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Anne-Marie struggled with intense postnatal anxiety after her first child was born and didn’t feel safe being left on her own.

The singer, known for her hit Baby Don’t Hurt Me, shares two children with her husband Slowthai. 

Their daughter Seven is now 17 months old and they recently welcomed a baby boy.

After Seven’s birth, Anne-Marie was diagnosed with postnatal anxiety, something she never expected. About six months later, she began dealing with postnatal depression as well.

Talking to Scott Mills on The Breakfast Show on BBC Radio 2, the singer shared, “I actually had anxiety so bad when I first had Seven and I didn’t want to be left alone.

“I was like, ‘Don’t leave the house, don’t go there, don’t go there.’

“And I didn’t know there was such thing as postnatal anxiety. I only knew about postnatal depression. So I was like, ‘Oh, OK, that’s a new one.’

“So then I learned all about that, and then I went through postnatal depression. And that was about six months after Seven was born.”

However, Anne-Marie revealed that she attends weekly therapy and after a rocky start, now sees it as her biggest support.

“You know what, therapy and me, that’s a rollercoaster as well, because I started in lockdown, and I’ve done it consistently, and then I felt like I was OK, and I stopped doing it.

“And then I made the third album, and I was like, ‘I don’t need therapy anymore. I’m fine.’

“Then I had Seven and then I was like, ‘OK, I’m sorry if you saw any of the interviews where I said I don’t need you anymore, can I have you back?!’ So now I do it again once a week,” Anne continued.

In a bold new step that merges music, culture, and global influence, The Coca-Cola Company has partnered with Universal Music Group (UMG) to launch Real Thing Records, a new imprint within UMG’s roster which is built to give a platform to the next generation of global music talent. 

The ambitious venture marks an evolution in Coca-Cola’s longstanding legacy in music by teaming with UMG’s renowned expertise in artist development to create a space that aims to be more than just your average label but rather a space that puts an artist at the center by elevating authentic, emerging voices from around the world and investing in their creative journeys.

“It’s fair to say that the Coca-Cola Company set a very high bar very early on when it comes to achieving excellence in music and music marketing. As a matter of fact, the Coca-Cola Company will always hold the distinction of being the first brand to create a song for an ad that went viral — or charted in real life and culture — with 1971’s iconic ‘Hilltop’ commercial featuring the song ‘I’d Like to Buy the World a Coke’,” Joshua Burke, The Coca-Cola Company’s Global Head of Music & Culture, tells GRAMMY.com.

“It was a big hit — so big that it was even used in the finale of ‘Mad Men,’” Burke continues. “So, as someone who is a representative of the Coca-Cola Company and fortunate enough to work on music and music programs every day, we carry a massive responsibility to ensure that we are always pushing the needle forward in what’s possible with brand marketing and music. That means we need to take big swings.”

French New Zealand artist Max Allais and Indian singer/songwriter and producer Aksomaniac are Real Thing Records’ first signees, and both capture the label’s ethos: ambitious, original, and rooted in personal expression with global resonance. Their upcoming releases will offer a first glimpse into the label’s vision as a future-facing space where artists are empowered to develop their identities and engage fans on a deeper level.

Speaking about the ethos of the label, Burke shares: “Young artists today face a noisy, saturated landscape. Music is more democratic than ever, but cutting through is harder. The ethos of Real Thing Records is to champion artists at any level. We don’t care if you have one follower or one million, recorded at Abbey Road or in your bedroom. We support artists who are the real thing — authentic, with a point of view, a good heart, great music, and, most importantly, a strong relationship with their fans.”

GRAMMY.com sat down with Burke to discuss why partnering with UMG felt like the right decision, how Real Thing Records will be a unique and modern label putting artists first, how they plan to prioritize diversity and what the ultimate goal of the label is.

What inspired Coca-Cola to launch its own record label, and why was Universal Music Group the right partner?

The Coca-Cola Company — across all of our brands and portfolio — has an ethos anchored in community building: bringing people together, connecting humans, and celebrating creativity and authenticity. Music is no exception.

We often work with major artists like Karol G or Jon Batiste — people with incredible accolades and global followings. But what makes Coca-Cola special is our long-term dedication to emerging artists and music communities. We use the power and scale of our organization to support the next generation of talent and make the world a more musical place.

Universal Music Group — our long-time partner with a global track record of bringing music to global audiences and having expertise in supporting artists — was the perfect fit to help us build and launch Real Thing Records.

How does Coca-Cola complement UMG’s traditional label role?

Real Thing Records is an imprint of Universal Music Group, built to create a new kind of label model, one where the output is greater than the sum of its parts. It combines Universal Music Group’s global music expertise with the reach, scale, and marketing machinery of the Coca-Cola Company. The whole premise is to bring the best of both worlds to support and develop talent.

What we offer is a supercharged platform — combining the strengths of Universal and Coca-Cola to help artists break through in unprecedented ways. On our side, Coca-Cola activates a global network of partners and customers, giving artists access to marketing channels and opportunities they wouldn’t normally have.

However, it’s important to note that there is no requirement for any of the artists who work with us to be a part of a brand campaign.

I imagine some people may assume that would be the first thing Real Thing Records signees would be required to do.

We’re not signing artists to be ambassadors of our brands. We’re investing in music and music culture, for music’s sake and for these artists, and if and when the opportunity strikes, where these artists may be a good fit for one of our programs or one of our campaigns that will be up to them, and it would be in partnership with something that would drive value for them.

Real Thing Records is not a campaign or a short-term brand blip or brand platform. It’s a long-term investment in music and music culture for the purpose of growing our equity with emerging artists and emerging communities all over the world.

We believe we are one of the first ever truly global record label imprints with the ambition of operating all over the world, versus being tied to one genre or one location.

How will you deliver on your goal to champion emerging artists?

It’s a big goal. We really want to make an impact and take a big swing in a way that unlocks the value Coca-Cola and Universal Music Group can bring together — not just for the artists we’re signing, but also for their fans.

We understand this initiative is extraordinarily ambitious, and because of that, we’re walking into it with eyes wide open. We know that for it to succeed, we have to leverage the strength of all our partnerships and the expertise of many people across both organizations.

Like anything in life, you get what you put into it; we know we need to pour a lot of love, care, and passion into it for it to succeed. We’re committed to making it work over the long haul, staying humble and open, learning from experts, and listening to the community to build something truly valuable for the artists and their fans.

Will Real Thing Records release full albums and EPs or focus more on single-driven, campaign-based releases that align with specific cultural moments?

All of the above. We’re not limiting ourselves to one model. There are more ways than ever to release music, and we want to stay flexible. Cultural moments — whether an occasion or campaign — can be powerful launch points. Each release will be case-by-case, based on what’s right for the artist and the moment.

Real Thing Records has been described as “genre-agnostic” and globally focused. How will Real Thing Records authentically amplify diverse voices?

Diversity is extremely important to us with Real Thing Records because we understand that if we’re going to operate with the ambition of being a global record label imprint, we have to make a deliberate effort to elevate voices from different backgrounds, cultures, communities, and potentially different generations.

We’re actively looking in various markets and countries around the world to create an initial roster of artists that represents a cross-section of humanity — a true tapestry of what modern music looks like today.

With so much emphasis on artist authenticity and cultural resonance, how will Real Thing Records balance brand goals with the creative freedom of the artists you sign?

Like Universal Music Group, Real Thing Records is an artist-first label. The creativity and voice of the artist are most important to us. From a marketing and Coca-Cola perspective, we champion authenticity and creativity in communities. We work with artists to build their voice and tell honest stories, so any campaign partnerships are authentic end-to-end.

Marketing-wise, we gain more by working authentically with artists. We prioritize championing their voice, creativity, and vision. Our brand philosophy centers on inclusivity, community, and bridging divides. We partner with artists who share these values, ensuring our brand and company values are positively reflected.

Beyond music production, what kind of support or resources will artists on the label receive to develop their brand, identity, and audience?

Artists come to Real Thing Records with different strengths and needs. To support them, we offer a robust list of value-adds and benefits they might not otherwise access, including global partners in sports and entertainment.

The Coca-Cola Company provides artists with marketing experts to help strategize their personal brand and connect their music to the world. We have strong partnerships with music venues and festivals — some we own — giving artists chances to perform globally.

A big thing to note is that the revenue the Coca-Cola Company generates from Real Thing Records will go back into the label, supporting the art, artists, and music we aim to elevate daily. There’s much value here beyond traditional support.

What made Max Allais and Aksomaniac the perfect candidates to become the first two artists signed to Real Thing Records?

We’re very proud to partner with Max Allais and Aksomaniac. Launching Real Thing Records with two artists who bring very different musical styles and represent distinct cultures and genres perfectly captures the global spirit and vision we want to bring to music fandom and community.

Max Allais was our very first signee — a truly incredible human being. Humble yet immensely talented, he’s built a passionate and engaged social following by connecting honestly and authentically through his music, which resonates across borders.

Aksomaniac is finishing some exciting releases with Def Jam India, and we’re thrilled to welcome him to Real Thing Records later this year. Both artists embody the creativity, authenticity, humility, and community-bridging values that Coca-Cola stands for, making them the perfect first voices for our label.

How will decisions be made around which artists to sign? What criteria or values will Real Thing Records prioritize beyond musical talent?

We’re looking for artists who have a genuine dedication to their music and their craft. We can take a few more risks in terms of the types of artists that we sign since we are not linked to a specific genre or culture. So, we’re looking for artists who are the real thing, artists who are open-minded and are willing to be collaborators and think differently about how their music is brought to the world. We are looking for creatives who are willing to partner with something new, innovative, and groundbreaking – and that might not be for everyone.

For any artists who feel like they may be a perfect fit, you can follow us on Instagram, @realthingrecords. We also have a website. We are monitoring those two platforms, so reach out to us there.

So, no PO Box to send tapes and CD demos?

No, but that’d be awesome. I would love that. If people were to send me a cassette tape, I would 100 percent go on Amazon or something and buy a Sony Walkman to listen to it. 

How do you see Real Thing Records evolving over the next 5 to 10 years? Could it expand into film, immersive experiences, or even live events?

We have set a very ambitious goal for ourselves from the start with Real Thing Records, and while we have the power and weight of two of the largest companies of our kind in the world, we are operating essentially as a startup within these two global businesses.

Right now, we are laser-focused on adding value to the artists that we are initially bringing on board and how those artists translate and how we can make a positive impact for those artists. Five to 10 years from now, who knows? I just want to focus on right now. 

Do you see Real Thing Records influencing the broader music industry by setting new standards for brand-artist collaborations? 

I hope so. Real Thing Records isn’t starting with the ambition to change how brands work with artists. Our primary goal is to authentically elevate artists by combining the traditional record label power with the reach of a global brand like Coke.

That said, my hope is that other brands begin to see artists as collaborators, not just campaign assets they pay for and move on from. As marketers today, we have a responsibility to work with the music industry and artists for mutual benefit to fans and consumers.

If Real Thing Records inspires a better value exchange between artists, music, and brands, lifting both simultaneously, we’ll have done more than we set out to do.

 

 

Cameron Diaz is continuing her triumphant return to Hollywood with another major Netflix project.

After the global success of Back in Action, which became Netflix’s sixth biggest movie of all time, Diaz has officially signed on to star in Bad Day, an upcoming action comedy directed by Jury Duty’s Jake Szymanski.

Back in Action marked Diaz’s first role after an 11-year unofficial retirement, and its strong performance proved her star power hasn’t faded. Now, Bad Day signals that her return to acting isn’t just a one-off, but the start of a full-fledged career revival.

Written by Office Christmas Party screenwriter Laura Solon, Bad Day follows a single mother navigating the worst day of her life while trying to keep her daughter happy. The film has already drawn early comparisons to Joel Schumacher’s 1993 cult classic Falling Down. Production is expected to begin in the coming months across New York and New Jersey.

Diaz, known for her iconic roles in The Mask and There’s Something About Mary, is leaning into the genre that made her a household name—action-comedy. With Netflix doubling down on ’90s-era stars and revivals like Happy Gilmore 2, Diaz’s latest move could mark a new golden phase of her career.

As fans eagerly await the release of Bad Day, many are celebrating Diaz’s consistent return to the screen. If the film follows the success of Back in Action, it could solidify her comeback as one of the most successful in recent Hollywood history.

In USA TODAY’s The Essentials, celebrities share what fuels their lives, whether it’s at home, on set, or on the road.

NEW YORK – The Jonas Brothers still know how to strike an emotional chord.

The band’s latest love song, “When You Know,” has the group in its feels.

“There’s that feeling when things are either right or wrong, when it’s time to stay (or) when it’s time to go,” Joe Jonas, 35, tells USA TODAY of the song. “If there’s that one person that’s always gonna have your heart. It’s hopefully something people can relate to. It’s probably the most emotional song on this album.”

It’s a similar emotion to when the group performs their “Little Bird,” which perhaps walked so “When You Know” could fly.

The middle brother of the group, Jonas is no stranger to getting personal through music. Jonas previously told USA TODAY that the group would be “fighting back tears” when they performed father/daughter bond ballad “Little Bird,” off 2023’s “The Album.” He released a solo LP, “Music for People Who Believe in Love,” in May, after his split from ex Sophie Turner.

The new track will appear on the Jonas Brothers’ seventh studio LP, “Greetings from Your Hometown,” out Aug. 8. Ahead of its release, the three brothers chat with USA TODAY about personal moments with fans, receiving a blessing from the Bee Gees’ Barry Gibb and their go-to lunch while on tour.

The Jonas Brothers reveal the items they’re currently splurging on

The Jonas Brothers chat with USA TODAY’s Ralphie Aversa about their campaign with Mastercard in support of Stand Up To Cancer, new music and more.

The Jonas Brothers surprise fans with personal performance

Equally as personal for the group is how family bonds can be tested.

The Jonas Brothers’ father, Kevin Sr., was diagnosed with colon cancer in 2017. The group feels fortunate that he’s now been cancer-free “for many years,” and his health journey served as part of the backdrop of their latest love letter to fans.

The Jonas Brothers surprised a group of fans and their loved ones that have also felt that impact of the disease, partnering with Mastercard to support the nonprofit Stand Up To Cancer. The fans were unaware that they would meet the Jonas Brothers and hear the first ever live performance of the band’s new song “I Can’t Lose.”

“We have fans that started out as the same age as us; their parents brought them to the shows and now (those fans are) bringing their children to the shows,” Kevin Jonas, 37, says of how the band has grown up with its audience over the last two decades. “We’re giving what we can to (our fans) and they do the same with us by keeping on this journey.”

The song’s music video, which was filmed during the surprise, will air during the 2025 MLB All-Star Game on Tuesday, July 15.

The Jonas Brothers’ unlikely Bee Gees collaboration

The Jonas Brothers’ next album includes “I Can’t Lose” as well as a rather unlikely collaboration with a fellow band of brothers.

Nick Jonas says that “about seven years ago” he started working on a song that would eventually be titled, “No Time To Talk,” which interpolates the classic 1977 Bee Gees’ hit “Stayin’ Alive.” But Jonas didn’t make time to finish it because he assumed it wouldn’t “get cleared.”

By the time Nick played the unfinished song for his brothers last year, Jonas had appeared in HBO documentary “The Bee Gees: How Can You Mend a Broken Heart.” The brothers had also met Barry Gibb, the last living founding member of the group, when he attended their concert in Miami with his family.

‘I just want the music to live’: Barry Gibb reflects on the Bee Gees’ new HBO documentary

“So we knew that there was a warmth there,” Nick, 32, recalls of the band’s relationship with Gibb, but he thought “there’s no chance” the Bee Gees singer would allows the use of the song’s lyrics and melody to be included in the song.

“But he ended up clearing it,” Jonas continues. “It’s pretty amazing to look at the credits and see that we technically have a credit with the Bee Gees.”

Jonas Brothers’ diet includes this tour snack

The Jonas Brothers will mark the band’s 20th anniversary this year with the release of “Greetings” followed by a 52-date tour across North America. The trek commences at New Jersey’s MetLife Stadium, the band’s hometown venue, on Aug. 10 and wraps at Mohegan Sun in Connecticut on Nov. 14.

While the supporting acts and venue sizes will vary from city to city, there will be one consistent besides the Jonas Brothers’ biggest hits: a snack affectionately known as ants on a log.

“We revert back to our childhood, basically,” Nick says of the snack, which is his go-to lunch while on tour. Ants on a log typically consists of peanut butter and raisins spread out on a celery stick. In Nick’s version, almond butter is substituted.

Childhood game the Jonas Brothers always go back to

Joe chimes in that the brothers also relive their childhood by setting up a Spikeball net backstage and bringing along their gaming systems. Kevin adds that the guys “find ways to make games everywhere we go.”

Video games, childhood snacks, Spikeball … Sure, the Jonas Brothers are all fathers of their own children now, but some things never change.

This interview has been edited for length and clarity.