MUSIC PREMIERES
Maren Morris can speak from experience: No other concert crowd holds a candle to Taylor Swift‘s.
While on The Jennifer Hudson Show Wednesday (May 7), the Texas-born singer-songwriter opened up about performing her Fearless (Taylor’s Version) collaboration, “You All Over Me,” with Swift at one of the pop superstar’s 2023 Eras Tour shows in Chicago. “I’ve never seen a crowd like that, and there’s not a crowd like hers,” Morris raved.
“They’re so supportive, they’re listening to all the lyrics, they want to hear every nuance and breath between words,” she continued. “They’re truly locked in. It was a real treat to experience on that plane.”
The duo sang together at the “Fortnight” musician’s second of three Soldier Field shows in June 2023, which came two years after they first teamed up for the re-release of Swift’s blockbuster 2008 sophomore album. The performance marked the first time they’d ever played “You All Over Me” — a From the Vault bonus track on the revamped Fearless — live.
But Morris and Swift had been friends long before that, performing the former’s smash “The Middle” together in Arlington, Texas, on the latter’s Reputation Tour in 2018. In November 2023, the “Circles Around This Town” singer told Jimmy Fallon that her onetime collaborator has “been so supportive of me and my career over the years,” adding, “We’re the same age, but looking up to her since I was a teenager, and watching her navigate her country music to pop career so gracefully, and the way she treats her fans is so kind and generous … she’s setting a high bar.”
Morris echoed those sentiments on Hudson’s talk show, telling the host, “I fell in love with [Swift’s] songwriting back in high school, and I just turned 35, so I feel like even before I met Taylor, I had this friendship in my mind with her.”
The interview comes two days ahead of Morris’ fourth studio album, Dreamsicle, which features the five tracks she previously dropped in August on EP Intermission. The new project is also preceded by two singles, “Carry Me Through” and “Bed No Breakfast,” released in March and April, respectively.
Watch Morris gush about Swift on The Jennifer Hudson Show below.
MUSIC PREMIERES
Four years on from the ‘Actual Life’ series lifting him into the mainstream spotlight, Fred Again.. continues to feel unavoidable. The London producer and DJ born Fred Gibson has moved at a relentless pace, bouncing between sold out stadium dates in New York and surprise appearances at Sheffield’s 1,000 capacity Forge, while also making history as the first electronic artist to top the bill at Reading and Leeds in 2024.
Where the ‘Actual Life’ releases and his fourth album, 2024’s ‘Ten Days’, leaned into warmth and joy pulled from ordinary moments, Gibson has also sharpened his instinct for high impact club weapons rooted in garage, dubstep and jungle. That side of his output lives on ‘USB’, an “infinite album” first imagined in 2022 as a home for tracks that exist outside any fixed universe, including defining moments like ‘Rumble’ and ‘Jungle’.
‘USB002’, the second vinyl only chapter of the ‘USB’ project, brings together 16 recent tracks, many of which surfaced gradually on streaming services over a ten week stretch. The music was shaped live, in step with ten unannounced DJ appearances across the world from Dublin to Mexico City. Even with a Glastonbury style registration system in place, The Times reported that 100,000 people tried to secure tickets for the opening night in Glasgow.
Appropriately, ‘USB002’ feels alive and constantly in motion, helped along by contributions from close collaborators such as Floating Points and Sammy Virji. The rigid, techno driven pressure of ‘Ambery’ echoes elements of Floating Points’ 2019 album ‘Crush’, while Gibson’s take on ‘The Floor’ builds like the slow climb of a rollercoaster before dropping back to earth without warning.
The guest list stretches beyond the usual dance circles, with two Australian guitar bands popping up in unexpected ways. ‘You’re A Star’ reworks Amyl and The Sniffers’ ‘Big Dreams’ into a breakbeat driven rush, while ‘Hardstyle 2’ pulls the experimental post punk edge of Shady Nasty into an Underworld adjacent space alongside Kettama. Gibson’s real trick is his ability to connect with anyone. These tracks are not reinterpretations but full takeovers.
The visual world wrapped around the ‘USB002’ rollout reinforces the instinct behind the music. Phones were prohibited at shows staged in vast warehouse spaces under sweeping light rigs, while Gibson’s team shared striking black and white footage and created artwork for each single on site. Bottling that sense of urgency, the project is rooted in the thrill of the present moment, something Gibson seems able to summon simply by turning up.
If the ‘Actual Life’ series and ‘Ten Days’ captured passing snapshots of experience, ‘USB’ is defined by constant movement, a space where boundaries are removed entirely. Sitting somewhere between an album and a playlist, ‘USB002’ underlines why Fred Again.. feels so dominant right now, and suggests that his current run may only be the beginning of something much bigger.
