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delicateperspective · 1 month ago

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The Observer (Observed)

Either someone is deep in the Lore or LT3 era has begun.

Edit: I guess I am going to turn this post into a masterpost of sorts. I go more into detail about what I think this might be here (hint: not Louis).

But for now just please play it safe:

Don’t give them personal information.

Don’t engage in DMs with them.

Keep a healthy skepticism.

TIMELINE:

Twitter user @FromTheObserver was created on March 9th 2025.

At the time it first tweeted, it's pfp was a lavender eye with the roman numberals for 369.

The bio was "Through the looking glass the observer watches, craving what is just beyond reach."

The cover image was the below (MORE ABOUT THIS ARTWORK AT THE END):

At 2:44 GMT PM its first tweet said:

"The silence is broken. At last I return. Did your faith in the future endure, or did it waiver in my absence? You have waited, perhaps doubted, but the silence was never empty. I am ever present, hidden just beyond the veil. -The Observer

At 4:55 PM The Observer tweeted again:

Have you forgotten me so soon? -The Observer

At 7:44 PM Louis' official account tweeeted:

India I had no idea what to expect but you turned up in full force. From Doncaster to Mumbai. Fucking mind blowing! Thank you!

People started digging. "The Observer" appeared in a list of songs someone found on the French Music Directory SACEM. They first tweeted this list on February 2nd 2025.

I was able to confirm the listing at this link.

It is important to note though, that this lists SONY MUSIC PUBLISHING FRANCE as a sub-publisher and Reservior, Big Life Songs, and Inconnu Editur as publishers.

If we compare this to an LT released song, SILVER TONGUES, that ALSO has Sony listed as the subpublisher. So that doesn't debunk this as a real possible upcoming song.

For those who were saying that since it's sony he wouldn't use it. It appears Sony still has some claws in him. But thats normal in the music industry. A SUB-PUBLISHER doesn't mean he has a Sony deal again. It just means that BMG might not have the reach he needs in France to distribute so they'd rather pay someone else to do it.

I'd also like to point out that I could not verify this or any of the other songs on any American or UK repository like BMI or ACE.

I feel really uncomfortable digging into potential songs of Louis' knowing how badly he doesn't like the tracklist leaked. So this will be my extent of my digging on THIS SUBJECT. (But please feel free to let me know if I got anything wrong or I am missing something)

On March 10th, 2025:

At 1:30 AM The Observer tweeted:

I told you… But did you listen? -The Observer

Louis followed Lolla India sometime before 10:19 AM (based on the HL Daily update)

LTHQ Posted a Tiktok of Louis' show at Eletric Brixton around 4:38 PM (based on the HL Daily update)

Louis posted a reel from his time in India at 7:25 PM

At 10:00 PM (20:00) The Observer posted:

Day 1, 20:00 It’s eerily quiet in the laboratory today. - The Observer

At the time of this tweet, their pfp was the same lavender eye. HOWEVER the 369 roman numerals were gone. Replaced by a 7 (Or maybe a 1?). (For information about Louis' connection to the number 7, see this masterpost by @so-idialed-9.

On March 11th, 2025:

Louis poasted a pictures and video for Soccer Aid at 9:13 AM

Louis followed Soccer Aid on Instagram at 10:53 AM

Louis liked a photo from Soccer Aid of his 28 jersey at 1:44 PM

At 10:00 PM (20:00) The Observer tweeted again:

Day 2, 20:00 Watching from the outside, I can only hope not to become one of them. Perhaps I already have… Is it too late for me? -The Observer

The pfp at this time replaced the 7 with a 2.

On March 12th, 2025:

At 3:12 PM The Obsever Tweeted:

Day 3, 15:12 How can I change what’s already been written? If the past is in permanent ink, can the future ever be a blank page? -The Observer

At this time the pfp updated to a red 3 at the bottom.

Around 4:00 PM CST Louis followed footballer Jermain Defoe on Insta.

Also on this day, a pretty TeRrIbLe article from The Standard dropped, essentially making fun of 28, Louis, and his fans.

We also get a "Rome Unseen" of Harry drinking coffee with a friend and yelling at stalkers trying to take his picture.

On March 13th, 2025:

At 3:12 PM The Observer tweeted:

Day 4, 15:15 Inhale. Exhale. Surrender to what’s beyond control. -The Observer

Pretty telling for a fandom that is crashing out over circumstances outside of anyones control.

The number in the pfp changes to a white 4 in the right hand corner.

Louis doesn't move on this day.

On March 14th, 2025:

At 6:20 AM The Observer tweeted:

The shadow consumes the light. A fleeting moment where past, present, and future collide. Do you see it? Observe. -The Observer

It is important to note that there was a Blood Moon Lunar eclipse that could be seen in London just before dawn. "Stargazers around the world caught the first sign of the lunar event, which began at 05:09 GMT, on a livestream run by LA's Griffith Observatory."

Note the nod to the Observatory, to shadow consuming light.

The pfp stays the white 4 during this tweet.

At 3:18 PM The Observer tweeted:

Day 5, 15:18 Across a million futures, one constant endures. -The Observer

Sound familiar? If you are a Larrie, it should. Mr. "souces say he has trouble with long term relationships" used a similar line in his "You Are Home" promo.

(personal opinion here. take with a grain of salt. this has confirmed for me that Louis has nothing to do with this account. This line was too loud when H tweeted it. It didn't fit any narrative. It wasn't even related to anything on the album. This and the "half way home" debacle were some of the craziest wtf is going on here moments in the You Are Home tweet saga. If this had anything to do with his work or career, Louis would stay far away from using lines this closely tied to Harry.)

The pfp updates to a white 5 (which really looks like an upside down 2)

At 6:00 PM LTHQ posted an IG reel from India.

On March 15th, 2025:

At 10:00 AM The Observer tweeted and immediately deleted:

"A true observer must always be watching. Blink, and you'll miss what matters most. 625 369 825 007 326 028 -The Observer"

369 and 28 are both intrinscly linked to Louis and can be found in the masterpost at the begining. 007 is typically a reference to James Bond which Harry is a favorite to perfom the next James Bond song or play him.

HOWEVER, 625, 825, and 326 could possibly be month/years. As in June 2025, August 2025, and March 2026.

Louis is playing in Soccer Aid on June 15th 2025. (THIS COMES INTO PLAY IN A FEW DAYS. Approximately 40% of the articles about Louis' new stunt involve his involvement in SoccerAid and how he will be on the team with his stunt's very recent ex.)

Should we be looking for August 2025 and March 2026 events as well?

At 9:45 PM The Observer tweeted:

"Day 6, Unkown Too quick to catch, too fleeting to frame in memory. But a true observer is always taking notes. -The Observer"

The pfp updated to a white 6 (at the three oclock position)

On March 16th, 2025:

We got two posts again this day.

At 9:30 AM The Observer tweeted:

Day 7, Unknown How did we end up here? -The Observer

The past two posts have stated that the time is "Unknown" instead of giving us UK time. Have we stopped tracking the time? Have we moved timezones?

The pfp updated to a white 7 at this time as in accordance with the dart board.

At 11:30 PM The Observer tweeted:

Silent? Silenced. Patience. Observe. -The Observer

The first part of this refers to an Oprah interview.

The implication is that someone has not CHOSEN to be silent. They've been made to be silent. However, if we - as the audience - are patient, we can observe what they cannot say.

The pfp updates now. There are no numbers. The pupil is smaller and we can see what appears to be eyelashes in the top right corner.

On March 17th, 2025:

We ge two posts again today. But it's what happens in between that makes it important.

At 8:25 PM The Observer tweets:

Day 8, 20:25 No key to turn, no doors to guide A journey taken, far and wide The walls unfamiliar, the roads unknown A wandering soul, yet not alone -The Observer

The pfp updates back to the original eye with a white 8. Which looks oddly like an infinity sign as the circles are elongated.

First thing to note is that were back on UK time. The second - your intepretation of this tweet will matter to how authentic you think this account is. For me - when I saw "no key to turn, no doors to open". I immediately thought of the tattoo Harry has on his ribs of a birdcage with no door. Next to his drama masks. Above the SMCL (smile more cry later?) tattoos. There isn't a keyhole nor a door to this closet. The "you are home" door is closed, it cannot be opened.

Yet the last line of the 28 word (if you include the signature) poem leaves us hopeful. Despite the distance, the walls, the unknown roads, there’s an undercurrent of connection

Then an hour and a half later at 10:00 PM on the dot The Sun gives us our very first confirmation article of Louis' new stunt. Which I will not speak about in depth on this post. If you want more info, my page is full of it, but I don't want to muddy this post with that.

At 11:55 PM we get another tweet from The Observer:

Fabricated fairytales, observed by all. -The Observer

The pfp does not change.

The "fabricated fairytales" is a line from Louis' She is Beauty, We Are World Class. (my intrepretation of that song is here if you're into that kind of thing.) This is in direct response to the stunt. It is not mincing words or leaving room for interpretation by the timing. It is saying "this is a fake romance and now the world is watching".

On March 18th, 2025:

At 8:35 PM The Observer tweets:

Day 9, 20:35 Nearly Halfway Home. A long journey, but well worth it. -The Observer

The pfp uppdates to a green 9 as per the dart board.

The tweet itself, needs lore to explain.

On April 1st 2022, Louis registered a song Halfway Home. This registration can still be confirmed here.

THEN on April 13th 2022 (two weeks later), the You Are Home account for Harry's House promo tweeted "half way home"

Home, as a concept, has always deeply tied to both Louis and Harry and both of them together. The lore goes deep, but a summary is here.

The capitalization of Halway and Home, directs us to the song name.

But if were intepreting, it's also telling us that there is a plan in place. And though its a long way out, we're nearly halfway there and it will be worth it in the end.

On March 19th, 2025:

At 2:28 PM The Observer tweets:

Day 10, 14:28 A fresh set of eyes, born from little white lies. -The Observer

The pfp changes to a white 10.

Little White Lies is a clear refrence to the One Direction song, Little White Lies.

Bare with my little larrie heart here (but since this account is obviously also a larrie I'd be suprised if you aren't too) but Louis is in the headlines more than hes been in a decade right now. The PR is PRing. There are a whole new set of eyes on him. All because he's selling the story of some "little white lies".

DARTBOARD THEORY AND UPDATES

At this point, to anyone who is paying attention, it's become clear that the numbers represent a dart board.

See the most recent overlay below:

There have been a lot of recent theories revolving around dart boards after Louis posted one while he was in New Orleans for the superbowl and then followed a darts player on Instagram.

As to keep this unbiased and not tied to further speculation, I won't comment on the connection around all of the other people in Louis' life that have posted pictures of dart boards recently (just know that his sisters, Pleasing, Lamby, Niall, and more have posted dart boards - usually with the dart in the triple 20 spot). HOWEVER, darts has always been popular in the UK and its growing in popularity with the younger crowd recently. It's entirely possible that Louis just loves a game of darts at the local, and his sisters' boyfriends do to, and he's watching competive darts lately (especially the first openly gay dart player who is super popular right now), and Pleasing thought somehow darts were Valentine's day imagery.

EXTRA STUFF & FINAL THOUGHTS

As mentioned by this Twitter user, the artwork is pretty well likely AI generated (plus a little Canva/Photoshop for the numbers). It has all the tell-tale signs of generative AI (wonkey lines, misproportions, etc).

Louis has entire teams of graphic designers plus Joshua Halling (who loves this skind of thing) in his back pocket. He wouldn't need AI for any of this.

At this point, The Observer is definitely an interesting mystery, but whether it’s something to pay attention to or just a fan-run account remains to be seen. The AI-generated images are a major red flag—it’s hard to imagine Louis or his team relying on AI when he has actual designers and photographers on hand. Even his more cryptic rollouts in the past have been visually polished and intentional.

That said, the timing of the tweets, the SACEM song listing, and the number symbolism do make it intriguing enough to keep an eye on. If this is a fan project, they’re clearly deep in the lore and know how to grab attention.

Key Takeaways:

Be cautious. If this is a fan messing around, engaging too seriously could be dangerous to your online safety.

Don’t assume it’s official.

It's probably not connected and Louis probably knows nothing about it. If it is somehow connected it will become obvious soon. If it's not (way more likely), it’ll probably fade out like other fandom mysteries before it.

For now? I’m just observing The Observer. 👀

#the observer #Louis Tomlinson #lt3?

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seasurfacefullofclouds1 · 4 months ago

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Hi! I sent the anon about the BMG article - I can't link but it's online if you want to

Here’s the article, and I’ll excerpt:

SO WHAT’S BMG’S SECRET?

Number one, and it sounds obvious, make a great album. In the early days of the new BMG, we were very much artist services: you delivered a record, we released it for you.

Under Korda [Marshall, former BMG SVP] and now Jamie, the A&R element is very important. With all of the examples we could look at, the records are very good – but that doesn’t necessarily mean they’re going to be successful.

The second element, in almost every example, is they have great management. The partnership between the label and the artist manager is so integral.

And the third element is the excitement and determination coming from the artist themselves. If it’s, ‘We’re going on tour, we should put a record out to support the tour’, that’s OK, but it’s not being driven by the music. I’ve had artists in here who’ve said, ‘This feels like the first roll of the dice’, even though it’s many years later.

IS IT HARDER TO DO THOSE DEALS NOW YOU’RE UP AGAINST VENTURE CAPITALISTS?

The problem is, we’ve seen a lot of overheated deals that have inflated prices and it’s very hard then to say to somebody, ‘This is what your catalogue is worth’, because they’re like, ‘Well, so-and-so got that much’.

If you’re selling a portion of your catalogue, but you’re still going to be out there performing and releasing new music, it’s important you have a company that’s a proper publisher or label. We will always curate and look after your legacy better than a fund will do, because we know how to administer songs and release recordings.

WOULD YOU LIKE TO HAVE MORE ACTS SIGNED FOR BOTH RECORDS AND PUBLISHING?

The balance is good. What we’ve never done is pressurise or make anything contingent on one or the other.

I enjoy the fact that lots of our writers are signed to other labels. Since Thomas took over, you’re seeing more engagement with the industry. Our communication historically was a little bit, ‘We’re out on our own, BMG is the new music company’. I always felt we were somewhat detached from the industry.

Now we’re shifting our physical distribution to Universal from October, going direct to digital and building our relationships with DSPs, you’re starting to see people joining BMG from the majors, particularly in the US and UK; you didn’t see that before.

The industry needs to be more collaborative. The Ivors is the best awards show because it’s the publishing industry coming together, acknowledging and rewarding everybody else’s success.

There’s always a feeling in the room of collaboration. The BRITs is more competitive, you support your team. But music publishers are used to sharing songs; we share the song, so we share the success.

HOW HAVE THOMAS’ [CEO Coesfeld] CHANGES AFFECTED THE WAY YOU WORK?

The biggest change Thomas has made is the focus on just being a publisher and a record company. It was great to be able to make documentaries and co-produce films but, on reflection after 12 months of not doing that, this is a much better way to run a business – to be super-focused on the core business of music publishing and records.

The other big change, which perhaps hasn’t been explained as well as it should have been, is the change to how we’re working internationally.

We had created a large international hub in Berlin and local marketing was going via Berlin. That team was disbanded last autumn, and there was a discussion in the industry about ‘BMG bailing out of international’ – which was totally contrary to what we are doing!

Now, with UK projects being marketed in America, they’re not going through a central hub, there’s just direct communication from London to Los Angeles.

CONVERSELY, IT SEEMS TO BE A VERY TOUGH TIME FOR BRITISH ARTISTS INTERNATIONALLY…

If we were exclusively focused on breaking talent, it would be very difficult. But the world we’re in and the artists we’re working with… I look at Simple Minds; next year will be the biggest US tour they’ve ever done. I look at Louis Tomlinson; his touring is going from strength to strength.

That Suede/Manics tour began in the US. I remember going to the Brooklyn show and thinking, ‘This is the smart way for UK acts to team up’. You’re getting bigger audiences at less cost and you’ll see more of those package tours, they’re excellent.

It is harder than it’s ever been, but the lane we are in gives me confidence that we can work within the parameters of the current climate.

DOES BMG STILL WANT TO TAKE ON THE MAJORS?

One has to be realistic. Frankly, you’re not going to take [them] on. We want to be competitive, but we’re seeing much more of a collaborative spirit.

It should be a healthy, competitive marketplace but there are so many examples now where artists are featuring on other people’s records… So many records are X featuring Y and it involves two labels, one of them is the releasing label and the other one shares in the revenues.

There’s a lot more partnership coming and an artist doesn’t want to hear that you don’t get on with this label, because that’s buggering up their plans.

When we started, we had to be disruptive and agitate. But, as an industry, we’ll be stronger if we’re more aligned than if we fight with each other.

WHAT ARE YOUR PRIORITIES OVER THE NEXT FEW YEARS?

To be more impactful internationally. To support the doubling down in the US, by signing the records and artists that can be meaningful in America, and moving into stadium artists.

In 2018, we were in theatres. Now we’re in arenas. Our job is to demonstrate to those artists that we are a serious contender at that [stadium] level.

We’re proud to publish Dave Rowntree from Blur – we could do a Blur album. I’m proud to do the neighbouring rights for Coldplay – we could do a Coldplay record. I’m proud to have worked with Bono on the Peter And The Wolf project – we could do a U2 record. I’m proud to publish Matt Bellamy – we could do a Muse record.

Every time you think maybe BMG has run out of runway, it hasn’t. And, because of the way the industry’s going, there are more opportunities coming. This is a good time to be at BMG.

So what I’m getting out of this:

1. BMG takes a lot of its cues from the artists and their managements. It isn’t comfortable taking big risks unless that’s what the artist wants to do.

2. BMG is more comfortable working with established acts who have a firm fanbase. It has neither the money nor manpower to break new acts or to significantly grow old ones. The BMG A&R department is more about connecting established artists to other creatives in industry, not breaking unknowns.

3. BMG takes a smaller slice of the pie from artists because established artists negotiate better terms for themselves. Just like we’ve seen with Louis, BMG relies on fans to pick up whatever their artist is doing.

4. BMG is not competitive in the USA. They’ve not been able to expand in the biggest English-speaking market in the world, and that really impacts them globally since USA charts affect so much global listening. Maybe Louis’ Eurocentric focus is a consequence of BMG’s Eurocentric business. It’s more complicated than just one factor, but it might partially explain the difference of Louis’ success in the USA with Niall, who is with one of the big three.

5. Venture capital is really turning the creative arts into big business, in a bad way. The same way venture cap has locked young people out of home ownership and savings, it’s killed the careers of young people breaking organically into music. Now every artist is seen as the worth of their tours and future catalogues. That means fewer artists make it through, less risk, more generic-sounding, corporate-approved, AI-generated bullshit.

6. Louis is doing fine. He’s staying with BMG, not going anywhere. He is a nice bright spot at BMG, but not on the order of Kylie Minogue. Louis is an arena-sized touring artist, at least in the USA and Europe, at least for the foreseeable future.

#music business weekly #Louis press #BMG #Alastair Norbury #louis tomlinson #9.12.2024 #music business

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