I’m not a CD collector anymore but that deluxe CD is very tempting.

Deluxe vinyl sold out on the website now

5 hours ago, Mr. C. Joel said:

Deluxe vinyl sold out on the website now

Either restocked or an error somewhere still showing available to purchase on mine

18 minutes ago, 777666jason said:

Either restocked or an error somewhere still showing available to purchase on mine

Restocked definitely it was completely sold out before

You know what’s amazed me the most? I bought the vinyl + CD and my shipping was so cheap! £2.54!

4 minutes ago, Tafty said:

You know what’s amazed me the most? I bought the vinyl + CD and my shipping was so cheap! £2.54!

Howww? I paid £14 ish but I ordered seperately :/ lol

5 minutes ago, Mr. C. Joel said:

Howww? I paid £14 ish but I ordered seperately :/ lol

Maybe ordering them both together did it? Idk.

🤷🏻‍♂️

Why did they take the standard album off Apple her page on Music and replace it with the new version when only the first 7 tracks are available?

6 quid postage yeah sorry I might get it if it appears on amazon or banquet 😳

2 hours ago, Tafty said:

Maybe ordering them both together did it? Idk.

🤷🏻‍♂️

I think you got lucky lol It's charging me nearly £12 together.

I'm so impatient though I wanted the CD earlier so ordered separately and paid nearly £14 lol

It only charged me £2ish for postage too

What the hell, I got charged a lot too for postage!

10 minutes ago, Slayer said:

What the hell, I got charged a lot too for postage!

I’m going to email them I’m sick of BSI Merch I got totally ripped off, it took 5 weeks to receive the correct vinyl (which they incorrectly sent twice and made me pay the postage for then I had to send a receipt to claim the postage back which took forever )

Edited November 28, 2025Nov 28 by Mr. C. Joel

8 hours ago, 365 said:

Why did they take the standard album off Apple her page on Music and replace it with the new version when only the first 7 tracks are available?

That’s really annoying. I mean it’s only a one week wait, but a wait we shouldn’t have to have. (For the original 14 tracks).

I do wish the tracklist was in an order she desired as opposed to (what is quite clear to be) the labels decision. I would love to have heard it in the order she likely intended.

10 hours ago, 365 said:

Why did they take the standard album off Apple her page on Music and replace it with the new version when only the first 7 tracks are available?

It's still available under "other versions", the Encore is just the main version that shows on her page. Not ideal in terms of garnering streams, I agree...

9 minutes ago, Juranamo said:

It's still available under "other versions", the Encore is just the main version that shows on her page. Not ideal in terms of garnering streams, I agree...

Oh yes, I found it now. That’s good, but yes still an odd move.

Interesting to hear Fantasy was originally for Little Mix!

Full interview with Gay Times:

SPOILER

“I do see myself as a mother-in-training,” JADE says — a statement I immediately reject. From dominating pop with Little Mix for close to ten years, to unleashing one of 2025's most innovative (and critically-adored) solo albums and her authentic devotion to the rainbow masses, it’s less mother-in-training and more… mother-in-residence.

Her matriarch status only grows with That’s Showbiz Baby! The Encore, a deluxe edition of her debut packed with eight new tracks — spearheaded by 'Church', a soon-to-be gay pop bible classic thanks to its dual identity as a genre-bending club smash and heartfelt "love letter" to the LGBTQIA+ community.

"Now more than ever, I need to be stepping my ally pussy up and showing up in ways I haven’t done before," JADE tells GAY TIMES. "It’s definitely a mutual love, and it has grown stronger as a solo artist. I just hope that comes across as authentic. I know the photoshoot with GT had the 'mother energy' thing, which I found so funny. If that title is bestowed upon me by my fans, that’s a huge compliment."

A deeply homosexual cover interview follows with JADE, where the pop icon takes us on a candid, chaotic behind-the-scenes tour of The Encore, full of scandalous dream-state confessions, horror-inspired video visions and even more queer love — further solidifying why the “in-training” part is moot. She also outs her dog as a lesbian who likes to peg.

JADE, this deluxe edition is… insane. I don’t think I’ve been this blown away by an extended or deluxe edition since The Fame Monster.

That’s the blueprint, isn’t it? For a deluxe, and a project across the board, to be honest. I was determined that it had to be essentially a brand-new album. I didn’t want it to be, ‘Let’s throw on some new songs or remixes and get it out before Christmas.’ I’m a very ‘more is more’ kind of person. There were already existing songs that, for various reasons, didn’t make it onto the That’s Showbiz Baby album. But then I did a week of sessions where ‘Church’ was born. Going into this deluxe, the single that leads it has to be worthy of being a big single. It has to feel like the start of another campaign, even though it will be short-lived and attached to the That’s Showbiz Babyworld. For me, ‘Church’ is the perfect sort of roundup of this era.

‘Church’ feels like ‘Angel of My Dreams’ on steroids.

Yes, absolutely. Wait, sorry, my dog is scratching to get out of the room. My mum’s staying with us at the moment and she treats her dogs like their her grandchildren. It’s lovely because she won’t be getting any kids off me anytime soon.

Is this the same dog that famously became besties with PinkPantheress?

Oh my god. Well the one who was constantly trying to hump PinkPantheress was Mimi. She’s a sassy gal, honestly. She always humps my other male dog, so we have a theory that she’s a lesbian and she likes to peg. When PinkPantheress came round Mimi kept getting up in her grill and that was the first time I’d met PinkPantheress in person. It got really awkward, and I had to keep apologising because Mimi was essentially trying to get up in her nether regions. I didn’t realise PinkPantheress is also scared of dogs, but she warmed to Mimi in the end.

Mimi sounds like a sapphic icon.

She is, yes.

Can we do a little commentary on each deluxe track? Let’s start with the soon-to-be classic ‘Church’.

I wrote ‘Church’ with Pablo [Bowman] and Sarah Hudson, one of the girlies that gets it, know what I mean? She’s an incredible songwriter who’s really intertwined with the LGBTQIA+ community in LA, so it felt important to write a song like that with her. I wanted ‘Church’ to feel like a love letter to those fans. It’s no secret that I have a predominantly LGBTQIA+ fan base. ‘Church’ is like ‘Angel [Of My Dreams]’, it’s telling a story of my journey within that space. The verse starts with, ‘When I was a little girl, that’s when I met the queen,’ and that’s literally a memory of my first introduction to drag culture: watching a Benidorm queen on stage, looking fabulous, and that moment sparking my love for drag culture as a child… and everything that came with it. As the song progresses, it becomes more about being an ally in my own way. For me it’s the grand finale of the That’s Showbiz Baby era because it’s super inclusive. It’s a love letter to all the fans of the whole campaign and what we’ve done together; this idea of creating a lovely, safe space for me and the fans to share that love for each other.

The queers will go nuts over this track. Have you shot a video?

I just signed it off this week! I want to get it shot and done before Christmas. And obviously, it’ll be focused on the gay community and the girls. I had a vision immediately of what it could be and, in true Jade fashion, there’ll be a slight horror element. It’s about the industry, but it will be a very inclusive video. I can’t say too much, but I will say that one of the references is Opus – a kind of fandom video, but a bit darker and a bit silly. I’m so happy you said that because this whole deluxe finishing process for me, whilst being on tour, was really stressful.

Have no fear, this deluxe is pop perfection. Let’s jump into ‘This Is What We Dance For’, a relentless, euphoric track rooted in freedom and liberation

It’s about knowing that right now there are so many f***ed-up things going on in the world, and I genuinely see pop music in particular as the escapism a lot of us need. So, ‘This Is What We Dance For’ is about that euphoria of being in a space where it’s dark, the music’s blasting, and for one night, you can feel pure joy again. I wrote it with Julia Michaels, who I’d never written with before. She’s so lovely and very talented. I also did it with Lost Boy, who worked on [Kylie Minogue’s] ‘Padam Padam’ so say no more!

We go from two big dance songs to ‘Dream Catcher,’ a wonderfully weird, trippy mid-tempo moment. On first listen, I had no idea what it was about — what’s the story behind it?

The song is about cheating on your partner while they’re asleep. I feel the same about this song, by the way — I don’t really know how I feel about it, and that’s kind of why I like it. It’s a bit trippy. It’s meant to feel and sound quite whimsical, like you’re in a sort of dream. I wrote it with Jordan and Pablo, and it was produced by Dave Hamlin, who did ‘FUFN (f*** You For Now).’ It’s basically a commentary on saying, ‘I dreamt I cheated on you last night, but it doesn’t really count.’ I think we’ve all been there, to be honest.

Are you at liberty to reveal who you’re cheating on Jordan with in your dream? Is it another celeb?

No, it’s not a celeb. It’s various things. I personally feel like what happens in your sleep is nobody’s business, know what I mean? Jordan and I have spoken about that and we found it quite funny. The lyrics are like, “I bet you do it too.” I’m not particularly arsed who he’s shagging in his sleep. Sorry, that was a really gross recap! So that’s kind of what ‘Dream Catcher’ is about. It’s meant to sound quite whimsical, like a dream state. When we were writing it, I had a bit of Lily Allen in the back of my mind — in terms of singing something that’s not shocking, but just kind of taking it there. I liked that I did it with Jordan, and this was obviously prior to Lily’s new record, which I’m obsessed with.

A video for that would be so wild. It’s funny to imagine following the beautiful ‘Silent Disco’ video with something as chaotic as you cheating on Jordan.

Listen, if it was up to me, there’d be a whole second visual album. But unfortunately, I’ve got to get higher and higher in the pop roster. I actually think if I message the label now, asking them for another visual album, they'd have a heart attack.

Now onto ‘Best You Could,’ which feels like the most emotional song on the deluxe.

‘Best You Could’ was actually one of the earliest songs I wrote. I did it with a production-writing team called Red Triangle, who I’ve known for years and years. I feel very safe and comfortable with them, which I think is why I was able to write such a vulnerable song. I’ve always wanted to find a home for it, and because of the deluxe edition I was able to push it back in. It’s an emotional and honest song about my dad, forgiveness and understanding someone. I wanted it to have almost a Kate Bush or Enya feel, and I think you can hear that throughout both the deluxe and standard versions of That’s Showbiz Baby. There are little elements of the eighties and the kind of drama that those power ballads had.

Well, that actually brings me to ‘Tar,’ because I really hear that ’80s influence coming through on this one.

On the album, I’m going back into the nostalgia era — the final song that plays is ‘If My Heart Was A House,’ and then there’s that very dramatic gap. ‘Tar’ is almost like one of those bonus songs at the end of an album where you’ve got to wait a minute before it kicks in. I did that because I think it’s quite far removed from everything else. It’s probably the only song in the whole campaign that’s very minimal in production. That’s because ‘Tar’ is the quiet ending to this era. ‘Church’ is the big, bulldozing finale, but ‘Tar’ is more subtle. Conceptually, it’s about me and my imposter syndrome — navigating the industry, trying my best to always perform and stay on, even when I feel terrible. If you deep dive into the lyrics, it’s quite tragic, and that’s the point.

Next up is ‘If My Heart Was a House,’ a track I could easily imagine having a horror-inspired music video.

I always think of visuals when I write songs. I don’t know if it’s a superstition thing, but if I can’t see a music video, I won’t have it on the album. If I can’t envision it, it means it’s not good enough. So ‘If My Heart Was A House’ made me think of Thirteen Ghosts. The thing I love about horror is that a lot of it is quite camp.

An underrated horror! If a video were to be made, it’d need a Matthew Lillard cameo.

Oh, please! This is the thing, I just need all the budget and all the videos I could possibly do. That would work perfectly. This was actually one of the songs I didn’t start. It came in, and I’m usually very proud… I have a bit of an ego about that. I won’t take songs that come in because I obviously want to write the whole record myself. But it was by Pablo, who I’ve worked with loads, so I went in with them and we kind of reworked it to be more me. Part of that was putting in that kind of clubland feel — it’s almost got that Scooter element to it, like ‘Angel [Of My Dreams]’ did. So it’s like horror meets Scooter with that darker undertone. And obviously, the concept is warning someone that if I let you in, there’s all sorts of trauma and shit there that you’re going to have to deal with, which spoke to me.

And finally, ‘Use Me’, a shimmering disco sex bop!

I sent Simon Jones PR this song when it was first written. We were both really gagged, and I knew it needed its time. It’s obviously a very sexy song and I wanted it to sound sexual, but also be about being in the music industry and being used. The second verse is about my music; wanting to be the best, being on top, all that stuff. And then the chorus lyrics that use “me, my voice, my lips, the hits.” So it’s kind of a double meaning.


It feels like it’s in the same realm as ‘Angel of My Dreams’ and ‘Fantasy’, for sure.

I wrote it with Kylie [Minogue] in mind, originally. It’s still on my bucket list to get that Kylie collaboration.

She loves a collab lately, so this feels destined to be.

Yeah, she does actually. We’ll see!

Obviously, this album is called That’s Showbiz Baby! Although you’ve been in the industry for donkeys of years, what have you learned about it as a solo act?

That it’s harder on your own. That I love it and hate it. That I’m addicted to it. I think, besides Jordan, it is the love of my life. I’ve also learned that my gut is always right creatively — and even if it’s wrong, that’s a much better pill for me to swallow than making the wrong decision because I’ve been pushed into it by someone else. I’ve learned a lot throughout this campaign and I don’t have any regrets. I’ve been in the industry for so long, but this solo experience really does feel like I’m starting again. In Little Mix, we were kind of mollycoddled a little bit. We were obviously in charge, especially towards the second half of that decade, of our music and the whole campaign. But I didn’t realise how blanketed we were from a lot of things. On my own, I’ve learned that I’m actually really proud of myself, because I’ve surprised even myself with my creative vision and what I can achieve. I think that’s because I challenged myself and was willing to take risks regardless of the consequences. But, it is tougher on your own in many ways. You obviously have that creative freedom, and I’ve felt very liberated through the process… but the magnifying glass being on just me now has been, at times, really overwhelming. On my own, everyone’s a critic, everyone has an opinion, and I don’t think I’d be human if I didn’t let that in sometimes and let it affect me.

Before releasing the album, you did your pop research on artists who’ve gone solo. What did you find really worked for them, and what didn’t?

Whenever anyone does the unexpected — that’s what I’m drawn to as an artist and as a pop fan. When you play it safe, or when you come out of a group and essentially make the same music as before, I don’t think there’s longevity in that as a solo artist. It’s like Nicola Roberts with ‘Beat Of My Drum’. Who would’ve expected her to come out with a song like that? Or Mel C with ‘I Turn To You,’ that sort of trance-like sound? I love when artists enter a different world or space outside of the group and have the balls to show they’re at least trying to experiment.

Well, you went from the innovative pop stylings of ‘Angel of My Dreams’ and ‘Midnight Cowboy’ in the promo rollout to the more classic disco structure of ‘Fantasy,’ which definitely felt — as you say – unexpected and experimental.

That sort of curveball sound was on purpose. I wanted people to be like, ‘f***ing hell, what is she going to do next?’ regardless of how well ‘Fantasy’ did. It’s not a regret, but I feel sad that ‘Fantasy’ didn’t get the flowers it deserved. It fell in the cracks of the circumstances of when it came out. We had to cancel a lot of promo. But I do think in any campaign, there’s always that one song that feels like “the one that got away”. I feel that even more when I perform it on stage, because it’s so good live and people love it. And lest we forget, that was a David LaChapelle video! So it was a huge bucket-list moment for me regardless of what happened with it. But everything has been super strategic. While some people were confused by the run of singles, that was the point — to show the versatility and who I am as an artist.

It’s ahead of its time. It’s the Bionic of That’s Showbiz Baby!

Yes, it is. And that’s okay.

This wouldn’t be a gay chat without ‘Wasabi.’ You told Elle it was the first song you truly wanted for yourself, and the one that made you see a solo career ahead?

A hundred per cent. I loved being in a girl band, it was everything to me, and I genuinely never saw myself outside of that. But when I wrote ‘Wasabi’, that was the first time I’d ever been in a room on my own. It was just me, this amazing woman called Shun, and Mike Sabath, who produced it. At the time, I was reading Daily Mail articles — I think it was when Piers Morgan was popping off about us and all that shit — so I wanted to write a clapback song. When I heard it back, it was the first moment where I thought, ‘Oh, this doesn’t sound like Little Mix.’ It felt like I’d unlocked something that was just me within the band. And honestly, I really didn’t think the girls or the label would like it. So when everyone got excited about ‘Wasabi’, I had a little twinge of, ‘Oh god… no,’ because I kind of wanted it for myself. It was the same as ‘Fantasy’ — that one sadly fell through the cracks. It was supposed to be a single, we were meant to shoot a video, and then because of the label changeover it got swept under the rug. But it’s still one of the most streamed songs on that album, more than the singles. So, clock it!

Did the streaming success and overwhelmingly positive fan response of 'Wasabi', especially from the LGBTQIA+ community, strengthen your drive and confirm the decision to go solo?

A little bit, yeah. Like you said, the gays loved it. Again, it was me tapping into my most authentic self. At the time, I was out every week with my gay friends, going to gay bars — I was very much in those spaces — which is why that song came to life the way it did. So when it was received so well it was like, ‘Doing what you actually want to do works.’ That was the first little sprinkling of, ‘If I ever did go solo, this would be my vibe.’ I wrote it so easily, it just came out. It was real, and sassy, and all the things that I am. But then I did kind of squash that down a bit, because honestly, I think I would’ve just kept going with Little Mix until everyone didn’t want to anymore. But ‘Wasabi’ definitely gave me that head start — that cheeky little nod that, ‘Okay, if you did do this on your own, you’ll be all right.’

Where on earth is the Drag Race UK lip-sync to ‘Wasabi’?

I’m really surprised that’s not happened yet.

That’s Showbiz Baby has become a huge success for you, debuting at number three on the UK charts and currently ranks as one of the most acclaimed albums of the year. What does that success mean to you?

It was never really about the numbers or the charts for me, and I was so adamant about having that mindset going into this era because otherwise it would've influenced the music. Because I didn't think about that, I actually made better music. I can’t lie though, release week triggered something in me! Once you're in that week you're like, ‘Okay… I wantthis now.’ It was like the Little Mix conditioning switched back on, and I was hellbent on getting into the top four. It's a tale as old as time: if it had come out the week before, it would've charted higher; the week before that, it would've been number one. And it wasn’t until that moment that I actually started thinking that way again.

Honestly, it was a bit of a relief coming out the same week as Ed Sheeran, because I already knew it wasn’t going to be number one. It took the pressure off a bit. I’d be lying if I said it didn’t bother me at all… obviously it’s lovely to get accolades or be told you’ve had the highest debut of the year. But when I hear statistics like that, my first thought is, ‘That means we’ll get the budget for more videos.’ This is a long-term plan for me. The goal of this campaign was to put my flag in the sand and say, ‘This is who I am. Get into it.’ The fact that it’s been critically acclaimed and done well just solidifies that I’m on the right track. Trusting my gut and believing in what I’m doing is what works.

I think it’s going to be harder with the second album, because I had the luxury of the element of surprise with this one. Now people know who I am, so I’ll have to switch it up. I’ve already started thinking about that and writing towards it, because I do think it’ll take some time to figure out what that next chapter is. And again, as a pop student, my favourite artists are the ones who reinvent with every era. That’s the next challenge!

One of the best aspects about That’s Showbiz Baby! and its deluxe edition is how many different genres you touch on. A full album in a single pop sub-genre would feel natural. I could totally see you leaning into dream-pop with the vibes of ‘Dreamcatcher’ and ‘Tar.’

That sort of ethereal vibe, yeah. I can see that too, and another part of me just wants to do some niche, clubland side project. I’ve thought a lot about where to go next, and I have such a busy brain that it’s hard to settle on one thing. So that’s what I’ll struggle with the most, not creating something really chaotic again. I want to do a bit of everything, but I don’t think that would work for every album.

Now for the inevitable LGBTQIA+ question…

Oh no, no comment!

LGBT, ugh! You’ve become one of the community’s most beloved and passionate allies. Has that bond grown even stronger with the release of That’s Showbiz Baby!?

I definitely think it’s deepened. Now that I’m on my own, I’ve been let loose, and I can fully give even more to the community — show how thankful I am for getting me to where I am in my career, but also show genuine allyship in many ways. It’s been really beautiful being on stage and seeing the audience, what it means to people to create a safe space or to be an artist who stands with and for the LGBTQIA+ community.

On release week, I did a lot of sign-ins around the country. I was so emotional because of LGBTQIA+ fans coming up to me, whether it was just being lovely and thanking me, or hearing from so many gay couples that one of my songs was their wedding song — all these moments make it so worthwhile as an artist. Seeing young members of the LGBTQIA+ community at sign-ins or shows, sometimes with their parents or someone supporting them, really fills my heart with joy. Knowing I can be a part of that somehow is incredible.

I’m always conscious as a pop artist that I benefit from the LGBTQIA+ community, and I know I wouldn’t be as successful without them. So it’s about making sure I’m not taking advantage of that, and that I’m actually doing the work as an ally outside of the music. Songs like ‘Church’ are important to me for that reason. But it’s not just about the music — it’s about turning up to marches, signing petitions, and being vocal about things even when it gets me in trouble or comes with consequences. Especially right now. It’s always a struggle; it’s always a fight. But this year, as an ally, I’ve really felt the weight of transphobia in the press and online. And haven’t we, the UK, dropped to the lowest ranking? I think I read that recently.

Yeah, we’re at the lowest ranking on ILGA we’ve ever been, at number 22.

What is going on? That’s embarrassing, and that’s shameful. So I think now more than ever, I need to be stepping my ally pussy up and showing up in ways even I haven’t done before. I’m always looking online and seeing what my fans suggest about how to do that. So it’s definitely a mutual love, and it has grown stronger as a solo artist. I just hope that comes across as authentic. I know the photoshoot with GAY TIMEShad the “mother energy” thing, which I found so funny. If that title is bestowed upon me by my fans, that’s a huge compliment. Yeah, I do see myself as “mother-in-training.”

No.

Am I mothering enough right now?

You’ve achieved full mother status. You can fully say f****t.

I would never say it, but I’m happy I’ve been given the authority.

That's Showbiz Baby! The Encore is out 5 December.

Edited November 29, 2025Nov 29 by Slayer

On 27/11/2025 at 17:35, 777666jason said:

And to complicate it further digital is the 5th December 😅

Kinda good in that it will give the album a boost on 3 separate weeks but if everything was out together its possible it could return the top 10,

There's just no way they could have got the vinyls out in time but why not release physical n digital on the day she's also doing a performance for a higher position in chart i do not know