The biggest names, the most fancy sounding events, and a hangover for a nation. Our new weekly preview The Agenda is here to navigate you through the noise, highlighting the events and releases that demand your attention.
In the coming days, we’ve got some very big albums on the way, some big shows and some glorious festivals around the globe – but before that, let’s deal with the fallout from What Happened Last Night. So close, and yet so far.
The Agenda Setter
WHAT EVERYONE SHOULD BE TALKING ABOUT THIS WEEK
It’s never coming home: after another 30 years of hurt for the men’s senior team, can England find a new anthem for 2026?
In the sweltering summer of 1996, as England played host to the UEFA European Championship, a nation held its breath. Football fever gripped the country, painting towns and cities with the red and white of St. George. Amid this fervor, an unlikely anthem emerged – one that would come to define not just a tournament, but generations of English football fandom. ‘Three Lions’, a collaboration between The Lightning Seeds and comedians David Baddiel and Frank Skinner, burst onto the scene with the force of a perfectly struck free kick. Its chorus became the heartbeat of a nation, a mantra repeated in pubs, living rooms, and stadiums across the country.
The song’s genius lay in its ability to capture the quintessential English football experience. “Thirty years of hurt, never stopped me dreaming’, they crooned, encapsulating decades of dashed hopes and enduring optimism in a single line. It was a sentiment that resonated deeply with fans who had grown up in the long shadow of 1966, England men’s solitary World Cup triumph.
‘Three Lions’ was a cultural phenomenon. Released at the height of Britpop, it slotted seamlessly into the wider narrative of Cool Britannia. The tune rocketed to the top of the UK Singles Chart, its success amplified by England’s journey to the semi-finals of Euro ’96. Each victory saw the song’s popularity surge, the chorus growing louder with every round.
Euro ‘96 was more than just a football tournament for England; it was a chance to reclaim past glories on home soil. As the host nation progressed through the group stages and into the knockout rounds, ‘Three Lions’ became the soundtrack to a summer of hope – Paul Gascoigne’s stunning goal against Scotland a spark that seemed to confirm that football was indeed coming home.
But as it so often does for England, glory remained frustratingly out of reach. The semi-final against Germany ended in a penalty shootout defeat, a cruel echo of the 1990 World Cup. As Gareth Southgate’s decisive spot-kick was saved, the dream died once more. Yet even in defeat, ‘Three Lions’ endured. Its message of hope in the face of adversity resonated all the more powerfully in the aftermath of disappointment.
In the years that followed, ‘Three Lions’ became a fixture of English football culture, as, alongside the growth of the Premier League, that very culture itself transformed into a bigger, more encompassing presence. With each passing tournament, the song would re-emerge, a phoenix rising from the ashes of the last defeat. Its lyrics, once a rallying cry, took on an almost ironic quality. The “years of hurt” continued to accumulate, but still England fans dreamed.
The song’s enduring popularity speaks to a peculiarly English trait: the ability to find humor and camaraderie in shared disappointment. ‘Three Lions’ doesn’t promise victory; it simply acknowledges the pain and dares to hope anyway. It’s less a football anthem than a national coping mechanism, a way to process decades of near-misses and what-ifs.
This resilience was on full display during the 2018 World Cup. As now manager Gareth Southgate’s young team defied expectations and reached the semi-finals, ‘Three Lions’ enjoyed yet another resurgence. A new generation of fans, many of whom hadn’t been born when the song was first released, embraced its message of hope against the odds. The phrase “It’s coming home” became ubiquitous, plastered across social media and bellowed from every corner of the country.
Yet for all its emotional resonance, the continued dominance of ‘Three Lions’ raises questions about the state of English football culture. As the nation approaches 60 years without a major trophy, the reliance on a song that speaks of “30 years of hurt” feels increasingly anachronistic. The nostalgia that once felt comforting now carries a hint of stagnation.
The fact that ‘Three Lions’ still stands proud as England’s de facto anthem reflects broader changes in both the music industry and football culture. In the 1990s, releasing a single for a major football tournament was a surefire route to commercial success and cultural impact. Songs like New Order’s ‘World in Motion’ and ‘Three Lions’ weren’t just chart-toppers; they were communal experiences, shared reference points that brought people together. John Barnes rapped for all of us – even today, you’ll still find a bloke in every pub able to do the full thing while half cut. It’s an act of national service.
Today, the landscape is markedly different. The fragmentation of media consumption means there’s no longer a single unified cultural experience around major events. The idea of a single song capturing the national mood feels almost quaint in an age of personalised playlists and algorithmic recommendations. Football fandom itself has evolved, shaped by the game’s increasing commercialisation and the global nature of modern football. Only the pluckiest underdogs even bother with the tradition of an FA Cup finalist single anymore, driven by the excitement of getting somewhere they might not see again in generations. There’s no ‘Come On You Reds 2024’. It’d be too cringey.
The challenge of creating a new football anthem that could rival ‘Three Lions’ is daunting. Any contender would need to strike a delicate balance, capturing the emotional highs and lows of supporting England while appealing to a diverse, multigenerational fanbase. It would need to feel authentic, avoiding the pitfalls of forced enthusiasm or overt commercialism. Above all, it would need to resonate with fans in the way that ‘Three Lions’ has for nearly three decades – and how many songs do that?
The success of ‘Three Lions’ was rooted in its authenticity. Baddiel and Skinner were genuine football fans. Their lyrics reflected the true experience of supporting England. They captured the humor, the hope, and the heartbreak of being an England fan in a way that struck a chord with millions. Any new anthem would need to tap into similar sentiments, speaking to the realities of modern fandom while still providing a sense of collective identity and hope.
As England continues to dream of ending their trophy drought, the search for a new anthem feels increasingly pointless. In theory, the right song could provide a much-needed boost, giving fans something fresh to rally around. It could help to heal the wounds of past disappointments, providing a soundtrack for a new era of hope and possibility. In practice, who is going to actually attack the task with any sense of enthusiasm? It’s too risky. Like showing up to Eurovision as an established star, but with a target painted on your back.
Yet the very need for a new anthem speaks to a deeper issue within English football culture. The continued reliance on ‘Three Lions’, with its references to 1966 and “years of hurt,” reflects a broader reluctance to move on from past glories and failures, even with potential of the likes we’ve rarely seen. Like Gareth Southgate’s tactical caution in the face of attacking talent, it’s a defensive move – a comfort blanket to hide behind when the pain of defeat inevitably comes. And then you end up with ‘Three Lions (It’s Coming Home For Christmas)’ – some things are unforgivable.
This backward-looking tendency is at odds with the reality of modern English football. The current England men’s squad is one of the most talented and diverse in the nation’s history, a reflection of the country’s multicultural identity. Players like Jude Bellingham, Bukayo Saka, and Kobbie Mainoo represent a new generation of English talent, unburdened by the weight of history that seemed to crush their predecessors. This golden generation has won things at youth levels. They’re dynamic, bright and – let’s be honest – not weighed down with the generic traits of English football that made us. 4-4-2, a big lad and a quick one up front, hoof it long – that’s not us anymore.
It’s also crucial to note, that the “years of hurt” lamented in ‘Three Lions’ apply solely to England’s men’s senior team. In stark contrast, English football has seen remarkable successes elsewhere. England’s women’s national team roared to victory in the UEFA Women’s Euro 2022, ending a 56-year wait for a major English football trophy, before reaching a world cup final a year later. Similarly, England’s youth squads have been accumulating silverware at an impressive rate, winning five major trophies in the last seven years at age-group levels from Under-17s to Under-21s. While the men’s senior side continues to struggle to make that final step under the weight of expectation, English football as a whole is far from barren of success.
A new anthem could capture this spirit of renewal and optimism. It could celebrate the diverse nature of modern England, both on and off the pitch. Rather than dwelling on past hurts, it could look forward to the possibilities that lie ahead. The challenge is finding a voice capable of articulating this new reality while still honoring the passion and commitment of England fans.
The decline of the football single as a cultural staple mirrors broader changes in the music industry and society. The communal aspect of singing a football anthem in unison has been diluted by the myriad ways in which people now engage with content. The global nature of the Premier League means that many England players are now more familiar to fans around the world than they are to locals. The idea of a single song uniting the nation feels almost anachronistic in this context.
Yet the need for shared experiences, for moments of collective joy or despair, remains as strong as ever. The enduring popularity of ‘Three Lions’ speaks to this deep-seated desire for connection. Even as the song has become something of a millstone, its ability to bring people together – whether in celebration or commiseration – is undeniable.
As England’s men’s senior team approaches its 60th year without a major trophy, the time feels ripe for a changing of the guard. The right anthem could provide the soundtrack for a new era of English football, a rallying cry for a nation ready to stop dwelling on past glories and start creating new ones.
The story of ‘Three Lions’ is a testament to the enduring power of music to capture the spirit of a moment and provide a sense of collective identity. Its legacy is complex – a reminder of past glories and failures, a symbol of hope and disappointment in equal measure. Its chorus will no doubt ring out at the next major tournament, a familiar comfort in the face of uncertainty. But perhaps, alongside it, we’ll hear the first notes of something new – a song that looks forward, not back, ready to soundtrack the next chapter in England’s football story. As the nation continues to grapple with its footballing identity, caught between the weight of history and the promise of the future, the right song could be the key to finally bringing football home.
The Big Albums
Glass Animals – I Love You So F***ing Much
When ‘Heat Waves’ reached the pinnacle of the Billboard Hot 100 after a record-breaking 59-week climb, Glass Animals found themselves in the stratosphere of pop success. The track’s slow-burning ascent mirrored its dreamy, hypnotic sound, captivating listeners worldwide and catapulting the Oxford quartet into a new realm of stardom. But as any astronaut will tell you, what goes up must come down – or in Glass Animals’ case, must find a way to stay aloft.
Frontman Dave Bayley reflects on the surreal nature of their success: “It felt like the secret was out.” However, the band’s moment in the sun was overshadowed by the global pandemic, forcing them to navigate the treacherous waters of COVID-era touring. “It was surreal and stressful,” Bayley admits. “It felt like the whole thing could go down at any minute.”
As ‘Heat Waves’ continued its chart-topping streak, the question loomed large: how do you follow up a hit of such magnitude? For Bayley, the answer wasn’t immediately clear. At the same time, the success of ‘Dreamland’, the album that spawned ‘Heat Waves’, had opened doors that Bayley felt compelled to walk through. This led to a period of intense collaboration and experimentation, with Bayley co-producing Florence + The Machine’s ‘Dance Fever’ and even stepping into the studio with Elton John. Yet, amidst this creative whirlwind, the path forward for Glass Animals remained unasnwered.
The turning point came during an isolated stint in a precariously perched Los Angeles Airbnb. As a storm raged outside, Bayley experienced what he describes as an “existential crisis”. It was in this moment that the seeds of Glass Animals’ new album, ‘I Love You So F***ing Much’, were sown.
The result is a record that defies expectations, transforming the pressure of following up a mega-hit into creative fuel. ‘I Love You So F***ing Much’ is a sonic odyssey that takes listeners from the familiar terrain of Glass Animals’ indie-electronic sound to uncharted territories. Lead single ‘Creatures in Heaven’ exemplifies this approach, managing to be both danceable and deeply introspective. It’s a far cry from the tropical beats of ‘Heat Waves’, but it feels like a natural evolution for a band that has always prioritised artistic growth over commercial predictability.
“I can’t think of anything more boring than doing the same thing again,” Bayley states emphatically. “I have a very short attention span. I would lose interest, and I imagine a lot of other people would too”
This ethos is evident throughout the album, from the orchestral swells and electronic beats of ‘A Tear in Space’ to the vulnerable lyricism that permeates every track. Bayley grapples with themes of disconnection, the burden of success, and the fundamental human need for connection – all while metaphorically floating in a space station, observing the world below.
As Glass Animals prepare to launch this new chapter of their career, there’s a sense of both excitement and trepidation. The success of ‘Heat Waves’ has undoubtedly raised expectations, but it has also given the band the confidence to push their boundaries even further.
With ‘I Love You So F***ing Much’, Glass Animals have crafted an album that serves as both a reflection on their meteoric rise and a bold statement of where they’re headed next. It’s a testament to their ability to transform the pressure of expectations into something genuinely great.
In the end, ‘I Love You So F***ing Much’ is more than just a follow-up to a massive hit. It’s a declaration of artistic intent, a cosmic love letter to human connection, and a reminder that sometimes, the best way to move forward is to look inward. Glass Animals may have caught lightning in a bottle with ‘Heat Waves’, but with their new album, they’ve harnessed that energy and used it to launch themselves into a whole new stratosphere. Far from being weighed down by expectations, they’ve proven that they’re only just beginning to soar.
SOFT PLAY – Heavy Jelly
SOFT PLAY’s ‘Heavy Jelly’ marks an intriguing new chapter for the duo formerly known as Slaves. It’s a ride from punk anthems to tender moments, underpinned by rekindled friendship and creative spark. ‘Worms on Tarmac’ showcases their knack for clever lyricism and catchy hooks. ‘Everything and Nothing’ reveals newfound emotional depth, suggesting artistic growth while maintaining their core identity. ‘Heavy Jelly’ is SOFT PLAY’s sonic feast – familiar yet daring. It’s the sound of a band rediscovering their passion, with results that are both engaging and energetic.
Lava La Rue – STARFACE
Lava La Rue’s ‘STARFACE’ blazes across the musical firmament, a conceptual odyssey chronicling an alien’s earthly sojourn. It’s a kaleidoscopic reflection of our world, seen through fresh eyes. ‘Push N Shuv’ serves as a tantalising amuse-bouche, blending funk-infused beats with otherworldly observations. La Rue’s voice shapeshifts throughout, channelling their extraterrestrial protagonist with chameleonic ease. ‘Shell Of You’ and ‘Fluorescent’ promise to balance introspection with cosmic exploration. ‘STARFACE’ demands immersion – it’s a journey for ears, heart, and mind alike.
Los Campesinos! – All Hell
Los Campesinos! return with ‘All Hell’, proving their sardonic wit and emotional honesty remain razor-sharp. They’ve crafted a sonic Polaroid of modern anxieties and enduring hopes, wrapped in indie hooks that demand attention. A record that honours their roots while pushing forward, Gareth Campesinos!’ lyrics remain a masterclass in transforming personal neuroses into universal anthems. ‘All Hell’ promises catharsis – it’s the sound of a band rediscovering their voice and finding it more resonant than ever.
Role Model – Kansas Anymore
Tucker Pillsbury, aka Role Model, has crafted a sun-drenched soundscape of self-discovery with ‘Kansas Anymore’. It’s a deep dive into the complexities of leaving home and finding oneself – themes that resonate across generations. ‘Frances’ sets the tone with breezy melodies and heart-on-sleeve lyrics. ‘Oh Gemini’ and ‘Slut Era Interlude’ suggest a journey through the full spectrum of young adult experiences, capturing the vertiginous highs and lows with unflinching honesty.
Denzel Curry – King of the Mischievous South Vol. 2
Denzel Curry returns with ‘King of the Mischievous South Vol. 2’, continuing his exploration of Southern rap’s sonic palette. The album sees Curry blending energetic beats with R&B influences, showcasing his evolving style. Featuring collaborations with A$AP Rocky, Ty Dolla $ign, and 2 Chainz, Curry’s latest offers a mix of hard-hitting tracks and more mellow offerings. While it may not break new ground, fans of Curry’s previous work will find familiar themes and flows to appreciate.
Gig of the Week
Megan Thee Stallion at The O2, London (17th July 2024)
It’s a victory lap for the three-time Grammy winner. Her latest single ‘HISS’ didn’t just top the Billboard Hot 100; it made history as the first solo female rap song to debut at number one on the Billboard Global 200.
Expect a night of empowering lyrics, seismic beats, and unmatched stage presence. From ‘Body’ to ‘Savage’, Megan’s set promises a masterclass in contemporary hip-hop that’ll transform the O2 into London’s hottest party. A cultural moment, a celebration of artistic achievement, and a showcase of hip-hop’s continued evolution. Miss it at your peril.
Festival Focus
Electric Castle (17th-21st July 2024, Bánffy Castle, Cluj, Romania)
Transylvania’s Bánffy Castle is set to host a musical extravaganza as Electric Castle celebrates its 10th anniversary. This five-day odyssey through sound, art, and culture has been the jewel in Europe’s festival crown for a decade.
Massive Attack will envelop the grounds in hypnotic trip-hop, while Bring Me The Horizon energise the crowd with arena-filling anthems. With Khruangbin, Chase & Status, Sean Paul, Paolo Nutini, and Nina Kraviz also on the bill, Electric Castle offers a smorgasbord of sounds.
Ten stages pulse from dawn to well past dusk. Whether you’re raving with thousands or discovering your new favourite act in an intimate setting, Electric Castle promises a sensory journey that’ll echo long after the final chord fades.
Electric Castle’s Top Eight
BRING ME THE HORIZON Sheffield’s finest deliver a high-octane set spanning their diverse catalogue. Expect a dynamic performance showcasing their evolution from metalcore roots to expansive soundscapes.
KHRUANGBIN This Texan trio promise a transcendent journey, blending global influences into mesmerising psychedelia. Their hypnotic grooves will create a dreamy oasis amidst the festival frenzy.
KENYA GRACE With infectious beats and undeniable charisma, Kenya Grace will turn the castle into a euphoric dance party. Her chart-topper ‘Strangers’ is guaranteed to ignite a massive singalong.
ROYEL OTIS These Sydney newcomers bring sun-soaked indie pop to Romania. With jangly guitars and irresistible melodies, they’re poised to be a festival highlight.
GENESIS OWUSU This genre-defying artist blends hip-hop, funk, and boundless creativity. Prepare for a set that’s equal parts party and artistic statement.
WARGASM This London duo delivers a high-voltage fusion of electronic and punk elements. If you’re seeking musical catharsis, Wargasm’s set is unmissable.
FAT DOG With a name that demands attention, and music that shouts even louder, Fat Dog serve up a compelling blend of punk attitude and electronic beats. Expect a thrilling rollercoaster of sound and emotion.
ANTONY SZMIEREK This Mancunian wordsmith brings a unique blend of spoken word and UK garage to the festival. Szmierek’s set promises urban narratives delivered with wit, heart, and infectious rhythms.
Super Bock Super Rock (18th-20th July 2024, Praia Do Meco, Sesimbra, Portugal)
Sun, sand, and stellar sounds converge as Super Bock Super Rock returns to Praia do Meco’s stunning shores. This year’s line-up offers a smorgasbord of genres to satisfy even the most eclectic tastes.
Italian rockers Måneskin bring their electrifying presence to the Portuguese coast. 21 Savage delivers a masterclass in contemporary rap, while Stormzy’s grime anthems are set to whip the crowd into a frenzy.
With Royal Blood’s thunderous assault, Tom Morello’s innovative fretwork, and Black Coffee’s hypnotic house beats, Super Bock Super Rock is shaping up to be an unmissable musical feast.
Pitchfork Festival 2024 (19th-21st July, Union Park, Chicago, USA)
Pitchfork transforms Chicago’s Union Park into a vibrant celebration of diverse voices. This year’s line-up is a thrilling blend of icons and rising stars.
Black Pumas showcase their soulful revival sound, while Jamie xx turns the park into a massive dance floor. Alanis Morissette joins the bill, promising a set that’ll resonate across generations.
From Carly Rae Jepsen’s pop mastery to 100 gecs’ genre-defying experiments, Pitchfork 2024 embraces music’s full spectrum. With hip-hop pioneer Grandmaster Flash dropping classic beats and emerging artists like Sudan Archives pushing boundaries, it’s a panoramic view of music’s past, present, and future.
Between sets, punters can explore the record fair, engage with thought-provoking art installations, and sample Chicago’s renowned cuisine. Pitchfork Festival promises three days of discovery that’ll expand your playlists and your musical horizons.
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