#EXECUTIVE PRODUCER LOUIS TOMLINSON

[sunkissedlouis]

us on march 22 💘

[louisplumpyass]

THAT MEANS I WILL GET TO SEE MORE OF LONG HAIR LOUIS IN HD WITH LONGER CLIPS OMG I MUST HAVE DONE SOMETHING REAL GOOD IN THE PAST FOR THIS TO HAPPEN TO ME FUCK CAN'T WAIT

[whenyoucallmelover]

that’s hot

[louisupdates]

By Ed Power | Sat Nov 30 2024 - 05:15

During the pandemic the songwriter and producer James Vincent McMorrow would rise early, go for a run and write songs for Louis Tomlinson, of One Direction.

“I actually made half of a record for him,” he says. Tomlinson’s team “had a lot of songs but maybe not a lot that he was as into as he wanted to be. I think they were maybe looking for a weirdo. So they reached out to me. I love him. He’s a fascinating human being. I absolutely loved making that album,” adds McMorrow, who is about to start a tour of Ireland.

When it comes to potential collaborators with a boy band megastar, McMorrow’s name is not the first that springs to mind. He’s an indie songwriter whose open-veined, falsetto-driven pop has been compared to that of folkies such as Bon Iver and Sufjan Stevens. But Tomlinson was a fan of the Dubliner’s beautifully wrought music. He wasn’t alone: Drake famously sampled McMorrow on his 2016 track Hype.

One of the tracks they wrote together, The Greatest, would serve as the opener to Tomlinson’s second LP, Faith in the Future. As is often the way with the music industry, the rest are in a vault somewhere. Still, for McMorrow the opportunity to work with a pop star was about more than simply putting his craft in front of a wider audience. The call from Tomlinson’s team had come at a low point for the Irishman, who had become mired in confusion and doubt after signing to a major label for the first time in his career.

Executives at Columbia Records had recognised potential in McMorrow as an artist who bridged the divide between folk and pop. The fruits of that get-together would see daylight in September 2021 as the excellent Grapefruit Season LP, on which McMorrow teamed up with Paul Epworth, who has also produced Adele and Florence Welch.

The album was a beautifully gauzy rumination on the birth of his daughter and the muggy roller coaster of first-time parenthood. It went top 10 in Ireland and breached the top 100 in the UK. Yet the experience of working within the major-label system was strange for McMorrow, who at that point had been performing and recording for more than a decade. He didn’t hate it. But he knew he didn’t ever want to do it again.

“It was a weird time. I stopped touring in 2017. My daughter was born in 2018. I signed with Columbia Records at the same time and made a record that ... There were moments within it I was proud of. But fundamentally, I think if I was being very honest, I would say that I definitely got lost in the weeds of what the music industry wanted for me rather than what I wanted for myself.”

[…]

McMorrow grew up in Malahide, the well-to-do town in north Co Dublin; as a secondary-school student he suffered debilitating shyness. In 2021 he revealed that he had struggled with an eating disorder at school, ending up in hospital (“Anorexia that progressed into bulimia”). He was naturally retiring, not the sort to crave the spotlight. But he was drawn to music. “It was definitely a difficult journey,” he says. He wasn’t alone in that. “The musicians that tend to cut through and make it ... A lot of my friends, musicians that are successful, they’re not desperate for the stage.”

The Tomlinson collaboration was part of his strange relationship with the mainstream music industry. It went back to McMorrow’s third LP, Rising Water, from 2016. A move away from his earlier folk-pop, the project had featured engineering from Ben Ash, aka Two Inch Punch, a producer who had worked with chart artists such as Jessie Ware, Sia and Wiz Khalifa.

That was followed by the Drake sample in 2016 and by McMorrow writing the song Gone, which was at one point set to be recorded by a huge pop star whom he’d rather not identify.

“Gone is the red herring of red herrings in my entire career. I wrote that song for other people. I didn’t write it for myself. The whole reason I signed to Columbia Records and I had all these deals was because of Gone. I was very happy tipping away in my weird little world. And then I wrote that song, and a lot of bigger artists came in to try to take it,” he says.

“I won’t name names. There were recordings of it done. It got very close to being a single for someone else. I would go in these meetings with all these labels, and I would play it for them – just to play. Not with any sense of ‘This is my song.’ And they were, like, ‘You’re out of your mind if you don’t take this song. This is the song that will make you the thing that is the thing.’ And I was, like, ‘You’re wrong.’ For a year I basically was, like, ‘I disagree.’ And if you go in a room with enough people enough times and they tell you that you’re crazy ... I loved the song, but I did not love it for me. I never felt I fit. There was a little part of me that wanted to believe.”

As he had predicted, Gone wasn’t a hit. He received a lot of other strange advice, including that he cash in on the mercifully short-lived craze for NFTs by putting out an LP as a watermarked internet file. All of that was swirling in his brain when Tomlinson got in touch. To be able to step outside his own career was exactly what McMorrow needed.

“With Louis it was like boot camp. I had a very limited time with him. I had to wake up every morning, go for a run, write a song in my head, go to the studio. We made songs all day long. It lit a fire in my head again. I loved the process. I like sitting and talking to someone like Louis, who’s had this unbelievably fascinating lifestyle – so much tragedy in his life,” he says. Tomlinson’s mother and sister died within three years of each other, and his 1D bandmate Liam Payne died in October. “So many things have happened to him. I chatted to him and then write constantly. That was a lovely process.”

Because life is strange and full of contrasts McMorrow ended up working with Tomlinson around the same time that he was producing the Dublin postpunk “folk-metal” band The Scratch, on their LP Mind Yourself. “Totally different animals,” he says. “The Scratch album was an intense period in the studio of that real old-school nature of making music. A lot of fights. A lot of pushing back against ideas. A lot of different opinions. And you have to respect everybody’s opinions and find the route through.”

During his brief time on a major label, McMorrow was reminded of the music industry’s weakness for short-term thinking. In 2019, the business was obsessed with streaming numbers and hot-wiring the Spotify algorithm so that your music posted the highest possible number of plays.

“Everyone was driven by stats. ‘This song has 200 million streams.’ ‘That song has 400 million streams.’ I went into my meetings with Columbia Records ... the day I had my first big marketing meeting was the day my catalogue passed a billion streams, which, for someone like me, who started where I started, was a day where I should be popping champagne corks. Instead they immediately started talking about how they have artists that have one song that has two billion streams. So by their rule of thumb I was half as successful as one song by one artist on their label.”

Five years later he believes things have changed. He points to Lankum, a group who will never set Spotify alight yet who have carved a career by doing their own thing and not chasing the short-term goal of a place on the playlist. They are an example to other musicians, McMorrow says.

“I was in Brooklyn, doing two nights, a week and a half ago. In the venue across the road from where we were, pretty much, Lankum were doing two nights and had [the Dublin folk artist] John Francis Flynn opening for them. Those are two artists that, if you were to look at their stats, you wouldn’t be, like, ‘These are world-beating musicians.’ You start aggregating to this stat-based norm and you miss bands like Lankum, bands like The Mary Wallopers, people like John Francis Flynn.”

McMorrow is looking forward to his forthcoming Irish tour, which he sees as another leg of his journey to be his best possible self.

“The last two, three years have been a process of building it back to a version of me that actually made me happy rather than making me cry at night-time – a version that was making music because I liked it. Within this industry there’s so much outside noise. It’s quite overwhelming. I was overwhelmed. It’s been nice to reset the clock.”

In November 2022, McMorrow posted this now deleted Instagram post:

Text: late 2021 I got a phone call asking me if I wanted to come to London to meet @louist91 and possibly write some songs. A few years ago he released a statement talking about changing his path musically, instead of the immediate search for hits, he’d start with music he genuinely loved and see where it got him. Seems like a simple and obvious thing to say, but considering the amount of people just chasing hits with little regard for vision or artistry, a statement like that struck me when I read it. So I was excited to meet him and see what he was about. First day we met we all wrote Common People, second day we wrote Lucky Again. In December of last year we went back in again, finished those ones, wrote and produced 3 others that are also on this album. It was the studio line-up of dreams, @mrfredball @jmoon1066, @riley_mac. Shouts to Louis for letting us do our thing, letting a dork like me come write some weird lyrics and weird melodies, trust us to shape the vision that he had. These last few years were dark at times, but it was moments like that where I remembered why I’m obsessed w music and why it’s all I’ve ever understood. incredibly proud of the work, Holding on to Heartache is genuinely one of my most favourite songs I’ve ever been a part of.

Also I was reading something about the album and it mentioned something about the gospel choir on the bridge of that song… nah man thats’s just 200 stacked of me singing super super high in the studio out back of Fred’s house😂]

[dailytomlinson]

During the pandemic the songwriter and producer James Vincent McMorrow would rise early, go for a run and write songs for Louis Tomlinson, of One Direction.

“I actually made half of a record for him,” he says. Tomlinson’s team “had a lot of songs but maybe not a lot that he was as into as he wanted to be. I think they were maybe looking for a weirdo. So they reached out to me. I love him. He’s a fascinating human being. I absolutely loved making that album,” adds McMorrow, who is about to start a tour of Ireland.

When it comes to potential collaborators with a boy band megastar, McMorrow’s name is not the first that springs to mind. He’s an indie songwriter whose open-veined, falsetto-driven pop has been compared to that of folkies such as Bon Iver and Sufjan Stevens. But Tomlinson was a fan of the Dubliner’s beautifully wrought music. He wasn’t alone: Drake famously sampled McMorrow on his 2016 track Hype.

One of the tracks they wrote together, The Greatest, would serve as the opener to Tomlinson’s second LP, Faith in the Future. As is often the way with the music industry, the rest are in a vault somewhere. Still, for McMorrow the opportunity to work with a pop star was about more than simply putting his craft in front of a wider audience. The call from Tomlinson’s team had come at a low point for the Irishman, who had become mired in confusion and doubt after signing to a major label for the first time in his career.

Executives at Columbia Records had recognised potential in McMorrow as an artist who bridged the divide between folk and pop. The fruits of that get-together would see daylight in September 2021 as the excellent Grapefruit Season LP, on which McMorrow teamed up with Paul Epworth, who has also produced Adele and Florence Welch.

The album was a beautifully gauzy rumination on the birth of his daughter and the muggy roller coaster of first-time parenthood. It went top 10 in Ireland and breached the top 100 in the UK. Yet the experience of working within the major-label system was strange for McMorrow, who at that point had been performing and recording for more than a decade. He didn’t hate it. But he knew he didn’t ever want to do it again.

“It was a weird time. I stopped touring in 2017. My daughter was born in 2018. I signed with Columbia Records at the same time and made a record that ... There were moments within it I was proud of. But fundamentally, I think if I was being very honest, I would say that I definitely got lost in the weeds of what the music industry wanted for me rather than what I wanted for myself.”

Finding his way out of the weeds involved putting out The Less I Knew, a mixtape of tracks, in 2022, and, in June 2024, Wide Open, Horses, the official follow-up to Grapefruit Season. It’s a fantastic reboot from an artist who has found his way into the light once again. The album showcases McMorrow’s propulsive voice – imagine a goth Bee Gees – and his ability to turn a diaristic observation about a tough day into musical quicksilver, as he does on White Out, a blistering ballad that draws on his experience of suffering a panic attack while out at the shops (“white out on the city street ... pain comes from strangest places”).

He workshopped the project with two concerts at the National Concert Hall in Dublin in March 2023, performing the as-yet-unfinished record all the way through. The risk of something going amiss was significant – which was why he did it in the first place.

“Those shows, that process was me very much back on my bullshit,” he says, meaning that, having tried to fit into a corporate structure, he was embracing his old idiosyncratic methods once again.

“I’m the worst sort of career musician in a lot of ways. I do the weird thing. I like doing things that make me interested selfishly. ‘I’m engaged with this process.’ ‘The stress of this is making me feel the way that I want to feel.’ And I’d lost that. Doing those two shows was me doing something where I was, like, ‘There’s stakes to this’ ... ‘If I f**k this up, people are going to see it.’ That brings out the best in me.”

McMorrow grew up in Malahide, the well-to-do town in north Co Dublin; as a secondary-school student he suffered debilitating shyness. In 2021 he revealed that he had struggled with an eating disorder at school, ending up in hospital (“Anorexia that progressed into bulimia”). He was naturally retiring, not the sort to crave the spotlight. But he was drawn to music. “It was definitely a difficult journey,” he says. He wasn’t alone in that. “The musicians that tend to cut through and make it ... A lot of my friends, musicians that are successful, they’re not desperate for the stage.”

The Tomlinson collaboration was part of his strange relationship with the mainstream music industry. It went back to McMorrow’s third LP, Rising Water, from 2016. A move away from his earlier folk-pop, the project had featured engineering from Ben Ash, aka Two Inch Punch, a producer who had worked with chart artists such as Jessie Ware, Sia and Wiz Khalifa.

That was followed by the Drake sample in 2016 and by McMorrow writing the song Gone, which was at one point set to be recorded by a huge pop star whom he’d rather not identify.

“Gone is the red herring of red herrings in my entire career. I wrote that song for other people. I didn’t write it for myself. The whole reason I signed to Columbia Records and I had all these deals was because of Gone. I was very happy tipping away in my weird little world. And then I wrote that song, and a lot of bigger artists came in to try to take it,” he says.

“I won’t name names. There were recordings of it done. It got very close to being a single for someone else. I would go in these meetings with all these labels, and I would play it for them – just to play. Not with any sense of ‘This is my song.’ And they were, like, ‘You’re out of your mind if you don’t take this song. This is the song that will make you the thing that is the thing.’ And I was, like, ‘You’re wrong.’ For a year I basically was, like, ‘I disagree.’ And if you go in a room with enough people enough times and they tell you that you’re crazy ... I loved the song, but I did not love it for me. I never felt I fit. There was a little part of me that wanted to believe.”

As he had predicted, Gone wasn’t a hit. He received a lot of other strange advice, including that he cash in on the mercifully short-lived craze for NFTs by putting out an LP as a watermarked internet file. All of that was swirling in his brain when Tomlinson got in touch. To be able to step outside his own career was exactly what McMorrow needed.

“With Louis it was like boot camp. I had a very limited time with him. I had to wake up every morning, go for a run, write a song in my head, go to the studio. We made songs all day long. It lit a fire in my head again. I loved the process. I like sitting and talking to someone like Louis, who’s had this unbelievably fascinating lifestyle – so much tragedy in his life,” he says. Tomlinson’s mother and sister died within three years of each other, and his 1D bandmate Liam Payne died in October. “So many things have happened to him. I chatted to him and then write constantly. That was a lovely process.”

Because life is strange and full of contrasts McMorrow ended up working with Tomlinson around the same time that he was producing the Dublin postpunk “folk-metal” band The Scratch, on their LP Mind Yourself. “Totally different animals,” he says. “The Scratch album was an intense period in the studio of that real old-school nature of making music. A lot of fights. A lot of pushing back against ideas. A lot of different opinions. And you have to respect everybody’s opinions and find the route through.”

During his brief time on a major label, McMorrow was reminded of the music industry’s weakness for short-term thinking. In 2019, the business was obsessed with streaming numbers and hot-wiring the Spotify algorithm so that your music posted the highest possible number of plays.

“Everyone was driven by stats. ‘This song has 200 million streams.’ ‘That song has 400 million streams.’ I went into my meetings with Columbia Records ... the day I had my first big marketing meeting was the day my catalogue passed a billion streams, which, for someone like me, who started where I started, was a day where I should be popping champagne corks. Instead they immediately started talking about how they have artists that have one song that has two billion streams. So by their rule of thumb I was half as successful as one song by one artist on their label.”

Five years later he believes things have changed. He points to Lankum, a group who will never set Spotify alight yet who have carved a career by doing their own thing and not chasing the short-term goal of a place on the playlist. They are an example to other musicians, McMorrow says.

“I was in Brooklyn, doing two nights, a week and a half ago. In the venue across the road from where we were, pretty much, Lankum were doing two nights and had [the Dublin folk artist] John Francis Flynn opening for them. Those are two artists that, if you were to look at their stats, you wouldn’t be, like, ‘These are world-beating musicians.’ You start aggregating to this stat-based norm and you miss bands like Lankum, bands like The Mary Wallopers, people like John Francis Flynn.”

McMorrow is looking forward to his forthcoming Irish tour, which he sees as another leg of his journey to be his best possible self.

“The last two, three years have been a process of building it back to a version of me that actually made me happy rather than making me cry at night-time – a version that was making music because I liked it. Within this industry there’s so much outside noise. It’s quite overwhelming. I was overwhelmed. It’s been nice to reset the clock.”

[dreamings-free]

James Vincent McMorrow: ‘I’ve been building back a version of me that made me happy rather than crying every night’

The Dubliner isn’t the first name that comes to mind as a songwriter for a boy-band megastar. But working with Louis Tomlinson was just what he needed after his record-label disappoinment

The Irish Times | Sat Nov 30 2024 by Ed Power

During the pandemic the songwriter and producer James Vincent McMorrow would rise early, go for a run and write songs for Louis Tomlinson, of One Direction.

“I actually made half of a record for him,” he says. Tomlinson’s team “had a lot of songs but maybe not a lot that he was as into as he wanted to be. I think they were maybe looking for a weirdo. So they reached out to me. I love him. He’s a fascinating human being. I absolutely loved making that album,” adds McMorrow, who is about to start a tour of Ireland.

When it comes to potential collaborators with a boy band megastar, McMorrow’s name is not the first that springs to mind. He’s an indie songwriter whose open-veined, falsetto-driven pop has been compared to that of folkies such as Bon Iver and Sufjan Stevens. But Tomlinson was a fan of the Dubliner’s beautifully wrought music. He wasn’t alone: Drake famously sampled McMorrow on his 2016 track Hype.

One of the tracks they wrote together, The Greatest, would serve as the opener to Tomlinson’s second LP, Faith in the Future. As is often the way with the music industry, the rest are in a vault somewhere. Still, for McMorrow the opportunity to work with a pop star was about more than simply putting his craft in front of a wider audience. The call from Tomlinson’s team had come at a low point for the Irishman, who had become mired in confusion and doubt after signing to a major label for the first time in his career.

Executives at Columbia Records had recognised potential in McMorrow as an artist who bridged the divide between folk and pop. The fruits of that get-together would see daylight in September 2021 as the excellent Grapefruit Season LP, on which McMorrow teamed up with Paul Epworth, who has also produced Adele and Florence Welch.

The album was a beautifully gauzy rumination on the birth of his daughter and the muggy roller coaster of first-time parenthood. It went top 10 in Ireland and breached the top 100 in the UK. Yet the experience of working within the major-label system was strange for McMorrow, who at that point had been performing and recording for more than a decade. He didn’t hate it. But he knew he didn’t ever want to do it again.

“It was a weird time. I stopped touring in 2017. My daughter was born in 2018. I signed with Columbia Records at the same time and made a record that … There were moments within it I was proud of. But fundamentally, I think if I was being very honest, I would say that I definitely got lost in the weeds of what the music industry wanted for me rather than what I wanted for myself.”

Finding his way out of the weeds involved putting out The Less I Knew, a mixtape of tracks, in 2022, and, in June 2024, Wide Open, Horses, the official follow-up to Grapefruit Season. It’s a fantastic reboot from an artist who has found his way into the light once again. The album showcases McMorrow’s propulsive voice – imagine a goth Bee Gees – and his ability to turn a diaristic observation about a tough day into musical quicksilver, as he does on White Out, a blistering ballad that draws on his experience of suffering a panic attack while out at the shops (“white out on the city street … pain comes from strangest places”).

He workshopped the project with two concerts at the National Concert Hall in Dublin in March 2023, performing the as-yet-unfinished record all the way through. The risk of something going amiss was significant – which was why he did it in the first place.

“Those shows, that process was me very much back on my bullshit,” he says, meaning that, having tried to fit into a corporate structure, he was embracing his old idiosyncratic methods once again.

“I’m the worst sort of career musician in a lot of ways. I do the weird thing. I like doing things that make me interested selfishly. ‘I’m engaged with this process.’ ‘The stress of this is making me feel the way that I want to feel.’ And I’d lost that. Doing those two shows was me doing something where I was, like, ‘There’s stakes to this’ ... ‘If I f**k this up, people are going to see it.’ That brings out the best in me.”

McMorrow grew up in Malahide, the well-to-do town in north Co Dublin; as a secondary-school student he suffered debilitating shyness. In 2021 he revealed that he had struggled with an eating disorder at school, ending up in hospital (“Anorexia that progressed into bulimia”). He was naturally retiring, not the sort to crave the spotlight. But he was drawn to music. “It was definitely a difficult journey,” he says. He wasn’t alone in that. “The musicians that tend to cut through and make it ... A lot of my friends, musicians that are successful, they’re not desperate for the stage.”

The Tomlinson collaboration was part of his strange relationship with the mainstream music industry. It went back to McMorrow’s third LP, Rising Water, from 2016. A move away from his earlier folk-pop, the project had featured engineering from Ben Ash, aka Two Inch Punch, a producer who had worked with chart artists such as Jessie Ware, Sia and Wiz Khalifa.

That was followed by the Drake sample in 2016 and by McMorrow writing the song Gone, which was at one point set to be recorded by a huge pop star whom he’d rather not identify.

“Gone is the red herring of red herrings in my entire career. I wrote that song for other people. I didn’t write it for myself. The whole reason I signed to Columbia Records and I had all these deals was because of Gone. I was very happy tipping away in my weird little world. And then I wrote that song, and a lot of bigger artists came in to try to take it,” he says.

“I won’t name names. There were recordings of it done. It got very close to being a single for someone else. I would go in these meetings with all these labels, and I would play it for them – just to play. Not with any sense of ‘This is my song.’ And they were, like, ‘You’re out of your mind if you don’t take this song. This is the song that will make you the thing that is the thing.’ And I was, like, ‘You’re wrong.’ For a year I basically was, like, ‘I disagree.’ And if you go in a room with enough people enough times and they tell you that you’re crazy ... I loved the song, but I did not love it for me. I never felt I fit. There was a little part of me that wanted to believe.”

As he had predicted, Gone wasn’t a hit. He received a lot of other strange advice, including that he cash in on the mercifully short-lived craze for NFTs by putting out an LP as a watermarked internet file. All of that was swirling in his brain when Tomlinson got in touch. To be able to step outside his own career was exactly what McMorrow needed.

“With Louis it was like boot camp. I had a very limited time with him. I had to wake up every morning, go for a run, write a song in my head, go to the studio. We made songs all day long. It lit a fire in my head again. I loved the process. I like sitting and talking to someone like Louis, who’s had this unbelievably fascinating lifestyle – so much tragedy in his life,” he says. Tomlinson’s mother and sister died within three years of each other, and his 1D bandmate Liam Payne died in October. “So many things have happened to him. I chatted to him and then write constantly. That was a lovely process.”

Because life is strange and full of contrasts McMorrow ended up working with Tomlinson around the same time that he was producing the Dublin postpunk “folk-metal” band The Scratch, on their LP Mind Yourself. “Totally different animals,” he says. “The Scratch album was an intense period in the studio of that real old-school nature of making music. A lot of fights. A lot of pushing back against ideas. A lot of different opinions. And you have to respect everybody’s opinions and find the route through.”

During his brief time on a major label, McMorrow was reminded of the music industry’s weakness for short-term thinking. In 2019, the business was obsessed with streaming numbers and hot-wiring the Spotify algorithm so that your music posted the highest possible number of plays.

“Everyone was driven by stats. ‘This song has 200 million streams.’ ‘That song has 400 million streams.’ I went into my meetings with Columbia Records ... the day I had my first big marketing meeting was the day my catalogue passed a billion streams, which, for someone like me, who started where I started, was a day where I should be popping champagne corks. Instead they immediately started talking about how they have artists that have one song that has two billion streams. So by their rule of thumb I was half as successful as one song by one artist on their label.”

Five years later he believes things have changed. He points to Lankum, a group who will never set Spotify alight yet who have carved a career by doing their own thing and not chasing the short-term goal of a place on the playlist. They are an example to other musicians, McMorrow says.

“I was in Brooklyn, doing two nights, a week and a half ago. In the venue across the road from where we were, pretty much, Lankum were doing two nights and had [the Dublin folk artist] John Francis Flynn opening for them. Those are two artists that, if you were to look at their stats, you wouldn’t be, like, ‘These are world-beating musicians.’ You start aggregating to this stat-based norm and you miss bands like Lankum, bands like The Mary Wallopers, people like John Francis Flynn.”

McMorrow is looking forward to his forthcoming Irish tour, which he sees as another leg of his journey to be his best possible self.

“The last two, three years have been a process of building it back to a version of me that actually made me happy rather than making me cry at night-time – a version that was making music because I liked it. Within this industry there’s so much outside noise. It’s quite overwhelming. I was overwhelmed. It’s been nice to reset the clock.”

James Vincent McMorrow’s new single is Glu. He plays Vicar Street, in Dublin, on Monday, December 2nd, and Tuesday, December 3rd; Black Box, Galway, on Thursday, December 5th; and Set Theatre, Kilkenny, on Saturday, December 7th

This article was amended on December 2nd, 2024, to correct the name of Louis Tomlinson’s second album

[anxiouspunk]

LOUIS TOMLINSON,

singer, songwriter, philanthropist, festival boss, mentor, talent scout, executive producer and now creative director of his own fashion brand!

[allwaswell16]

One Direction Harry/Louis fan fics that do not have a Larry endgame as requested in this ask. If you enjoy the fics, don't forget to leave kudos and comments for the writers! You can find my other fic recs here. Happy reading!

✧ Midnight Dancers by hazmesentir / @alveronian *

(E, 107k, choose your own ending) A tale of three men, two love stories...and two endings.

✧ Ante Post by goldearring *

(E, 105k, journalism au) Liam is a sports reporter and fledgling news presenter who’s catapulted into the big leagues by virtue of his popularity with focus groups. Louis is the maverick executive producer who isn't quite sure what to make of him, at first.

✧ You Don't Care About Me (One More Night) by @lululawrence *

(NR, 60k, fwb) the one where Louis pines for Harry and Nick helps ease his way into figuring himself out through a friends with benefits sort of arrangement. Things quickly turn complicated.

✧ Perfect Disasters & Ever Afters by nothing_but_a_tragedy

(M, 41k, angst) Harry Styles is running around, looking for the love he's never really had. Louis Tomlinson is running away from love to protect himself. 

✧ takotsubo cardiomyopathy by apeirophobia

(T, 36k, series) Harry and Louis are happy. Except for the part where Harry is a narcissist and Louis is looking the other way.

✧ The Fighter (extended). by sagacioustyles

(NR, 28k, cheating) They were supposed to get married.

✧ Well I met you right (but I kept you wrong) by coolest *

(T, 16k, uni au) This is the story of how Harry accidentally fell in love with some dude who, surprisingly, didn't do the whole ‘love’ trend.

✧ unpack your heart by tumsa / @alloftheirflaws *

(E, 16k, hurt/comfort) the one where Harry and Louis have a messy breakup. Nick is there to pick up the pieces.

✧ Where do Broken Hearts Go by quaint_marauder *

(T, 14k, cheating) What are you supposed to do when it is the person who means the most to you is the one that breaks you. 

✧ The Time is Now for Me and You by grimouis *

(E, 9k, friends to lovers) Liam is a weenie and Louis is a mess.

✧ out of time by missinglockets *

(G, 5k, canon) Louis finishes his cigarette, contemplating what to say to Harry. They don’t do this anymore. He doesn’t know what he’s getting himself into.

✧ When You Fell, You Fell Towards Me by pertunes *

(T, 3k, 5 times fic) 4 times Louis fell in and out of love and 1 time he stayed.

✧ To Cheat a Friend by iwillpaintasongforlou / @canonlarry

(M, 2k, cheating) "We’ve been through a wedding and three adoptions, we’ve been through creating a family based on the fact that we fucking love each other-” “Loved,” Harry whispers, and it could kill a man.

[this-daydream-is-dangerous-13]

After reading your post about Harry, the thing that is taking me out the most is... James Corden. Like why is he being the main character alongside Harry lately lol. Is hilarious for me for some reason and I wouldn't be surprised they both attend fashion week next week

Lol, I know! You guys might appreciate my comment on this instaphoto yesterday:

Want to know my theory? (Of course you do, or you wouldn’t be here! Or so I tell myself):

Harry LOVES James in an avuncular way. James has been part of his London-based support system from the earliest 1D days. Here’s how James describes it in last October’s New Yorker festival interview:

https://virginradio.co.uk/entertainment/78826/james-corden-talks-about-babysitting-harry-styles-in-his-one-direction-days

At the New Yorker Festival on Sunday (9th October) Corden revealed to staff writer Rachel Syme that it was Louis Tomlinson's late mother who helped introduce him to Styles when the singer was 18, and One Direction were in TV show X-Factor in London. As reported by People, Louis Tomlinson’s [late] mum Johannah Deakin introduced him to Styles, having previously been a chaperone for one of Corden’s television shows.

He said that she, “wrote me an email one night saying, ‘My son’s down in London. I don’t know if you remember me. You met him years ago.’ Corden explained the email continued: “We’re slightly worried that he’s in London on his own. Would you reach out to him?”

The presenter agreed, and spent time with all of the group. He said: “Various members of that band would come around to our house in North London and we’d eat pizza and play PlayStation and my wife [Julia] would feel like she was babysitting!”

Speaking about how his relationship with Styles carried on from that point, the host of The Late Late Show continued: “From then on, our friendship has grown, and I love him very, very much. I’m very proud of him and protective of him, always.”

Awww: you know how H loves to hang out with families. And he either met Ben Winston through James (they are besties) or at the same time because of the documentary Ben’s company shot for itv back in 2010-11, but that relationship is mixed up in here too.

And James’s rep is…tarnished these days, as he tries to re-establish his career in the UK (without Ben by his side, as Ben is still in LA). Which H probably hates.

Who is well-liked in the UK, and whose reputation could lift James’s by association (a pseudo-halo effect, if you will)? Our beloved green-eyed man from Cheshire.

So maybe H sees this as a small gift to a friend who has been there for him and had his back from the earliest moments of his career? When he was still a kid, James helped him. A decade plus on, the roles have reversed and OF COURSE H would love to return the favour!

It will be interesting to see what comes of this. Maybe H will end up with another co-executive producing credit on a show, like he did with Ben Winston on the “based on true events: when Harry lived in our attic for nearly 2 years” sitcom Happy Together back in 2018?

Thanks for the ask!

[biographygen]

Zayn Malik Biography, Net Worth, Early Life, Career, Girlfriend

Full NameZain Javadd MalikNet Worth $75 MillionDate Of Birth12 January 1993Age31 yearsGenderMaleHeight5 Feet 9 Inches

Zayn Malik Biograph

    Born in Bradford, England, Zayn Malik is the daughter of Pakistani father and English-Irish mother. Her parents are Tricia (Brannan) and Yaser Malik. He developed a passion for singing and acting at a young age, and at the age of 17, he took part in The X Factor, a television competition. The X Factor following judges Nicole Scherzinger and Simon Cowell's decision to combine him with fellow contestants Harry Styles, Niall Horan, Liam Payne, and Louis Tomlinson to form a new act. In order to focus on his solo career, Malik left the band in 2015 after they achieved enormous success. After moving to Los Angeles and signing with RCA Records, ZAYN collaborated with James "Malay" Ho (Frank Ocean, Big Boi) on his solo project. His full-length debut album Mind of Mine was released on March 25, He then started working on his Versus Versace link, which is scheduled for release in May 2017. Malik also agreed to executive produce the upcoming television series BOYS with Universal Pictures and Law & Order creator Dick Wolf in August of 2016. With her collaboration with Taylor Swift on the song "I Don't Want To Live Forever" from the Fifty Shades Darker soundtrack, ZAYN made a comeback to the music scene towards the end of 2016.   Full NameZain Javadd MalikNicknameZayn, DJ Malik, Bradford Bad BoyPorfessionSinger-songwriter, Actor,Physical Height Eye Colour Hair Colour 5 Feet 9 Inches Hazel Brown BrownWeight65 KGDate Of Birth12 January 1993Age31 YearsNet Worth $75 MillionNationalityBritishHometownEast Bowling, Bradford, EnglandBirthplaceBradford, England. United KingdomReligionIslam, (Muslim)Educational QualificationEnglish Degree at UniversitySchoolLower Fields Primary School and Tong High School  in BradfordFavourite FoodChickenFavourite SongThriller By Michael JacksonFavourite AnimalLionFavourite ColourBlackMarital StatusUnmarriedParents Name: Father Mother Yaser Malik  Trisha MalikBrother SisterNon  Doniya, Waliyha & Safaa MalikGirlfriend's NameGeneva Lane (2010) Rebecca Ferguson (2011) Stephanie Davis (2011) Perrie Edwards (2011-2015) Gigi Hadid (2015-2021) Selena Gomez (2023)  

Zayn Malik Net Worth

    British musician Zayn Malik is worth a cool $75 million. Zayn Malik gained notoriety primarily as a member of the well-liked boy band One Direction. In addition, he has had a very prosperous solo career.  

Zayn Malik Early Life

    In Bradford, West Yorkshire, England, on January 12, 1993, Zain Javadd Malik gave birth to Zayn Malik. His upbringing was in East Bowling, and he is the son of Yaser and Tricia Malik. He received his diploma from Bradford's Tong High School. Because of his mixed Pakistani and Irish/English ancestry, he was frequently the target of jokes and cruel remarks during his school years, which made them less than ideal. Despite coming from an Islamic family, Zayn no longer considers himself to be a Muslim. He participated in several school productions as an adolescent and took performing arts classes. He got his start in rap writing in high school. His original plan was to become an English teacher before he started his musical career.

Zayn Malik Career

    In July 2015, Malik announced he had signed a recording contract with RCA Records following his split from One Direction. First solo on-camera interview with Zane Lowe for Beats 1 on Apple Music. The lead single from the album available in January 2016. The song debuted at number one in a number of countries, including the US "Billboard" Hot 100 and the US Singles Chart. Malik rose to 6 on the "Billboard" Artist 100 Chart thanks to the single. Numerous countries saw it peak at number one, including the UK, Australia, Canada, New Zealand, Norway, Sweden, and the United States, where he made history as the first male solo artist from Britain to debut at number one with his debut album. The lead single from Malik's upcoming album, "Icarus Falls," "Let Me," was released in April 2018. Malik and Zhavia Ward recorded a cover of "A Whole New World" in 2019 for the soundtrack of the "Aladdin" movie. The electropop song "Flames," which he wrote and recorded. November 2019 saw the release of their song. Zayn's third studio album, "Nobody is Listening," features the lead single "Better," which was released in September 2020. His first release, "Vibez," was on January 8, 2021, and his album "Nobody is Listening" followed on January 15, 2021.  

Zayn Malik Girlfriend

  Geneva Lane (2010)  

  After meeting Zayn Malik while they were both on The X Factor, Geneva Lane and Malik had a brief romantic relationship in 2010. It's unclear how long they dated, but it doesn't appear like they ended things well. Malik's abrupt and widely reported breakup with Perrie Edwards, whom he dated from 2011 to 2015, was met with immediate support from Lane for the Little Mix singer. She shared her thoughts on social media, saying that she had expected the relationship to end. There had to be some unresolved matter involving Malik and Lane.   Rebecca Ferguson (2011)  

  Malik and British singer Rebecca Ferguson first connected on The X Factor, and their relationship grew more passionate and flirtatious when the show toured in 2011. Unfortunately, their relationship didn't last long either, as they called it quits on each other after just four months. Ferguson referred to their time together as her "first mistake" in a 2013 interview with The Independent. "I was 23 and he was 18," she said, expressing regret over the age difference. It wouldn't have created a stir if the roles had been reversed, with a 23-year-old man and an 18-year-old woman. But it was significant in our situation. Ferguson acknowledged her ignorance at the time. "You can't always let your heart lead the way," she said in closing.   Stephanie Davis (2011)  

  That same year, Malik moved on to the English actress Stephanie Davis following his breakup with Ferguson. But like his other two high-profile relationships, this one ended after just five months. In 2016, Davis revealed that she was the one who started the breakup during her appearance on Celebrity Big Brother. She also talked briefly about their brief romance. She related an instance in which Malik called her repeatedly while she was out with her friends. She made the decision to update her phone number in response. It makes sense because Davis ended things later. Perrie Edwards (2011-2015)  

  Zayn Malik learned from his run of brief relationships and entered his first committed partnership with Little Mix singer and fellow X Factor alum Perrie Edwards. Edwards was a contestant on the show, and Malik's boy band One Direction made a special appearance. This is how the two first connected.  In August 2013, rumors of the British singer popping the question to Edwards began to circulate, following two years of low-key affairs. August 2015 saw the pop culture couple break up after a two-year engagement. Using the energy she had gained from their breakup, Edwards released the song "Shout Out to My Ex" about Malik in 2016. Gigi Hadid (2015-2021)  

  Following the end of a serious four-year relationship with Edwards, Malik turned to fashion designer Gigi Hadid for comfort. After sparking dating rumors in late 2015, Malik shared an Instagram picture of the two cuddling, and by December, they had officially announced their relationship to the world. After that, Hadid appeared in Malik's first solo music video, the two even shared a kiss. The two made their rather fashionable red carpet debut as a couple at the Met Gala in 2016 after being spotted hanging out in public on multiple occasions. In May 2018, after two years of blissful marriage, there were rumors circulating that Malik and Hadid were taking a break. Selena Gomez (2023)  

  Selena Gomez was the last high-profile person to have dated Zayn Malik. Rumors of a romantic relationship between Sel and Malik started to surface in March 2023 after the two were spotted out to dinner in New York City. Witnesses reported seeing them kissing and holding hands. This dinner date happened soon after Gomez became one of just eighteen accounts that Malik followed on Instagram, after fans on Twitter noticed that he had followed the "Better" singer.

  Read the full article

[oddlouies]

Executive Producer Louis Tomlinson!!

All of those voices 4K poster

Via fourthwallstudio

[theroguesue]

“Executive Producers Louis Tomlinson” say it again i’m close

[sleepy82louih]

Why Our Idiot Son Fractured His Elbow – an MBTI Explanation

I saw a post on tumblr made by the amazing @louisandtheaquarian about why Louis went ahead and fractured his elbow based on his zodiac sign, which you can read here, and I was inspired, so I decided to make a post about why Louis fractured his elbow based on his Myers-Briggs Type Indicator.

DISCLAIMER! This post is based on my personal thought that Louis Tomlinson is ENTP – making his cognitive function go in the order of Ne Ti Fe Si – so you should keep that in mind, if you choose to proceed.

Alright, let's get into it!

Louis' Dominant cognitive function is Ne (Extraverted Intuition), followed by an Auxiliary Ti (Introverted Thinking), supported by a Tertiary Fe (Extraverted Feeling), and finished by an Inferior Si (Introverted Sensing).

Let's begin from the top. Ne, as a dominant function, acts as an idea-creating machine; It endlessly and relentlessly creates concepts, ideas, and connects all of them together. It takes the concepts from the outer world, creates connections, and makes up an idea. Ne doesn't really care what kind of idea it creates; They can go from a hundred percent rational to ten hundred percent insane. As long as this dot and that dot connect, Ne keeps on going.

It's probably Ne's fault that the idea of the footrace even took form – or any of the activities between Louis and his bandmates, really. Actually, take that a little further back, and you get to see why so many pranks took place during 1D days, all led by the one and only, Louis Tomlinson. Lemon is shoes? Insane, makes zero sense. Let's do it! Silly-string in the middle of a show? Absolutely ridiculous, execute! Screaming for God knows what reason? Bound to make you look a bit mad, tear those lungs apart!

(On a more positive note, this is probably where Louis' creativity comes from. And it shows in his lyric writing process. Ne just does not stop producing ideas.)

So, Ne has this brilliant idea of doing every race in the menu for the fun of it.

That's where Ti steps in.

Ti pulls the brakes on that a bit. Ti is probably the only thing that stops Louis from jumping off the stage and running into the crowd– well, almost. Ti is introverted, so it may be hard to see Louis as a logical person, but. Let me give you this example:

Ti is driven by something beyond like or dislike, love or hate, or the likes of that. Ti really doesn't care for morality upfront. If something sounds ridiculous to Ti, it will be called out instantly. Which is why Louis calls people out on their bullshit almost all the time. (And is why I think Louis is an ENTP and not an ENFP – if he was driven by Aux Fi, he wouldn't have opened a car door to call out a paparazzi for not doing his job while calling him a 'fucking loser'.) Because sometimes, what people say and do sounds and looks completely illogical to his inner logic.

Ti cares little for what other people think is logical. Ti is the reason why Louis is such a rule-breaker and had a knack for making Paul's life hell because none of those rules made sense to him, and so he dismissed them all. Being anything other than honest and straightforward makes little sense to him, thus he dismisses it, and calls people out without shame. He doesn't mean to be rude, which is why his harsher acts of utter sass are almost always followed by a semi-apology (courtesy of his Fe), he just has a personal set of logical rules and plays by them, not caring if they break the rules of the outer world.

His Ti entertains his Ne a lot, let's just say that.

So, Ne says footrace is a good idea. Ti thinks that it is safe, so it is a good idea. Ti also thinks that winning is very nice, sound logic, so there we have the competitive strike coming right up. Fe thinks that, since this is such a great idea, why not go and have fun with all these nice other people who will come with us, if I will it?

Ah yes, the Tommo charm. Ne's insane ideas, fool-proofed by Ti's watch, sound all nice and dandy, but only to a selected group of people who match his level of spontaneousness (like Zayn). So, what makes others tag along with his opinions, starting with his band agreeing to races and 1D boys basically rolling with whatever he did and said, and ending his fans being convinced that flipping him off is not actually rude?

Fe. Your answer is Fe.

Fe reads the room. Fe asserts what atmosphete people generate, what air they carry, and tries to shift it slightly around to match personal wishes. Fe is the one that cares what people think, instantaneously following up a harsh sass with a well-meant 'I'm joking!' to make sure no one is offended.

Fe also loves having people on board with itself. Fe is what gets others to agree with an idea, by making sure that they're comfortable with it. Louis is an extrovert, so he naturally enjoys being around other people, thrives on their attention and sharing moments with them. There's nothing better for fueling his energy than a group of people who agree to go with what he says.

So, Ne says footrace, Ti agrees, and Fe thinks that the more, the merrier. And then, Si.

... Si? Pssst... Where the heck is Si?

Ah yes, Si! Inferior, funny little Si. Inferior, funny, vastly ignored little Si by the very excited, very charged, very ruling Ne. So IGNORED, that this man mistook his broken ELBOW, for his WRIST.

sigh.

Si does two main things; One, it keeps track of inner body sensations. And two, it keeps track of past memories and experiences.

Si shows very loudly when Louis is calm, and is reviewing the past events. He talks very often about his past; from his experience in the band to his friendships to whatever nonsense his history teacher said when he was in school. Si (assisted by Ne) connects the past events and creates a picture of experiences and flashbacks, making sense of memories (Ti), and thus, leading to maturity.

But it's still inferior, it's subconscious. It works silently in the background, and, if overshadowed by Ne, it may go completely ignored.

So:

Ne comes up with insane ideas one after the other, making a long list,

Ti thinks them through, rules out the mad ones, keeps the ones it personally agrees with, regardless of what people say,

Fe knows what people say, but eventually gets them going with the ideas either way, all while working on getting them to like Louis as a person who deeply cares, despite the rough edges, which speeds up the process,

And Si is the tiny one who, in this chaos, gets confused and mistakes a broken elbow for a broken wrist, all the while being ignored by our dear, overexcited, competitive Louis as it tries to voice out past experiences that might've ended in similar disasters.

And it keeps being ignored as Louis forgets the sling and the poor, broken elbow completely after like three days.

This is why Louis, ENTP, thirty years old, originated from Donny itself, broke his elbow in an overexcited footrace just so he could win.

Thank you for coming to my TED Talk.

-Truly yours, Clair, a nerd

[hldailyupdate]

"We are so grateful to Louis Tomlinson for his incredible support, as we edge closer to what will be a difficult and uncertain Christmas for millions of people currently experiencing hardship here in the UK. As lockdown and social distancing measures continue across the nation, Louis' performance presents an opportunity to bring fans across the world together and all for a brilliant cause.” [Says] Lindsay Boswell, FareShare Chief Executive

The multi-camera event will feature Louis and his full band performing fully live, and will be available to watch for 28 hours, giving fans globally the chance to view at a time convenient to them.

Profits from the show will be split between FareShare, Crew Nation, Bluebell Wood Children’s Hospice and Stagehand. Louis will also be donating money to his own touring crew, many of which have been out of work since March.

The show will feature songs from Louis' smash debut solo album 'Walls' (Top 3 in the UK and Top 10 in the USA), alongside a few surprises. Tickets for the show will be go on sale here from 4pm on 25th November.

Louis says: "I was absolutely gutted to have to postpone my world tour this year as I was really looking forward to seeing all the fans. Performing for a live crowd is the most important thing to me, this live stream is a step back into that world and is something I can't wait to film. I want to put on a real show for the fans, with scale and production, creating something special to end 2020 on a positive upbeat note and raise money for charities that are especially close to my heart. I also want to give my touring crew work, and raise some vital money for them, as without my crew the show literally couldn't go on."

Lindsay Boswell, FareShare CEO, said: "We are so grateful to Louis Tomlinson for his incredible support, as we edge closer to what will be a difficult and uncertain Christmas for millions of people currently experiencing hardship here in the UK. As lockdown and social distancing measures continue across the nation, Louis' performance presents an opportunity to bring fans across the world together and all for a brilliant cause. Every ticket bought really will make a difference, helping FareShare continue to get vital food supplies to the people who need it most this winter."

In addition to the concert, Louis is also releasing an exclusive range of new merchandise that will also go on sale on the 25th November. All profits from this merch will go to the above four charities and Louis' touring crew.

January 2020 saw the release of Louis' debut solo album 'Walls', a lyrically personal album that proved he had found his feet as a solo artist. The album produced a clutch of acclaimed singles including the emotive first release Two of Us, the raucous Kill My Mind, the reflective We Made It and the soaring pop perfection of Don’t Let It Break Your Heart.

After postponing his 2020 World Tour due to Covid‐19, Louis is looking forward to finally getting on the road with his first solo tour next year, which is already completely sold out.. In 2019 Louis headlined the Coca‐Cola music festival in Madrid to an audience of 25,000 people, and performed to 65,000 fans at Premios Telehit in the Foro Sol stadium in Mexico City.

Louis picked up the Best Song Award at the 2019 Teen Choice Awards for 'Two Of Us', which has so far hit over 100 million streams on Spotify alone. In 2018 Louis won an iHeart Award for 'Best Solo Breakout', and an EMA Award for 'Best UK & Ireland Act' in 2017. This year he won 'Artist Of The Summer' in Philly radio station 96.5 TDY's annual awards. As a member of One Direction, Louis has sold over 100 million records. Overall Louis’ solo music has garnered over a billion streams.

-FareShare about Louis' show. (26 November 2020)

[dreamings-free]

Adidas announces 'Under The Tongue', the untold story of football’s most iconic boot.

Media Infoline Dec 05, 2024, 17:07 PM

In the 30th year of football’s most loved franchise, adidas announces the release of ‘Under The Tongue’ – a feature-length documentary exploring the seismic impact the boot franchise has had on the beautiful game, on and off the pitch. Officially premiering on December 5th, today sees the release of the official trailer.

Produced in collaboration with SoccerBible, the hour-long documentary features the era-defining footballers that made Predator so iconic in its early years – including David Beckham, Zinedine Zidane, and Eniola Aluko – as well as current stars such as Jude Bellingham, Alessia Russo, Aitana Bonmatí and Trent Alexander-Arnold, who reflect on early memories and what it means to be part of the Predator family.

‘Under The Tongue’ examines how a unique blend of industry-leading innovation, culture-defining design, unrivalled star power and timing all combined to create a boot that would fundamentally change the trajectory of the football boot industry and have a transformative impact on adidas as a business.

Transporting viewers back to the very origins of Predator, Craig Johnston – the man behind the initial idea of using rubber to create the now iconic Predator teeth on the boot’s upper – recounts the journey from his initial brainwave while coaching children’s football in Australia, through to finally seeing the boots on the feet of the world’s best players in 1994, before exploring the silhouette’s undeniable impact in the following 30 years.

The documentary also sees senior adidas executives, design team members and notable fans – including Pete Martin, Creative Director at SoccerBible said: “The Predator is a boot with such a profound legacy that it was a real honor to have crafted ‘Under The Tongue’ alongside Keane Pearce Shaw. A boot with such personality too, not only does it mean so much to the culture of the game but it has been an unrivaled yet consistent giver of glory. There are few products on the planet that can, have or ever will, evoke such memories and feeling than that of the Predator. It’s almost immortal. That’s what we have tried to capture with this film – that powerful infatuation – a charming icon with bite, flair and beauty.”

The documentary also sees senior adidas executives, design team members and notable fans – including singer-songwriter and football fanatic Louis Tomlinson – recall their own experiences of Predator’s emergence.

Nick Craggs, adidas Global Football General Manager said: “Predator changed the game. We know what it means to us all at adidas but as we come to the end of its 30th anniversary we felt it was fitting to hear from those that played such a crucial role in cementing its place in football culture. It has helped push the boundaries of innovation on the field of play and inspire millions off it – we now take it into the future and hopefully another 30 years of iconic moments with the world’s best players.”

Pete Martin, Creative Director at SoccerBible said: “The Predator is a boot with such a profound legacy that it was a real honor to have crafted ‘Under The Tongue’ alongside Keane Pearce Shaw. A boot with such personality too, not only does it mean so much to the culture of the game but it has been an unrivaled yet consistent giver of glory. There are few products on the planet that can, have or ever will, evoke such memories and feeling than that of the Predator. It’s almost immortal. That’s what we have tried to capture with this film – that powerful infatuation – a charming icon with bite, flair and beauty.”

The 60 second trailer can be viewed now, across @adidasfootball social channels, while ‘Under The Tongue’ premieres on December 11th, with the documentary available to view from 9PM CET on the adidas football YouTube channel.

The documentary follows on from the recent launch of the latest Predator model. Crafted for goals, the design evokes the franchise’s rich heritage as it recreates iconic champagne colourways of the past, while introducing tech innovations that pave the way for the future of the boot in 2025. Available now from adidas.com/football.

[dailytomlinson]

They are two of the biggest names on TV.

And we can reveal Simon Cowell and James Corden are vying for One Direction’s TV comeback.

Cowell created the band on The X Factor and sources say he wants them on the final of his other show Britain’s Got Talent.

But Corden is mates with the group. And his Late Late Show – particularly the Carpool Karaoke segment – is a big hit in the US.

His team are trying to sign up the boys – Liam Payne, Louis Tomlinson, Harry Styles, Niall Horan and possibly Zayn Malik if he opts to rejoin.

A source said: “Cowell and Corden are now in a battle for who gets One Direction to perform together again first.

“Simon was their mentor who first had the idea of putting them together as a group and they are one of the most successful acts from one of his shows.

“But while all the One Direction boys adore Simon and enjoy working with him, there are other TV shows today.

"Harry Styles is very good friends with James’s executive ­producer Ben Winston, so his inclination is to lean towards James’s show.

“The other lads really like James and Ben too and the show is a great platform for them. It’s a tough call.”

Liam suggested to James last week that they will reunite to mark their 10th anniversary after being formed on The X Factor in July 2010.

Speaking after he was reminded of the milestone, he said: “I’m not ­allowed to say too much because I’d be giving it away but we’ve been ­speaking a lot more at the moment.”

“I think that we’re all feeling that the ten years is a very special moment.”

He also revealed to having held a “beautiful” FaceTime call with Niall Horan and spoken with Louis Tomlinson.

Worldwide 1D have sold 50 million records, with numbers such as What Makes You Beautiful, Best Song Ever and Story Of My Life.

But Zayn walked out in the middle of a world tour in 2015, citing stress.

The rest of the group gave one final performance together at Wembley for the X Factor final in December 2015 and took a break after ­promoting their fifth album Made In The AM in February 2016.

All five of the boys have launched solo projects with ­varying degrees of success.