They're not a daily newspaper but a niche weekly magazine assumed by all to appeal only to a young demographic? Many of the commentariat think not. And there is certainly an argument that NME's readership is teenagers who, unlike Evening Standard fans, are not going to pick up a free copy to read on their commute to work.
I love it. I always have. Even when I was going through my 'I don't want anyone to know I'm gay so I'm going to pretend I like Green Day' phase, all I wanted to listen to was Britney.
The current debates around gender bias in live music (specifically festival lineups) are important but people are focused too closely on the big names and headliners. I think we learn more looking at the smaller stages and events specifically aimed at 'emerging artists'. I've done two quick bits of number crunching in that area and found more optimistic results.
I talked to, acclaimed musician and arranger, John Metcalfe about his latest album, life in the Durutti Column and the sound of trees
When I reviewed the album a few weeks ago, I said that I loved all the songs, there wasn't one that I wanted to skip. Having seen the show live, I stand by that; the music flowed effortlessly and the vocal harmonies were joyful to hear but the star of the show, musically, comes right at the end.
I journeyed to Glastonbury 2015 with these unconvincing stats (and a hefty rucksack) on my back. A weary feminist in every sense, I didn't expect any mind-blowing gender debate from Worthy Farm...
If anything festivals are starting to lead the way in demonstrating how deaf and disabled people can fully enjoy the whole experience alongside their family and friends. In my own experience many of the big festivals are going beyond the simple legal access requirements and doing more than paying lip service to accessibility.
Mod was very often routed in class. Working class young men who wanted to look super smart when they went out at the weekend and would save for months to buy the right clothes. Add into the mix a carefully selected mix of music, a penchant for drugs to keep them dancing all night and the desire to prove they were not defined by a dreary office job - and you have a template that can be repeated whatever the year.
The media after her death in July 2011, focussed on her alcohol and drug abuse. But they didn't mention her bulimia, nor the depression she wrestled with since she was a teen. The new documentary film on her life directed by Asif Kapadia sets the record straight, telling the tale of a brilliant woman who was plagued with self-doubt and deficient in resilience.
Tucked away among the legends of Island Records in the 1970s was a songwriting teenager from Teeside called Claire Hamill. Thrust into the spotlight a...
The banging beats of Leftfield's epic Sonic Stage headline set shall live forever in my heart (sorry Kanye), and I know if we apply the same dedication to recovery as we did to partying last week we'll be back to normal in no time.
Five years in the making, importantly My Love Is Cool came out when it was ready - an organic process that saw changes in both line-up and musical direction along the way yet tellingly this hasn't damaged them.
There are other fantastic festivals up and down the country, but none of them come close to beating the Eavis family's spectacular. What makes Worthy Farm so special? And how can the organisers of Reading, Isle Of Wight, V et al replicate Glastonbury's success? Fresh from another brilliant weekend, I've got a few ideas...
We haven't seen many bands emerge of late, then out comes a 7 piece all at once! Formed during the spring of 2008, but re-imagined in 2014, are a group of sonically-synced musicians who basically want to blast your eardrums with their socially conscience, hook heavy brand of pop music, and have you loving it.
When recounting their experience, anyone who has ever had the pleasure of interviewing Sir Paul McCartney will reveal the one agonising thought that whirled through their mind as they began their preparations: where do I start?
Albini has a long history as a vehement critic of the music industry. His seminal 1993 essay Stereolab a gentle poke, attacks the industry's coercion of bands into believing they must sign opaque contracts at all costs