At London’s Hammersmith Apollo in the spring of 2001, Kylie Minogue previewed a previously unheard song.
While new material doesn’t always receive quite the same enthusiasm in a live setting as fan favourites – particularly when you have a back catalogue of bangers such as Kylie‘s – this was Can’t Get You Out Of My Head, an instant earworm like nothing she had recorded before, a song that was soon to take on a life of its own.
Rob Davis, former Mud glam-rocker turned acclaimed pop and dance songwriter, was in the crowd to see it performed on stage, before Minogue had even recorded it. “It was really exciting,” he says. “It went down amazingly. It’s quite sing-along, isn’t it, so I think people got the gist quickly. And it’s Kylie, people love her, don’t they?”
The previous year, with three-and-a-half minutes of shiny disco pop helped by a pair of teeny gold hotpants, Minogue had firmly reinstated herself as one of our most beloved music stars, following her mid-90s period experimenting with the still brilliant (Confide In Me remains one of her best) but less commercially friendly Indie Kylie. Spinning Around was glitzy and fun and instantly propelled the singer back to the top of the charts – but if this was Minogue’s “comeback”, we hadn’t seen anything yet.
La la la, la la la la la: 20 years ago, in September 2001, Can’t Get You Out Of My Head was suddenly everywhere. Released first in Australia and the following week in the UK, it spent four weeks at number one over here (one of just two tracks that year to stay for so long, matched only by Atomic Kitten’s Whole Again) and 30 weeks in the Top 40 in total, according to Official Charts.
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Another charts fact? It took just over four months to sell a million – compare that with 25 years for her second biggest-selling UK hit, 1989’s loved-up duo with Jason Donovan, Especially For You. Around the world, it is estimated to have sold more than five million copies.
It was a moment in music where the stars aligned: a song we aptly couldn’t get out of our heads; a slick, futuristic video with simple, almost robotic choreography (the start of Kylie’s jerky, face-up-close-to-the-camera moves she became known for around the period of Fever, her eighth album); and another unforgettable outfit in the form of her hooded, slashed-to-the-navel white jumpsuit.
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Plus of course, the magic of Kylie.
It started in a garage-turned-studio at Davis’s then home in Epsom, Surrey. Davis – who includes Spiller’s huge summer 2000 hit Groovejet (If This Ain’t Love), featuring Sophie Ellis-Bextor, and dance classic Toca’s Miracle, also released in 2000, on his CV – co-wrote the track with Cathy Dennis, another former pop star turned acclaimed songwriter. It was the first time they had ever worked together.
Image: Minoque performed the song live for the first time at the Hammersmith Apollo in 2001, before it had been released. Pic: Ilpo Musto/Shutterstock
Image: The star performing in Munich, Germany, in 2002
“It was just one of those days where everything worked,” he says. “It was all written as we went, no preconceived ideas or anything. All I started with was a 125 drum loop… and I played a bit of guitar and [Dennis] came in with the ‘I Just Can’t Get You Out Of My Head’ thing straight away. Gradually, we wrote it in sections on the keyboard. With a lot of dance music, you have a whole backing track first. But we didn’t, we gradually wrote it from top to bottom as we went along.”
Eschewing the traditional verse-chorus-verse pattern, Can’t Get You Out Of My Head has an unusual structure. “It’s funny because at the time one of my publishers said to me, ‘where’s the chorus?’ because it comes in with different hooks… this was almost chorus-bridge-chorus. But there’s no rules, really. It’s a good example, Can’t Get You Out Of My Head, that you can go anywhere.”
Image: The star went on to win numerous awards, including best pop and best dance artist at the MTV Europe Music Awards in 2002, following the release of Can’t Get You Out Of My Head and the Fever album
Davis says he and Dennis had a good feeling about the song, knew that in the right hands it could do very well. “But there’s other songs I’ve been excited about that haven’t done as well,” he says. So he didn’t let himself get too excited.
The song was originally sent to Ellis-Bextor’s team, who reportedly passed, and S Club 7 were said to have been in the running at one point, too. Ellis-Bextor, says Davis, is a friend and “always has a grin” when it comes up; the song that got away.
“I don’t think it could have been as big with anybody else,” he says. “It just worked for her brilliantly.” Minogue’s A&R representative wanted it immediately and, according to a 2012 interview with The Quietus, it took just 20 seconds of hearing the demo for the star herself to be hooked. She went to Davis’s garage studio to record it.
“It was a sweet moment, she was really nice,” says Davis. “She brought her own food – smoked salmon and stuff like that, from a deli – and brought enough for everybody. It was all done in the garage, just me and Cathy producing it. It was done in bits but she’d already learnt it – she’s very pro, Kylie. She’d done it live before, routined it for the [Hammersmith] live gig, which was really cool. So she already knew the song really well.”
Five months after the song’s release, Minogue performed it at the Brits, a mash-up with New Order’s Blue Monday, arriving on stage on a giant Kylie CD. She won the awards for best international female and album, for Fever. At the MTV Europe Music Awards later in 2002, she was named best pop act and best dance act.
“The whole buzz around it was incredible,” says Davis. “It was an amazing time. I think now, it’s considered an iconic song for her.” Davis and Dennis also wrote Come Into My World, another track on Fever, which won a Grammy in 2004.
Can’t Get You Out Of My Head even broke through to the NME Awards and was nominated for best single that year. As Minogue has put it herself, the song “kick-started a whole different phase in my career”. The music has never stopped, with the star releasing her 15th album, Disco, in 2020 – and becoming the first woman to top the UK album chart across five decades.
“Wow. I mean, WOW!!! What a moment in my lifetime,” she said, sharing a clip from the Can’t Get You Out Of My Head video on social media to mark the Australia release earlier this month. “I’ve been singing it ever since!!!”
Mr Bates Vs The Post Office and Mr Loverman were among the big winners at this year’s BAFTA TV awards – with Danny Dyer and Ruth Jones picking up comedy prizes.
After Mr Bates was named the winner of the TV BAFTAfor best limited drama, ITV was also given a special award for commissioning a show that “brought dynamic change”.
The four-part series, which aired in January 2024, depicted how former subpostmasters and subpostmistresses were held liable by the Post Office for financial discrepancies thrown up by its computerised accounting system, Horizon – shining a light on one of the widest miscarriages of justice in UK legal history.
Producer Patrick Spence said the show could never have been made without ITV, as well as the journalists who covered the wrongful convictions, and those who campaigned about the scandal.
“Our show didn’t change the law, the people of this nation did that,” he said.
Image: Lennie James was named best actor for Mr Loverman. Pic: PA
Image: Marisa Abela won her prize for Industry. Pic: PA
Mr Bates stars Toby Jones and Monica Dolan missed out on prizes in the acting categories, with Marisa Abela named best actress for her performance in Industry and Lennie James named best actor for Mr Loverman, a series based on the novel of the same name by Booker Prize winner Bernadine Evaristo.
Both winners seemed shocked to receive the gongs, with first-time nominee Abela saying: “Oh my god, I really wasn’t expecting that at all… This is insane.”
James described the win as a “fantastic honour”.
Earlier in the night, his co-star Ariyon Bakare took home the prize for best supporting actor, while Baby Reindeer’s Jessica Gunning picked up the gong for best supporting actress.
Image: Ruth Jones with her comedy performance gong. Pic: PA
Image: Danny Dyer won his BAFTA for Mr Bigstuff. Pic: PA
Elsewhere, Dyer got one of the night’s biggest cheers as his first ever BAFTA was announced – the award for male performance in a comedy, for his role in Sky’s Mr Bigstuff – while Jones’s final performance as Nessa in the long-awaited Gavin & Stacey: The Finale earned her the female comedy performance gong.
Accepting his prize, Dyer said “the acting was so bad it was funny”, before he swore several times despite being warned about the rules. He also thanked his family, and writer and actor Ryan Sampson, who he called the “best thing to come out of Rotherham”.
“I’m not going to lie this is immense,” said Jones as she collected her award. “The person I would like to thank most his my dear, dear talented friend James Corden.”
She said without British actor Corden, her co-creator and co-star, “Vanessa Shanessa Nessa’ Jenkins would not exist”.
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Stars on the red carpet
Wins for other shows included best drama for Blue Lights, best soap for EastEnders, best scripted comedy for Alma’s Not Normal, best entertainment performance for Joe Lycett’s Late Night Lycett, and best entertainment programme for Would I Lie To You?
This year’s BAFTA Fellowship, the highest accolade given by the organisation, in recognition of an outstanding and exceptional contribution to film, games or television, was presented to broadcaster Kirsty Wark for her “unwavering dedication and unmatched legacy in the world of news and current affairs broadcasting”.
Two new categories celebrating children’s television were also introduced this yearm with CBeebies As You Like It at Shakespeare’s Globe taking home the inaugural prize for best children’s scripted, and Sky’s Disability and Me (FYI Investigates) winning the non-scripted prize.
The main ceremony, which was hosted by actor and presenter Alan Cumming at London’s Royal Festival Hall, came two weeks after the BAFTA craft ceremony for technical awards – where Baby Reindeer, Rivals and Slow Horses each picked up two prizes.
Stanley Tucci says he doesn’t understand why there has been a sudden rise in the “very far right”.
The 64-year-old actor, author and food connoisseur leads a new show aptly named Tucci In Italy, where he looks at the world-renowned cuisine and how its ingredients tell much more than just what is served on the plate.
Speaking to Sky News, he says painting the full picture of the Italian landscape was the driving force behind the show and that he made a conscious decision to include stories from all backgrounds.
Image: Stanley Tucci tries lampredotto while in Florence. Pic: National Geographic/Matt Holyoak
“I asked that we include a story about a gay couple and their children, whether it was adopted or surrogate or however, because I thought it was a really interesting story.
“I am confused as to the direction that so much of the world is heading now to the very far right and sort of vilifying the other, meaning people who aren’t like us, but I don’t quite know what that means because we are all so different.
“There is no us, right? We’re all different, so I don’t know what the problem is there.”
Image: Canci checi, a Ladin staple consisting of fried ravioli. Pic: National Geographic
Image: Tucci cooks at BBQ joint ristoro mucciante in Abruzzo with one of the owners, Rodolfo Mucciante, right. Pic: National Geographic/Matt Holyoak
Tucci adds that he wants to “look at what’s happening in Italy politically and how it’s affecting people but, of course, all through the prism of food”.
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“Those people are sitting there having a traditional Sunday lunch with the grandparents, with the grandkid, and they’re a family and yet the government says they’re not a family.
“I think that’s really interesting because Italy puts so much emphasis on family and for all practical purposes, Italy has a negative birth rate so why wouldn’t you want to welcome more children into your society who are Italian?”
Image: Chef and owner Matilde Pettini opened Dalla Lola in 2021 and discusses their dishes with Tucci. Pic: National Geographic/Matt Holyoak
Image: Ramadan El Sabawy hands Tucci a plate with his son’s crispy margherita pizza. Pic: National Geographic
In 2016, Italy passed a law that now recognises civil unions for same-sex couples in the country.
It grants couples many of the same rights and financial protections as married heterosexual couples, however, it doesn’t give LGBT+ couples the right to joint adoption or in vitro fertilisation.
In 2023, the Italian government extended its initial ban on surrogacy to include arrangements made by its citizens abroad.
Its legislation subjects any intended parent who breaks the law to jail terms of up to two years and fines of up to €1m (£846,000).
The law doesn’t include those children who were already registered before it came into effect.
Image: Tucci holding a cheese made in Lazio. Pic: National Geographic/Matt Holyoak
Image: Torcinello, a traditional sausage, served with scampi, sea asparagus, and sweet pepper sauce. Pic: National Geographic
The buzzword on social media over the last few weeks has been “conclave” following the death of Pope Francis and of course, the Oscar-winning film of the same name.
Our interview took place just before the real conclave took place, which resulted in Pope Leo XIV becoming the first American-born leader of the Catholic Church.
Starring in the film alongside Ralph Fiennes, Tucci became inadvertently connected to the news agenda when life began to imitate art.
“It’s fascinating. I mean, look, I don’t know anything about it, really, other than I made a movie about it. That’s all I know. But it is, the timing of it is unfortunate, but it’s also oddly coincidental.”
Tucci In Italy looks at traditional Italian cuisine but also explores the impact history, changing political landscapes, migration and culture can have on a dinner plate.
Image: Timballo being cut, revealing the intricate layers of crespelle and meatballs inside. Pic: National Geographic
Image: Mr Tucci fly fishes in a glacial river with locals in Trentino-Alto Adige. Pic: National Geographic/Matt Holyoak
Image: Hay soup in a loaf of homemade bread, served in the restaurant Gostner Schwaige. Pic: National Geographic
He visits the northern area of Trentino-Alto Adige, which borders Austria, to look at how Mussolini’s intense policies regarding German identity shaped the area and people today.
“It’s an incredibly beautiful region, but also it’s the way those two cultures have figured out a way to get along without violence, without blame, without hating each other, without divisiveness.
“I think it’s really wonderful. It’s a testament to… How easy it can be for us to get along.”
Tucci In Italy premieres 21 May at 8pm on National Geographic and all episodes stream from 19 May on Disney+.