Pharrell.
That’s to say he was wearing a navy zip-through top, mirrored Human Made cap, Louis Vuitton flared washed denim jeans, and a £1.8m Richard Mille x Ferrari watch.
The Daily Mail didn’t mind any of that.
But they did object to the fact he was wearing sunglasses.
“Pharrell is SLAMMED,” it thundered. His outfit choice apparently being both “rude” and “disrespectful”.
“Many viewers were less than impressed with Pharrell’s decision to wear sunglasses throughout the duration of the show,” it noted.
And it had the evidence from Twitter/X to back it up.
“Why is Pharrell wearing sunglasses? I know he’s cool but please!”
“Why is he wearing sunglasses indoors?... I love Pharrell, but take your sunglasses off #GrahamNortonShow”
“Why is Pharrell Williams wearing sunglasses on Graham Norton... you're embarrassing me in front of Billy Crystal”
Obviously, no one wants to be embarrassed in front of Billy Crystal—even if it’s through their TV set.
But it did raise an issue of etiquette: can you wear sunglasses indoors? Should you? And is it really rude and disrespectful to do so, in 2024?
Leaving aside that some people require dark glasses for medical reasons, aka The Bono Excuse—ironically, Pharrell used the Graham Norton interview to discuss his sound-colour synesthesia, meaning he sees specific colours when he hears certain sounds—Esquire is of a mind to suggest that, actually, indoor-shades are perfectly fine.
In fact, they’re literally a good look.
Sunglasses have long been a staple of the red carpet, both inside and out, of course.
And celebrities have always used them to “become” themselves.
“With my sunglasses on, I’m Jack Nicholson,” said Jack Nicholson. "Without them, I’m fat and 60.”
(This was a while ago. He's 87 now. Still in shades.)
But ever since fashion brands had the genius idea of marketing winter sunglasses at non-snowboarding city-dwelling civilians, hence making the accessory a credible year-round option, their take-up has grown exponentially.
Sure, you need UV protection in London right now in the same way you need shark repellent but that’s hardly the point.
Charli XCX has made perma-shades part of her zeitgeist-conquering look—and she’s from Essex.
Other fans include The Dare, Snoop Dogg, Julian Casablancas, Robert Downey Jr, Timothée Chalamet—possibly in prep for his role playing the don of dark shades, Bob Dylan—and, of course, Anna Wintour.
Gucci, Dior, Loewe and Saint Laurent all sent sunglasses down the catwalk for the traditionally unsunny season of Autumn/Winter 2024-5.
In the current Balenciaga lookbook every single model is wearing shades.
“Wearing sunglasses all year round, summer and winter, sunshine and rain, inside and outside, on your face or even on top of your head, is not quite the gauche, self-regarding faux pas it used to be,” says Esquire contributing editor and style authority Simon Mills.
“Without our sunglasses we are ordinary Joes—but buy a pair of knock-off aviators and a Mr Benn-like transformation occurs. We become stars in our own private Heat magazine drama.”
Plus, Mills points out, in the case of Pharrell and his Kenzo sunnies—it’s his thing.
“It would have been a lot weirder if Billy Crystal had worn shades.”
Stephen Doig, men’s style editor at the Telegraph and deputy editor of Telegraph Luxury, is a card-carrying member of the Shades Indoors Club—and is inclined to agree.
“As a disciple of the church of dark shades, online sniping about Pharrell’s sunglasses is tediously middle England,” he says.
“Yes, there are situations in which wearing sunglasses is impolite and socially unacceptable—see Anna Wintour wearing her signature sunglasses to sit alongside the late Queen Elizabeth. Wearing them in a church wedding, or to job interview? No. There’s an aloofness and an unapproachability to shades indoors that oozes attitude, and that can get people’s backs up. But sometimes you want to be a little inaccessible.
“Shades are part of people’s uniform these days, and they’re also helpful armour in today’s indoor landscape of hideous fluorescent lighting. Plus, they’re particularly helpful when you’re feeling weary and less than fresh.”
And perhaps also, it scarcely needs adding, should you want to grab a quick zizz during an especially dull interview.
Originally published on Esquire UK
A friend recently asked me, “Do you think Nike will make a comeback?”
The question followed an exchange about recent releases by some of its biggest competitors—including Adidas, New Balance and ASICS—that have overshadowed the activities of the Oregon-based sportswear giant.
“It has a few tricks up it sleeve,” I—a big Swoosh advocate—responded.
Said tricks: impending re-releases of its most sought-after grails.
The Air Jordan 1 “Bred”, Undefeated x Air Jordan 4 and PlayStation x Nike Air Force 1 are all said to be returning in 2025.
But before all that, a greater gift to the sneakerheads. Something epic to mark the grand re-opening of the most protected vaults in its archives. A reissue of a kick that has never before been revisited; only 36 pairs were made to the public when it released 25 years ago.
The Wu-Tang Clan Dunk High, ladies and gentleman.
Back in black and pollen—a visual nod to the hip-hop group's affiliates known as the “Killer Beez”—and with Wu's “W” logo embroidered on its lateral heel, it looks just as it did in 1999.
Much like the band's de facto lead, RZA, actually, who we can confirm is in support of the drop. “These sneakers are a trophy,” he expressed to Nike, “[...] and now thousands of people will have a chance to own a pair.”
With that, it sounds like the Dunk High is set to restore its standing and so is Nike.
The Wu-Tang Clan Dunk drops 9 Saturday November on the Nike SNKRS app and select Nike retailers.
Originally published on Esquire UK
Wang Congyu began playing the piano at three and is recognised as a complete musician and an exceptionally talented pianist. His early talent earned him a scholarship to the prestigious École Normale de Musique de Paris. Wang is an internationally renowned soloist, acclaimed as a recitalist, accompanist, and chamber musician. During his brief visit to Singapore in May, he spoke with us at a cafe in Dempsey.
ESQUIRE: Have you been travelling a lot?
WANG CONGYU: Yeah pretty much. Travelling from Singapore is easy and practical—you can go to Indonesia in an hour and return at night. If I lived [in Singapore], I’d probably travel every two or three days. However, I live on Réunion Island, where travel is more challenging. There are only two routes: one to Paris—an 11 to 12-hour flight—and the other to Bangkok. Additionally, I signed up with a cruise line this year, where I’ll head to Iceland and play in Antarctica this Christmas. I only signed up because my wife will be accompanying me. I often joke with her about how many people would love to be in her position, getting a free holiday while I’m working. After Christmas, we’ll spend time in Argentina for New Year’s.
ESQ: That’s so romantic.
WQY: I don’t know about the romance but it’ll be cold. We’re looking forward to seeing some penguins. Initially, the frequent travelling felt surreal. One week I’d be in China, the next in Japan, and then off to France—it was non-stop. They say time flies when you love what you do, and I agree. I can’t imagine myself stuck in an office. I used to teach a lot and own a couple of music schools. This year, I’m opening a new school in Shanghai. While I love teaching, doing it for seven hours a day, every day, can stifle your creative side. It feels like you’re losing half your life to routine.
ESQ: Do you find yourself being less driven because of that?
WQY: You’d only be less driven if you work with people you don’t like. Being driven is about knowing who you are and where you came from. I will never forget all the things I had to go through to get by, so the drive will always be there.
ESQ: Are you looking forward to the Olympics held in Paris?
WQY: I’d rather stay away from it, to be honest. The Olympics project in Paris can be quite disorganised. Normally, when you arrive at CDG (Charles-de-Gaulle Airport), the train to Paris takes about 45 minutes. So, they have Project Olympic Paris, which is to build a train that gets you to the city in 20 minutes.It’s set to finish in 2029 but the Olympics is happening this year. So French right?
ESQ: At least, there’s gonna be a super-fast train at the end of it.
WQY: Yeah, I suppose. But on the downside, Paris faces frequent strikes due to understaffing. In China, they’ve proved that it’s possible to build a hospital in five days, whereas in France, it could probably take five years. There was a scenario where the mayor expressed concerns about insufficient funds and manpower, leading to doubts about the readiness for Project Olympic Paris. When attempts were made to bring in additional workers, it sparked a strike due to a perceived lack of funding.Now, they’re considering shuttle buses instead of trains for the Olympics. Can you imagine the logistics? It seems best to avoid Paris during the Olympics; considering the exorbitant prices of three-star hotels, charging up to €500 a night. I’m always glad to be back home in Singapore
ESQ: So why live on Réunion Island?
WQY: My wife is from Réunion Island and is the main reason I chose to live there. We met when I was studying in Paris. She was doing an internship and we connected at church as students. We got engaged however, I had to return here to serve national service while she went back home and we eventually got married. But since my career breakthrough with Steinway, I had to travel more than before. However, it’s anything but routine. Travel brings new experiences. You never know what surprises await. Travelling feels like constantly putting out fires, solving new problems daily. You might miss a flight due to a forgotten form to fill in or end up in a strange hotel room with six others. The unpredictability keeps things interesting.
ESQ: Do you have a favourite destination to perform in?
WQY: It depends. Each country offers unique cultural experiences, and even cities within the same country can vary greatly. If I had to choose, I would say my favourite destination to perform in is Italy. [It] seems to check all my boxes: they got history, they got the views, incredible food. You can find anything you desire inItaly, after all, that’s where the piano and the violin were invented.
ESQ: You’ve been playing the piano since you were three. How have you managed to sustain your passion and interest in the piano?
WQY: I think there’s a misconception that all musicians have to start early. While many successful ones do, I started at three but only became truly interested around 12 or 13. This gives me an advantage when it comes to teaching because I understand the difficulties that can make learning annoying and uninteresting. Learning an instrument should come from within, not from external pressures. If your parents are forcing you, or you’re only practising to pass an exam, that’s not passion; it’s just fulfilling obligations. This is becoming more challenging with social media. Kids today can quickly find tutorials on YouTube for any song, but they don’t realise the hours of practice required to master apiece. Learning an instrument isn’t just about the instrument; it’s about understanding your body and how it reacts to the music. Many people get confused about this. There’s also a cultural aspect. In European families, parents might be overly encouraging even if their children are not very talented. Conversely, in Asian families, even if you play well, your parents might think it’s not good enough. It can be frustrating.Even now, when I practice at home, I sometimes feel that my mom is annoyed by my playing. She never attended any of my concerts until recently, and that was only because the Minister of Culture was there and she wanted a photo with him.
ESQ: Have your parents accepted you being a professional pianist?
WQY: Yes, a long time ago. When I came back for National Service, they kinda accepted it. At that time, I believe I was one of the few Singaporeans who dropped out of school to pursue music. Naturally, my parents were against it. For me, the only goal was to survive. Sometimes in life, when you don’t have a choice, it can be the best thing that happens because you either make it or fail. In Singapore, we have so many options and safety nets that it can be easy to lose sight of your dreams. That was my life in secondary school—teachers said I was good at certain things and should pursue them but I wasn’t passionate about any of those paths. First, if I hadn’t made it, I wouldn’t be doing this interview. Second, if my parents had supported me, I might be successful but I wouldn’t be as motivated. That’s why I own music schools, organise festivals and help young people with their music careers. I enjoy those things and it keeps me driven. I could have just opened a school and retired comfortably, but I chose a different path. Most musicians just practise and disregard the public relations aspect. While you can hire someone for admin work, building personal relationships and selling your art is a skill every musician in this era should learn. I was a student practising in a room for 10 hours a day, unknown to anyone. Then I met an agent who taught me how to market myself, and it changed everything.
ESQ: Are things different now compared to the past, especially with the rise of social media?
WQY: For sure, things are very different now. Today, you’ll need to be the first to respond to get the gig. That said, 99 per cent of the time, it’s luck—being in the right place at the right time; meeting the right people. It’s all about probabilities.Now, everything is digital. Interviews can be done over the phone, via video call, or by e-mail. The rise of social media and digital communication has dramatically changed the landscape, making everything faster and more immediate.
ESQ: You mentioned that you went to National Service.
WQY: There isn’t an official vocation for it but when I was in the band during National Service. I was appointed to the SCDF(Singapore Civil Defence Force) and When I was a recruit, they reviewed my profile and saw that I had a degree in music. It was pure luck that I met a guy recruiting musicians for his band and he invited me to audition, even though I told him I don’t sing. He assured me it was fine, so I auditioned and got in. For the rest of my NS life, I just played the piano.
ESQ: What was that like?
WQY: As a classical musician, I had never really dabbled in pop-music. When you’re part of the band, I had to improvise and play with others, which meant practising different genres. They offered incentives: if I play a certain song, I could get a day off. If I rehearsed a piece and the commissioners were pleased, I get two days off. By the end, I had accumulated about 70 days off.
ESQ: Do you feel less nervous in front of an audience?
WQY: I still get nervous when there’s a high chance of messing up or when I don’t feel ready. There’s always a professional conscience reminding me if I’m not adequately prepared.
ESQ: Any rituals before you go on stage?
WQY: Yeah, I like to eat pasta before a concert. It brings back memories. I ate pasta when I was really poor. Pasta with cheese brings me back to simplicity. Eating carbs before a concert gives me energy, makes me feel good, and gives me a sense of control. Now that I consider myself successful, I’m still eating pasta. The dish always played a big role in my life, especially during important moments. Whenever I win a competition and it’s late at night with everything closed, pasta is usually the only option.
ESQ: You’ve established the Piano Island Festival.
WQY: That idea came from my desire to minimise travel and bring renowned teachers to a central location. It evolved into a gathering where I could meet my musical idols. One of the highlights of organising the festival was having Đng Thái Sn. He was the first Asian winner of the Chopin Competition and he agreed to attend my festival which was such an honour Interestingly, there’s a unique connection to Réunion Island.During the Vietnam War, the French exiled the Vietnamese king to Réunion Island to prevent a revolution. One of the king’s descendants, Dorothy, is a family friend I met in church. ĐngThái Sn’s mother, was the first piano teacher in Vietnam and was curious about this royal lineage. When Đng Thái Sn joined the festival, his mother, then 103 years old, wanted to explore their heritage. I mentioned how having luck is important but this series of events shows how luck and destiny can work together.
ESQ: How has public interest in classical music evolved in Singapore since the pandemic?
WQY: Interest in classical music has grown a lot in Singapore lately. After COVID, in 2022, I played at Victoria Concert Hall. At that time, we could only fill 40 per cent of the seats; so about 200 people filled a 600+ seated space. However, two months ago, I had another concert here and it was a full house. The tickets were more expensive too so it’s not about the money but rather a sudden surge in interest. There’s a noticeable development in young people’s interest in music, not just classical but in general. When Taylor Swift played here, it was crazy.
ESQ: How can the Piano Island Festival boost the local classical music scene?
WQY: I hope to use it as a platform to introduce this art form to those who are unfamiliar with it. Southeast Asia holds many potential because of its growing population and increasing number of children learning instruments. Singapore is an ideal location for this. We have excellent instruments, a robust education system and a strong infrastructure. Ultimately, it comes down to the educational system to incorporate music and provide children with the opportunity to learn music in school.
ESQ: In 2020, there was a survey saying that artists were non-essential, what are your thoughts on that?
WQY: I posted about it. I think it’s inaccurate because it’s based on opinions from people who don’t understand music or the arts. If you survey 300 office workers, you’ll get responses from an office worker’s perspective.When I left Singapore, the situation for musicians was much worse than it is now. My parents believed there was no future for musicians here; there was some truth to that. In France, I can play up to five concerts a week, even in the same city but in different venues. I couldn’t play in the Esplanade Concert Hall twice a month. Singapore is highly developed, which is why it couldn’t support local musicians at that time—they weren’t considered good enough. The expectations were too high. It’s like recruiting football players and expecting them to be the next Messi. You can’t escape the reality of our artistic careers. We must Travel. I believe the next developing markets are Indonesia and then Malaysia. Even if you’re based somewhere, like me, travelling every three days, you can’t avoid it.
ESQ: Do you believe adjustments are needed in Singapore for careers in the arts to receive proper recognition?
WQY: I don’t think Singapore needs to undergo any major changes. In fact, Singapore already possesses a thriving market for the arts.It may surprise you to learn that there is a significant population of affluent individuals residing here. This became apparent to me after I had the opportunity to mingle with this demographic. Once you become part of this network, recommendations start pouring in, and one connection leads to another. When I was younger, living in Singapore, my routine was ordinary: attending school, enjoying local cuisine like chicken rice and focusing on my studies. On the flip side, there are people residing in Sentosa. They have beachfront homes with yachts. BeforeI knew it, I found myself aboard a luxurious boat, surrounded by individuals discussing the local vibrant art scene. It was fascinating to discover wealthy individuals who appreciate the arts but they also invest in them.
ESQ: How do you stay creative?
WQY: I disconnect from the Internet during the day. You have to belike Tarzan or Luke Skywalker to be creative. If you’re just another person going to the office, setting up your desk, typing, shutting down your computer, and going home, you’re living robotically. That stifles creativity. To be creative, break out of your routine. That’s what I’ve been doing. I never practice more than twice a day. If something isn’t working, I’d walk. I’d try different approaches—crossing my hands, playing upside down, or lying down. This keeps my practice fresh and prevents burnout. I also vary my teaching methods to keep my students engaged. If a student seems unmotivated, I might have them run a couple of laps to get their energy up. When you can’t do something, it’s rarely a physical issue. Your mind tells your body it can’t do it and you feel stuck. Learning an instrument helps build resilience. Music teaches you to solve problems and persevere. I’ve learned that I can solve problems in life and shouldn’t wait for solutions to come to me.
ESQ: Do you have a motto that guides you in life?
WQY: “Never beg for a seat if you can build your own table.” When you’re starting your career, facing rejection is inevitable. I’ve experienced it first-hand. Unlike instruments like the violin or guitar, where multiple players can perform simultaneously, the piano often allows for just one pianist at a time. With countless talented pianists out there, it’s tough to stand out. You have to create your opportunities—I formed my own music schools, organised piano festivals and built up my network of connections. This approach isn’t exclusive to music; it applies to every industry.
ESQ: It’s also trying to bounce back from failure, right? Because failure is essential for growth
WQY: Life would be simpler without it. But failures are a reminder of being human; they teach us it’s okay to stumble. I’ve noticed how people sometimes judge based on appearances. There have been instances where, despite being a featured performer with my face on the poster, I’ve been denied entry backstage simply because I wasn’t dressed in formal attire. It’s moments like these that reinforce the importance of self-confidence and staying true to oneself.
A nine-time Grammy winner and an American music institution, Sheryl Crow has sold more than 50 million albums worldwide and is a member of the Rock & Roll Hall of Fame. With songs like “Love is a Good Thing,” “Redemption Day”, and “There Goes the Neighbourhood” in her arsenal, she has few peers when it comes to chronicling, as she describes, “the things that I see and the things that disturb my peace.” Her 12th studio album, Evolution, continues the tradition; she wrestles with AI anxieties, rails against Internet trolls and yearns for human connection.
I HAVE BEEN A MUSICIAN since I was old enough to reach the keys on a piano.
THERE WAS A MOMENT when I realised that what I was meant to be doing was not only reflecting but documenting the human experience.
IT’S VERY HARD for me to understand why I’ve had the colossal success I’ve had when I’m not the greatest singer, I’m not the greatest songwriter, I’m not the greatest bass player, guitar player, or producer.
EVERYTHING IS ABOUT the voice in my head that tells me that I’m not enough.
MY CAREER HAS BEEN largely propelled by my need to not just be liked but to be great. I have really come to terms with that. Cancer put that all into perspective—and several bad relationships.
I’VE LOVED SOME AMAZING PEOPLE, and I’ve loved some other people, too.
THE LAST FEW TIMES I’ve been back to LA, I felt melancholy. It’s the feeling of being young and having everything be exciting and full of possibility.
BUT I DON’T REALLY MISS IT. I’m most happy when I’m in this house with my boys in this town.
I’ve loved some amazing people, and I’ve loved some other people, too.
I’VE ALWAYS STRUGGLED with the weight of everything. I come by that genetically.
WHEN I FIRST STARTED TAKING OFF, I could not figure out how to hold all the energy coming at me. So I went and studied with this woman named Sharon Salzberg; she teaches mindfulness meditation.
I DO MINDFULNESS at least 30 minutes in the morning. Wherever I am. Two cups of coffee. Focus on breath.
IT’S A PRACTICE of letting everything go. It’s about finding compassion for yourself and your imperfections.
I GREW UP looking at magazines with Linda Ronstadt and Stevie Nicks, and they were mythical. I didn’t know that fame wasn’t going to feel like those black-and-white photos.
NOBODY, where money is concerned, is trustable.
THERE IS DIVINITY and there’s ego in everything. When you take your analytical “This is who I am and this is what I do”out of it and sit down with that weird, obtuse experience called life, sometimes something you couldn’t imagine surfaces.
I HAVE A FEW SONGS that I think, I don’t even know where that came from.
I TALK ABOUT mental issues because when I was really struggling, I didn’t have an example of somebody who said publicly, “I’m struggling, and this is what I did.” We need to make that normal.
Nobody, where money is concerned, is trustable.
THERE’S NOT A HANDBOOK for how to navigate, as a woman, a business that is predominantly run by men. Or for when you have a strong woman, how that challenges men and their feelings of importance.
I HAVE BEEN ADVISED on numerous occasions to please just tone it down.
I WISH I would shut my mouth but I can’t do that.
WITH CANCER, I had to learn how to say no and put myself first. A year of crying and being mad and not writing and resenting and having fear—and then ultimate joy and adopting a child. There was so much living that went into one year of my life, it seemed like I’d been slapped.
I WOULD NOT WISH cancer on anyone, but for me it was a tremendous—actually, a monumental—gift.
HAVING A DIAGNOSIS like that demands that you rebuild and decide what your life is going to look like and who is going to be in it—and who you are going to be in it.
YOU AND YOU ALONE are responsible for your art.
I LOOK AT WHAT TAYLOR SWIFT has done and think: she’s a powerhouse. The fact that she came up with solutions for how to not allow her music to be a moneymaker for other people when she should be owning it.
YOU WANT TO BE AIRY-FAIRY and making great music and having people love you. But what a distraction.
BY THE TIME my kids came into my life, I didn’t have things that I felt compelled to accomplish. That makes decision-making easy.
I HAVE THIS RELATIONSHIP with these two boys that I’m raising, and I have not manifested somebody coming in and changing that dynamic. That’s not to say I’m going to grow old by myself. I would like not to.
I TELL MY BOYS: “You have a college fund and a therapy fund. I hope you use the college fund, but please use the therapy fund.”
OUR KNEE-JERK NOW is to immediately criticise, vilify. Just observe and try to breathe love through your heart.
YOU’RE HERE for a nanosecond. Why be an asshole?
Originally published on Esquire US
It's hard to believe a decade has passed since Lauv recorded his first single, "The Other", one of the many songs of heartbreak that he, as a music industry veteran, has come to be known for. But even before that tune was birthed from a 2014 split, Lauv could harness turbulent waves attached to romantic relationships before actually being in them; this kid was penning break-up bangers back in school. His ability to reach in and excavate raw emotion landed him a publishing deal upon graduation, with tracks snapped up by the likes of Cheat Codes, Demi Lovato, and Charli XCX, no less.
"It took me time to get the confidence to put out my own song," Lauv said, "but 'The Other' was different. It was a really personal song about a break-up. That feeling of when you know in your gut it's not right, but you're also not sure how to explain it in your head. On paper, it should be good."
"The Other" would act as a soft launch while Lauv (aka Ari Staprans Leff) busily pedalled hit after hit for other artists. But soon he'd join their ranks with a slew of hits, most notably, the 2017 hit "I Like Me Better" became an international smash. Inspired by his move to New York City and a romance that swiftly ensued, the electropop number became a soundtrack for summer lovers (as it did too for Netflix rom-com, To All the Boys I've Loved Before). It stayed on the US Billboard Hot 100 for over six months and broke Lauv across Europe, Asia and Australia.
"I was wondering if anything was going to happen in my music career... if it was going to go anywhere. Then I finally released 'I Like Me Better' and within the first hour of refreshing the YouTube page, the views and comments went up like crazy. Life became extremely busy, really fun but also super stressful. It became a lot of touring, interviews, artwork, making content and more songs, and quickly turned into 'this is my full-time thing now."
That September, Lauv joined British superstar Ed Sheeran on his Divide Tour in Asia. First stop: the Singapore Indoor Stadium. "I remember the city was so pretty, so clean and so vast. I had chilli crab, chicken rice and stuff like that, but I do need to delve more into Singaporean food. Success in APAC swung Lauv back and forth east on the regular. Lauv even collaborated on tracks with Lay Zhang, BTS, and TWICE.
"I still have to process the weight of some of these collabs. They've been so much bigger than I could have imagined," he muses. "Another cool aspect of it all has been being able to play some awesome shows in Korea, and meet tonnes more K-pop artists."
Lauv was in Japan promoting the compilation, I Met You When I Was 18, when we first met and I asked him to describe what it felt like being in love. “It’s awful!” he said in 2018, based on that experience, the one which shaped his acclaimed debut. He maturely echoes that sentiment today.
“Looking back, I feel like my first relationship maybe wasn’t the healthiest. Not necessarily the best match, but it was such a high just knowing you had somebody and feeling like you had a partner to rely on, especially at that age when I was at the end of high school, so shy and feeling pretty lost. Falling in love for the first time was magical.
“Now I’m in a place where I’m so single and really afraid to let in love again. It’s something I’m working on because in my 20s I’ve had a lot of career success but I’ve also had a lot of personal issues.” He admits, “I feel like in a lot of ways I don’t really know myself, trust myself or love myself fully. I needed to stop running to other people to fix that or band-aid that, and instead to learn to love myself and the right partner will come along.”
Emphasis on “partner”. “I don’t really have any particular answers yet, other than it’s something that I’m exploring in my music and exploring in my mind, and I’m going to be exploring in my life,” Lauv said in a 2013 social media post.
He reveals about where he is with that exploration. “It’s been a really awesome and exciting journey but it’s also been so hard for me. Two months ago I stopped taking all of my medication for my mental health stuff because I was feeling like it was numbing me a little bit and I felt ready to address my deeper issues and work them out in therapy.
“This is my decade to be myself and live my life for me and not for any outside anything. There’s no turning back from where I’m at right now, so I have to embrace all the parts of myself and learn how to be comfortable in my own skin."
“Now I’m doing a tonne of therapy multiple times a week to work through all of the deeper stuff I have going on. I’ve also been so lucky to have so much support from people around me: friends, family, and even my team. They’re like ‘Don’t rush yourself in this process, don’t rush to label yourself, and you don’t need to do this for anyone else except for yourself.’"
“Potential”, his first song released a year after the social media post, marks the beginning of what he calls the most authentic chapter of both his career and life to date.
“This is something that’s happened to me too many times in the past year or two, where I’m looking at friendships and being like ‘Wait...maybe these feelings aren’t just friendship feelings and maybe they’re way deeper for me'. 'Potential’ is a song exploring that.”
The colourful accompanying promo to “Potential” shows Lauv and dancers in start-to-finish choreography for the first time, expressing those emotions to a rather attractive love interest.
“Shooting the music video was really fun and such a positive experience. Everybody on the shoot had such a loving energy that made me feel very safe to explore something on camera that I’ve never really explored on camera.”
In 2019, Lauv joined forces with out-and-proud Australian pop singer, Troye Sivan, on the number three single on the Singapore chart. Lauv explains how Troye has been a constant source of support in this life following their at-first professional encounter.
“We were actually just texting yesterday, I miss him as it’s been a minute since we’ve seen each other. Troye was amazing from the moment we met, during the peak of crazy anxious times for me. Working together was such an easy process and then doing promo, shooting content, making the video...he’s been somebody I’ll forever be grateful for, who took the time to talk me through stuff. A couple of times in the past few years, I’ve hit these points of extreme self-questioning and feeling very lost, and he’s always been there, and been somebody who has been very... non-judgmental, accepting, kind, and patient. He puts me at ease.”
At ease including that of speaking openly and honestly about his crushes. When asked how that feels, a noticeable weight appears lifted off his shoulders.
“I’m at the point where once I started admitting it to myself, I found myself being so inspired and writing all these songs about different guys in my life or fantasising about a potential lover. It felt so beautiful and natural to me. I do feel like in terms of life experience I have so much more to unpack and experience. I’ve gone through the phase of allowing myself to talk about this and admit these feelings, dream and write about them, and now it’s like ‘Let’s go Ari,’ and I’m like, ‘ahhh!’”
Ari is his birth name. Ari Leff. Lauv’s stage name was coined from his Leo zodiac sign and his mother’s Latvian heritage (“Lauva” is Latvian for “Lion”). Lauv turns 30 on 8 August; a milestone birthday, which he describes as an opportunity to start fresh, not start over.
“This is my decade to be myself and live my life for me and not for any outside anything. There’s no turning back from where I’m at right now, so I have to embrace all the parts of myself and learn how to be comfortable in my own skin. I’m also trying not to put too much emphasis on only career since a lot of my 20s were so career-focused, however, at past points in my life when I’ve felt most at peace with myself, I’ve made music that I really love.
“Now I want to dig back into family, friendships, and living just as ‘Ari’. Not worrying as much about ‘Lauv’ and letting that follow suit however it does.”
With that in mind, what are his plans for the big 3-0?
“I’m not going to have a huge party. I’m going to do something intimate with people that I care about, who have been there for me and I want to be there for, just coming together and having a nice wholesome celebration together.”
Of course, Lauv’s not Lauv with a pinch of excess thought.
“I am nervous though,” he finally admits, “It’s wild turning 30!”
Photography, Digital Imaging and Retouching: Jayden Tan
Styling: Asri Jasman
Grooming: Emma Wendorff
Photography Assistant: Brian Neo
You may not know this, but if Spotify has been your go-to streaming service for jamming to your favourite tunes during your office commute or while keeping up with the latest fashion trends on Esquire (yes shameful, I know), then you’ve been unknowingly settling for low-quality music this whole time.
Spotify, of course, is aware of this and has been trying to introduce a high-fidelity (HiFi) subscription plan since 2021, despite rumours of them scrapping the idea. However, the plan is finally coming to pass as HiFi streaming is expected to arrive by the end of 2024, joining fellow streaming moguls, Apple Music and Tidal as streaming services that offer a high-quality option.
Amidst the controversy surrounding Spotify's recent price hikes—increasing costs twice a year across all subscription plans (the second hike thankfully sparing Singaporeans), users finally have something to cheer for, right? Well, I have some ill tidings that may convert even the staunchest Spotify apologists. HiFi streaming will be offered as an add-on that costs users at least USD5 more per month on top of their existing plan. This means that if you're currently on the individual plan paying SGD10.98, you might end up forking out SGD17 per month instead.
In contrast, both Apple Music and Tidal offer high-fidelity audio built-in to their streaming services, charging SGD10.98 monthly. Anyone else thinking of jumping ship?