2022

Seven months after their surprise set in the Glastonbury stream, Thom Yorke and Jonny Greenwood's new band have booked their first shows with an audience.

The trio's second song is slower and quieter than the January single, and it arrives two days before their first shows with an audience.

Thom Yorke and Jonny Greenwood's new band will be on the road from mid-May to late July, finishing in the ancient Greek theatre at Taormina in Sicily.

The talk with Terry Gross is mostly about his three new film scores, and why he would always rather hire string players than reach for software.

Four years after Phantom Thread, Greenwood is back in the running for Best Original Score, with Hans Zimmer's Dune among the five.

Five weeks after The Smile put out “The Smoke”, a producer whose work Jonny Greenwood hears all through the music he loves has made a version of his own.

None of the copies is for sale, and entering costs nothing beyond a trip to one of the shops taking part.

In February the series' director said Yorke and Jonny Greenwood had made original music for the drama's last run, and the first of Yorke's songs has now appeared.

A song Thom Yorke has carried since 2009, through a Radiohead tour in 2012, is now the third single from his band with Jonny Greenwood and Tom Skinner.

Jane Campion's film went into the night with more nominations than any other and came away with one, her own award for directing it.

The Smile's fourth song of the year and a piano piece Yorke wrote on his own both go out in the drama's final hour.

The sketchbooks the two kept through the Kid A and Amnesiac years go on show for five days in May.

Radiohead songs made up 14 of the 23, and the rest came from his Suspiria score, The Eraser, UNKLE and The Smile.

The songs The Smile have put out so far belong to a 13-track record made with Nigel Godrich, an orchestra and a brass section of jazz players.

The film arrives four days before A Light For Attracting Attention, the album the song is taken from.

Six years after A Moon Shaped Pool, Thom Yorke and Jonny Greenwood have a new album out, with Tom Skinner of Sons of Kemet.

Eight scores from the album's first week all fell between eight and nine out of ten, and the complaints were mild: a dull track, a missing hook, a long song.

Four nights into their first European tour, The Smile have a second new song, and its title was on a Radiohead blackboard 16 years ago.

The studio series that filmed Radiohead's In Rainbows and The King of Limbs sessions has its first new episodes since 2011, running from June to October.

London gets The Smile at the Roundhouse at the end of May, then again in an east London park at the end of the summer.

A tenth of the money from every lot, the Klon from two Radiohead albums included, goes to help child refugees and people fleeing Ukraine.

“Pana-Vision” opens the set and two unreleased songs come in the encore on the first of The Smile's two London nights of the tour.

The fourth new song of The Smile's European summer came in the encore at Montreux.

Radiohead will only come back if all five of them want it, O'Brien says, and never for a big payday.

Greenwood has been a fan of the Belgian singer since seeing him on tour, and plays in his live band as well as on the record.

A change of prime minister is not enough for Yorke, who tagged his post #GeneralElection2022.

It is a first win at the World Soundtrack Awards for Greenwood, whose film work has been nominated there four times since 2006.

The 2023 Radiohead tour of North America being offered to concert promoters is a fraud, sent under the name of a real booking agent.

Robert Stillman, who plays on the album and opens the North American shows, joined the trio on saxophone the night before their three New York shows.

A few days into their first North American tour, the band were already filling their sets with songs that are on no record yet.

Seven tracks from the July night at the Montreux Jazz Lab, every one a song from the first album, make up The Smile's first live record.

France Musique's note on the recording calls it an electrifying classical score, with a second movement that drives the pianist close to saturation.