From the beginning, the intention was clear. “Five bad boys with the power to rock you,” came the shouty introduction in their first video, all hoodies and hair gel, the bandmates swaggering through a dim, strobe-lit corridor that suggested they might be trespassing – or at the very least, flouting a health and safety rule or two.

Signed by a then little known Simon Cowell to create “chaos”, Five (or 5ive) were the antidote to the squeaky clean boybands of the era. The image was tough egos, not hearts, on sleeves.

Jason “J” Brown, Abz Love, Scott Robinson, Ritchie Neville and Sean Conlon burst into the charts and on to teen girls’ walls with Slam Dunk (Da Funk) in 1997, and continued with hits including Everybody Get Up, If Ya Gettin’ Down and Keep On Movin’. They had 11 top 10 singles in total, including three number ones, filled arenas, and even had their own dolls (which is when you really know you’ve made it).

Behind the scenes, as we now know has been the case for so many young pop stars, things weren’t always as carefree as they appeared. The inevitable split came after just four years, and a full reunion always seemed unlikely. A couple of comebacks involved different members, but never J.

“I hated the industry,” he said during his appearance on I’m A Celebrity… Get Me Out Of Here! in 2007. “I ran away from it all.”

Earlier this year, however, the announcement was made: Five – all five! – were making a comeback. A month later, after a few weeks to process the reaction (the initial arena tour dates have more than doubled, due to demand), I meet them at their publicists’ offices in London. A constant stream of easy ribbing has to be gently interrupted to get the interview going.

Now in their 40s, the bandmates are aware the internet has cottoned on to how often they used to sing about getting up – and getting down – in most of their songs. “We were aware of that at the time,” half-groans Ritchie. “We count a lot as well,” laughs J. “We’re an educational band.”

They are happy to be back in each other’s company. Back in the day, there were squabbles, but never any serious fall-out, they say. Five split because they were tired of the industry, not each other.

“We broke up out of love,” says Ritchie. “Sean was having a bad time, he was 15 when he joined the band, and it is a high-pressure, high-stress situation. We were thrown into the deep end and it’s sink or swim. It had been nearly five years of 18-hour days. We were worn out.”

When the video for the band’s penultimate single, Let’s Dance, was released, featuring a life-size cardboard cut-out of Sean in place of the real thing, it was claimed he had fallen ill. In reality, the pressures of the band, and fame, had become way too much. Scott was also suffering, desperate for a break and to spend time with his girlfriend, Kerry (the couple married shortly after Five’s split). By the time they called it a day, they were all worn out.

‘Our bond wasn’t spoken about’

“We ultimately made the call that it doesn’t matter how many number ones you have, it’s not worth this,” Ritchie continues.

“Our bond wasn’t actually spoken about,” says Sean, “because of that ‘bad boy’ image.” There was a stigma, he says, and some pressure “to live up to being a lad”. They were five young men given the opportunity of a lifetime, so some laddish behaviour was par for the course. But it wasn’t the whole truth. “Really, we are five big softies.”

It was Scott who picked up the phone first. “I hadn’t seen J or Abz for a long time. I kept on hovering over their names.” Abz first. “Was it ‘cus I’m at the top – A, B?” he laughs. Scott reassures him it was an intentional dial. “That means a lot, man.” An AirBnB was booked and that was it – the first time in almost 25 years all five had been in the same room.

Initially, they weren’t reuniting as Five, simply as friends. But word got out, the offer came in.

“We didn’t sleep,” says Sean, recalling the night before the launch. “We were scared stiff… petrified.” Given their huge stardom back in the day – and following successful nostalgia-filled reunions by ’90s-’00s contemporaries such as Steps and S Club 7 – surely they realised the comeback would be something of a cultural moment?

Ritchie says not. “We’re just normal dudes that did something that went bigger than I thought.” There were fears of ending up “with egg on our face”, J adds. “We release it as this big thing and it could have just gone ‘pfff’.”

Staying in a hotel the night before the announcement, Scott called Kerry. “What if no one cares?”

Just a few months earlier, millions had watched Ritchie, Sean and Scott taking part in the docuseries Boybands Forever, which pulled back the curtain on the darker side of fame. Their honesty about the mental health struggles they all faced during their time in Five no doubt contributed to the groundswell of support surrounding the comeback.

“I suppose it’s a massive part of the healing process,” says Scott. “When I started speaking to the boys again, it was like, I’m not sad anymore. Because all of that stuff is a distant memory… I’ve gone from being a little bit broken, to complete again.”

They are keen to stress they had lots of good times. “So many highs,” says Ritchie. “We played Rock In Rio. How many people was it?” “16 billion,” one of his bandmates exaggerates. “We opened the Brits with Queen, Times Square, we went platinum in the States…”

“I won two haircut awards,” says Scott, adding with mock false modesty: “I don’t like to talk about it.”

While they enjoyed so much of it, it got to the point where they were all desperately craving normality, and a rest. Now, they say it’s “massively” important to talk about the low points, and how the industry can learn from its mistakes.

‘Nobody’s life is that good’

“I think the marketing of bands of our era was really based around ‘everything’s positive, there’s no troubles’,” says Sean. “I don’t really think that that’s good for anybody.”

“Nobody’s life is that good,” adds Ritchie. Back then, mental health was not part of the conversation – particularly for five “bad boys”. “Now, thankfully, it’s spoken about a lot,” says Scott. “I think it’s so, so important.”

“It takes a lot of pressure off you,” says J. “When we were doing it – and we were children doing it – and we are in this position of being on a pedestal almost. You’re going through some really rough times and you just want people to know… [but] when you try and voice it to anyone else outside of this collective, it’s like [the response is], ‘you’ve got the world at your feet, you’re this age, you’ve obviously got millions in the bank’…”

“And that makes you feel a million times worse,” Ritchie adds. “I remember having this conversation with one of my best friends. They were like, ‘what have you got to be down about?’ It actually broke me.”

Things are different now, Ritchie continues. When he joined the band, he was 17 and “didn’t know what too much was”. But signed artists now have access to counselling and support, he says.

“We’ve already done it and it’s absolutely amazing to be able to speak to someone and go, this is what I’m feeling,” says Scott. “We didn’t have that. We’re not blaming anyone for that. It was a massive time in the ’90s where we were all learning at the same time… We’re older, they’re older. We’re more experienced and so are they.”

Abz chips in: “When you’re so wrapped up in it, you’re not sure what’s left and what’s right. To have that break, as wild and as long as it was, whatever happened in that time period, to actually all be here. We’re very grateful.”

‘We didn’t realise we were cool’

There is also no longer such a snobbery around pop music now.

“We didn’t realise we were a really cool band,” says Scott. “We didn’t realise how good our songs were, and that’s not blowing our own trumpet.” After the split, they tried to “run away” from the music, he adds.

J and Ritchie, who “hung out a lot” in later years, would inevitably get asked about it when they were out together. They hated it. “We used to apologise a lot,” says Ritchie. “Oh yeah, we’re from that rubbish band.” He pretends to wince. “Sorry.”

“It’s a ridiculous thing, a really adolescent mindset, the whole, ‘I’m selling out’,” says J. “I had that for a long time, unfortunately.” With enough time passed, he now appreciates the Five back catalogue. “When I hear it, I can hear it fresh. And I’m like, that’s why people were digging it.”

The pop conveyor belt was an industry mistake, says Sean, and artists paid the price. “They looked at our music and bands like us and they thought, okay, it’s not really got a lot of depth to it, it’s not really moving people in that way that they’d be able to do a tour 25 years later. So we’ll get them working all day and all night, maximise it, profit-wise.”

But here they are, 25 years later. “Our music – and not just our band, the whole ’90s era – meant so much to so many people. We’re witnessing that now.”

At the moment, there are no plans for new songs. “I think fans want to hear the old music,” says Scott. “They want to remember a simpler time when they didn’t have a mortgage to pay. They want the nostalgia.” Maybe later down the line though, he adds.

Given everything they have been through, the highs and the lows, what would their advice be… “Don’t do it!” Abz interrupts, laughing, before I get the chance to finish the question about the boybands following in their footsteps.

Get the “right people” behind you, Ritchie says, seriously. “Sleep in the breaks,” adds Scott.

But would they recommend it? Especially given some of them are fathers now. “I’d do it all again, but different,” says Abz. To which Sean quickly reminds him he is now doing exactly that.

They all are. Five not-so bad boys – but still, it seems, with the power to rock you.

The “bowcaster” used by Chewbacca in the original Star Wars trilogy has sold for more than $750,000 at auction – while the medal given to Luke Skywalker at the end of “A New Hope” has fetched over $370,000.

“Chewie’s” weapon, which featured in all of the first three Star Wars films between 1977 and 1983, sold for far more than its estimate of between $250,000 and $500,000 (£193,203 to £386,407).

The item sold for $768,600 (£593,985) and is a real Horton crossbow, which was modified to give it a futuristic look so it could serve as a laser weapon.

Some of the components have been removed, and missing parts have been recreated, according to the auctioneer Propstore.

Chewbacca, a huge hairy Wookie who was played by London-born actor Peter Mayhew, is one of the most iconic characters in the Star Wars franchise.

His weapon was described by Propstore as “one of the rarest Star Wars hero props in existence”.

Meanwhile, a medal given to Luke Skywalker after he destroyed the Death Star in Star Wars: Episode IV – A New Hope (1977) was sold for $378,000 (£292,124).

“The Medal of Yavin” was presented to Skywalker, played by Mark Hamill, by his sister Princess Leia Organa, who was played by Carrie Fisher.

It was estimated to sell for between $300,000 and $600,000 (£231,844 and £463,689).

It is also believed to have been worn by Harrison Ford – who played Han Solo – during rehearsals.

Propstore has claimed it is the “first and only medal to be offered for public sale”, coming from the collection of props master Gerard Bourke, who worked on the original Star Wars films.

Skywalker blows up the Death Star in the movie after the rebels find the plans for the planet-destroying weapon, which is later rebuilt in Star Wars: Episode VI – Return Of The Jedi.

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After fan complaints that Chewbacca was not also given a medal for his efforts, he was handed the bravery honour during 2019’s Star Wars: Episode IX – The Rise Of Skywalker.

The bowcaster and the medal sold for a combined $1,146,600 (£886,109).

Brandon Alinger, Propstore’s chief operating officer, said after the auction: “Propstore are thrilled with the incredible success of the first day of our Entertainment Memorabilia Live Auction.

“The auction surpassed our expectations and showcased the enduring popularity of franchises like Star Wars.”

Star Wars, originally filmed at Elstree Studios in Hertfordshire, is a huge and iconic franchise, spawning prequels, sequels and spin-off shows including The Mandalorian, Andor and 2019’s Star Wars: The Rise Of Skywalker.

British authors have told Sky News they felt “absolutely sick” to see their book titles appear in a “shadow library” allegedly used by tech giant Meta to help develop artificial intelligence software.

“It’s my whole life,” said one best-selling novelist. “The thought somebody in Silicon Valley or wherever is taking that work to produce identikit fake AI versions… it’s so upsetting.”

The tool to search the LibGen database was published by The Atlantic last week after court documents filed as part of a lawsuit by US comedian Sarah Silverman and other authors against Meta, which owns Facebook, Instagram and WhatsApp and has a current market value of more than £1trn, were made public earlier this year.

Meta is accused of breaching copyright laws by using LibGen – a prominent so-called “shadow library”, operated anonymously, that allegedly contains millions of pirated copies of books, journal articles and other materials – to develop its AI software. Meta has denied the claim and argues the case should be thrown out.

In a legal document filed earlier this week, the tech company said it did not violate copyright law by downloading books from some parts of LibGen to train its flagship AI system Llama 3, saying it made “fair use” of the material, and that Llama 3 does not “replicate” authors’ works.

In earlier court documents, lawyers for Silverman and the other authors alleged internal communications showed Meta chief executive Mark Zuckerberg “approved” use of the LibGen dataset despite concerns from some workers.

The Society of Authors (SoA) trade union has described Meta’s alleged behaviour as “appalling” and says the company “needs to compensate the rightsholders of all the works it has been exploiting”.

“It’s every single book I have ever written,” says novelist Rowan Coleman, who has had about 40 books published since her first in 2002, including the Sunday Times bestseller The Memory Book in 2014, and The Bronte Mysteries series under a pen name.

“I felt absolutely sick… I have no way of knowing how much revenue that has cost me. Like most writers, I struggle to pay the bills. I have three jobs, I have children to support and a mortgage to pay. And there are tech billionaires who are profiting from my work and the work of countless other authors as well. How can that be right?”

Meta, Coleman says, allegedly decided to obtain “what they needed cheaply and quickly”.

But financial compensation aside, she says there is a bigger issue. “It’s a threat to this profession even being able to continue to exist. We are, I think, at genuine risk of not having any books for people to actually pirate – at least not any written by humans.”

Coleman highlights the recent Netflix drama Adolescence, co-written by and starring Stephen Graham, which has been discussed everywhere from US talk shows to UK parliament. “We wouldn’t have that if it wasn’t for writers sitting down and working and grafting for hours.

While JK Rowling, Stephen King and James Patterson may be worth millions, a survey in 2022 found that authors in the UK earned an average median income of about £7,000.

Hannah Doyle, a romcom novelist who is about to publish her fifth novel, The Spa Break, in May, says two of her previous works appear in the LibGen search.

Like Coleman, she has other jobs to supplement her author earnings. Each book takes about a year to complete, she says.

‘It’s David and Goliath’

“We’re kind of the little people, it’s like David and Goliath,” she says. “How do we stand up for our rights when we’re facing these tech giants worth trillions of pounds?

“This isn’t right, because it’s theft, ultimately. They’re [allegedly] stealing our work and they’re using it to better their AI systems. What’s going to happen to our careers as a result of that?”

Doyle says the situation might be different had authors been approached and offered remuneration.

“I think AI has so many benefits in certain fields,” she says. “For medical research, for example, it’s got the potential to be incredibly useful. What needs to happen is we really need to give it some boundaries before it totally takes over.”

Award-winning writer Damian Barr, whose books also appear to be featured in the database, shared a post on Instagram, writing: “Readers and viewers – because so much TV and film and theatre starts with a book – are being subjected to BILGE generated by machines… creatively and culturally and financially, AI is robbing us all.”

TV presenter and author Richard Osman, who has had huge success with his Thursday Murder Club series, wrote on X: “Copyright law is not complicated at all. If you want to use an author’s work you need to ask for permission. If you use it without permission you’re breaking the law. It’s so simple. It’ll be incredibly difficult for us, and for other affected industries, to take on Meta, but we’ll have a good go!”

In his article, Atlantic writer Alex Reisner, who created the LibGen search tool, gave the caveats that it is “impossible” to know exactly which parts of LibGen Meta has used and which parts it hasn’t, and the database is “constantly growing”.

His snapshot was created in January 2025, he says, more than a year after the lawsuit says it was accessed by the tech giant, so some titles that appear now would not have been available to download at that point.

The SoA is urging authors in the UK to write to Meta, as well as to their local MPs.

“Rather than ask permission and pay for these copyright-protected materials, AI companies are knowingly choosing to steal them in the race to dominate the market,” chief executive Anna Ganley said in a statement.

“This is shocking behaviour by big tech that is currently being enabled by governments who are not intervening to strengthen and uphold current copyright protections.”

A Meta spokesperson told Sky News in a statement that the company “has developed transformational GenAI open source LLMs that are powering incredible innovation, productivity, and creativity for individuals and companies”.

The statement continued: “Fair use of copyrighted materials is vital to this. We disagree with plaintiffs’ assertions, and the full record tells a different story. We will continue to vigorously defend ourselves and to protect the development of GenAI for the benefit of all.”

The US lawsuit

Authors including comedian Silverman, Richard Kadrey and Ta-Nehisi Coates filed their class-action lawsuit against Meta in California in 2023.

They have accused the tech firm of illegally downloading digital copies of their books and using them – without their consent or offering compensation – to train AI.

The controversy surrounding LibGen is part of a wider debate about AI and copyright law. In the US, the Authors Guild says legal action is under way against other AI companies for allegedly using pirated books, as well as Meta.

The organisation has advised authors that if their books have been used by Meta, they are automatically included in the Kadrey vs Meta class action, the lawsuit involving Silverman and other authors, “without needing to take any immediate action”.

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Separately in 2023, the Authors Guild and 17 authors filed a class-action suit against OpenAI in New York for alleged copyright infringement. The named plaintiffs include John Grisham, George RR Martin and Jodi Picoult.

The issue was also one of the driving forces behind the strikes in Hollywood in 2023. But not everyone in the creative industries is against it.

Last year, publisher Harper Collins reached an agreement with an unnamed technology company to allow “limited use of select non-fiction backlist titles” for training AI models.

And in 2023, award-winning crime author Ajay Chowdhury told Sky News he was embracing the technology.

AI law in the UK – what is happening?

A consultation on AI copyright law in the UK ended in February. Under the plans, an exemption to copyright would be created for training AI, so tech firms would not need a licence to use copyrighted material – and creators would need to opt out to prevent their work from being used.

A government spokesperson said at the time that the UK’s current regime for copyright and AI was “holding back the creative industries, media and AI sector from realising their full potential – and that cannot continue”.

No changes will be made “until we are absolutely confident we have a practical plan that delivers each of our objectives, including increased control for rights holders to help them easily license their content, enabling lawful access to material to train world-leading AI models in the UK, and building greater transparency over material being used”, the spokesperson said.

But plenty of authors and others in the creative industries are not convinced.

“It just leaves the door open for so much exploitation of people’s rights, people’s data and their work,” says Coleman. “I would really urge the government to think again about this and to protect what is a jewel in the crown of British cultural identity – to do the right thing.”