With more than one million social media followers, over 100 million views and sold-out shows on both sides of the Atlantic, Harriet has had a remarkable rise over the past two years. Now, the British singer-songwriter is bringing her acclaimed Trying To Get The Feeling Again show back home to the UK this autumn, this time with her full live band.

Just to get it out of the way, I am not a Jane Austen-er. Or whatever it is Austen fans call themselves on her Reddit page (a quick Google and apparently it’s ‘Janeites’. Personally I’d have gone for Austeneers or maybe Austenauts but that’s not what I’m reviewing today).

At just 17, Scottish singer-songwriter Zack Gibson is already establishing himself as one of the most compelling young artists in Scotland’s new acoustic pop scene.

I’d not seen the Lemonheads since their heyday of the early 90s when, following the rapid release of Lick (1989), Lovey (1990), It’s a Shame About Ray (1992) and Come on Feel the Lemonheads (1993), their lead singer Evan Dando became the poster boy for the post-grunge slacker generation.

Killing Heidi was only the beginning. Hooper subsequently explored a folkier side with The Verses alongside Jesse, before embarking on a solo career that has seen her continually experiment with an array of genres and sonic landscapes. Overnight Success, her third solo album, finds her drawing all of those experiences together and planting herself firmly in the Americana and country sphere.

The story behind it is as touching as the music. Ursula Vaughan Williams kept these recordings, and in 1996 she passed them to Stephen Connock, at that time chairman of the RVW Society, so that it could eventually release them. Of the seventeen tracks, fourteen are getting their first commercial release, while the remaining three appear to have been taken from a BBC transmission. Hence the title: From Ursula, with Love.

To read Michael Rosen’s poems out loud is to hear an echo. For to give voice to a random selection of his most performable verses is to be accompanied by Rosen himself, declaiming at one’s shoulder, but with infinitely greater skill and idiosyncratic grace.

The north's longest-running literary festival opens its doors today, and a third of this year's line-up is from Yorkshire, lives here or has close ties to the county. Group Editor Andrew Palmer picks out some of the highlights. Ilkley Literature Festival 2026 begins today, bringing more than a fortnight of talks, readings and discussions to the Wharfedale town.

A new edition of The Bee argues that Britain's reading crisis looks rather different once you know where to look. Britain, we are told, has stopped reading.

Group Editor Andrew Palmer surrenders an afternoon to Ambridge and emerges knowing far too much about yoghurt. Spoiler alert: this was a fabulous Sunday afternoon spent in the company of the people we are all, frankly, obsessed with.

Deja Vu are feeling very much on top of the world. The British-Venezuelan girl group – Elle Botterill, Carolina Diaz and Tyrece Lewis – admit that their current run of success feels surreal, particularly as they are touring alongside one of their biggest influences, the Pussycat Dolls. “We just can’t believe what’s actually going on. It’s insane,” they say. “It’s surreal, definitely.

Few composers carry as many contradictions as Dmitri Shostakovich. He could write music of crushing weight and bleak introspection, then turn out a ballet number or a popular song arrangement with a wink and a flourish. Any collection that aims to present him whole has to do justice to both sides. Chandos's eight-CD reissue of Neeme Järvi's recordings with the Royal Scottish National Orchestra does exactly that, and it makes an excellent introduction to the composer for newcomers as well as a rewarding return for those who already know him.

The Nashville singer-songwriter’s third studio album is a significant step forward from his first two records. Across 17 tracks, McNown expands the boundaries of his sound, moving beyond the more straightforward country foundations of his earlier work and into something considerably more fluid: part indie, part folk, part country, with flashes of pop that give the album a broader, more contemporary reach.

What must it feel like to be hanged, only to wake up four hours later, in your own coffin, and to climb out and walk into your own wake? Ask Maggie Dickson, because in Chapter One of The Mourning Necklace that is precisely what happens to her. The year is 1724 and the place, Edinburgh. Will the honest men of law decide to give her a reprieve or will they choose to hang her again?

From Cheshire For Anna Come home safe: I think of you driving Over the Runcorn Bridge in our senile car, Its toothless ratchets, arthritic pistons conniving To take me away from wherever you are. Its steering like that old prostitute working a living on Huskisson Street outside our door: Its raggedy brake shoes thin as the wind, giving Nothing but ice to your foot on the floor.

For a debut, that is an exciting prospect. Put A Smile On For Me is compelling and refreshing, establishing Keo as a band with huge potential while already delivering enough evidence of that potential in the present. The Nirvana comparisons may have raised expectations before the record even arrived, but Keo have answered them in the best possible way: by sounding like themselves.