Stephanie Phillips

The meeting of minds between pop polymath Devonté Hynes and Call Me By Your Name director Luca Guadagnino makes perfect sense. Both make work that’s rich in vulnerability and fragility, that is visceral yet tender, explores gender fluidity and identity, and evokes the awkward anguish of youth. They are so simpatico, in fact, that what started off as a small cameo by Hynes in Guadagnino’s new eight-part HBO/BBC Three series soon turned into a full-blown collaboration.

The biggest so-called disco records of 2020, from Dua Lipa to Kylie, have all been made by white pop stars. Stephanie Phillips speaks to Solange producer Kindness, Jamz Supernova and the Studio 54 label and asks why the genre continues to be whitewashed

I was the guest editor at M Magazine for the first week of October for their special Black History Month edition. I led on editorial choices, worked with freelancers, researched article ideas, and wrote pieces for the edition. Other guest editors that month included Jesse Bernard, Michelle Escoffery and Ben Wynter.

Black musicians have played an essential role in the history of alternative music yet are often overlooked in favour of their white counterparts because they don't fit the industry standard. Today, the next generation of indie and punk bands seem far more content to create music outside of what is expected. This week's Black History Month Guest Editor, Stephanie Phillips, explores how Black British artists have shaped the scene.

We’re wrapping up the first week of M’s Black History Month curation with a playlist from Guest Editor, Stephanie Phillips. Tune in. This week’s playlist has been curated by M Magazine’s first Black History Month Guest Editor, Stephanie Phillips.

I wrote a press release for the US-based record label Kill Rock Stars for the release of the 7 inch record Kluster Rooms Sessions featuring the UK bands Big Joanie and Charmpit.

Winner of the best documentary award at the 2019 BFI London Film Festival, White Riot celebrates the grassroots tactics of the 1970s movement Rock Against Racism to target a rising tide of hatred. What can we learn from the punks?

I wrote biography of the history of the LGBT live music and club night QUEER. I gathered information by interviewing the promoter, researching past events, and interviewing artists who have participated in the night.

Dream Nails’ debut album has a spectacular opening; “I fear nothing and no one except the temptation to hold back,” vocalist Janey Starling and guitarist Anya Pearson proclaim fiercely. For a group that pride themselves on being “feminist punk witches”, it’s only fitting to kick off a record through a positive affirmation before walloping us over the head with a truckload of chaotic, pop-punk melodies.

Following the release of The Passion Of Stephanie Phillips speaks to New Orleans punks Special Interest about the POC punk community and being part of a legacy.

I wrote a press release for South African solo artist Snixxjones and their 2020 release Energy Doesn't Lie. I gathered information by interviewing them, reviewing their release, and researching previous coverage of the artist.

Prolific post-punk guitarist Rachel Aggs goes it alone on her debut solo record and discovers beauty in an inward-looking sound, finds Stephanie Phillips

It only took two weeks, a few calls round to friends on the local music scene, and the lofty ambition to document coming of age in the city for New York collective MICHELLE’s 2018 self-released debut album ‘HEATWAVE’ to come to life. Led by the talents of Sofia D’Angelo, Julian Kaufman, Charlie Kilgore, Layla Ku, Emma Lee and Jamee Lockard (the oldest of the gang are only 21), MICHELLE make ...

Once you’ve seen Screaming Toenail live, you’re unlikely to forget them anytime soon. The four-piece queer decolonial punk band burst onto the London DIY punk scene in 2014 with a tongue-in-cheek attitude that sneered at white privilege while creating fun, bouncy pop-punk that centres marginalised voices.

The Wire contributor, musician and Decolonise Fest co-founder asks white readers: “Does the diversity of your record collection reflect the diversity of your real social life or approach to the world?”