Charli XCX and the Rewriting of Pop’s Rulebook

Charli XCX continues her ascent as pop’s most thrilling disruptor. With three entries from her latest project “Brat and it’s completely different but also still brat”, she proves yet again that she can spin the mundane into shimmering gold. Tracks like “360 featuring Robyn & Yung Lean” and “B2b featuring Tinashe” exist in a hyper-real world where glossy production meets razor-sharp lyricism. It’s pop, but with an avant-garde edge that refuses to play by the rules. And then there’s “Mean Girls featuring Julian Casablancas”, which layers post-punk sensibilities over dancefloor beats, a meeting of minds that feels as effortlessly cool as it does unexpected.

The Dancefloor Renaissance

If 2024 is proving anything, it’s that the dancefloor never really left – it just took a brief sabbatical. MØ’s “Who Said” and D.O.D’s “Feel The Passion” remind us why we fell in love with euphoric beats in the first place. MØ conjures imagery of festival lights cutting through the night, while D.O.D channels the collective energy of dance culture’s revival. These tracks aren’t just for fleeting moments of euphoria – they linger, like the echo of a perfect night out.

Meanwhile, Porter Robinson’s “Something Comforting” feels like electronic catharsis. It’s a sonic embodiment of vulnerability wrapped in shimmering production – music for the overthinkers, the romantics, and those caught somewhere in between. Robinson’s craft invites introspection without sacrificing grandeur, cementing him as one of the genre’s most emotionally astute architects.

Unlikely Collaborations That Hit Different

Pairings like SEVENTEEN and DJ Khaled on “LOVE, MONEY, FAME” and The Black Keys with Beck on “I’m With The Band” reflect the beautifully chaotic state of music today. The former juxtaposes the polished, kinetic energy of K-pop against Khaled’s larger-than-life ethos, while the latter channels the grit and swagger of blues rock through Beck’s effortlessly cool filter. These tracks thrive on contrasts, blending disparate elements to create something greater than the sum of their parts.

Elsewhere, Rihanna’s “SOS” makes a nostalgic reappearance, a reminder of her ability to craft pop anthems that defy generational boundaries. It’s been nearly two decades, but the track still feels as urgent and vibrant as ever – a testament to Rihanna’s enduring influence.

A New Wave of Sonic Storytellers

Artists like Matilda Mann and Father John Misty infuse the playlist with narrative richness. Mann’s “Everything I’m Not” drifts through delicate melodies and introspective lyricism, evoking a sense of yearning that feels personal yet universal. Father John Misty’s “She Cleans Up”, on the other hand, is chamber pop at its finest – textured, immersive, and brimming with a sly self-awareness. These aren’t just songs; they’re diary entries set to music.

Obongjayar’s “Just My Luck” takes experimental R&B to new heights, where rhythm and atmosphere converge to form something hypnotic and compelling. Likewise, Mk.gee’s “ROCKMAN” strikes an exquisite balance between soulful resonance and sonic experimentation, reflecting the ongoing evolution of R&B into something more expansive and genre-fluid.

Afrobeats’ Global Symphony

Afrobeats continues its global ascent with tracks like Davido and YG Marley’s “Awuke” and Burna Boy’s “Bundle By Bundle”. These tracks exude vitality, serving as rhythmic passports to a cultural movement that shows no signs of slowing. Afrobeats isn’t just influencing music – it’s redefining how we experience joy and community on a global scale.

Nostalgia Meets Reinvention

Madonna’s “Frozen” returns with a sense of ethereal grandeur, a reminder that reinvention is the cornerstone of longevity. Similarly, LCD Soundsystem’s “x-ray eyes” weaves indie electronica with existential musings, offering the kind of sonic introspection that resonates long after the final note fades.

Breakbot’s “Fantasy” invites listeners to revel in nu-disco nostalgia, a groovy reminder that sometimes the best way forward is by revisiting the past – albeit with a modern twist.

The Emerging Vanguard

New voices like Willow Kayne and IN PARALLEL provide a glimpse into the next generation of musical trailblazers. “Zenosyne” by Kayne is punchy and self-assured, while “NOW IT’S GONE” channels raw emotion with atmospheric precision. These artists reflect the genre-agnostic future of music, where innovation thrives in the margins.

A Playlist for the Complexities of Now

At its core, this playlist mirrors the beautifully chaotic energy of contemporary life – unpredictable, euphoric, and deeply human. It’s a sonic snapshot of where we are and where we’re heading, soundtracking the moments that define us, from the revelatory to the heart-wrenching.

So press play, and let the music carry you – because whether you’re dancing in your kitchen or spiraling into a reflective haze, there’s something here that resonates. The future of sound is vibrant, unfiltered, and endlessly compelling.

Link on the GLASS homepage and here

The post GLASS curates its seasonal soundtrack for your Winter enjoyment first appeared on The Glass Magazine.

But one duo who are putting their own spin on it are electronic-urban provocateurs Bro Berri – composed of Stefano and Enrico Berretti – with a repertoire that’s soulfully potent and lyrically relevant in equal measure. Sloppy synths merged with reverberating and punchy basslines pushing the tempo are at the core of their pieces, raising hairs everywhere. But there’s more to the story. 

_{Photograph: Cosimo Buccolieri}

Stefano and Enrico—born respectively in 1994 and 1997—know a thing or two about navigating the complexities of a narrow system hailing from Gaeta, living the first part of their lives in Sardinia and then moving on to Civitavecchia, close to the harbour. Enrico (the youngest) began his foray into the scene aged 16, while Stefano was practising rowing, which to him felt like “Cambridge, Oxford stuff.” Enrico was practising athletics back in the day, making music in his free time. 

After the first year which saw both of them working modest jobs, Stefano graduated and began working in Rome as a model, moving to Milan and later to Shanghai. “I was listening to a lot of music while exploring the nightlife abroad,” says Stefano, explaining how from that, “I started to chat a lot more about building a music project with my brother”.  

_{Photograph: Cosimo Buccolieri}

The influence from overseas enlightened Stefano with a sense of cross-pollination and further experimentation. “Merging influences I had in China while using a distinct sound was the beginning of what Bro Berri is today,” he concurs. “Bro Berri is a collaboration, an exchange of ideas, and it’s about making music with different influences from all over.”

Once the first period in Shanghai went well, Stefano returned to Milan and embarked on a trip to New York while actively communicating with the brother. “After many travels, it was supernatural to establish something together,” opines Stefano. “We began studying legendary duos such as Dimitri Vegas & Like Mike, or DVBBS in Los Angeles: we were attracted by the duo as so many of them were brothers, but a few are actually blood-related.”

When speaking on influences, both claim, “that most of the time is about our soul, so everything we write, we aim to someone who lived the same situation we had – motivating them through our music.” 

While growing up, the duo changed houses multiple times because of their father’s job, as he’s in the military. “What we write about is that if you really believe in something, that can happen,” they say. This is why, for them, the most important thing is believing in oneself, “because we come from a really humble background.” 

_{Photograph: Cosimo Buccolieri}

_{Photograph: Cosimo Buccolieri}

The first live show they did was in Bangkok, for just over 50 bucks. “Everything I earned from modelling was poured into music,” notes Stefano, “because we wanted to finance a dream we hoped would be big one day.”

Given the huge complexities of the system, I cannot help but wonder what made them stick around and have the gumption to push through all the obstacles. “It’s the final picture we have,” freely admits Stefano. “We have a final picture in our mind that’s there from day zero, and I see it as a painting we have in the making. Firstly, you have to get the pencils and colours to then witness the final outcome.”

_{Photograph: Cosimo Buccolieri}

_{Photograph: Cosimo Buccolieri}

Their relentless spirit is reflected in one of their latest tracks, Siamo Nel Back (We’re at the back), which epitomises a sheer portrayal of the duo’s life and the pitfalls part of a system they’ve fought so hard to dive into. “Maybe it’s the first raw storytelling about us: a raw biography about the project, where someone can understand where we come from and where we’re going, through harmonies and lyrics,” says Enrico, detailing how one can, “understand the struggle and the happy moments, as we talked about how it was in the start and what we think today.”

“We had a lot of dreams, passions and delusional moments,” continues Stefano. “However, we’re still in this together trying to make it and struggling in the process. It’s a song that could be motivational for a lot of people, no matter what field.”

_{Photograph: Cosimo Buccolieri}

What is, then, their vision for the future? “Essentially, after productions and our discography project, there’s a collective called BB SQVAD, which is our movement,” they note. “The project comprises our friends, artists, inspiring personalities and all those who believe in the power of music. So what we see through this is a new format which will hopefully take us to different places in Italy and worldwide.”

With their hands firmly back on the steering wheel and with big hopes, the duo is keen to explore their next act. “The different thing about Bro Berri’s music practice is that we have to make people understand our vision, which mixes Hip-hop and electronic,” they note, as we draw our conversation to a close. “If we make this work, it’ll be a huge feat for us, and an expressive vehicle of all we’ve lived through these years”.

by Chidozie Obasi

Photographer: Cosimo Buccolieri (@cosimobuccolieri) via (@studiorepossi)

Stylist: Chidozie Obasi (@chido.obasi)

Hair: Alexander Markart (@alexander_franzjoseph) via (@blendmanagement)

Make up: Kim Gutierrez (@elijagutierrez) via (@studiorepossi)

Set Design: Irene Coveri (@pennyennyemmy)

Head of Production: Jessica Lovato (@jessicalovato_)

Fashion Coordinator: Davide Belotti (@coccobeloooo)

Photography assistant: Antonio Crotti

Fashion Assistants: Isabella Petrocchi (@isabellapetrocchi) + Morgana Galluccio (@morganagalluccio)

_{Clothing Credits:}

_{Look 1: Stefano; All clothing MARNI | Socks PAUL SMITH – Enrico; All clothing ISABEL MARANT | Earrings ARTIST’s OWN}

_{Look 2: Stefano; Jumper, shirt PAUL SMITH | Trousers ACT N1 | Earrings ARTIST’S OWN | Shoes TOD’S – Enrico; Jumper, Trousers DIESEL | Shirt, Loafers PAUL SMITH}

_{Look 3: Top CANAKU | Trousers THE FRANKIE SHOP | Jewellery ARTIST’S OWN}

_{Look 4: All clothing ACT N1}

_{Look 5: All clothing VERSACE}

_{Look 6: All clothing QL2}

_{Look 7: Enrico; Coat THE FRANKIE SHOP | Shirt, trousers PAUL SMITH | Jewellery ARTIST’S OWN | Shoes TOD’S – Stefano; Coat THE FRANKIE SHOP | Shirt LABO.ART | Trousers FERRARI | Jewellery ARTIST’S OWN | Shoes PAUL SMITH}

The post Stefano and Enrico Berretti talk to Glass about brotherhood, lyricism and soulful optimism first appeared on The Glass Magazine.

Known for shaping British music culture by providing a platform to artists often overlooked by the mainstream, the label is made its name originally for UK garage singles such as Artful Dodger’s “Re-Rewind” and B-15 Project’s “Girls Like Us” as well as Grime, and Drill tracks from the likes of So Solid Crew, Roll Deep, Lethal Bizzle and Headie One.

Along the way, its also supported artists like Craig David, Joss Stone, Tom Walker, Daniel Bedingfield, KT Tunstall, Not3s, Jay Sean, Professor Green, Cage The Elephant and Bad Boy Chiller Crew break into the mainstream.

_{Daniel Bedingfield Gotta Get Thru This}

With plenty to celebrate, the Relentless 25 boxset is an exclusive 10-disc exploration of the label’s influence across genres and shows just how the label has consistently championed British underground music.

As such, expect fan favourites, rare remixes, and never-before-seen exclusive archive content, from So Solid Crew’s “21 Seconds” to Roll Deep’s “When I’m Ere”, “POW (Forward)” by Lethal Bizzle and Bedingfield’s “Gotta Get Thru This” Bedingfield. There’s also a full disk dedicated to Headie One featuring Skepta, Dave, AJ Tracy and Stormzy.

_{Shabs – Relentless Records}

Shabs Jobanputra, Founder and CEO, says, “Relentless was born from a late-night conversation in 1999, driven by our passion to create a label for UK Hip Hop and R&B. It’s amazing to see how far we’ve come – all thanks to the artists, the incredible team, and the fans who have kept the vision alive.”

The label wants to offer a visual experience too, and packaged in red vinyl with a Relentless-branded slipmat, it includes a 28-page booklet filled with seminal archive images including exclusives from photographer Ewen Spencer alongside original sketches from Virgil Abloh for Headie One’s custom Louis Vuitton look at the Brit Awards 2021.

_{Relentless Records 25th Anniversary Limited Edition Vinyl Boxset}

In the spirit if championing newcomers, this anniversary comes ahead of the annual Relentless 2025 showcase in January, that’ll spotlight the next generation of talent, where it celebrates the label’s role as a springboard for fresh talent; past performances have included the likes of Professor Green, Big Narstie, Nadia Rose, Headie One, Not3s and Bad Boy Chiller Crew.

Through Relentless Music Group, which is made up of Relentless Records, artist management company Relentless Talent, the higher education music college Notting Hill Academy of Music, and West London venue Notting Hill Arts Club (which helped launch the careers of Mark Ronson, Lily Allen, Libertines and more), Shabs continues to pave the way for the next generation of music entrepreneurs and artists ensuring that Relentless’ impact on music and culture endures for the future.

by Felicity Carter

_{See more on relentlessrecs.com.}

The post Relentless Records marks 25th anniversary with limited-edition vinyl boxset first appeared on The Glass Magazine.

Appearing in eight sketches during the 90-minute broadcast, British musician Charli xcx certainly put the work in. She even found the time to record a “Please Don’t Destroy” short that had to be cut for time, which has become the most watched clip on SNL Youtube.

With so many standout moments in the episode, narrowing down the highlights is no easy task—but here are some of the best:

Julia Fox introduces the star of the show

Charli xcx Monologue wearing Dilara Findikoglu

Charli xcx Adele rendition during the Wicked auditions

360 live and the Gucci bag that steals the spotlight, delivering a performance of its own.

It Girl Thanksgiving Special

The post Charli xcx’s best SNL moments first appeared on The Glass Magazine.

Take Guns N’ Roses, a slot that delivers a high octane ride. Inspired by the legendary rock band, it immerses players in an unforgettable sensory experience. With hits like “Sweet Child O’ Mine” and “November Rain” filling the background, this slot is not just a game; it’s a celebration of one of the most iconic bands in history. As you spin the reels, the soundtrack provides the adrenaline rush that matches the thrill of each win. This game is a prime example of how music can elevate an i-Gaming experience, turning it into a shared adventure with the very essence of rock and roll.

Beyond the world of rock, Jimi Hendrix slots deliver an entirely different vibe, channelling the spirit of one of the most influential musicians ever. The iconic guitar riffs and electric ambience transport players to a groovy, psychedelic realm, perfectly complementing the game’s visual style. The soundtrack’s psychedelic flair enhances the immersive experience, allowing players to connect with the legendary artist in a personal and lively way. It’s not just a game. It’s a tribute to the music that defined an era.

But it doesn’t stop with the legends of rock and roll. The appeal of music themed slots online also extends to pop and cinematic soundtracks. For example, the Wizard of Oz slots tap into the nostalgic magic of the 1939 film with its heartwarming melodies and whimsical soundtrack. For fans of the classic movie, stepping into the shoes of Dorothy while listening to songs like “Somewhere Over the Rainbow” is an enchanting experience. These slots evoke emotional solid connections and allow players to relive moments from their favourite films while chasing the jackpot.

On the other side of the spectrum, Megadeth slots inject a dose of heavy metal into the i-Gaming world. This game is for those who crave the intensity of thunderous guitars and rapid rhythms. The band’s signature sound pulsing in the background makes it much more than a simple slot machine. It’s a journey into the heart of metal music. Fans of the band and the genre are treated to a gaming experience that feels more like an immersive concert than a traditional casino game. The adrenaline pumping soundtrack pairs perfectly with high stakes gameplay, ensuring every spin is a pulse raising adventure.

Another standout is Queen Slots, which brings the vivid energy of Freddie Mercury and his bandmates to life. The musical legacy of Queen is cemented in global culture, and this slot takes full advantage of its famous anthems. With tracks like “We Will Rock You” and “Bohemian Rhapsody,” the game captures the unmistakable charisma and power of the band. It’s a blend of nostalgia, thrilling gameplay, and music that defines generations.

There’s a certain magic in the synergy between iconic music and i-Gaming. The fitting soundtrack doesn’t just accompany the game; it enhances every aspect, making each spin feel like a part of something greater. These games create shared adventures between players and the artists behind the music, ensuring an unforgettable soundtrack accompanies every win or loss.

For i-Gaming enthusiasts, these legendary music slots are more than just games; they celebrate culture, nostalgia, and the timeless power of music.

The post i-Gaming with the Most Iconic Music Soundtracks first appeared on The Glass Magazine.

_{From Summer Issue 58}

Yasmin Hass has pondered, played and paused trying to figure out what type of artist she is. Exploring the many facets of her musical knowledge, from the formative records that her parents played at home during her childhood to stepping into studios with lauded producers, she has now found her own.

After an initial introduction to the industry that left her questioning whether the songs she was releasing resonated with her, she took a step back for a year and returned with Cleo, a single that painted a new picture of who Hass is as a musician. Her first EP, Worst of Me – produced by Ross Macdonald of The 1975 and Ed Thomas – followed in 2024 and now she is pushing her soulful take on indie pop further with a string of new singles that are destined to land her in the fast lane. 

_{Photographer: Elliot Kennedy}

You grew up in London with a German mother and a Jamaican father – how did that merger of cultures translate sonically to your childhood? 

My mum is a trained opera singer and also a vocal coach, and my dad has always loved music. I’ve grown up with such a different ecosystem of music, being either Eva Cassidy, Joni Mitchell, Leonard Cohen or, on my dad’s side, Luther Vandross, Alicia Keys and Nina Simone – it was just such a big influence for me growing up.

My aunt, Carlene Davis, was also a celebrated gospel singer and going to church when she’d be in London and watching her sing would just be mesmerising. This merge of different cultures in music from an early age has been instrumental in the way I’ve grown up thinking about the music I want to create and the way I write.

_{Photographer: Elliot Kennedy}

With your family being in the industry, from your uncle being Bob Marley’s tour manager to your mum being a vocal coach, do you think this knowledge helped you realise this is do-able?

Definitely. It gave me the confidence in myself to think that this is a path that I can take and feel confident enough on. As an artist at the beginning, you’re very much developing your sound and, to be honest, that was tricky for me because I’ve grown up with so many different genres that I love and I’ve always been conscious of wanting to merge the worlds together.

Often, in industry people say ‘you need your sound, and you need one sound’, and I’ve tried not to pigeonhole myself in that way. I don’t want to necessarily genre-bend too much but explore these differences that I grew up with. It also helped that I was so supported in my decision – my mum being my biggest inspiration and champion. Seeing what she’s achieved and how hard she’s worked so that my sister Laurie and I have every opportunity, has definitely pushed me forwards, particularly whenever I feel nervous about my career.

_{Photographer: Elliot Kennedy}

Your initial experience of the music industry was foregrounded by an attempt to pigeonhole you as an R&B artist. What was that like?

It was just frustrating because I felt like I wasn’t being listened to and maybe it was because of the way I looked and I’ve got quite a soulful sound. All my references at the time were like Paulo Nutini, Lianne La Havas and even Nick Cave. But every producer I was being put in with was definitely pushing for an R&B sound so I felt I didn’t have much room to explore them.

But then I applied to Ont’ Sofa Session and met Scott Quinn who was running it at the time. We started writing together and he became one of my best friends. I’d get on a three-hour train to go and record with him. He was just so encouraging and attentive; he gave me back my confidence in my writing.

_{Photographer: Elliot Kennedy}

How would you describe your sound now? What are the simple traits that define Yasmin Hass as an artist?

It’s in the lyrics. I think for me that has always been a big thing. I love story-telling. My last EP was a bit of a milestone because it was my first extended project and in that I named two of the songs after two significant people in my life. I realised that’s where the magic is for me – being as personal and open as possible. Hopefully, that’s laid the foundation for people to listen and get to know me as a person as well as an artist. 

_{Photographer: Elliot Kennedy}

In July, your lead single Won’t Hold My Breath is released. What led you to write this track and what does it mean to you? 

Won’t Hold My Breath was written after a breakup, but this time, instead of longing for another outcome, I really felt a sense of self-soothing in the idea that I was going to be OK whatever the outcome. I think at the time of writing it, it was a mixture of trying to reassure myself and also telling myself sonically what I needed to hear. The lyric “let’s just call it, I’ll be fine” felt like something I wanted to say in the situation but couldn’t find a way to.

_{Photographer: Elliot Kennedy}

All My Friends depicts the sad reality of the changes that happen in your twenties –  what sparked the need to write about that? 

I think it really stemmed from finding yourself in that intersection where your friends are settling down and preparing for marriage and kids but you are still striving to chase your dreams. When you find yourself in a place where you feel like you’re going against the grain and almost becoming an outsider because everyone around you has changed their motivations. And then really, when you look into it more and really talk about what is going on, you realise that the common thread among us all is that we are still quite lost in our twenties. 

Do you have a favourite lyric you have written? 

“Get out of my head and into my heart” as I think any time in life where I’ve applied this lesson, I’ve been most true to myself. 

by Imogen Clark

Photographer: Elliot Kennedy

Fashion Director: Katie Felstead 

Hair: Nicola Harrowell using KEVIN.MURPHY

Makeup: Anastasia Borovik using CHANEL

Set design: Annie Alvins

Photography 1st assistant: Madison Blair

Photography 2nd assistant: Ruby Griffiths

Photography 3rd assistant: Oriana Pundt

Styling assistant Monty Cooke

_{All clothing and accessories Chanel}

The post Yasmin Hass speaks to Glass on the evolution of her sound first appeared on The Glass Magazine.

And her domination doesn’t stop there—Charli’s got three singles lighting up the UK Top 20, with the electrifying “Sympathy is a Knife” at No. 7.

_{Charli XCX}

BRAT and its new companion album have critics buzzing, securing the top spots on Metacritic’s “Best of 2024” list. Reverered as “a masterpiece” by The Guardian and praised by NME as “a triumph in club music curatorship,” Charli’s influence has become a seismic force that has resonated across fashion, art, and sound.

_{Charli XCX – BRAT REMIX}

To celebrate, Charli took over the iconic Storm King Arts Center in New York with an immersive 30×30 ft sonic sculpture, a physical manifestation of BRAT in all its bold, neon-green glory. Fans flocked to experience this striking fusion of music and art, as Charli led an intimate listening session, sharing stories and sounds behind each track.

But Charli’s influence goes beyond music. Fresh off a hit single from the Barbie soundtrack, she’s now scoring films for A24, while starring in projects by indie directors Daniel Goldhaber and Greg Araki, and lending her sound to Benito Skinner’s series Overcompensating on Prime Video. With her co-headlining U.S. tour alongside Troye Sivan in full swing, she’ll soon return to the UK for sold-out arena shows, before headlining Australia’s Laneway Festival in early 2025.

_{Charli XCX}

Over the past decade, Charli XCX has redefined what it means to be a pop star. She has transcended the boundaries of underground and mainstream music as her bold and unfiltered creativity has left a profound mark on pop culture. And with her visionary take on art, fashion, and music, she’s not just shaping the industry—she’s leading it into a thrilling, untamed future.

Charli XCX is taking her sonic energy to massive stages with her co-headlining arena tour alongside Troye Sivan. Titled Charli xcx & Troye Sivan Present: Sweat, the tour has already entranced fans across the U.S,  with its next stops in major cities like San Diego and Seattle. After wrapping up in the U.S, she is set to bring the experience to her biggest-ever UK shows this November and December, where sold-out crowds will impatientiently await an unforgettable, high-octane experience.

by Alia Campos

The post Charli xcx’s ‘BRAT’ Lands At #1 On UK Album Chart first appeared on The Glass Magazine.

L’ARENA di Verona’s provocative, quirky production of Tosca for its 101st Opera Festival relocates Puccini’s politically-driven thriller from Rome during the Napoleonic wars to a damned modern-day thread in which church and state bounce as forces of reaction.

The story is acutely aware that the opera maps on to the downturns of our times – the printed program, contains photographs that depict not only historical references but also a wealth of contemporary facets of troubled societal issues. 

Some context: the plot centres around three key characters — Rome’s diva Floria Tosca, her lover Mario Cavaradossi (a painter and republican) and the corrupt Chief of Police, Baron Scarpia. Scarpia has long lusted after Tosca, and when he suspects Cavaradossi of assisting an escaped political prisoner, he seizes the opportunity to kill two birds with one stone. He will manipulate Tosca into revealing the prisoner’s hiding place and Cavaradossi’s involvement, and have her for himself.

_{©EnneviFoto / Fondazione Arena di Verona}

Hugo De Ana’s direction and design version of the Tosca is dominated by a vast gilded setting that combines powerful symbols and sumptuous costumes, modelled on Rome’s pantheon for which Cavaradossi (Jonas Kaufmann) has supplied a fresco of Mary Magdalene, who gazes heavenwards, her eyes turned away from the humankind beneath.

Clerics and thugs scuttle around in the surrounding darkness, though the sudden glare of stage lights reminisces a time in which no one can keep anything hidden for long. The Te Deum, at which Ludovic Tezier’s Scarpia receives a cardinal’s blessing, is as much an impassioned patriotic exhortation as it is religious. It was an exceptionally intelligent evening, and much of what the protagonists did takes you by surprise. 

With a diva playing a diva, I half expected self-dramatisation or scanty drama, but Elena Stikhina’s Tosca was remarkably powerful and vehement. Her voice has lost some of its lustre and richness of late, though the high Cs still have a weight that pins you to your seat. Her characterisation, however, is pleasingly vulnerable.

_{©EnneviFoto / Fondazione Arena di Verona}

“From the very first moment, I am embraced by an incredible team of professionals—both on stage and behind the scenes,” Stikhina opined in a preview. “From the very first moment, I am embraced by an incredible team of professionals—both on stage and behind the scenes. Their unwavering support and dedication make this journey not only possible but immensely fulfilling. Every member of the production team, from the directors and conductors to the costume designers and stage crew, brings a level of expertise and passion that is truly inspiring. They are incredibly kind, always going above and beyond to ensure that each performance is as flawless as it is memorable.”

She’s skittish, even witty, in her opening duet with Jonas Kaufmann’s Cavaradossi, rather than indulging in flamboyant displays of jealousy. Her loathing when Ludovic Tezier’s Scarpia sexually blackmails her is tangible, while his murder – very much a fragment showcasing self-defence – results in deep psychological trauma.

Scarpia has long been one of Puccini’s greatest roles, and Tezier’s uncluttered approach allows the depth of his characterisation to register with tremendous force. He sings and acts with a painstaking refinement that heightens our consciousness of man’s innate corruption. We get a strong sense of the hedonic as well as the sadist. 

You’d be wrong, however, if you thought this was a one-man show. There’s a groundbreaking Cavaradossi,  one of the finest in recent years, from Jonas Kaufmann, entirely entrancing as artist, lover and revolutionary, with a vocal projection that’s dark, thrilling and brilliantly insistent. Stikhina’s Tosca beams at the top, but the orchestra engulfs her lower register at times.

The choir sounds terrific and suspenseful. Puccini, one gradually realises, is difficult to balance away from the theatre: Oren’s conducting dazzles and marvels but doesn’t – now and again – balance the score’s tempo. Some of this is extremely powerful, and the performances are often inevitably strong.

Kauffmann’s voice blazes comfortably in its upper registers, but there’s great lyrical warmth in the scenes with Stikhina which are beautifully done. Kauffmann is a mesmerising theatrical man, though Tezier sang with wonderful evenness of tone and electrifying fire. Arias was gloriously phrased, and the soloists’ words were often immaculate—the orchestra moved in its grand passion and sweeping intensity. The rest of it is, for the most part, comparably refined, due to Daniel Oren’s conducting—intense, passionate and detailed.

Compelling, despite occasional imperfections.

by Chidozie Obasi

The post Glass recounts Tosca’s silkily menacing, compelling opera at L’Arena di Verona first appeared on The Glass Magazine.

VERDI’s Aida is, true to its roots, a tragedy: not quite operetta but more so a grand opera, with a plethora of the instantly excerptible set pieces of his famous creations. The plot is a hybrid too: a cousin to Nabucco but minus its wrathful final act, and with an impassioned throughline redolent of late Romanticism.

Veering between epics and tragedy, L’Arena di Verona’s staging culminates in one of the composer’s uneasiest endings, when the protagonists are denied not just a happy ending but also the more familiar Puccinian option of a woeful death. 

Yet the drama still needs a context: Ramfis, the chief priest, tells Radames that the god Isis has picked the general who will lead the Egyptian armies into war against the Ethiopians. Radames prays to have been chosen in order to return victorious to Aida, an enemy slave in the Royal household for whom he cannot openly admit his love. Amneris, Princess of Egypt, secretly loves Radames and questions him about his feelings, suspecting that he prefers Aida to her. 

_{L’Aida at L’Arena di Verona. ©EnneviFoto / Fondazione Arena di Verona.}

It takes place within a society predicated on war and violence: a poignant mimicry of the troubled state of our world’s stage, barbaric and seething in equal measure. Tons were the traces of ancient Egyptiana that provided the decor of the opera’s traditional stagings. The literal references of Memphis and Thebes, Isis and Phtah were kept in the libretto—aside from a few columns scattered on the stage’s edges—but there were no pyramids, let alone elephants, to be seen.

De Bosio’s intention was to preserve the essential air of history and otherness that imbue Verdi’s tragedy while scrutinising its severity of purpose and darker underpinnings: the resonance of theocracy; the tension between desire and obsession; the price of betrayal when war brings forth its calamities to choose between love and family. He does so, though, in ways that don’t always cohere. His Egypt is a lavish ground that partially hides its wrath behind a veneer of civil glamour.

_{L’Aida at L’Arena di Verona. ©EnneviFoto / Fondazione Arena di Verona.}

The monoliths and columns of Michele Olcese’s setting were arranged with precision and stuck firmly in place across a large fraction of the four acts, but costumes showed range and made for a compelling picture, allowing Oren’s score to draw continuous parallels between the ancient world and the modern times.

All this led to an occasionally puzzling first half, and it was not until the first interval that the opera began to settle. The second and third acts have imposing vibrancy and intensity, though de Bosio awakens the production’s pulsating vein by having an ensemble of dancers and choristers in full view rather than offstage. 

There were some melodic unevennesses as well, though the evening was punctuated by a remarkable set of performances. Amneris (Princess of Egypt) interpreted by Ekaterina Semenchuk brought forth a fascinating character, invigorating in its amplitude at full throttle, yet also capable of sustaining beautiful, riveting pianissimos. She’s a fantastic actor, too, registering every shift of the princess’ torment. 

Riccardo Fassi made a strong King, welding sound with sense to create a characterisation of great depth and tonal richness. Vocally, Fassi holds no terrors for his role: the reckless coloratura of the first acts is admirably secure and capped with a warm lower range; the lyricism with which he leads are at once weighty and superb; and the emotional and physical anguish of his scenes were even more powerful for being etched with such throbbing restraint. “The King essentially lacks a clear psychological depth, but in his scenes offers some quite recognisable declamation and chances to highlight the singer’s voice,” Fassi told GLASS in a preview.

_{Principal Dancers Futaba Ishizaki, Gioacchino Starace and Denys Cherevychko. L’Aida at L’Arena di Verona. ©EnneviFoto / Fondazione Arena di Verona.}

“Sadly Verdi didn’t compose an aria or at least a duet for this role, but the experience in Arena di Verona is definitely worth it;” he continues, explaining how, “Some roles like Timur in Puccini’s Turandot or Basilio in Rossini’s il Barbiere di Siviglia that I sang this season in Verona, offer more intriguing challenges vocally: however, performing on that stage is one of the most marvellous experience you can have theatrically, as you have to trust your technique and the projection of your voice.”

Speaking of projection and diaphragmatic support, Aida’s voice—performed by Russian soprano Elena Stikhina—is empathic, even though Act I didn’t show her best form, vocally speaking. Hers is a big, warm voice capable of soaring comfortably over a wide orchestra, but the lustre in her tone was slightly evident here.

_{On the foreground: Principal Dancer Futaba Ishizaki. ©EnneviFoto / Fondazione Arena di Verona.}

In the following acts, she sounded brighter: O Patria Mia thrilled as it should. Little surprise though: She’s a superb actor, and the striking way she can fuse sound with elegance remained more or less intact in an ascending climax of scales. The dramatic, expansive lines suited her fractionally better, perhaps, than the sharpness of the high Cs and Ds, which give away a sense of ease but hold immense complexity in projection. “Performing the role of Aida at the Arena di Verona is an extraordinary and truly unforgettable experience,” enthuses Stikhina.

“The honour of stepping into such a historic role on a stage that has witnessed a century of iconic performances is something that stays with me every moment,” explaining how, to a large degree, “The Arena di Verona itself is a breathtaking venue, steeped in history, where the magic of opera comes alive in a way that few places can replicate; the energy of the audience, the grandeur of the setting, and the rich legacy of Aida at this venue all contribute to an experience that I cherish deeply.” Suggesting fragile beauty on stage through unsparing vividness, she believed in the intensity of her feelings for Radames and their power to wrath and overwhelm her. 

_{L’Aida at L’Arena di Verona. ©EnneviFoto / Fondazione Arena di Verona.}

But being overwhelmed by the opera’s virtuosity is, well, worth it. The vibrant energy of Susanna Egri’s choreographies (with coordination by Gaetano Bouy Petrosino) mirrors the conductor’s richly-crafted score, with its throbs, pulses and melodic rigour, the latter very much geared to the dramatically convincing Radames—performed by American tenor Gregory Kunde. His bronzed tone turns edgy while belting at the top, with a spine-tingling vibrato that gradually ratchets up the tension amid such the arena’s setting.

“The number one challenge is the heat”,” Kunde offered, explaining how “Performing outside is never easy. Costumes can be heavy and the stage can sometimes be challenging to move on, but all of that is always outweighed by the public’s response. I love singing here.” Big voices onstage can rip all manner of restraints to a riveting edge of thrill, and his performance made for such an example—blending passion and tension, emotively yet powerfully.

If Verdi’s pacing went occasionally askew on stage, dancers looked brilliant in the pit—projecting all the colour that made this impassioned and soulful Aida. Did it work? Yes, and if you took the principal dancers there are millions of reasons to watch the production with sharp insight. “As a Prima Ballerina, I had the incredible opportunity to dance the role of ‘The Slave’ in Aida (1913),” Futaba Ishizaki told GLASS.

Her innate sense of drama and wit painted a playful interpretation, with precise attitudes and fouettes. “Invited by Gaetano Petrosino (coordinator of the ballet) under Stefano Trespidi (Vice Artistic director of the Arena di Verona), and coached by Susanna Egri, who originally created this powerful role, I was guided through the complex emotions of the character, blending fear with the joy of freedom. This solo is iconic, packed with intense emotion and dynamic movement.” 

Indeed, movement remains a glorious sight in the staging, and Denys Cherevychko dances it with loving care. “Dancing the lead warrior in the Triumph scene of Aida at the Arena di Verona for the first time was an experience beyond words,” Cherevychko opined in a preview.

“Performing Aida in its historic 1913 version, under the guidance of choreographer Susanna Egri, brought a deep sense of responsibility. Her meticulous attention to every gesture and movement is a reminder that dance is, above all, about conveying emotion and story.” One moment during the Pas de Trois stood out to Cherevychko, when the dancer representing Aida ran fiercely towards the warriors.

_{Principal Dancers Futaba Ishizaki, Gioacchino Starace and Denys Cherevychko. L’Aida at L’Arena di Verona. ©EnneviFoto / Fondazione Arena di Verona.}

“Egri’s direction that she should be suspended in the air, momentarily overpowering the warriors, captured a moment of power and transcendence. Understanding the meaning behind this transformed my approach to the lift. Staying true to the choreographer’s vision is crucial, because for many in the audience, this is a once-in-a-lifetime experience. It’s moments like these that make performing so fulfilling, ensuring that every person in that arena felt the emotion and grandeur of the moment.” 

And if the choreography doesn’t quite match the quavery challenge of the music, it’s fascinating enough, unfolding through groupings of dancers and lifts; the dancers, in fact, support each other suggesting a cohesive batch that’s dynamic and made for cheerful entertainment. “The role of the main warrior that I play does not have strong technical difficulties, but there are very complicated lifts with the woman,” concludes Gioacchino Starace.

“We are two male Principal dancers and one female Principal dancer, and to make the performance turn out in the best way requires concentration, mutual trust; feeling is the basis of this choreography. The wrong movement of just one of the three, could ruin the work of the others. We were lucky enough to work with and have in the room the choreographer Susanna Egri, a wonderful woman, capable of conveying all her knowledge and experience.” An experience that Starace, like his peers, ultimately used to perform with a sweet, sparkly and enjoyable verve—breaking away from Verdi’s mournful ending.

Thought-provoking, all of it. 

by Chidozie Obasi

The post Glass recounts L’Aida’s sterling, impassioned opera at L’Arena di Verona first appeared on The Glass Magazine.

Nigerian musician, Omah Lay, talks to Glass Man about his mission to share the soul of Afro-fusion music with the world.

Omah Lay has a rare mix of traits – he’s a perfectionist but he doesn’t force things. He strives for excellence but there’s an undeniable sense of calm, ease and flow about him. You can hear it in his music – infectious rhythms blend seamlessly with introspective lyrics and stirring instrumentals, transporting you on a journey into the inner depths of Lay’s universe.

Here in his soundscape, you meet a man comfortable with his vulnerability and as a leader of the Afro-fusion movement. 

_{Photographer: Rinaldo Sata}

His innovative ear finds inspiration everywhere, from the contagious beats of West Africa’s highlife to the bubbling hip-hop scene in the streets of his Nigerian hometown, Port Harcourt. After his self-produced single Bad Influence went viral in 2020, the 26-year-old has continued to share his interior landscape with the world – the highs, lows and everything in between.

One only has to look to his 2022 debut album, Boy Alone, for evidence. The track list mesmerises with poetic reflections on mental health and hedonism, blending and transcending genre in Lay’s textbook style. Crafting the future of Afro-fusion music in real-time, his mission is to share the sounds of his continent’s soul with the world. It’s a lofty goal, but with Lay’s breezy vocals and maverick spirit, I have a feeling this perfectionist will make it look easy. 

_{Photographer: Rinaldo Sata}

How has 2024 been treating you so far? 

This year so far has been good. You know, there’s just so many things that I want to do … I want to make an album this year, so stay tuned. It’s a lot of work … But I’ve been focusing on my shows, being able to connect with the fans more, and learning about myself, my personality and how to live life. It’s been such a good year already. 

What types of things are you learning? 

I’m just beginning to try stuff … stuff that I thought I would never do, or that I never thought that I liked or that it’s my vibe. I’m just doing it and discovering. I’m learning how to express myself more, you know, just embracing who I am.

_{Photographer: Rinaldo Sata}

There are so many ways people go about expressing themselves – art, film, dance, fashion. Why music? 

Honestly, that is something that I don’t think I can answer [laughs]. It’s just like asking why your mum is your mum, you feel me? Yeah, it wasn’t a conscious thing, it just happened. I realised how much love I have for it and now I just can’t stop. This is the one place where I can express myself, I can tell you that for sure. One of the reasons I make music is because I love the feeling it gives me, the high. I can’t wait for what’s next. There’s also something that happens with the visuals … the manifestation.

It’s the whole process of making music. Think about it – you go into the studio, you make the track, you make the video, you watch the audience receive the song, and then you’re performing. And everybody in the world is singing the song. There is a high that this gives you and you’re addicted to it … I have so much love for it.

_{Photographer: Rinaldo Sata}

Can you give us glimpse into your creative process? 

Yeah, it comes spontaneously. When it happens, it’s very simple. Sometimes it’s just on the spot … you hear a beat and it’s, like, you have the whole thing in your head already. And within the next 30 minutes, you’ve imagined a whole record. It’s fluid. I go with it, wherever it takes me. 

Boy Alone was such a raw slice of your life – is that vulnerability something that comes easily to you? 

Yeah, I think it’s part of my personality. I don’t think that it’s just a thing about being comfortable to talk about my mental health. I think this is just me, living my life. This is who I am and I have all the freedom to express my personality – as I told you, learning more about myself and how to express more of myself.

That’s what I did with Boy Alone. It’s a snapshot of what I was feeling and how my mind was feeling at the time, sadly. It’s that moment of my life and I managed to capture that in melody. I’m always going to be very honest on my records. I always have been. Very honest. I’m going to show as much as I can. 

_{Photographer: Rinaldo Sata}

You’ve collaborated with some epic talents like Justin Bieber, 6LACK, Olamide and Luciano. Who else would you like to make music with?  

Yeah, at the moment, I’ve been listening to a bunch of South African music. I’m listening to lots of Uncle Vinny. I definitely, definitely want to do something with him. I heard this song that drives me crazy called Piki Piki. It’s so nice. 

_{Photographer: Rinaldo Sata}

What’s it like being one of the leaders of the Afro-fusion movement? 

I have to keep pushing. It’s one of the reasons why all this is happening and why we are here today … I am here to push Afrobeats to the world to see the world come together, you feel me? I’m just going to be doing that until it happens … Until the whole world is, like, ‘yo, this is a genre’.  

It’s growing, it’s growing very fast. But at this moment, in some territories, Afrobeats is just a vibe, you know, it’s not really a genre people look at to consume. In Africa, it’s the music we consume, but to the rest of the world, it’s a vibe. Maybe people know one or two songs, but the goal is to make Afrobeats that the world will consume as a genre. There is no purpose to do it and not do it at the highest level. It doesn’t make any sense.

_{Photographer: Rinaldo Sata}

When you go back home to Nigeria, do you see the way your music is changing and influencing the local scene? 

For sure. My influence is everywhere in the Nigerian and Afrobeats scene. If you listen to the young guys, they all sound like me [laughs]. It’s only normal, simply because I’m putting them on new vibes and it’s nice. They will always go where the new vibe is. I don’t necessarily need to go back home to see my influence … I can see it here in London too. 

_{Photographer: Rinaldo Sata}

Do you miss home? What’s the first thing you do when you touch down in Lagos? 

Definitely bro, jeez … I miss my Mum. I miss my little brothers. I can always go home anytime but you know, life on the road … I also miss the food, the air, the warmth … the whole vibe of Lagos. I’m probably going to go home when I get back from tour.

When I touch down in Lagos, the first thing I want to do is go to a beach house and have this playlist just slamming. And I’m just out in the sun, taking Lagos breeze, bro, because it’s a different vibe. The first thing I want to do is just calm down and breathe. Outside of that it’s, like, catch the vibe, order some heavy food because Nigerian food is very heavy, eat ‘til I get a food coma, sleep and then wake up energetic. 

Like your music, your style has a strong element of fusion and play. What influences are you drawing from? 

I know somehow my fashion is a bit of rock, a bit of hip-hop, and a bit of Afro mixed in … I don’t have a reason why I dress the way I do. I just go by my feelings and what the occasion is. 

_{Photographer: Rinaldo Sata}

When you’re not doing music, what are you interested in putting your energy towards?

When I’m not creating music, I have a serious passion for architecture … It’s the idea of creating something and seeing it come to life or creating stuff that only existed in the past and bringing it back to life. Like, you know, having an idea of a building where people would live, or a city, and just building it from feeling and experience. People walk into a space and it gives them a feeling … It gives them a vibe and experience.

Also, fashion. Recently, I started loving fashion when I discovered that I can make myself look like how I feel. It’s just another way to express your personality, it’s very simple. Without saying ‘hi’ to someone, they can sense you by the way you dress. As soon as I figured that out, I just started loving it. 

_{Photographer: Rinaldo Sata}

Can you share more about what you’re working towards this year? 

I’m working towards perfection. It’s going to be a continuous event, it never stops. It’s going to be today, tomorrow, in 20 years. As long as I am an artist, I will keep working towards that. Perfection in music, the arts, the human and everything around creativity. Sometimes I wish I wasn’t a perfectionist because you’re never happy [laughs]. You have to fight a lot of people because, you know, you want it done this way and it goes halfway, and you always think ‘it can be better, it can be better’. 

by Christiana Alexakis

Photographer: Rinaldo Sata

Stylist: Holly Macnaghten

Grooming: Franck Nouwe

Lighting assistant Andreas Argyrou

Talent: Omah Lay

_{All clothing and accessories LOUIS VUITTON}

The post Omah Lay talks to Glass on pushing Afro-fusion music to a global audience first appeared on The Glass Magazine.

After one of the wettest springtimes in most of our memories, the glorious sunshine finally arrives this weekend. And just like that, our minds are resetting to summer mode – with Pride, Glasto, Wimbledon, the Olympics all coming up soon. So whether you are staying in the city, lounging in the country or escaping somewhere exotic, here’s our ultimate Summer playlist for 2024. Amongst the many gems are future anthems by Aziya, Cxloe, Monjola, Nia Chennai and Khruangbin, new tunes by more familiar artists from the Pixies, Charli xcx & Offspring, and just plain amazing sounds from around the world : Hev Abi Liang Lawrence, Junior Zamora and many more. So enjoy the sun, dance in the breeze – we’ve got your Summer playlist covered x

Who’s who:

Franco La Cara: Remixer Franco La Cara started his career as a DJ in 1998 and over the years has become one of Belgiums leading DJ’s https://www.instagram.com/francolacara

Kelli-Leigh : Kelli-Leigh Henry-Davila, known professionally as Kelli-Leigh, is a South London singer songwriter who has worked with the likes of Duke Dumont, Jax Jones and Low Steppa. Her inspirations stem from growing up with Whitney Houston and Prince. https://www.instagram.com/kellileighuk/?hl=en

Anyma: Anyma is the solo project of Matteo Milleri, an American DJ and producer also known as one half of the duo Tale of Us and the co-founder of Afterlife Records https://www.instagram.com/anyma/?hl=en

Supershy: Supershy is the electronic alter-ego of Tom Misch https://www.instagram.com/supershy__/?hl=en

Hamilton, Joe Frank & Reynolds were a 1970s soft rock trio from Los Angeles

Ago’s Italo disco clasic remixed for today by Dr. Packer AKA Greg Packer https://www.instagram.com/dr_packer/?hl=en

Hozier—real name Andrew Hozier-Byrne—is a singer-songwriter from Bray, Ireland.https://www.instagram.com/hozier/?hl=en

Originally from Maryland, multi-platinum, GRAMMY® Award-nominated producer/songwriter/performer Maggie Rogers studied Divinity at Harvard https://www.instagram.com/maggierogers/?hl=en

Amelia Toomey (born 6 December 1997), known professionally as Girli, is an English singer and songwriter based in London https://www.instagram.com/girlimusic/?hl=en

Khruangbin is a Houston based band. Khruangin is Thai for aeroplane. https://www.instagram.com/khruangbin/?hl=en

Remi Wolf https://www.instagram.com/remiwolf/?hl=en

Kawala https://www.instagram.com/kawalagram/?hl=en

Empress Of https://www.instagram.com/empressof/?hl=en

JVKE https://www.instagram.com/itsjvke/?hl=en

Re6ce https://www.instagram.com/re6ce/?hl=en

Jerub https://www.instagram.com/jerubmusic/?hl=en-gb

Liang Lawrence https://www.instagram.com/lianglawrencemusic/?hl=en

King Isis https://www.instagram.com/itskingisis/?hl=en

And many more … discover for yourself and let us know your favourites x

The post THE GLASS SUMMER 2024 PLAYLIST – THE ONLY SOUNDTRACK YOU’LL NEED THIS SEASON   first appeared on The Glass Magazine.

The latest collaboration features a line of limited-edition merch, a 4-hour original playlist created by BFRND and an original 8-bit video game. The merch line consists of an array of t-shirts and zip-up hoodies that each come with an all-access pass with an embedded NFC chip.

Meanwhile, the 8-bit game – which offers a 360 ° experience – takes the player through various Balenciaga show sets – Winter 21, Winter 22, Spring 24 and Summer 24. Entering the digital realm as a designed BFRND character, the user navigates the exciting environment in search of iconic Balenciaga products.

The first three levels of the BFRND: The Game are accessible to anyone via a dedicated mini-site, WeChat, or on a touchscreen at the Balenciaga Paris Montaigne and the Shanghai IAPM flagship stores. A fourth level is only accessible via the NFC chip found in the Balenciaga Music x BFRND merch.

To build further anticipation, the game will launch with a worldwide contest, in which the top 30 players across the globe will be awarded.

Accompanied by a campaign shot by Melchior Tersen and capturing BFRND’s strong affinity with dark electronic and classical works, the partnership is certain to impress music lovers and fashion cognoscenti all around the world.

by Sophie Richardson

_{For more information, please visit here.}

The post Balenciaga Music teams up with BFRND for new merch and 8-bit game first appeared on The Glass Magazine.