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Some of those artists are unfairly neglected now but were once terrifically fashionable. The entire street and the one behind was inhabited by artists, most of them nipping in and out of each other’s houses, and many drawn by the proximity of Leighton. The first exhibition following the reopening of the gallery is Artists and Neighbours, which recalls just what a buzz there must have been here during Leighton’s lifetime. One revelation is the restoration of Leighton’s winter studio, where he could work in the dark and smoggy months. The new entrance area to the right of the house meant removing some of the crass surfacing that Kensington council, which took over ownership of the house in the 1920s, had built over the exterior, damaging fine original brickwork in the process. Out goes the cramped ticket office into the new spacious annexe in come visitors to the very reception room that Leighton’s guests would have entered, where the first thing they see is a handsome painting by Domenico Tintoretto (son of the famous Tintoretto) – Leighton adored Venetian art. The great thing about the new extension is that it liberates Leighton’s actual house from administrative clutter and storage and makes it more fully itself. Not to put too fine a point on it, Leighton seems like a control freak, but then not every artist has to resemble Francis Bacon. “He never did anything spontaneously”, said Robbins. Later he’d use these as a record of his work. Some are the little stamp-like drawings where he sketched out plans for his paintings, which would be transferred meticulously onto larger squares then onto canvas. “They’re from his childhood to the very end of his life”, says Robbins.

New West End Company BRANDPOST | PAID CONTENTīetter still, there’s a subterranean exhibition room for some of Leighton’s 700 drawings.

It’s glamorous sometimes, but most of the time, it’s not the jet-set life you imagine. Everyone thinks it’s a totally glamorous life on social media.

“Being in a band, you’re flying all over the place. “Lyrically, ‘Gimme The Night’ is a tongue-in-cheek commentary on the lifestyle of influencer culture, which we lived at different points,” Jean-Philip adds. “Gimme The Night” captures that complex dichotomy, with shimmering vocals gliding over upbeat synths with lyrics that reflect the urgent desire for escape. We needed to somehow process the ambiguity of that experience, and the making of ‘Utopia’ was our therapist.” What we went through was one of the most extreme periods of our lives: extreme isolation, extreme intimacy, extreme sadness and, at times, moments of extreme elation and joy when reunited with loved ones. We could have pretended we were happy the whole time. “Our vision for ‘Utopia,’ that only emerged as we were working on it, was to make an album that was the antidote to the last few crazy years, while also acknowledging what we collectively went through,” Jean-Philip says. Lucia’s signature sound, combining disco, 70s funk and 80s pop for a genre-defying, highly-danceable record.

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“Here we have a parable of fame and how it’s not all it’s cracked up to be, with the role of the young starlet being played by our good friend, Ireland Basinger Baldwin, who, due to her celebrity status, is well accustomed to this song's message.”

The video is “a poignant message wrapped up in something seemingly not so poignant,” Jean-Philip Grobler, one half of the synth pop’s husband-and-wife duo, says.

Lucia’s long-awaited fourth studio album, Utopia, now on streaming platform via Nettwerk. “Gimme The Night” is the fourth single off St.

She and the store clerk (played by Jetta Juriansz) become friends, drinking, and dancing in the back aisles before the paps eventually join in the fun. Lucia’s “Gimme The Night,” model Ireland Basinger Baldwin takes refuge from hounding paparazzi by barricading herself in a convenience store. In the Nicole Lipp-directed video for St.