Rina Sawayama looks to have slammed The 1975 frontman Matty Healy yet again in her latest festival performance after he failed to apologise for a number of controversial comments he made on a recent podcast.
Referencing his appearance on The Adam Friedland ShowPodcast, the Japanese-born British singer, actress and model said that she’d simply “had enough” but following Healy brushing over the controversy with what many have described as a pretty insincere response/’apology’, Sawayama isn’t letting it slide.
Taking the stage at the NOS Alive Festival in Lisbon, Portugal over the weekend, she once again put the spotlight on her 34-year-old label-mate by saying, “So I’ve been thinking a lot about apologies and isn’t it funny how some people get away with no apologising ever?”
Rina calls out Healy again and is literally screaming for him to apologise for his comments.
Tapping into the rage of the song, Sawayama goes on to call out Healy for “saying some racist s***, some sexist s***”, adding, “Why don’t you apologise for once in your life without making it about your f***ing self!?”, before the kicking into the rest of the aggressive and specifically chosen track.
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As alluded to, Healy did address the situation by stating that the whole thing “doesn’t actually matter” and that he was simply making jokes on a sardonic podcast, as well as suggesting that “if it does you, you’re either deluded or you are, sorry, a liar.”
He did also go on to apologise to Ice Spice, who was the subject of what many have labelled as racist and body-shaming remarks on the show, saying, “I’m sorry… It’s not because I’m annoyed that me joking got misconstrued but because I don’t want Ice Spice to think I’m a d*ck”.
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A significant part of the friction between Matty Healy and Rina Sawayama beyond the incident is that the singer also belongs to the same record label as The 1975, Dirty Hit Records, of which Healy is also a shareholder and former creative director — hence her previously saying, “he also owns my masters”.
In this latest instance, he appears to hint back at Sawayama’s Glastonbury comments by saying, “So is a micro-aggression something like a——”, before the beginning of ‘It’s Not Living (If It’s Not With You)’ kicks in.
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As for the podcast from which the controversy originates, Adam Friedland and co-host Nick Mullen have since addressed the ongoing discussion, albeit only in their usual sarcastic and irreverent style, in which they seem to intentionally mispronounce her name and refer to her under the wrong nationality.
The K’s kick off Manchester’s BRITs Week celebrations early with jam-packed intimate gig
The Manc
If you were ‘Hoping Maybe’ to see The K’s at some point this year, this is your sign do it, as the rising indie band did not let the occasion of playing an intimate BRITs-backed gig get to them – they were buoyed by it.
Beloved city centre venue Gorilla was overflowing for The K’s last night, hosting an unreal small-cap set as part of Brits Week ‘26 for a very important cause: War Child.
Perfectly teed up by fellow nearby band, Florentenes from Bolton, The K’s took to a familiar stage many years on from their debut, and instantly had the crowd ready and raring for an hour of pure tunes and some very, very sweaty brows.
Earlestown’s finest certainly carried that Northern charm and energy throughout the whole night; their indie and almost nostalgic lyrical storytelling has you moshing one minute, whilst grasping your mate and ascending into live music heaven the next. There really aren’t many feelings like it.
Sobbing and swaying in the vast ocean of shoulders whilst screaming the lyrics to ‘Helen. Oh I’, I questioned how any compliment will ever compare to launching “thousand ships every time” from a kiss.
The K’s were yearning before Wuthering Heights made it vogue (again).
Musically, the band were seamless and a well-oiled machine, and so were the audience as they wholeheartedly echoed every lyric back at the lads and bounced it off the walls.
The K’s have come a long way since their first visit to Gorilla (Credit: Lucy Wagstaffe)
Every primary school assembly proudly led us to this moment, and it did not disappoint, displaying their increasingly seasoned and successful career, which I can only imagine is going to go from strength to strength this year.
I don’t think we even one more fan could have squeezed one more passionate fan into Gorilla on the night; it was heaving with people and pride; the sweat dripping down the walls indicated things are big for these local lads, and we couldn’t be prouder.
They are another prime example of shining a deserving light on Northern artists! And having the 2026 BRIT Awards up here with us is a testament to that.
Featured Images — Lucy Wagstaffe (supplied via War Child UK)
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Florence + The Machine at the Co-op Live, Manchester – the star has never been better
Clementine Hall
Florence + The Machine make a triumphant return to the stage in a thrilling exploration of female rage.
When you think of Florence Welch, you can’t help but picture her barefoot complete with flower crown and bouncy skirts racing around the stage in a fairy-like fashion.
And yes whilst she still is this, the band’s new era is suddenly a lot darker and haunting with their new album Everybody Scream exploring topics of loss and grief.
Florence and her coven-like quartet of dancers did not leave the stage once throughout the 21-track setlist, but not once did it feel tired.
Image: The Manc
The album’s title track kicked off the show before transitioning into fan-favourite anthem Shake It Out.
Florence’s voice is just as recognisable as ever, as is her long auburn hair that she swishes with her as she strides up and down the stage alongside her flowing sleeves.
Beneath the powerful vocals, the haunting atmosphere grew stronger as Seven Dials and Which Witch saw the dancers, coined as ‘the witch choir’, crawling up and down the stage in a Michael Jackson Thriller-style fashion.
Daffodils saw Florence interact with the crowd – embracing a woman pressed to the front of the barrier sporting a bright yellow flower crown.
It’s clear to see how much their music means to so many, and being at a Florence gig you feel as though you’re really part of something special.
A highlight came half way through the two-hour spectacle, as Florence dedicated Never Let Me Go to her sister in the crowd who she stated was “clever enough to marry a man from Manchester”.
Image: The Manc
We couldn’t agree more Florence.
Spectrum (Say My Name) really ignited a fire in the crowd, the entire arena was up and moving to the iconic track.
Her most vulnerable moment of the night comes as she returns for the encore, when she sings You Can Have It All which is written about her near-fatal ectopic pregnancy she experienced in 2013.
It’s raw and haunting, and we feel every note as she summons the strength to perform a song so revealing.
Of course, as the first two notes of Dog Days Are Over the crowd erupts into chaos.
Florence asks us to put our phones down, “you won’t get a good video and if you’re holding your phone, you can’t move” she states, and so we did what we were told.
It’s proof of the power that Florence holds over her audience, and from then on we were left to dance with complete abandon as the show ended in a feeling of pure joy and euphoria.
Danny Jones -
11th July 2023 
