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To promote his solo Japanese debut album, ‘HIBI’, Chanyeol launched ‘The Days’ Japan Tour, which culminated in a headlining performance at the National Convention Hall in Pacifico Yokohama. Chanyeol gained fame as a member of EXO, one of the most renowned and impactful K-pop groups in history. More recently, he has made a name for himself as an actor in K-dramas and as a solo artist with mini-albums like ‘Upside Down’ and ‘Black Out.’ He recently unveiled ‘HIBI’, marking his solo debut in Japan. In an interview with The Japan Times, he mentioned being inspired by his passion for J-pop, aiming to infuse his own style into the genre. His popularity and lasting influence in the K-pop scene across East Asia was clear as 5,000 fans filled the picturesque National Convention Hall in Yokohama, reminiscent of London's Southbank Centre. — — As the main lights dimmed, ‘Moonlight’ by EXO-K played, illuminating the audience with their glow sticks. It’s fair to say that around 80% of the crowd had glow sticks, creating a mesmerizing scene as they swayed in unison. Chanyeol opened the show with ‘Back & Forth’ and ‘Black Out.’ The latter performance was particularly thrilling as he began with an acoustic guitar, then switched to an electric guitar when the stage lights went dark, showcasing his guitar skills. The energy in the hall was immediately electrifying, and it was evident that Chanyeol thrived off this atmosphere, fully engaging with the audience on stage. A quick note on the overall concert experience in Japan: it was refreshing to see the crowd fully present, mostly without their phones. The lack of devices contributed to a more genuine and immersive concert experience, which seems to be diminishing in Europe and the US. — — Chanyeol’s songs took on a new vibrancy during the live performance, especially with the heavy rock influences featured prominently in ‘Upside Down.’ He left the stage during the instrumental outro of ‘Nothin’ by EXO-SC, allowing the incredibly talented band to take center stage and deliver an impressive rock solo. The performance showcased great versatility, as he skillfully shifted the mood with songs from ‘HIBI’ like ‘Tokyo Tower’ and the R&B-influenced track, ‘Cherry.’ During an EXO medley, Chanyeol ventured into the crowd, interacting with thrilled fans on the arena's first floor before returning to the stage to perform on his electric guitar amid bursting smoke cannons. Witnessing such a high-caliber performer was a delight. Chanyeol demonstrated his mastery as a performer, captivating the audience throughout the show. This is no surprise, given his decade-long experience performing in large arenas and stadiums with EXO. What stood out was his ability to connect with the audience in Japanese, singing, chatting, and sharing anecdotes throughout the performance without a translator. Chanyeol's solo career saw substantial growth in 2025 with the release of two mini-albums and a Japanese tour. However, he is not done yet, as EXO has announced their long-awaited return with a fan meeting in December, followed by the release of their eighth studio album in early 2026. — — Words: Adam Davidson

To promote his solo Japanese debut album, ‘HIBI’, Chanyeol launched ‘The Days’ Japan Tour, which culminated in a headlining performance at the National Convention Hall in Pacifico Yokohama. Chanyeol gained fame as a member of EXO, one of the most renowned and impactful K-pop groups in history. More recently, he has made a name for himself as an actor in K-dramas and as a solo artist with mini-albums like ‘Upside Down’ and ‘Black Out.’ He recently unveiled ‘HIBI’, marking his solo debut in Japan. In an interview with The Japan Times, he mentioned being inspired by his passion for J-pop, aiming to infuse his own style into the genre. His popularity and lasting influence in the K-pop scene across East Asia was clear as 5,000 fans filled the picturesque National Convention Hall in Yokohama, reminiscent of London's Southbank Centre. — — As the main lights dimmed, ‘Moonlight’ by EXO-K played, illuminating the audience with their glow sticks. It’s fair to say that around 80% of the crowd had glow sticks, creating a mesmerizing scene as they swayed in unison. Chanyeol opened the show with ‘Back & Forth’ and ‘Black Out.’ The latter performance was particularly thrilling as he began with an acoustic guitar, then switched to an electric guitar when the stage lights went dark, showcasing his guitar skills. The energy in the hall was immediately electrifying, and it was evident that Chanyeol thrived off this atmosphere, fully engaging with the audience on stage. A quick note on the overall concert experience in Japan: it was refreshing to see the crowd fully present, mostly without their phones. The lack of devices contributed to a more genuine and immersive concert experience, which seems to be diminishing in Europe and the US. — — Chanyeol’s songs took on a new vibrancy during the live performance, especially with the heavy rock influences featured prominently in ‘Upside Down.’ He left the stage during the instrumental outro of ‘Nothin’ by EXO-SC, allowing the incredibly talented band to take center stage and deliver an impressive rock solo. The performance showcased great versatility, as he skillfully shifted the mood with songs from ‘HIBI’ like ‘Tokyo Tower’ and the R&B-influenced track, ‘Cherry.’ During an EXO medley, Chanyeol ventured into the crowd, interacting with thrilled fans on the arena's first floor before returning to the stage to perform on his electric guitar amid bursting smoke cannons. Witnessing such a high-caliber performer was a delight. Chanyeol demonstrated his mastery as a performer, captivating the audience throughout the show. This is no surprise, given his decade-long experience performing in large arenas and stadiums with EXO. What stood out was his ability to connect with the audience in Japanese, singing, chatting, and sharing anecdotes throughout the performance without a translator. Chanyeol's solo career saw substantial growth in 2025 with the release of two mini-albums and a Japanese tour. However, he is not done yet, as EXO has announced their long-awaited return with a fan meeting in December, followed by the release of their eighth studio album in early 2026. — — Words: Adam Davidson

The Scottish band The Twilight Sad has released a new track titled 'Waiting for The Phone Call'. Their last album, 'It Won’t Be Like This All The Time', was well received.

 Live Report: Chanyeol – Yokohama National Convention Hall

Live Report: Chanyeol – Yokohama National Convention Hall

To promote his solo Japanese debut album, ‘HIBI’, Chanyeol launched ‘The Days’ Japan Tour, which wrapped up with a headlining performance at Pacifico.

 SWIM Releases New Album ‘Dear Friend’

SWIM Releases New Album ‘Dear Friend’

Australian producer SWIM has announced the upcoming release of their new album titled 'Dear Friend'. The electronic artist's debut album, ‘In Circles’, made a significant impact when it was released in 2024.

 Skye Newman Officially Announces The Woman I Am Tour

Skye Newman Officially Announces The Woman I Am Tour

Skye Newman has announced plans for her largest UK tour so far. The emerging pop talent has recently released her EP 'SE9 Pt 1', a hot debut that came after

 28 · 10 · 2025 London artist Neue Grafik has announced plans for his upcoming album ‘Rachael’. The songwriter's music blends elements of jazz and soul, balancing club vibes with personal introspection. With a variety of projects under his belt, Neue Grafik is at the forefront of his new album, set to be released in the early weeks of 2026. Scheduled for release on January 30th through the Cologne-based label Week-End Records, the first track from the album is now available. ‘Bold’ marks an impressive return, showcasing Neue Grafik’s artistic touch as he enriches his jazz-infused sounds with vibrant colors. Featuring the powerful vocals of Jerome Thomas, it serves as a striking introduction that hints at the album’s deeper themes. Listen to ‘Bold’ below. Join us on WeAre8 to explore global cultural events. Follow Clash Magazine HERE as we joyfully navigate through clubs, concerts, interviews, and photo shoots. Get exclusive backstage insights and a glimpse into our world as the excitement unfolds. Subscribe to the Clash mailing list for the latest updates on music, fashion, and film news.

28 · 10 · 2025 London artist Neue Grafik has announced plans for his upcoming album ‘Rachael’. The songwriter's music blends elements of jazz and soul, balancing club vibes with personal introspection. With a variety of projects under his belt, Neue Grafik is at the forefront of his new album, set to be released in the early weeks of 2026. Scheduled for release on January 30th through the Cologne-based label Week-End Records, the first track from the album is now available. ‘Bold’ marks an impressive return, showcasing Neue Grafik’s artistic touch as he enriches his jazz-infused sounds with vibrant colors. Featuring the powerful vocals of Jerome Thomas, it serves as a striking introduction that hints at the album’s deeper themes. Listen to ‘Bold’ below. Join us on WeAre8 to explore global cultural events. Follow Clash Magazine HERE as we joyfully navigate through clubs, concerts, interviews, and photo shoots. Get exclusive backstage insights and a glimpse into our world as the excitement unfolds. Subscribe to the Clash mailing list for the latest updates on music, fashion, and film news.

Some artists pursue happiness, while others learn to grapple with it. For JayaHadADream, joy and sorrow are not antagonistic; rather, they are collaborators, always intertwined.

 Neue Grafik gibt neues Album 'Rachael' bekannt.

Neue Grafik gibt neues Album 'Rachael' bekannt.

London-based artist Neue Grafik has announced the upcoming release of their new album titled 'Rachael'. The musician's creations blend elements of jazz and soul, straddling the line between club music and more.

 Amyl and The Sniffers provide an electrifying burst of stadium-worthy excellence at Manchester’s O2 Victoria Warehouse.

Amyl and The Sniffers provide an electrifying burst of stadium-worthy excellence at Manchester’s O2 Victoria Warehouse.

The Aussie punks' relentless victory tour goes on.

 Discover… Vanity Fairy

Discover… Vanity Fairy

The sparkling disco gem in London's subterranean collection.

Slew Releases New Mixtape ‘WHO ELSE?’

London rapper Slew has released his latest mixtape, 'WHO ELSE?'. This 12-track collection includes the singles 'BROADWAY’ and 'BUTTERFLIES’ and comes after Slew's debut.

 Isabel’s new EP ‘It Is That Deep’ Celebrates Authenticity.

Isabel’s new EP ‘It Is That Deep’ Celebrates Authenticity.

Rising artist Isabel has released her latest EP titled 'It Is That Deep'. Originally from Valencia and currently residing in Manchester, the 24-year-old multi-talented individual has garnered attention.

 Chet Faker Announces Upcoming Album ‘A Love For Strangers’

Chet Faker Announces Upcoming Album ‘A Love For Strangers’

Chet Faker Announces Upcoming Album ‘A Love For Strangers’

 Following the success of her collaboration "God Gave Me Feet For Dancing" with Ezra Collective, soul and jazz artist Yazmin Lacey joins us to discuss her development from her debut LP to her second album, "Teal Dreams." She shares the music that has shaped her sound, the unconventional art forms that inspired this particular record, and the significance of artistic evolution. Lacey also reflects on her unique writing processes and how she immerses herself in creating new music, free from external influences. This interview portrays an artist on the rise who is discovering her voice. — — Can you describe the inspiration for this album? I created a lot of material last year, but not everything resonated with me. In January, I took some time away and learned about an artist named Danielle McKinney, who paints black women in their safe spaces. I found myself drawn to one painting featuring a woman in a teal room, which was significant to me because I was living in a teal room at the time. It resonated deeply, representing a space where I reflect on my thoughts and experiences. That became the foundation for my album. It was a departure for me since I had never drawn inspiration from a different art form before, but it inspired me to create "Teal Dreams". Have you found that your collaboration with Ezra Collective influenced this album? Not really. There was quite a gap between when I worked with Ezra Collective and when I started this album. I began working on this album in late February of this year, and we wrapped it up by early summer. There was a lot of material created during that time that ultimately didn’t make the final cut, making the two projects feel distinct. I enjoyed making the Ezra Collective track, and it might have sparked my creativity, but I feel like there was a significant time gap between the two. That track had a significant impact, especially with the Mercury Prize recognition for them. Did that add pressure for this album? It was a pleasant surprise to be part of something that received such a positive reaction. However, I think there would be pressure regardless, simply because it's my second album. With the first album, there are no expectations, but by the second, listeners have something to compare it to. Nevertheless, I always prioritize making music for myself first. It's only once I finish the tracks that I begin to consider how they might be perceived by others, so I'm not sure if that song added more pressure. Do you feel your creative process has evolved from your debut to this album? Is there a greater focus on reggae or ska? I believe there aren't any ska influences in this record. It's more aligned with reggae and lovers’ rock. While my last album hinted at reggae elements, like in "From a Lover," this experience working with new collaborators challenged me and pushed me out of my comfort zone. My creative process remains largely unchanged; I write primarily for myself and enjoy collaborative sessions in the studio. The main difference lies in collaborating with different people. — — Your sound spans a wide range of genres. How do you manage the various styles in your experimentation? Sometimes I worry about whether my sound is too scattered. I have a commitment to myself as an artist to prioritize my own enjoyment first. I find that I like to challenge myself and explore different sounds. Some songs cater to a distinct sound, allowing me to enjoy the diversity of my music. Working with various producers helps me learn more about songwriting, making experimentation feel organic. I focus on what excites me when I'm in the studio. For those who are new to your music, how would you describe your overall sound? Regardless of genre, I view my overall sound as music from the soul, for the soul. My writing typically reflects personal experiences, and I dislike being confined to specific genres. For me, it's more about expressing emotions and vulnerabilities, which I believe embodies soul music. What sonic influences shaped this album? Typically, I make it a point to avoid listening to new music while working on my own. I don’t think that approach is particularly beneficial. As mentioned, the album features multiple styles, reflecting that I don’t rely on one specific sound or album for inspiration. I prefer to enter the studio, experiment, and develop what resonates with me. Instead, I stick to familiar albums and artists I know well, avoiding new music while creating. Can you elaborate on your writing process and the themes explored in the album? The album encompasses a range of themes, arranged chronologically to reflect my experiences through different times. I structured it this way to capture my evolving feelings. I’m particularly proud of addressing various topics in this album, such as "Water," which explores how friendships change in adulthood and how to navigate those shifts. The diversity of themes is significant, from "Grace"—which serves as a self-prayer about kindness to oneself—to topics around love and personal experiences with nature, as seen in songs like "Wild Things." Writing about these aspects allowed me

Following the success of her collaboration "God Gave Me Feet For Dancing" with Ezra Collective, soul and jazz artist Yazmin Lacey joins us to discuss her development from her debut LP to her second album, "Teal Dreams." She shares the music that has shaped her sound, the unconventional art forms that inspired this particular record, and the significance of artistic evolution. Lacey also reflects on her unique writing processes and how she immerses herself in creating new music, free from external influences. This interview portrays an artist on the rise who is discovering her voice. — — Can you describe the inspiration for this album? I created a lot of material last year, but not everything resonated with me. In January, I took some time away and learned about an artist named Danielle McKinney, who paints black women in their safe spaces. I found myself drawn to one painting featuring a woman in a teal room, which was significant to me because I was living in a teal room at the time. It resonated deeply, representing a space where I reflect on my thoughts and experiences. That became the foundation for my album. It was a departure for me since I had never drawn inspiration from a different art form before, but it inspired me to create "Teal Dreams". Have you found that your collaboration with Ezra Collective influenced this album? Not really. There was quite a gap between when I worked with Ezra Collective and when I started this album. I began working on this album in late February of this year, and we wrapped it up by early summer. There was a lot of material created during that time that ultimately didn’t make the final cut, making the two projects feel distinct. I enjoyed making the Ezra Collective track, and it might have sparked my creativity, but I feel like there was a significant time gap between the two. That track had a significant impact, especially with the Mercury Prize recognition for them. Did that add pressure for this album? It was a pleasant surprise to be part of something that received such a positive reaction. However, I think there would be pressure regardless, simply because it's my second album. With the first album, there are no expectations, but by the second, listeners have something to compare it to. Nevertheless, I always prioritize making music for myself first. It's only once I finish the tracks that I begin to consider how they might be perceived by others, so I'm not sure if that song added more pressure. Do you feel your creative process has evolved from your debut to this album? Is there a greater focus on reggae or ska? I believe there aren't any ska influences in this record. It's more aligned with reggae and lovers’ rock. While my last album hinted at reggae elements, like in "From a Lover," this experience working with new collaborators challenged me and pushed me out of my comfort zone. My creative process remains largely unchanged; I write primarily for myself and enjoy collaborative sessions in the studio. The main difference lies in collaborating with different people. — — Your sound spans a wide range of genres. How do you manage the various styles in your experimentation? Sometimes I worry about whether my sound is too scattered. I have a commitment to myself as an artist to prioritize my own enjoyment first. I find that I like to challenge myself and explore different sounds. Some songs cater to a distinct sound, allowing me to enjoy the diversity of my music. Working with various producers helps me learn more about songwriting, making experimentation feel organic. I focus on what excites me when I'm in the studio. For those who are new to your music, how would you describe your overall sound? Regardless of genre, I view my overall sound as music from the soul, for the soul. My writing typically reflects personal experiences, and I dislike being confined to specific genres. For me, it's more about expressing emotions and vulnerabilities, which I believe embodies soul music. What sonic influences shaped this album? Typically, I make it a point to avoid listening to new music while working on my own. I don’t think that approach is particularly beneficial. As mentioned, the album features multiple styles, reflecting that I don’t rely on one specific sound or album for inspiration. I prefer to enter the studio, experiment, and develop what resonates with me. Instead, I stick to familiar albums and artists I know well, avoiding new music while creating. Can you elaborate on your writing process and the themes explored in the album? The album encompasses a range of themes, arranged chronologically to reflect my experiences through different times. I structured it this way to capture my evolving feelings. I’m particularly proud of addressing various topics in this album, such as "Water," which explores how friendships change in adulthood and how to navigate those shifts. The diversity of themes is significant, from "Grace"—which serves as a self-prayer about kindness to oneself—to topics around love and personal experiences with nature, as seen in songs like "Wild Things." Writing about these aspects allowed me

The title 'ICONOCLASTS' might be somewhat inappropriate for Anna von Hausswolff’s seventh album. After ten years in her career, the Swedish avant-garde artist has created a

 Developing as an Artist: A Conversation with Yazmin Lacey

Developing as an Artist: A Conversation with Yazmin Lacey

Following the success of her collaboration "God Gave Me Feet For Dancing" with Ezra Collective, soul and jazz vocalist Yazmin Lacey joins us to

 Hannah Jadagu – Provide a description.

Hannah Jadagu – Provide a description.

Hannah Jadagu refers to herself as a “quality time girlie.” In her second album, ‘Describe’, the Texas-born artist asserts that this quality of time with

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