Graham Coxon

Blur: The Ballad of Darren – A comeback album so good we can only hope it isn’t the end

The eighth album from Damon Albarn and co is an emotional tour de force

The Guide: The events to see, the shows to book, and the ones to catch before they end

The best movies, music, art and more coming your way this week

The Waeve: Blur’s Graham Coxon and Rose Elinor Dougall craft a world of folk-horror meets English pastoral

The duo chart a new path together to produce one of the more optimistic pieces of work produced during lockdowns

The Good, The Bad & The Queen: Merrie Land review – Brilliant paean to Brexit Britain

Video

Behold Electric Picnic and the Irish middle class at play

Patrick Freyne’s immersive, experiential rundown of the festival experience for people his own age who aren’t attending

Britons combat post-Brexit racism by wearing safety pins

#SafetyPin campaign started after reported rise in hate crimes since referendum

Blur to release first album together in 16 years

‘The Magic Whip’ will be the first album as a foursome since 1999’s ‘13’

Album stream: Prequel to the Sequel – plus why the new Babyshambles album took so long

ALBUM STREAM - The band’s Irish bassist Drew McConnell was knocked down by a car; Peter Doherty made a film with Charlotte Gainsbourg; and then The Libertines got back together. But with Babyshambles’ third album, ‘Sequel to the Prequel’, finally coming out, it’s all worth the wait, says McConnell

Blur exhibition: it’s got nothing to do with your vorsprung durch technik, you know

The poster-sized prints and original artwork on show at Imma will take fans back to the bedroom of their adolescence

Britpop – Bah! It’s rubbish, innit?

Blur, Oasis, Pulp. Hard to believe it now, but back in the 1990s they were the epitome of cool. These days they’re part of the establishment and modern life is still pretty rubbish. In the run-up to Blur’s IMMA gig next week, time to ponder how Britpop fell flat

Primavera review: Matthew E White, James Blake, The Knife, Blur

Blur bring their festival form to the Primavera party, but it’s The Knife’s red-in-nature theatricality and James Blake’s glacial talents that are shining brightest