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Tori Amos has taken to the stage, delivering a dramatic deep dive into her vast and sprawling back catalogue. Her 18th studio album, In Times of Dragons, and first tour in three years have generated significant excitement among fans. The allegorical tales that make up her forthcoming record – a metaphorical story about the fight for democracy over tyranny – are evident in her live performances.The concert featured a range of tracks from Amos's extensive discography, including the delicate deep cut Ruby Through the Looking-Glass and the atmospheric, slow-burn jazzy grooves of Little Amsterdam. The love in the room for Amos is palpable, with her songs, voice, and masterful piano playing bringing out an almost devotional following.Amos's musicianship was on full display, accompanied by a drummer, bass player, and three backing singers, whom she refers to as 'angels.' While their presence occasionally detracted from the raw intimacy expected from Amos, it mostly elevated the performance to new levels. Tracks such as Pandora's Aquarium and Witness were lifted to stirring new heights by the vocal back and forth.The setlist may not have been hit-stuffed, but Crucify was a beautiful closer, delivered in a way that felt both tight and loose, detailed yet expansive, tender and rousing. The encore of early career favourite Cornflake Girl had the whole venue on its feet and in dizzy awe. As Amos navigates the brutal state of the world, she has an audience that will gladly follow her deep into the heart of any dragon's den.

Double 30th‑anniversary celebrations saw Scottish indie‑pop veterans Belle & Sebastian take the stage at London’s Royal Albert Hall on 9 April 2026, performing their debut LPs Tigermilk and If You’re Feeling Sinister in their entirety. Both records originally arrived in 1996, with Tigermilk limited to just 1,000 copies until a 1999 reissue gave it wider exposure.The challenge of translating these lo‑fi classics to a live setting was turned into an advantage. Backed by a nine‑piece ensemble—four of the original six members plus seasoned newcomers—the band expanded the sonic palette, brightening tracks like “You’re Just a Baby” and weaving in subtle nods to Nick Drake, Felt, mariachi brass on “Expectations”, and Stereolab‑style synths on “Electronic Renaissance”.Each song was paired with a brief film that referenced the band’s aesthetic touchstones—second‑hand vinyl, indie comics, 1960s Paris—creating a multimedia experience that reinforced the private universe Stuart Murdoch has cultivated since the mid‑90s.The concert’s second half turned into a “shaggier ramble” through the catalogue, featuring highlights such as the wistful “Lord Anthony” and the propulsive “Lazy Line Painter Jane”. Murdoch, now a more extroverted, Chris Martinesque‑style front‑man, interspersed witty anecdotes, playful digressions, and brief stage invasions that lasted for three songs, showcasing his growth from enigmatic bedsit maestro to confident people‑pleaser.Following the London shows, the duo will continue the two‑concert anniversary tour across Manchester, Mexico, and North America, reaffirming that their early DIY spirit remains as compelling as ever.

Spring brought a burst of optimism to Crystal Palace as they delivered a 3‑0 victory over Fiorentina in the first leg of the Europa Conference League quarter‑final. Forward Jean‑Philippe Mateta opened the scoring from the spot on his first start since the end of January, followed by a second‑half strike from Tyrick Mitchell and a late header from Ismaïla Sarr.The win marks a dramatic turnaround for a side that had struggled to impress at home in the competition. After a three‑week preparation window, manager Oliver Glasner implemented a disciplined game plan that saw Palace dominate possession and create clear chances, underscoring his reputation for knockout‑stage success.Fiorentina, who have reached the last eight for four straight seasons and lost two finals, were unable to respond before the break and now face a daunting task in the second leg in Florence. Even after Mateta missed a late sitter, Sarr’s header restored a three‑goal cushion, meaning the Italians must produce a “miraculous” comeback to stay alive.Mateta’s performance also silenced speculation surrounding his future. The French striker, who failed a medical with AC Milan in January, was greeted with applause after his penalty and could have added a hat‑trick after replacing the suspended Jørgen Strand Larsen.Defender Daniel Muñoz returned to full fitness after a prolonged knee injury, adding stability to a backline that kept Fiorentina’s attacks at bay. The Colombian’s presence allowed Palace to maintain pressure, with Muñoz delivering an acrobatic assist that led to Mateta’s penalty.The match also featured a quirky moment when goalkeeper David de Gea had to clear a mass of streamers from his net, a reminder of the passionate Holmesdale End supporters.Looking ahead, Palace will travel to Florence for the return leg, where they will aim to protect their advantage and secure a place in the semi‑finals – a historic milestone in the club’s first European campaign.

The musical 'Kiss of the Spider Woman', originally from the early 1990s, is experiencing a resurgence in popularity. A movie adaptation, directed by Bill Condon and starring Diego Luna, Tonatiuh, and Jennifer Lopez, is set to be released. In the meantime, a touring production of the stage show, directed by Paul Foster, is visiting theatres in the UK. This revival, currently showing at Leicester Curve and touring to Bristol and Southampton, offers a slick and earnest take on the classic musical. The story is set in a Buenos Aires prison, which presents a challenge for productions to balance the grim setting with the fantasy sequences. The show features a strong cast, including Fabian Soto Pacheco as Molina, George Blagden as Valentin, and Anna-Jane Casey as Aurora. The production values are high, with impressive fight sequences and bold choreography by Joanna Goodwin. The set, designed by David Woodhead, is transformed into a film noir setting with Howard Hudson's lighting. The singing is powerful, particularly in the choral numbers, under Dan Glover's musical direction. While the production has some distance due to its fourth-wall approach, the cast delivers strong performances. Soto Pacheco brings warmth and resonance to his singing, complemented by Blagden's political rage. Overall, the revival is a study of an unlikely friendship that impresses more than it moves.

What would Henrik Ibsen’s iconic heroine Nora look like in today’s Britain? In this bold re‑imagining, playwright Anya Reiss transports the 19th‑century drama into a world of high‑salary banking, social‑media façades and post‑pandemic consumer excess. Set against a sleek, white‑goods‑strewn stage designed by Hyemi Shin, the story follows Nora (played by Romola Garai) as the wife of a lucrative London banker, Torvald (Tom Mothersdale), who is also battling drug addiction. Though presented as a “trophy wife”, Nora is far sharper than her husband realises – she has secretly rescued the family from financial collapse and funded Torvald’s recovery, all while maintaining a veneer of festive, pre‑Christmas splurging. The familiar Ibsen plot points survive the update: a blackmail threat from Torvald’s colleague Nils Krogstad (James Corrigan) and a visit from the destitute, marriage‑for‑money‑failed friend Kristine (Thalissa Teixeira). Their interactions expose the tension between outward affluence and hidden desperation. Reiss’s version is unmistakably contemporary, peppering dialogue with references to Instagram, a stock market rattled by conflict in the Middle East, and the relentless pursuit of material status. This backdrop reframes the marital power struggle as a clash of class and modern capitalism, asking whether love can ever be insulated from market forces. Despite the heavy thematic load, the cast delivers a series of compelling performances. Garai’s Nora oscillates between calculated seduction – even donning a provocative nurse’s outfit for a flirtatious dance – and a keen intellect that refuses to be reduced to a mere commodity. Her portrayal suggests that, for Nora, the body has become a form of currency, yet she remains acutely aware of the performative nature of both marriage and motherhood. Notably, the children appear only through baby‑monitor audio, a deliberate choice that underscores the couple’s emotional distance and mirrors the original’s focus on Nora’s internal emancipation. The climax arrives in a charged confrontation where Nora questions, “Is love meant to be subject to the market?” The line encapsulates Reiss’s preoccupation with the commodification of intimacy, even as it feels like a summarising refrain rather than a fresh revelation. Ultimately, the production offers a nuanced, if occasionally over‑engineered, vision of Ibsen’s feminist aspirations. It hints at a future where Nora and Torvald might seek couples therapy to untangle their financial and emotional entanglements – a decidedly modern resolution. A Doll’s House runs at the Almeida Theatre, London, until 23 May.

Harry Magunei believes the relentless spotlight at Manchester United would have broken many players, noting that the club’s demanding environment can overwhelm even seasoned professionals.After signing a new one‑year contract with an option for a further season, the 33‑year‑old defender extended a tenure that began with a then‑world‑record £80 million fee paid to Leicester in 2019.During his 266 appearances for United, Maguire helped the club win the FA Cup and Carabao Cup, captained the side from 2020 under Ole Gunnar Solskjær, and endured a dip in form that saw him lose his place after Erik ten Hag took over. He even flirted with a move to West Ham in the summer of 2023 before re‑establishing himself as a key figure.“I see a lot of players come into this club and, frankly, it’s just too big for them,” Maguire said. “The eyes on you, the scrutiny, the analysis… there are ex‑players commenting on every goal. That’s part and parcel of playing for this club.”He added that many would have quit early under such pressure: “Probably. I think there’ll be a lot who want to close the book and restart their career. It’s probably broken them a little bit earlier.”Reflecting on his own ordeal, Maguire described the period of intense mockery and abuse as a low point that forced him to adopt a “laid‑back attitude” and ignore outside noise to regain form.Since Erik ten Hag’s appointment, United have climbed to third place in the Premier League, reviving hopes of Champions League qualification. Maguire is optimistic about the club’s trajectory: “If we get the recruitment right and keep the momentum, there’s no ceiling to where we can reach. We have to be in the conversation for the big trophies.”On the international stage, Maguire hopes to feature for England at the 2026 World Cup. Although manager Thomas Tuchel currently ranks him behind Ezri Konsa, Marc Guéhi, John Stones and the injured Trevoh Chalobah, Maguire remains determined: “I’m desperate to go, whether I start or come on late. I still believe I’m arguably one of the best defenders in the world in both boxes.”

The son of a British couple detained in Tehran on espionage charges has called on Keir Starmer to prioritize their case in the “very opportune moment” of a ceasefire in the Iran conflict.Lindsay and Craig Foreman, from East Sussex, were arrested while on a five-day trip across Iran in January last year and have been held in Evin prison for 15 months.As Starmer visits the Gulf to discuss efforts to uphold the ceasefire, the couple’s family have called on the prime minister and the foreign secretary, Yvette Cooper, to raise the case in all diplomatic discussions.Lindsay’s son, Joe Bennett, said: “If peace is genuinely part of the agenda, then that has to include the release of innocent people. I don’t see how it can be peaceful and that’s the case.”The 31-year-old said it was a “very opportune moment” for the prime minister, and the government should “take courage” from the release this week of two French citizens. Cécile Kohler and Jacques Paris had been detained in Iran for almost four years on espionage charges and were also held in Evin prison before they were released but barred from leaving Tehran.“Macron was incredibly vocal, he was championing above all else, and I think that’s where we can take some courage and have a look at how do we apply that kind of pressure in the right way,” said Bennett. “There’s a genuine opportunity for resolution here.”The UK government has faced claims that it is in denial about the extent of hostage-taking by foreign states and has failed to fulfil its promise to appoint a special envoy to combat the issue.Bennett has been campaigning for the couple’s release with significant cross-party parliamentary support. Despite several meetings with the foreign secretary, and a hearing into their case held by the all-party parliamentary group on arbitrary detention and hostage affairs, he said there had been no visible progress in 15 months.On Thursday morning, Bennett spoke with his mother in Evin prison. The past 48 hours had been tumultuous, he said, after a supposed ceasefire was agreed on Tuesday, little more than an hour before a self-imposed deadline by Donald Trump, who had threatened Iran’s “whole civilisation” would die if it did not meet his demands.The comments made Bennett feel “pure fear” until news of the two-week ceasefire was announced. The potential for peace talks had given the couple some hope that “they’ll be fought for” by the UK government, he said.“Yvette Cooper called it unjustifiable and that she would be fighting relentlessly to get them home. I need to see signs of that,” said Bennett.Despite a UN legal submission, significant cross-party parliamentary support, and several meetings with the foreign secretary and a hearing into their case by UK parliamentarians from the APPG on arbitrary detention and hostage affairs, he said there has been no visible progress to date towards securing their release.A Foreign Office spokesperson said: “The UK government continues work to safely return Craig and Lindsay to the UK.”

The UK government has pledged £380 million to accelerate the build‑out of a new battery factory in Somerset that will supply Jaguar Land Rover (JLR) with cells for its forthcoming electric Range Rover and Jaguar models. The plant, operated by Tata’s battery subsidiary Agratas, was highlighted during a site visit by Business Secretary Peter Kyle, who emphasized the grant’s role in safeguarding jobs and driving economic growth. When fully operational, the gigafactory is projected to employ 4,200 workers and deliver up to 40 GWh of battery capacity annually—enough for hundreds of thousands of electric vehicles. It will become the UK’s second high‑volume battery facility after the Chinese‑owned AESC plant in Sunderland. Construction remains in its early stages, with only a steel frame erected so far. Although the original timetable targeted production start‑up in 2026, delays have pushed the expected commencement to the end of 2027. Agratas has reduced the footprint of the first building but claims the change reflects more efficient process design rather than a cut‑back in output. JLR, the nation’s largest automotive employer, had planned to launch its electric Range Rover in 2025, but the debut has slipped to 2026 and the vehicle is still not on sale. The postponement follows a broader trend of EV manufacturers worldwide scaling back or postponing battery projects after over‑optimistic forecasts of rapid consumer migration from petrol. Recent spikes in petrol prices—spurred by geopolitical tensions linked to Donald Trump’s war in Iran—could make electric cars more appealing, potentially justifying the sizeable capital commitments required for a transition to EV production. Until the Somerset facility becomes operational, JLR will continue to source batteries from AESC. That arrangement was confirmed last year by investment bank Société Générale, though references to JLR have since been removed from public statements. In addition to the battery grant, Tata previously secured a £500 million pledge to modernise its Welsh steelworks with electric arc furnaces, underscoring the government’s broader push for greener industrial capacity. Peter Kyle said the investment, alongside other automotive research initiatives announced on the same day, would “boost economic growth, secure jobs and put more money in people’s pockets.” He added that the UK’s “modern industrial strategy” provides the stability needed for long‑term planning. Earl Wiggins, Agratas’s vice‑president for UK manufacturing, welcomed the funding, noting it will enable the company to “deliver net‑zero goals and strengthen the UK’s position as a global leader in battery manufacturing.” He projected that over 2,200 staff would be on‑site within the next year, with further growth thereafter.

On 23 June 2016, the United Kingdom’s electorate shifted from party‑centric voting to a binary choice between staying in or leaving the European Union. A decade later, about 60 % of the population still define themselves by the side they chose in that single referendum, turning a one‑off political decision into a lasting personal identity.While analysts often focus on the policy fallout—economic turbulence, party infighting, and shifting trade relations—the real impact runs deeper. The referendum ignited a civil‑war‑like split that continues to shape elections, media narratives, and everyday conversations across the country.Before the global upheavals of the George Floyd protests and the Covid‑19 vaccine rollout, Brexit was Britain’s most potent form of identity politics. It spawned new media outlets, such as GB News, and programmes like The Rest Is Politics, while also marginalising older cultural tropes like the “centrist dad” or “gammon” heckler on Question Time. Figures such as Nigel Farage and Zack Polanski now occupy the political fringe rather than the mainstream.The analysis draws on the new book Tribal Politics: How Brexit Divided Britain by political scientists Sara Hobolt and James Tilley. Their longitudinal surveys reveal a simple yet striking pattern: the referendum transformed a previously lukewarm public attitude toward the EU into a powerful, identity‑based habit.Prior to 2016, most Britons held only a mild Euroscepticism and gave the EU little thought. Even former Prime Minister David Cameron tried to silence the issue in 2006, believing it failed to engage voters. The sudden elevation of a niche concern to a national obsession forced ordinary citizens to pick a side, discuss it in pubs, and embed it into their self‑image—a process James Clear describes as building “identity‑based habits”.Data from Hobolt and Tilley show that emotional attachment to the Brexit identity was modest before the vote, rose sharply as the referendum approached, and surged dramatically after the result was announced. The post‑vote period saw a flood of EU‑themed merchandise, street rallies, and even flag‑clashes at cultural events such as the 2017 Last Night of the Proms.Crucially, the tribal divide has not faded. By 2025, only around 40 % of “Leavers” feel comfortable discussing politics with “Remainers”, and the sentiment is reciprocated. This goes beyond mere disagreement; it reflects a level of social discrimination where individuals on opposite sides would hesitate to share a home or marry into each other’s families.The authors note that the split now extends to perceptions of reality itself. Even in 2024, Remainers and Leavers disagreed on basic economic indicators, illustrating how the referendum reshaped not just policy preferences but fundamental worldviews.Class‑based voting, which dominated the 20th‑century British political landscape, has been largely supplanted by this new cultural cleavage. A previous study co‑authored by Tilley showed that the Labour Party’s turn toward the political centre in the 1990s eroded traditional working‑class loyalty. Today, leader Keir Starmer’s working‑class credentials appear largely symbolic, offering little substantive change.With class politics receded, culture wars have taken centre stage. The Brexit campaign’s vague promises about trade left the nation with a protracted, messy adjustment period. Immigration, famously dubbed the “baseball bat” issue by Dominic Cummings, remains the most polarising policy divide, followed by foreign aid and even the death penalty.Hobolt and Tilley’s most striking chart shows that while Remainers and Leavers clash over immigration, they share little disagreement on economic equality, workers’ rights, or public ownership—issues that directly affect household incomes. This suggests that the political battle is driven more by symbolic identity than by material concerns, benefitting those already financially secure.In sum, the United Kingdom’s post‑Brexit reality is one of entrenched tribalism, where a single referendum has reshaped social bonds, political discourse, and perceptions of truth itself. The nation continues to grapple with the legacy of a vote that turned a policy decision into a lasting cultural fault line.