Sydney Rose @ BST Hyde Park 2025

Sydney Rose @ BST Hyde Park 2025 (Kalpesh Patel)

The new single made its live debut at Rolling Stone’s Stateside Festival in New York, where Rose performed ahead of artists including Noah Kahan and Gigi Perez, giving fans an early glimpse of the next chapter in her rapidly evolving career.

While Track Team retains the delicate honesty that has become Sydney Rose’s trademark, it also demonstrates growing confidence as both a songwriter and performer. Anchored by warm acoustic instrumentation and her unmistakably gentle vocal delivery, the song captures the quiet emotional detail that has made her music resonate so strongly with audiences worldwide.

Rather than relying on grand declarations, Rose continues to excel through subtle storytelling, finding beauty in life’s everyday moments and expressing feelings that often go unspoken. It’s an approach that has helped her cultivate a fiercely loyal fanbase, particularly among younger listeners drawn to her deeply personal lyricism.

The release follows an extraordinary period of growth sparked by We Hug Now, which became one of the defining viral songs of the past year. Its success extended far beyond social media, accumulating hundreds of millions of global streams and introducing Rose to a worldwide audience while establishing her as one of alternative music’s most exciting emerging artists.

That breakthrough built upon years of quietly developing her craft. Having first gained attention through online performances and original material, Rose has steadily refined a songwriting style that blends indie folk, alternative pop and acoustic intimacy into songs that feel remarkably authentic.

Her journey has not been without challenges. Following an early record deal, Rose found herself unexpectedly without a label before independently releasing new music that ultimately led to the creation of We Hug Now—a turning point that reshaped her career and demonstrated the power of perseverance alongside genuine artistic connection.

Since then, she has continued to expand her audience through acclaimed releases, sold-out headline tours across North America and Europe, and appearances alongside some of contemporary music’s biggest names.

Now signed to Mercury Records, Sydney Rose appears to be entering a new creative phase with renewed confidence, and Track Team suggests there is plenty more to come. Its understated beauty, heartfelt songwriting and effortless sincerity reinforce why she has become such a compelling voice within today’s alternative music landscape.

With each release, Rose continues to prove that the quietest songs can often leave the deepest impression.

Sydney Rose Shines In Mid-Afternoon Magic On The Rainbow Stage At BST Hyde Park 2025

Duran Duran @ BST Hyde Park 2026

Duran Duran @ BST Hyde Park 2026 (Sienna Lorraine Gray)

Early festival-goers were rewarded by Californian and Kansas-raised electro-pop artist Sophie Grey., whose glittery purple two-piece perfectly matched the shimmering afternoon sunshine. Accompanied by a keytar throughout her set, Grey showcased tracks from her recent EP Just Another Sonic Monday, with Maybe, Baby and On Hold proving particular highlights as she impressed with her futuristic electro-pop sound.

There could be few better ways to kick-start an afternoon in Hyde Park than Groove Armada. Tom Findlay and Andy Cato took to the decks for a seamless DJ set that quickly transformed the Great Oak arena into an open-air dancefloor, filling the Royal Park within minutes. Celebrating his 53rd birthday, Findlay looked delighted to spend it soundtracking a sun-soaked London afternoon, while the pair’s trademark blend of house, funk and electronica proved the perfect warm-up for the day ahead.

A later appearance on the Rainbow Stage was made by Melanie C, who kept the party going with a hugely enjoyable DJ set. Celebrating 30 years since the release of SPICE, the former Spice Girl treated fans to Who Do You Think You Are? amongst an infectious selection of pop classics before closing with a crowd singalong to 2 Become 1. It wouldn’t be her only appearance of the day.

Melanie C with Scissor Sisters @ BST Hyde Park 2026

Melanie C with Scissor Sisters @ BST Hyde Park 2026 (Simon Reed)

Nile Rodgers & CHIC turn BST Hyde Park into the world’s biggest disco, sweeping across The Great Oak Stage with the effortless confidence of a band that knows it owns half the nation’s party soundtrack. From the opening groove of Le Freak to the irresistible pull of Everybody Dance and I Want Your Love, Rodgers conducts proceedings with a grin, a Stratocaster and what appears to be a direct hotline to everyone’s dancing feet. Even those claiming they’re “just watching” get caught bouncing around by the second chorus.

Nile Rodgers & CHIC @ BST Hyde Park 2026

Nile Rodgers & CHIC @ BST Hyde Park 2026 (Simon Reed)

The hits arrive so quickly they barely have time to take a bow. Rodgers’ extraordinary songwriting catalogue stretches well beyond CHIC, taking in Diana Ross’ I’m Coming Out, Sister Sledge’s We Are Family, Madonna’s Like A Virgin and Material Girl, before Daft Punk’s Get Lucky reminds everyone that his influence and massive body of work remains as relevant as ever.

We Are Family unites the crowd (I can see what appears to be two strangers booty bumping in time to the music), while Get Lucky and closing number Good Times provide a masterclass in feel-good funk, with Duran Duran’s John Taylor joining Rodgers for the finale. Rodgers remains a charming ringmaster throughout, proving that at 73, he still has the energy to power the show and his million-watt smile. The result is a punchy, joyous set that leaves the crowd smiling, sweating and quietly wondering whether disco might actually be the answer to everything.

With a giant inflatable pair of scissors towering over the stage, Scissor Sisters waste no time reminding everyone exactly why they’ve been so sorely missed.

The show opens with I Don’t Feel Like Dancin’, led by the charismatic and expressive “Eternal Twink” Jake Shears (who I, and many others, last saw being erm, “enjoyed” in last year’s BDSM rom-com Pillion). Shears is an exceptional presence, and his high-quality falsetto voice and infectious energy never needed the draggy, flamboyant trappings, but it sure makes life more fun. “Now we’re cooking. Now we’re cooking with grease,” Shears beams after Laura, and from there the band barely pause for breath.

Missing from the stage is Ana Matronic, who is sitting out the current schedule of performances to focus on historical research and her successful history podcast, Good Time Sallies. How do you replace a larger-than-life character like former co-founding frontwoman Ana Matronic? With two larger-than-life frontwomen. Amber Martin and Bridget Barkan look like they’ve been kidnapped from the final night at Studio 54. They have a special brand of glamour; raunchy, sleazy and exquisite. Amber Martin cries out to the crowd, “Everyone, get your tits out!” Given the average age of this Gen X audience, the same joke titters across the crowd about us needing to peel up the hem of our dresses.

Scissor Sisters @ BST Hyde Park 2026

Scissor Sisters @ BST Hyde Park 2026 (Simon Reed)

Crowd-pleaser Filthy/Gorgeous activates the audience, the people jumping in time with the chorus holding their wobbles in place just as a pair of comically giant inflatable cockeyed breasts arrive on stage, bouncing independently of each other. Yup, apropos Scissor Sisters, thanks for representing.

For an extra shot of pop sparkle, former Spice Girl Melanie C makes an appearance ahead of her Rainbow Stage DJ set. Performing with trademark athletic energy, she slips seamlessly into the band’s chaos for a rockin’ mash-up of Take Your Mama and George Michael’s Freedom with Jake Shears. As their time on stage comes to an end, Shears reminds Hyde Park that London has always been Scissor Sisters’ spiritual home, dedicating Only The Horses to the city before thanking fans for their years of support.

Just as I began to reminisce about their long-ago Brit Awards performance with a farmyard of Muppets, to wrap up their set is Music Is The Victim; the band are joined by a demented-looking version of a Mr Snuffleupagus-esque two-person puppet. As the heat cranks up a few notches, I feel terrible for the person in the rear of that costume. For all the campy frivolity, they comfortably navigate across genres. Their finale proves their solid rock credentials as they bust out powerhouse rock and rhythm & blues. Scissor Sisters are epic performers with bags of (albeit adult-orientated) added value.

With an expansive career that has never ceased, Duran Duran have an incredible repertoire to draw from. Opening with Is There Something I Should Know?—a song which is likely not the first Duran hit to jump to mind—it’s easy to forget that it entered the UK charts at number one upon release in 1983. Core members and guests fill out the eight-piece band and, seconds in, we can hear how tight they still are. They all look “refreshed”, whether by procedures or style updates; it is effective. Roger Taylor beams from behind the drum kit, Nick Rhodes is resplendent in an ‘eyeball suit’ designed by Joshua Workman, John Taylor sports bright newly-bleached hair and Simon Le Bon wears casual but chic summer whites.

“Hi London… do you reckon it’s time for Bond?” Le Bon grins before the unmistakable opening of A View To A Kill, swiftly followed by Hungry Like The Wolf. The crowd barely have time to catch their breath. Le Bon charms Hyde Park with effortless star power. During A View To A Kill he proves he still has the pipes, singing without any perceptible adjustment for the deepening of his voice and comfortably hitting the notes.

Duran Duran @ BST Hyde Park 2026

Duran Duran @ BST Hyde Park 2026 (Bethan Miller-Carey / @bethanmillerco)

With England due to face Mexico in the World Cup later that night, Le Bon abandons his usual dedication for Ordinary World to “those less fortunate”, instead offering it to the England football team. “I believe they can overcome the cauldron that is the Azteca,” he tells Hyde Park to huge cheers.

What I am interested in, though, is Le Bon’s vocal delivery, which is holding up beautifully. Ordinary World is a complex song requiring range, power and steady breath control. Where he starts to waver, he drops his voice down into the music and the guitar solo picks up an intricate, richly melodic fill. It’s always a joy when a band who stick together continue to develop and play in such a unified way.

The visuals take a leaf from the Roxy Music playbook, with highly stylised conceptual sequences of glossy magazine-quality female models doing sexy things in time to Come Undone, a version of New Moon On Monday with a stripped-back intro, and The Chauffeur. The Chauffeur is a song that rarely makes it into a Duran set; it is a treat at twilight, the perfect setting. Le Bon tops his head with a driver’s cap for kinky effect, as dancers undress each other in a choreographed sapphic roleplay magnified on the big screens. Le Bon then busts out the trademark ocarina, which rounds out the number. He plays a mean ocarina—who knew?

Taking a moment to introduce Nile Rodgers, who has returned to the stage after performing earlier in the day with CHIC, Le Bon harks back to a song they wrote together in the 1980s, remarking, “It makes us seem so old, but not really, because music keeps you young,” before treating the crowd to Notorious. Ahead of Free To Love, Simon Le Bon performs the role of Bruce Dern from the 1966 movie The Wild Angels (more familiarly known as the speech from Primal Scream’s Loaded). Well timed to continue the Pride weekend celebrations.

The cooling temperature wakes the park up just in time for a high-energy and ear-shatteringly loud White Lines—a quick reminder to those attending British Summer Time gigs: bring or buy ear protection. The setlist is a fantastic mash-up of classics like Girls On Film, more recent tracks like Invisible from 2021’s Future Past, and unexpected covers and mash-ups including Psycho Killer, Evil Woman and Super Lonely Freak. I begin to wonder if these adventurous set choices are in preparation for their newly announced Halloween spectacular at London’s O2 Arena later this year.

Ahead of the inevitable encore choices, Save A Prayer is slotted in. The band request audience participation with the creation of a dreamy mobile phone galaxy just as darkness falls, while Le Bon picks up a guitar for the perfect softening of the sound.

There is still one final burst of energy left. London Calling and The Wild Boys send Hyde Park into one last frenzy before the unmistakable opening of Rio brings the evening to its inevitable, euphoric conclusion. As Roger Taylor’s final drum roll rings out across the park, thousands roar their approval after two hours of timeless hits. On a day where disco ruled the afternoon, camp reigned supreme and one of Britain’s greatest bands reminded everyone exactly why they’ve endured for nearly five decades, BST Hyde Park once again proved itself one of the capital’s defining summer events.

Live review of Duran Duran @ BST Hyde Park 2026 by Sarah Sievers on 5th July 2026. Photography by Simon Reed. Additional photography of Duran Duran by Sienna Lorraine Gray and Bethan Miller-Carey.

Mumford & Sons Celebrate A Homecoming To Remember At BST Hyde Park 2026

The Script

The Script (Simon Emmett)

Built around soaring melodies and infectious indie-rock energy, The Crowd Was Singing Wonderwall is both a celebration of friendship and a reflection on the power of forgiveness. Inspired by the emotional impact of Oasis’ hugely anticipated reunion, the song imagines two lifelong friends reconnecting after decades apart, brought together by a shared love of music and the communal experience of singing one of Britain’s most iconic songs.

Frontman Danny O’Donoghue explains that the idea came from witnessing the wider emotional significance of Oasis returning to the stageL “I’m a huge Oasis fan. Always have been. But I don’t think Liam and Noel knew the full impact of what they were doing when they got back together.”

He continues: “The Gallaghers reuniting put into the zeitgeist the idea that forgiveness is cool again. The hairs on the back of my neck stood up when I saw them walking out with their hands together. If two of the most notorious people for being at loggerheads can overcome their differences, anything’s possible.”

Rather than simply paying tribute to a legendary band, The Crowd Was Singing Wonderwall explores the way music can reconnect people, rekindle memories and heal fractured relationships. It’s a sentiment that feels especially fitting for a band whose own catalogue has soundtracked countless milestones for audiences around the world.

The single also offers another glimpse into The User’s Guide To Being Human, an album recorded in Topanga Canyon, California, which reunites O’Donoghue with longtime collaborators Andrew Frampton, Steve Kipner and Jimbo Barry—the songwriting team behind several of The Script’s biggest international hits. Judging by the two songs released so far, the album appears to embrace both optimism and vulnerability, exploring resilience, connection and the complexities of modern life while maintaining the emotionally direct songwriting that has defined the Irish trio since their breakthrough.

Over the past two decades, The Script have established themselves as one of Ireland’s most successful musical exports, combining chart-topping success with a reputation for delivering powerful live performances. With multiple UK and Irish number-one albums, billions of global streams and millions of records sold, the band continue to demonstrate an enduring ability to connect with audiences across generations.

Following a summer performing in stadiums across the UK and Ireland, The Script will embark on a major headline arena tour this autumn in support of The User’s Guide To Being Human. The extensive run will take in dates across Ireland and the UK before continuing throughout mainland Europe and into Asia and Australia in 2027.

If Man In The Arena announced the band’s return with confidence, The Crowd Was Singing Wonderwall adds heart, nostalgia and a timely reminder that sometimes music can bring people back together when words alone cannot.

Upcoming UK & Ireland Tour Dates:

OCTOBER
30th – 3Arena, Dublin
31st – 3Arena, Dublin

NOVEMBER
2nd – SSE Arena, Belfast
5th – Utilita Arena, Newcastle
6th – Utilita Arena, Birmingham
7th – Co-op Live, Manchester
9th – Motorpoint Arena, Nottingham
10th – First Direct Arena, Leeds
12th – P&J Live, Aberdeen
13th – OVO Hydro, Glasgow
14th – Utilita Arena, Sheffield
16th – Bournemouth International Centre, Bournemouth
17th – Utilita Arena, Cardiff
19th – M&S Bank Arena, Liverpool
21st – The O2, London

Biffy Clyro Turn Up The Heat With A Triumphant Finsbury Park Spectacular

Known for blending roots music, folk, blues and country into emotionally rich songwriting, the pair have never shied away from exploring life’s complexities. However, Tiny Little Love stands as one of the most personal songs they have ever written, born from an experience that would change their lives forever.

Ferris & Sylvester

Ferris & Sylvester (Press)

The song was written while vocalist and guitarist Issy Ferris was 32 weeks pregnant during what was intended to be a brief trip to Nashville for the duo’s final performances before becoming parents. Instead, the visit took an unexpected and frightening turn when Issy became seriously ill, resulting in the premature birth of their son more than 3,000 miles from home. What had been planned as a four-day trip became weeks spent navigating neonatal intensive care and recovery in an unfamiliar city, as the family faced uncertainty while relying on the extraordinary care of medical staff.

Despite the trauma of those events, Ferris recalls discovering moments of remarkable hope: “This song came to life in a terrifying moment. Our son was hours away from being born seven weeks early, we were thousands of miles from home touring in Nashville and we had no idea what the future held. It was our lullaby.” She continues: “Writing about hope holds a lot more meaning in the hard times. That’s where the stuff of life is. Where you find out what you’re made of. Where you feel your outer edges.”

Those emotions resonate throughout Tiny Little Love. Built around warm acoustic instrumentation and rich, ’70s-inspired melodies, the song unfolds with remarkable tenderness, its intimate arrangement allowing Ferris & Sylvester’s trademark vocal harmonies to take centre stage. The lyric, “Tiny little, terrifying love, we’re gonna be alright,” captures the fragile optimism that carried the couple through one of the most uncertain periods of their lives, transforming deeply personal experiences into a song with universal emotional weight.

The experience has also inspired the duo’s work beyond music. Since returning home, Ferris & Sylvester have become patrons of the pregnancy and baby charity Tommy’s, supporting fundraising efforts and contributing proceeds from previous releases to help families facing similar challenges.

Tiny Little Love continues to reveal the broad musical landscape of It’s A Joy To Be Alive. Previous singles have showcased everything from infectious country rock and gritty blues to soulful Americana and sun-soaked folk, suggesting the forthcoming album will be the duo’s most adventurous and emotionally expansive collection to date.

While its title may suggest unfiltered optimism, the album’s central message is something more nuanced. Rather than pretending life is without struggle, It’s A Joy To Be Alive celebrates resilience, compassion and the ability to find hope even during life’s darkest moments. That honesty has become a defining characteristic of Ferris & Sylvester throughout their career. Their authentic songwriting, exceptional musicianship and effortless vocal chemistry have steadily earned them a devoted audience, while their live performances continue to demonstrate the emotional connection that underpins every song they write.

With Tiny Little Love, the duo have delivered not only one of their most beautiful recordings, but perhaps their most courageous. It’s a reminder that some of the most profound songs are born from life’s most difficult experiences—and that hope can often be found in the smallest moments.

Angus Stone: Music Has Always Been The Spirit Animal That Runs Ahead Of Us

J KEYS

J KEYS (Press)

Arriving on the back of the momentum generated by previous single Mad About You, the new track further showcases J KEYS’ ability to craft dancefloor-ready music without sacrificing melody or personality. Built around driving four-to-the-floor rhythms, shimmering electronic textures and infectious hooks, Red Flag captures the carefree euphoria of those unforgettable early morning hours when the night’s possibilities seem endless.

Lyrically, the single plays with the idea of knowingly ignoring warning signs in pursuit of the moment, embracing the thrill and spontaneity that often define nightlife.

Speaking about the inspiration behind the track, J KEYS says: “How many red flags have you ignored? Some red flags look good at 3am.”

That playful concept is wrapped in polished production that balances club energy with crossover accessibility, reinforcing J KEYS’ growing reputation as an artist capable of bridging the gap between underground dance music and mainstream pop sensibilities.

Both Red Flag and its predecessor Mad About You highlight an artist increasingly confident in carving out his own lane. Rather than confining himself to a single genre, J KEYS continues to blend house music, commercial dance and electronic pop into a sound that feels both contemporary and unmistakably his own.

His rise has been driven as much by determination as musical talent. What began as producing tracks and DJing for friends has steadily evolved into a multi-faceted career that has seen him build an impressive catalogue of chart successes while expanding his creative ambitions beyond music.

Away from the studio and DJ booth, J KEYS has established himself as an entrepreneur, founding Money Music Group Records, launching his own clothing brand and hosting the popular Secret Paradise boat parties in Ibiza. He’s also ventured into acting, adding another dimension to an already diverse creative career.

Those experiences have helped shape an artist whose confidence extends well beyond the dancefloor. Whether performing at major club events, collaborating with established artists or building a growing audience across social media, J KEYS continues to develop a career rooted in independence and self-belief.

Despite already achieving chart success and building a loyal following, he remains focused on pushing his music even further, with ambitions that stretch well beyond his current accomplishments.

With Red Flag, J KEYS delivers another infectious slice of feel-good dance music that captures the excitement, freedom and unpredictability of a night out. As he continues to blur the lines between club culture and mainstream appeal, the Essex producer looks well positioned to build on his growing momentum throughout 2026.

Wolf Alice Bloom At Finsbury Park In Spectacular Hometown Triumph