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If your toilet's full of shit, you don't think, ‘Do you know what? I can't get my head around this.’ You either call a plumber or do it yourself. That's how I see it with songs. Don't leave it in there. Just get it out. Even if it's shit.”\u003c\/p\u003e\n\u003cp\u003eTo observers of the Manchester-dwelling songwriter, such self-effacement will be familiar. Few artists are as modest, a spirit Heaton carries over into his lifestyle, whether taking the tram to the studio when’s it raining or touring England by bike in 2010 (and the whole UK two years later.) “I've just tried to be myself,” he says, humble once more, “because I'm not a rotten person. I don't think most people are.” He’s also uncommonly willing to share his microphone, letting others make his songs their own. This time, Rianne Downey picks up where she left off on The Mighty Several – having first covered for an ailing Jacqui Abbott on tour in 2020 after Heaton discovered her on social media – while Ireland’s Declan O’Rourke brings out her Dolly Parton side on rambunctious country bacchanal, ‘The Whisky Did’.\u003c\/p\u003e\n\u003cp\u003eJenius, Heaton’s new album’s title, is a symptom of this unassuming style. “If anybody ever calls me a genius,” he explains, “I always say, ‘What?! With a J?!’ The spelling would obviously be wrong.” Fortunately, there’s nothing bashful about these songs, something reflected in the LP’s cover, the first to feature a photo of Heaton since the Housemartin’s debut album. Indeed, Jenius betrays the truth of his talents, and its songs – of love and loneliness, pubs and booze, community and counsel, a nod to football, the state of the nation, and the overall wisdom of kindness – are distinguished by his notably tender voice, his enchanting melodies and a meticulous, effortless craft. “If I can get a variety of people of all sorts of backgrounds to say, ‘Oh, that could be about me or you,’” he says, “then I've been successful”.\u003c\/p\u003e\n\u003cp\u003eSuch diversity isn’t restricted to his lyrics. Kicking off with ‘Can’t Get Next To You’’s rowdy three-chord rush and rounding things up with ‘A Son A Father’’s extravagant but barbed glam rock, Jenius dips its toes assuredly into rock ‘n’ roll, country, soul and ska, blues, Yacht Rock, even Latin terrain. Again, his duets are as charming and loaded as Nancy \u0026amp; Lee’s, yet, on the likes of the fragile ‘Jet Back Sky’ and bittersweet ‘Send In The Clowns’, he explores what he considers more “atmospheric” territory than ever before.\u003c\/p\u003e\n\u003cp\u003eAll of this is shot through with his quintessential blend of empathy, wit and contempt. His protagonists pine for the elusive (‘Can’t Get Next To You’) and revel in flaws (‘My Favourite Kind Of Idiot’). They find the best in their circumstances (‘She Ain’t Pretty’) or find themselves written out of history (‘Do Not Ask Me’). They commit to romance (‘I Want The Job’), watch it “screwed up or binned” (‘Sad Songs And Lawsuits’), or concede that it’s not for them (‘Good For The Bees’). They rail at racists (‘One Eye Open’) and berate buffoons (‘Send In The Clowns’), get pissed (‘Don’t Lean On Me’), and if at times they extol the benefits of maintaining good humour (‘Go Upstream’), at others they spotlight uncomfortable truths, like the insanity of humanity’s impatience (‘Before Before’). Indeed, there aren’t many chart-topping songwriters who can pack a punch with Heaton’s prowess, as when he crowns ‘A Son A Father’’s belting eulogy with “... Husband and a cunt.”\u003c\/p\u003e\n\u003cp\u003eJenius would be a remarkable album at any time, even more for a man who turned 64 this spring. But it’s still more remarkable because it sounds like it was a joy to make but was recorded as his ten-year marriage ended. There is, however, no point seeking clues to this development in its songs because they were begun in the months following The Mighty Several and penned, like so many before them, during cycling breaks in Holland. They were finished there, too, in a village north of Amsterdam, with guitarist Jonny Lexus. Having worked with Heaton since 2010’s Acid Country, this time he earned eight co-writing credits as well as helping arrange other tracks. “It's nice writing songs by yourself,” Heaton says. “…but it's really nice writing them with Jonny.”\u003c\/p\u003e\n\u003cp\u003eLike 2022’s N.K. Pop, Jenius was recorded in early 2026 at Manchester’s Blueprint Studios with a loyal coterie of associates. Bassist Chris Wise, who’s done a dozen years in Paul’s band and drummer Pete Marshall, a cool 17 years, returned again, though duties with Squeeze meant keyboardist Stephen Large was replaced by Toby Chapman. (“They all told him, ‘Just do the opposite of what you'd expect the song would need, and Paul would probably like that.’”) It was also produced, like The Mighty Several, by the legendary Ian Broudie. “Everybody in the band said he's the best who's worked on their instrument, and I could hear the difference,” Heaton says. “I think the production's probably even better this time because I've trusted him even more. I'm not technically musical, but he understands where I want to get to and he's given me shortcuts. I remember with The Housemartins I said something sounded ‘too milky’ and they're like, ‘What do you mean, ‘milky’?!’ It’s really nice to have somebody who translates that. He's like me, but with knowledge!”\u003c\/p\u003e\n\u003cp\u003eThis December marks forty years since Heaton’s first number one, The Housemartins’ cover of the Isley Jasper Isley’ song’ ‘Caravan Of Love’. That said, despite the many hits he’s had – from exuberant anthems like ‘Happy Hour’ to poignant portraits like ‘Old Red Eyes Is Back’, from platinum singles like ‘Rotterdam (Or Anywhere)’ to number one albums like Manchester Calling – Jenius feels like a real achievement. “I’m particularly proud I've done this record at all,” he admits. “I didn't want the band to see what was going on in my private life, but going into a studio and seeing your friends and people who love you was a break from what was happening. Normally I write happy tunes when I'm skipping to the shops, but I've not been out and about much, whistling. I don't know why it sounds like fun, but, yeah, it is, and I'm glad it sounds like fun.”\u003c\/p\u003e\n\u003cp\u003eUltimately, Heaton estimates he’s now written some four or five hundred songs. In so doing, he’s established – though he’s too self-deprecating to state this himself – his own distinctive, if unconventional brand of quasi-English folk. 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The lyrics resonate with core values of compassion, resilience, and community—themes rarely explored within a classroom setting or seen in today's fragmented society. By prioritising conviction over commercial success, the Dublin artist's outspokenness may invite controversy. Yet beneath the fervor lies a profound desire for positive social change at home in Ireland, and beyond.\u003cbr\u003eMeryl Streek returned to Darkland Studios in Dublin to fine-tune the recordings previously made in a shed at the back of his ma's garden. Here he continued the genre-blurring nature of his earlier work, enticing listeners toward dissonant landscapes and hypnotic rhythms. Gentle piano tones collide with abrasive synths, creating a striking tension between beauty and noise. Streek tempers his rage when appropriate, integrating atmospheric textures and pop sensibilities into his ever-expanding sonic collage.\u003cbr\u003eAs is tradition with any Meryl Streek record, ‘Stories They Don’t Teach You At School’ unearths many uncomfortable truths. ‘Rotten Fruit’ examines media manipulation and the numbing proliferation of misinformation, all soundtracked by synth-punk. With gliding keys and a crunchy bassline, ‘Council Estates’ critiques systemic government failures affecting the working class. ‘Kelly’ is a slice of electronica that details an ongoing criminal investigation, currently classified as a “Contested Cause of Death”. The indie pop of 'The Chancer' brings much-needed attention to landlord politicians. As the album progresses, the mission remains absolute: to provide a voice for the voiceless.\u003cbr\u003eTo amplify these narratives, Meryl Streek handpicked a diverse group of collaborators for the project. ‘Rotten Fruit’ features Steve Ignorant of anarcho-punk collective CRASS. ‘Depression’ opens with a touching recording of the late Liam Norton, close friend and former touring companion, while Pete Holidai of The Radiators From Space contributes guitars on the song. Comedian Phill Jupitus provides the spoken outro for ‘The Chancer'. ‘Housing For All’ incorporates audio from Derelict Ireland campaigners Frank O’Connor and Jude Sherry. Venn Records owner and Gallows guitarist Laurent ‘Lags’ Barnard joins forces with Adebisi Shank bassist Vinny McCreith on the aggressive ‘Bullet,’ while Sophie Porter of Other Half provides bass guitar for ‘Life is Not a Rehearsal’. 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The dub-inflected, breakbeat heavy soul that stirs to life beneath them — an entirely new sound for a band that has mastered blending a seemingly endless array of sounds — came naturally. “It’s about finding calm in a world that is trying to tear us down,” Williams and Grunhard explain. “Once we established that direction, the song seemed to write itself.”\u003cbr\u003eThis is, at its core, the spirit of Chopping Mountain. Against the backdrop of a dispiriting world, Ibibio Sound Machine remain hopeful, seekers of consciousness and connection. 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