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Cameron Picton, the bassist‑vocalist behind British art‑rock outfit Black Midi, has unveiled his first solo statement under the moniker My New Band Believe. Recorded with a cadre of improvisational musicians—including veteran drummer Steve Noble, formerly of Rip Rig + Panic—the album abandons the band’s signature wall of sound for an intimate, acoustic approach.The record opens with the gentle ballad “Still,” a track originally tucked away on Black Midi’s sprawling rock‑opera Hellfire. Here, Picton’s unadorned vocal delivery replaces Geordie Greep’s theatrical croons, setting a tone of understated sincerity that runs through the entire project.Every song is built from live‑sounding instruments: fingerpicked guitars, double bass, piano, subtle percussion and tasteful string arrangements. This stripped‑back aesthetic allows the lyrics to move away from Black Midi’s often surreal narratives toward more direct, everyday subjects. For instance, the opening track “Target Practice” retains a hint of the band’s dark humor, while “Love Story” paints a nostalgic picture of a couple cooking together, and “Opposite Teacher” reflects on the challenges of fatherhood.Even within this quieter framework, Picton injects moments of tension. The second track, “In the Blink of an Eye,” introduces dissonant chords that remind listeners that “understated” is a relative term for an artist accustomed to sonic extremes. Throughout, the songs remain episodic, with sudden key changes and tempo shifts that echo the restless spirit of Van Dyke Parks’ 1967 Song Cycle—a collaboration Picton initially pursued before budget constraints halted the partnership.Highlights such as “Heart of Darkness” weave together folk‑rock riffs, jazzy drumming and an improvised coda of feedback‑like strings, while “Actress” balances sweet melodies with dramatic pauses and volume surges, ending more as a gradual fade than a conventional finish.Compared with Black Midi’s recent releases—most notably the chaotic, genre‑bending Hellfire and Geordie Greep’s solo effort The New Sound—Picton’s debut feels more approachable without sacrificing artistic curiosity. The album’s constant motion is contained by its acoustic instrumentation, making it easier to love rather than merely admire. It resists standard song structures, defies easy categorisation, and showcases a plethora of unconventional musical ideas, all while wearing its intelligence with a lighter touch.

Nottingham Forest secured a crucial draw against Porto in the Europa League quarterfinal, with a comical own goal by Porto defender Martim Fernandes giving Forest a vital equalizer. The match ended 1-1, with Forest's Chris Wood returning from a six-month injury layoff and registering 48 minutes on the pitch.The New Zealand striker was withdrawn at halftime, with manager Vitor Pereira mindful of the bigger picture and Sunday's Premier League match against Aston Villa. Pereira handed Wood a starting berth, and although he had a quiet game with just 11 touches in the first half, his presence on the pitch was a boost for Forest.Porto took the lead through William Gomes, who converted Gabriel Veiga's diagonal pass into the box. However, Fernandes's comical own goal leveled the score, with the Porto defender beating Diogo Costa with a blind back pass from close to halfway.Forest began sloppily, but Pereira's substitutions and tactical changes helped the team regain control. The draw sets up a tense second leg at the City Ground next Thursday, with Forest seeking to advance to their first continental semi-final since 1984.

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.

Aston Villa took a significant step towards the Europa League semi-finals with a 3-1 victory over Bologna in the first leg of their quarter-final tie. The Premier League side capitalized on a mistake by Bologna goalkeeper Federico Ravaglia to take the lead through Ezri Konsa. Despite being second best for much of the match, Villa's clinical finishing and composure under pressure proved decisive.Ollie Watkins doubled Villa's lead shortly after halftime with a cool finish, showcasing his ability to remain calm in pressured situations. This goal was crucial in shifting momentum in Villa's favor, as Bologna struggled to create clear-cut chances. Watkins added a second goal in the 90th minute, securing a 2-0 lead for Villa before the match ended 3-1 in their favor.Bologna's English winger Jonathan Rowe had a standout performance for the hosts, creating several chances and eventually scoring a late consolation goal. However, it was not enough to overturn Villa's advantage. Unai Emery's tactical acumen was evident as Villa focused on set pieces, which ultimately led to their opening goal.The result puts Aston Villa in the driving seat ahead of the second leg, with Bologna facing a tough task to qualify for the semi-finals. Villa's performance demonstrated their resilience and adaptability in a challenging away match, setting them up well for the return fixture.

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.

Rory McIlroy, the reigning Masters champion, has begun his title defense on a high note, dominating Augusta National with a big grin and a hell of a swing. His first shot as champion was a 332-yard drive that soared over the hill and into the gallery.McIlroy's approach has changed, as he now embraces an aggressive style, similar to what Phil Mickelson once described. He is no longer hesitant, instead choosing to hit drivers and get close to the green, even if it means risking a miss.On Thursday, McIlroy hit a 377-yard shot at the 2nd hole, well over the big fairway bunker and into the pine straw. At the 8th hole, he clobbered a 361-yard shot into the second cut at the foot of the hill. Although he didn't hit many fairways, his strategy paid off.McIlroy's ability to problem-solve on the course is matched by his knack for getting out of difficult situations. From a challenging spot on the 17th fairway, he managed to pop his second shot between the trees and onto the bank, just 12 yards from the pin for a well-earned up-and-down par.As the day progressed, McIlroy's birdies started to come, with notable shots at the 8th, 9th, 13th, 14th, and 15th holes. He finished the day five under par, a testament to his strong play.McIlroy's performance is a far cry from his previous struggles at Augusta, where he often overthought and played cautiously. Now, with the confidence of being a champion, he is playing freely and aggressively, making him a formidable opponent in the tournament.

Virgil van Dijk drew a direct parallel between Liverpool’s current Champions League challenge against Paris Saint‑Germain and the club’s famous comeback against Barcelona in 2019, but warned that belief in the squad may be waning under new manager Arne Slot.Liverpool entered the quarter‑final with a 2‑0 deficit after a lackluster first‑leg loss at the Parc des Princes. Van Dijk, however, remains 100% convinced that a dramatic Anfield turnaround is still possible, citing the memory of overturning a 3‑0 first‑leg loss to Barcelona and winning 4‑0 at home.Reflecting on the 2019 semi‑final, the Dutch defender said, “We faced one of the best teams in Europe with the best player in the world, and we were injured. Now we face the European champions again, and on paper no one gives us a chance.” He stressed that success hinges on self‑belief, the manager’s game plan, and relentless intensity from the first minute to the last.Van Dijk also addressed Liverpool’s broader season, which has already produced 16 defeats across all competitions, including a penalty shoot‑out loss in the Community Shield and a recent FA Cup quarter‑final exit to Manchester City. “It’s unacceptable,” he said, describing the inconsistency as “disappointing” and acknowledging that the current squad does not match the standards set during the Klopp era.Despite the setbacks, the captain highlighted a positive sign: the team’s resilience in the previous Champions League rounds, notably the comeback against Galatasaray in the last‑16 and a strong showing against PSG at Anfield last season. He warned that “everything has to click” against a PSG side that excels in every department.Slot’s tactical shift to a three‑man central defence was only practiced for two days before the Paris match, adding to the challenges. Van Dijk admitted that recent league defeats, starting with a 2‑1 loss at Brighton, have tested the squad’s morale, but he remains hopeful that the experience gained in earlier European ties can fuel a decisive second‑leg performance.

Liverpool's struggles continued as they were thoroughly outplayed by Paris Saint-Germain in a 2-0 defeat. The Reds had a dismal 28% possession and failed to register a single shot on target. Manager Arne Slot acknowledged that his team had been 'ripped apart' at times and admitted to employing negative tactics to keep the tie alive for the second leg.PSG's dominance was evident throughout the match, with their midfielder Vitinha standing out. Despite their superior performance, PSG were unable to capitalize on their chances, allowing Liverpool to stay in the tie. Liverpool's Virgil van Dijk has called on fans to make a significant impact in the return leg at Anfield, but it remains to be seen if the team can mount a successful comeback.The defeat has raised questions about Slot's approach and the team's ability to compete with top-tier opponents. The return leg next Tuesday promises to be a crucial encounter, with Liverpool needing a significant turnaround to advance to the next round of the Champions League.

Paul Dano has had a remarkable career in Hollywood, taking on a wide range of roles in films like Little Miss Sunshine, Love & Mercy, and Swiss Army Man. In a recent interview, Dano shared his experiences working with Brian Wilson in Love & Mercy, and how he spent time with the legendary musician before filming.Dano discussed the challenges of playing a character who doesn't speak in Little Miss Sunshine, and how it felt to break his vow of silence in the second half of the film. He also talked about his experience working on the BBC's War and Peace adaptation, and how he read the book before filming to prepare for his role.When asked about his role as the leader of the Animal Liberation Front in Okja, Dano admitted that it changed his relationship to food, but only for a short time. He also discussed his experience working with the Daniels and Daniel Radcliffe on Swiss Army Man, calling it a fun and creative experience.Dano emphasized the importance of staying kind and grounded in the intense film industry, and how it helps him approach difficult characters with empathy. He also shared that he would most like to hang out with his characters Dwayne from Little Miss Sunshine and Brian Wilson from Love & Mercy.Looking ahead, Dano discussed his role in The Wizard of the Kremlin, a film about modern politics and power. He was drawn to the project because of its compelling and intelligent storytelling, and its relevance to current events.