Anne-Marie has opened up about her “most beautiful yet hardest year” after her husband Slowthai was cleared of raping two women.
On December 12, Slowthai – real name Tyron Frampton – was acquitted by a jury at Oxford Crown Court after a two-week trial in which he was accused of the rape of two women after a show at The Bullingdon in Oxford in 2021.
Anne-Marie and Frampton married in 2022 and now she has spoken for the first time about the events of the last year, which also include the birth of the couple’s first child, Seven, in April.
Posting a series of photos of herself, Frampton and Seven on Instagram on December 29, she wrote: “2024 the most beautiful yet hardest year of our lives. God really tryina see how strong I am hahaha. I miss you all and I love you all more than you’ll ever know.”
Looking ahead to 2025, she added: “I have SO MUCH for you in the new year that you’ll probably be sick of me (please don’t be ) have the best break if you can and see you soon.”
Frampton, 29, and his co-accused Alex Blake-Walker, 27, consistently denied the accusations levelled against them. The rapper reportedly broke down in tears in the dock while the not-guilty verdicts were read out.
The verdict came just days after it was reported that jurors were told not to be “Wagatha Christies” in their decisions – a reference to the famous legal battle between Rebekah Vardy and Coleen Rooney.
Patrick Gibbs KC, the lawyer defending Frampton, claimed in court that there were a dozen “problems” with accusations outlined and said that Slowthai isn’t “everybody’s stereotype of a rapper”, describing him as a “thoughtful [and] modest” man who “throws himself, sometimes recklessly, into life”.
Slowthai was nominated for the Mercury Prize for his 2019 debut album ‘Nothing Great About Britain’, with his second album ‘Tyron’ reaching Number One upon release in 2021. The artist’s last release was ‘UGLY’, which came out in March 2024.
Anne-Marie’s latest album, meanwhile, is 2023’s ‘Unhealthy’. In a two-star review, NME wrote: “Anne-Marie’s goal of making pop that represents the most intimate, darkest of feelings is admirable but not always effective. It’s not exactly clear what message she’s pining for: these 13 tracks have vaguely empowered themes, but are often overshadowed by hyperbolic takes on revenge (‘Grudge’, ‘Haunt You’) – à la Mimi Webb’s recent arson-baiting hit ‘House On Fire’ – without much, if any, emotional payoff.”
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