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“Prince is overtly sexual. I am quietly sexual”: What Stevie Nicks said about her famous friends and exes
By Paul Elliott published
And why Tom Petty told her: ‘You don’t need help!”
“This goes everywhere": Billie Eilish shows off her backstage mobile recording studio
By Ben Rogerson published
“It’s just so much fun and it’s, like, not even serious,” she says of her jam sessions
"This should have been built 100 years ago - it may well become the story of 21st-century music": Hans Zimmer on the next-gen synth he used for the Dune: Part Two score
By Matt Mullen published
Zimmer has appeared in a documentary for Expressive E that explores how the Osmose was used in Dune's score
“The quest for clarity and loudness can only go so far”: Bibio on his career-long fascination with tape recording, budget samplers and vintage pedals
By Matt Mullen published
Stephen Wilkinson talks us through the studio techniques behind the latest edition of his Phantom Brickworks project, the gear behind his biggest song and his enduring quest to unite lo-fi and hi-fi
"I said 'I'm leaving,' and they wouldn’t believe me": Bill Wyman on quitting the Rolling Stones
By Daniel Griffiths published
There’s perhaps no band as storied and mythologised as The Rolling Stones. And their ex-bassist has always got a story to tell
“It sounded like U2!”: How a happy accident led to one of Iron Maiden's greatest songs
By Paul Elliott published
It started with a “crazy noise” from a guitar synth
Phil Collins: “If I wake up one day and I can hold a pair of drumsticks I will have a crack at it”
By Ben Rogerson published
"I just feel I’ve used up my air miles," he admits
It's Macca Vs The Machines as Paul McCartney wades in on AI’s threat to music makers
By Daniel Griffiths published
Despite embracing AI for their last release, it seems the ex-Beatles bassist has since had a change of tune
Robert Smith confirms existence of ‘companion’ album to Songs Of A Lost World
By Will Simpson published
And there’s a third in the works too
“Every time we go to the modular we lose hours in the studio - it’s a wormhole!”: Sasha on his neoclassical second act
By Jim Ottewill published
The original superstar DJ drops some essential advice for aspiring producers and talks us through his ambitious Dolby Atmos score for the immersive Da Vinci Genius exhibition
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