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The Revival of Sugar Bob Mould has never seemed to have much interest in looking back. The bridges to a Hüsker Dü reunion were burned long before drummer and songwriter Grant Hart died in 2017; the notion that Mould might revive Sugar, the band who scored three unlikely UK Top 10 albums of ferocious alt-rock in the mid-90s, seemed ridiculous. But here we are: after three New York shows, Mould, David Barbe and Malcolm Travis are touring the UK and Ireland. The Performance Some things have changed: the seething sea of moshers at 90s shows is now a placid lake of the nodding middle-aged. Travis, 73, seems to drum with the minimum amount of movement possible, wisely given the searing heat inside the Forum. Others haven’t: JC Auto, which closes the main set, remains brutal and churning, thrillingly intense. Mould still stomps in circles around the stage like a man furiously searching for his lost remote control. The Music Mould, arguably, is the man who brought melody to American hardcore punk, and Sugar continued his desire for big tunes and searing guitars. When he plays alone, it can be hard sometimes to pick out the melodies behind the trebly sheets of guitar, but the ballast of the rhythm section holds the tunes in place, and the pop smarts of If I Can’t Change Your Mind and Gee Angel burst out of the PA. The Vocal Dynamics The songs sung by Barbe don’t fare quite so well – his voice is smooth and high and gets a little lost in the mix. You can hear he’s singing during Company Book, but it’s more a texture than a selection of words, floating atop the guitars. That same texture, though, adds depth to his harmonies, giving Sugar a warmth that not all their contemporaries could manage. The Future There’s no time for messing around, just a furious charge through 23 songs in 90 minutes, including two recorded for the reunion – Long Live Love and House of Dead Memories – suggesting that Sugar might stick around to do more than tour gen X nostalgia. We can only hope. Sugar play Ulster Hall, Belfast, 26 May; then tour the UK and Ireland until 4 June

Whistler Serves Up Comfort‑Food Narrative of Reunited LoversWhistler is Ann Patchett’s latest novel, a gentle, nostalgia‑laden story that reunites a high‑school teacher with her former stepfather after four decades. Set against the backdrop of Westchester suburbs and the Metropolitan Museum, the book trades the farm‑yard intimacy of Tom Lake for a polished, almost curated, domestic world.Story Mechanics and Thematic ThreadsProtagonist Daphne Fuller, a high‑school English teacher, is drawn back into childhood memories when Eddie Triplett, a Manhattan literary editor, reappears.The narrative pivots on a past car accident that split their lives, using flashbacks to explore grief, missed time, and the “sharp kernel” of Daphne’s happiness.Supporting characters—steady husband Jonathan and daring sister Leda—populate a world of brunches, art‑gallery meet‑cutes, and “pricey ice‑cream” comfort.Publication Facts and PricingPublisher: BloomsburyRelease price: £20Available through the Guardian Bookshop and major retailers.Critical Reception and Cultural ResonanceThe Guardian’s review frames the novel as “top‑shelf comfort food,” noting its polished prose and lack of the “Anthropocene terrors” that gave Tom Lake its edge. While the story may feel “mawkish” to some, its meticulous construction and nostalgic tone resonate with readers seeking solace in post‑pandemic fiction.Future Outlook for Patchett’s OeuvreIf the novel’s warm reception translates into strong sales, Whistler could cement Patchett’s reputation for crafting emotionally resonant, character‑driven narratives. Its modest commercial price point and broad appeal suggest it will remain a staple in book clubs and literary discussions throughout 2026‑2027.

The Unlikely Miss America Suzette Charles, a 63-year-old singer from Philadelphia, is about to release her self-titled debut album 33 years after it was initially shelved. Charles, who was crowned the first biracial Miss America in 1984, has had a lifetime of adversity, including a distressing tour with Bill Cosby and mistreatment by record labels. Early Life and Career Charles started performing at a young age, singing in commercials for Colgate and Coca-Cola, and appearing on Sesame Street and The Electric Company. At 15, she sang on the soundtrack to the film version of Hair and narrowly missed out on the role of Coco Hernandez in Fame. The Miss America Controversy Charles competed in Miss America 1984 as Miss New Jersey and came first runner-up, but was crowned winner after Vanessa Williams, the original winner, was forced to resign due to a nude photoshoot. Charles says the pageant organisers' reaction was not justifiable and that the contest is a relic of the past. Confronting Bill Cosby Charles was invited to sing on tour with Bill Cosby, but rumours of his vile behaviour were rife even back then. She kept her distance during the tour, refusing late-night requests from Cosby to discuss notes on her show alone. Charles says she was shocked when Cosby's abuse was finally uncovered. The Debut Album Charles had been working on her debut album with Stock Aitken Waterman, but it was shelved when the songwriters split up. She has now reunited with Mike Stock to finally finish the project. Stock says Charles is a talented singer who deserves to be in the same bracket as Paul McCartney and Donna Summer. A New Chapter Charles says she had to start living for herself and that her debut album is a new chapter in her life. She hopes her story will inspire others to pursue their dreams, despite adversity.

Theatre Review: Sunset Boulevard: The Backstage Cut Over the past decade, Morag Fullarton has been developing a popular line in bijou Hollywood adaptations. With a camp flourish and a multitasking cast, the writer and director has boiled down favourites including Casablanca and It’s a Wonderful Life. She last had a crack at Sunset Boulevard, then billed as a “lunchtime cut”, in 2015 at Glasgow’s A Play, a Pie and a Pint, the company she went on to co-run for four years. The Event Details Now associate director at Perth, she has reunited the fine four-strong company who went down so well the first time around, worked in an extra 20 minutes of material and given it a handsome main-stage production. But for all its strengths of mimicry and its affection for Billy Wilder’s 1950 original, it is a show severely lacking in purpose. The Performance Analysis Caught like a fly in Norma’s web, John Kielty captures the brashness and vulnerability of skint screenwriter Joe Gillis, fated to end up face-down in his employer’s pool. Frances Thorburn, also acting as narrator to help skip through the scenes, is a bright-eyed Betty Schaefer, the script reader, turning Joe’s head and showing a keen ear for snappy Hollywood dialogue. Mark McDonnell is masterfully dry as butler Max and in other roles. The Impact Analysis But seen in this context, the play offers little of its own. It is not pastiche, parody, reimagining or commentary. Instead, it is a faithful and rather pointless rendition of a film that, inevitably, does the same job better. The Prediction The play will run at Perth theatre until 16 May. Whether it will find its purpose then remains to be seen.

Martina Laird’s Personal Odyssey Transforms into a Historic RSC DebutAfter a two-decade journey of personal discovery, veteran actor Martina Laird has successfully transitioned from the screen to the page, premiering her debut play Driftwood at the Royal Shakespeare Company (RSC). The production, which moves to the Kiln Theatre in London, represents a significant milestone not only for Laird’s career but for the linguistic landscape of British theatre.From Personal Tragedy to Public Stage: The Making of 'Driftwood'Laird’s inspiration for the play stems from a life-altering trip to St Kitts in her twenties, where she reunited with the Black Caribbean family from whom she had been separated at age three. This emotional reunion, followed by her mother's death from pancreatic cancer, provided the raw material for the story of a son reconnecting with his mother in 1950s Port of Spain.20-Year Process: The play took two decades to develop, initially remaining in a "bottom drawer" due to industry skepticism.Award Recognition: Laird submitted the play to the Verity Bargate award in 2024 and came second out of 1,700 submissions.Production Timeline: Premieres at the RSC's Other Place, Stratford-upon-Avon, until 30 May, followed by a run at the Kiln Theatre, London, from 3 June to 4 July.The Linguistic Shift: Patois in Mainstream British TheatreA defining feature of Driftwood is its use of Patois (Trinidadian Creole). Laird argues that language is essential to capturing the "history and psyche" of a people. This decision challenges the traditional dominance of standard English in British stage productions.By writing in Patois, Laird validates the linguistic heritage of the Caribbean diaspora, suggesting that the authenticity of a character's voice cannot be translated into standard English without losing their soul.Redefining British Identity Through Caribbean VoicesThe play serves as a metaphor for the toxic effects of colonial rule and the fight for self-determination in Trinidad. Set against the backdrop of the 1950s, it explores the energy of optimism preceding independence in 1962, highlighting the role of culture—specifically steel bands and calypso—as a tool for social commentary and resistance.Laird’s mixed-heritage background and her experience moving from Trinidad to Britain provide a unique lens through which to view the play's themes of identity and belonging.The Future of Multilingual Storytelling in the ArtsLaird’s success with Driftwood signals a growing appetite for diverse linguistic narratives in the UK arts sector. Her confidence in writing for a UK audience in Patois suggests that the barrier to entry for non-standard English is lowering, paving the way for more Caribbean and global voices to take center stage.

According to an Al Jazeera report dated April 17, 2026, a displaced family in Lebanon successfully reunited with their grandfather in the historic port city of Tyre. The reunion underscores the human dimension of the broader displacement crisis affecting many communities across the country. While details of the family's journey remain limited, the event serves as a poignant reminder of the importance of family ties and community support amid ongoing humanitarian challenges.

Acid Bath, a renowned 1990s psychedelic sludge metal band from Louisiana, has made a surprising comeback thanks to TikTok. The band's music has reached a new generation of fans, with millions of streams on Spotify and a sold-out reunion tour.Formed in 1991, Acid Bath was known for their unique blend of oppressive, swampy sounds and lyrics that explored themes of drugs, death, and decay. The band's original run was marked by chaos, including heroic quantities of mind-altering substances and violent shows that often ended in destruction.The band's sudden rise to fame on TikTok has been attributed to the platform's algorithm, which has helped to yank their pitch-black sensibilities from relative obscurity into the mainstream. The band's guitarist, Sammy Duet, has referred to their new fans as the 'satanic e-girls of TikTok'.Acid Bath has reunited and will play their first ever UK gigs, including two nights supporting System of a Down at Tottenham Hotspur Stadium in London. The band's singer, Dax Riggs, has expressed his surprise at the band's newfound popularity, saying “It’s the internet’s fault. On the internet, the future and the past are the same.”

Eight former premature infants who were airlifted out of al‑Shifa Hospital in November 2023 have been brought back to Gaza, reuniting with their families in Rafah after a humanitarian mission lasting over two years.The children were part of a cohort of at least 25 babies born prematurely who were rescued as Israeli forces stormed the Gaza City medical complex. After receiving critical treatment abroad, the eight toddlers returned accompanied by three relatives and two medical staff, according to the Palestine Red Crescent Society.Hundreds of thousands gathered in Rafah for the emotional reunion. Since the war began in October 2023, the conflict has claimed more than 72,200 lives, including tens of thousands of women and children."Our feelings are indescribable. This is the most important moment in our lives," said Samer Lulu, father of Kinda Lulu, to Al Jazeera. He added that the joy is tempered by the harsh reality of an uncertain future for Gaza’s children.The International Rescue Committee (IRC) warned that the war is reshaping family structures, leaving a growing number of children without parental care. Ulrike Julia, the IRC’s Child Protection Coordinator, emphasized that community‑based care is essential but cannot survive without sustained external assistance.In 2023, the infants were first moved from al‑Shifa to southern Gaza and then evacuated to Egypt for life‑saving treatment. Inside Gaza’s hospitals, doctors faced severe shortages of antibiotics, IV solutions, and even food, supplies that were reportedly blocked by Israeli restrictions.Ola Hijji, mother of toddler Sulaiman Hijji, recalled being forced into a caesarean section at eight months pregnant and losing contact with her child after he was transferred to al‑Shifa’s neonatal intensive care unit. "It’s a beautiful feeling to be reunited," she said.Despite a declared ceasefire in October 2025, Israeli strikes continue near‑daily. The Gaza Health Ministry reported that recent attacks killed over 700 Palestinians and injured many more, including five casualties in a single day of airstrikes across Jabalia and Khan Younis.These reunions underscore the resilience of Gaza’s families while highlighting the urgent need for sustained humanitarian support and a durable path to peace.

A leading Rembrandt scholar, Gary Schwartz, has concluded that a portrait titled 'Old Man with a Gold Chain' and dated to the early 1630s is, in fact, an authentic work by the 17th-century Dutch master. The painting, which has been on loan from Sir Francis Newman, a Cambridge-based entrepreneur, has been reunited with its counterpart at the Art Institute of Chicago.Each of the paintings depicts an older man wearing a gold chain and a plumed hat. For almost four centuries, the two portraits have been separated, with the Chicago version considered the undisputed original. The Newman portrait, slightly smaller and painted on canvas, was previously labelled as a 'copy' by an artist in Rembrandt's workshop.However, Schwartz's research suggests that both paintings are by Rembrandt. He argues that the quality of the brushwork and the practice of Dutch artists creating replicas of their own paintings support this conclusion. In 1699, a French contemporary of Rembrandt noted that it was common for Dutch artists to repeat their works.X-ray and infrared imaging of the Chicago picture revealed underdrawing and adjustments to the man's costume, which were absent from the Newman canvas. This led Schwartz to conclude that the Newman painting was not a workshop reproduction but an original work by Rembrandt.The Hamilton Kerr Institute at the University of Cambridge found that the UK version's canvas and colour pigments matched those used by Rembrandt and his studio. If confirmed as a Rembrandt, the painting will go to a museum, according to Newman.