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Vaibhav Sooryavanshi, the 15‑year‑old sensation for Rajasthan Royals, was lauded as “amazing” and “fearless” after an audacious display against Indian pace ace Jasprit Bumrah during an IPL clash. Facing the 32‑year‑old Mumbai Indians bowler for the first time, Sooryavanshi launched a six over the wide long‑on fence on his very first ball. Bumrah smiled, but three deliveries later the teenager repeated the feat with a pull shot that cleared deep backward square leg. Continuing his blitz, Sooryavanshi amassed 39 runs from just 14 balls, forming an 80‑run opening partnership with Yashasvi Jaiswal, who contributed an unbeaten 77. The duo steered Rajasthan to a 27‑run victory in a rain‑shortened 11‑over contest at Guwahati’s Barsapara Stadium. Rajasthan captain Hardik Pandya described the innings as “fascinating,” emphasizing the youngster’s fearlessness and range of shots. “Amazing to see the way he bats, the kind of fearlessness he has,” Pandya said. Sooryavanshi also took on New Zealand pacer Trent Boult, dispatching an attempted yorker for a boundary over backward square leg. His momentum was halted by a spectacular catch in the deep by Tilak Varma, taken off a big hit off Shardul Thakur. Visibly upset after his dismissal, Sooryavanshi covered his face and let out a scream before trudging back to the pavilion, while a watching Jaiswal expressed admiration for the teenager’s approach. “The way he has been playing, it’s tremendous,” Jaiswal, who earned player‑of‑the‑match honors, added. “He works hard, motivates me, and I’ll keep giving him positive messages – play freely.” Last season, Sooryavanshi announced his arrival with a 35‑ball century, the second‑fastest in IPL history. Former spin legend Anil Kumble has already urged that the prodigy be fast‑tracked into India’s senior side. His pedigree extends to the youth level, where he smashed 175 runs off 80 balls in the Under‑19 World Cup final against England, cementing his reputation as a future star.

Cecile Kohler and Jacques Paris are set to board a flight back to France after three and a half years of detention in Iran, President Emmanuel Macron announced on X on Tuesday. The release was secured through diplomatic talks led by Oman, which acted as a neutral intermediary. “Cecile Kohler and Jacques Paris are free and on their way back to France, after three and a half years of detention in Iran. This is a relief for all of us and, of course, for their families,” Macron wrote. The Iranian decision arrives amid an apparent thaw in relations between Paris and Tehran, as France has openly criticized the war waged by the United States and Israel against Iran. The duo were arrested in 2022 on accusations of spying for France and Israel – charges that the French government repeatedly called unfounded. After being freed from the notorious Evin Prison in November 2025, they remained under the protection of the French embassy. French Foreign Minister Jean‑Noël Barrot said the couple expressed great joy at the prospect of returning home. He confirmed that he had spoken with them and that discussions with his Iranian counterpart, Abbas Araqchi, helped pave the way for their departure. French lawmakers responded to the news with a standing ovation in the National Assembly. The case is part of a broader pattern, described by activists and several Western governments as Iran’s strategy of “hostage‑taking” to extract political concessions from Europe. Iran’s state news agency IRNA confirmed the release, noting it stemmed from an understanding that France would, in return, free Mahdieh Esfandiari, an Iranian student detained in Lyon, and withdraw a complaint lodged against Iran at the International Court of Justice. These diplomatic moves occur against a backdrop of heightened tensions in the region. France has emerged as a vocal critic of the United States‑Israel campaign against Iran, and earlier this week a vessel owned by French shipping giant CMA CGM became the first Western ship to navigate the contested Strait of Hormuz. The strait’s blockage has contributed to a global energy crisis, prompting U.S. President Donald Trump to issue stark threats of further escalation. While the immediate outcome is the safe return of two French citizens, the exchange underscores the delicate balance of diplomatic leverage, humanitarian concerns, and strategic interests shaping France‑Iran relations today.

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

Opening night of the Pet Shop Boys’ Obscure tour turned the Electric Ballroom in Camden into a shrine for deep‑cut enthusiasts. Frontman Neil Tennant opened with a cheeky promise – “no hits tonight” – and the crowd responded with delighted roars, eager for the rare material the duo had promised.The Obscure moniker is no accident. Tennant and synth‑master Chris Lowe rehearsed 35 songs from their 42‑year catalogue, deliberately sidestepping the familiar chart‑toppers in favour of B‑sides, album tracks and fan‑favourite deep cuts. A fan‑compiled Spotify playlist of 226 non‑single tracks illustrates just how vast the selection pool is, yet even that list fell short of the band’s final set.Two songs made their live debut: a never‑performed track from the unreleased stage show Naked titled “I Dream of a Better Tomorrow,” and the 1986 B‑side “Jack the Lad” from the Suburbia era, which had never before been heard on stage. Phones rose in the audience as Tennant sang the cheeky tale of a ne’er‑do‑well, capturing a moment that will likely become a new fan legend.Highlights included a soulful rendition of the 1990 ballad “To Face the Truth,” where Tennant’s hand‑over‑stomach gesture added a rare glimpse of vulnerability, and the 1987 piano‑driven “Do I Have To?” showcasing Lowe’s most tender synth‑piano work. The set also featured “King of Rome” (2009), its horn‑laden refrain enveloping the room in a warm, nostalgic glow.Interspersed with the music, Tennant acted as an urbane quizmaster, prompting the audience to shout B‑side titles and rewarding them with trivia – for example, a medley that combined 1993’s “One in a Million” with Culture Beat’s “Mr Vain,” performed for the first time since its original 1994 Latin America appearance.Closing the main set, the 2005 anthem “The Performance of My Life” evoked the duo’s early club‑scene roots, while the encore opened with the poignant B‑side “Your Funny Uncle” (1989), a lament that still resonates with listeners who first found solace in its lyrics during the AIDS crisis.In a final, forward‑looking moment, Tennant introduced “I Dream of a Better Tomorrow,” a brand‑new song taken from the unreleased stage production based on *The Emperor’s New Clothes*. He declared, “change is coming… the start of something new,” hinting at fresh creative directions beyond the archival focus of the tour.The Obscure run, part of the broader Dreamworld tour that began in 2022, demonstrates the Pet Shop Boys’ mastery of both pop craftsmanship and archival curation, offering fans a rare chance to hear the hidden gems that have long lived in the shadows of their massive catalogue.

Donald Trump has repeatedly framed inflation as a "hoax" and declared that he has "won affordability," yet independent analyses reveal that his touted initiatives deliver only marginal relief for most Americans.One of his most publicized programs, the TrumpRX prescription‑drug platform, lists just 61 medications out of the thousands needed nationwide. Moreover, price comparisons show that a medium dose of Wegovy costs $349 on TrumpRX, while the same dose sells for $163 in Japan and $198 in Germany. Similar gaps appear for diabetes drug Xigduo and autoimmune medication Xeljanz, which are significantly cheaper abroad.The website markets itself as a solution for uninsured, cash‑paying patients, but it does nothing for the roughly 85 % of Americans who already have prescription coverage.On housing, Trump’s executive order banning Wall Street firms from buying single‑family homes is unlikely to move the needle. Institutional investors own only about 2 % of such homes, while the nation faces a shortage of roughly 4.7 million units, according to Zillow. The ongoing war in Iran has also pushed mortgage rates higher, further straining affordability.Gasoline prices have surged since the Iran conflict began, climbing to an average of $4.10 per gallon – a 37 % increase from the pre‑war level of $2.98.Food costs tell a similar story. The Consumer Price Index shows a 3.1 % rise in overall food prices from February 2025 to February 2026, with coffee up 18.4 %, beef up 14.4 %, and fresh vegetables up 5.4 %. Tariffs championed by the administration have contributed to these hikes.International bodies echo domestic concerns. The OECD projects U.S. inflation to exceed 4 % this year, largely driven by the Iran war, a level higher than the 3 % rate recorded at the end of the Biden administration.Trump also claims to have eliminated taxes on overtime and Social Security benefits. In reality, overtime earnings are still subject to federal income tax on the base wage and to full Social Security and Medicare payroll taxes. Only the overtime premium enjoys a partial tax break. Likewise, more than half of Social Security recipients will continue to owe income tax on their benefits, contradicting the administration’s “no‑tax” narrative.Other initiatives, such as the “Trump Accounts” child‑savings program, provide a one‑time $1,000 seed deposit and allow families to contribute up to $5,000 annually. While beneficial for affluent households, the scheme offers limited assistance to families living paycheck‑to‑paycheck.Policy decisions have also raised costs for vulnerable groups. By opposing extensions of Obamacare subsidies, average health‑care premiums have risen by over 20 % for more than 20 million people. Simultaneously, proposed cuts to LIHEAP threaten heating and cooling assistance for roughly 6 million low‑income households.In sum, Trump’s affordability rhetoric serves more as political branding than substantive economic relief. The modest scope of his programs and the persistence of rising prices suggest that most working‑class Americans will see little improvement in their day‑to‑day expenses.

South Carolina defeated UConn 62‑48 in the women’s NCAA Final Four on Friday night, snapping the Huskies’ 54‑game winning streak and booking the Gamecocks a spot in the national championship.With just 0.1 seconds left on the clock, the two veteran coaches met at the scorer’s table. Geno Auriemma raised his voice toward Dawn Staley, prompting a sharp retort from the South Carolina coach. Assistant coaches intervened before UConn could inbound the final play.In the post‑game press conference, Staley emphasized her integrity, saying she had shaken hands with every member of Auriemma’s staff before the game and was unaware of any perceived slight. "Sometimes things get heated, we move on," she told ESPN’s Holly Rowe.Auriemma, who later described the exchange as “nothing,” reiterated that he simply said what he felt was necessary, while Staley deflected responsibility, noting that he had initiated the conversation.Earlier in the fourth quarter, Auriemma vented frustration over officiating, alleging a series of fouls called against his team and accusing the opposing coach of “rants and raves” that distracted from the game.The loss exposed offensive struggles for UConn’s All‑America duo. Sarah Strong, the national player of the year, managed only 12 points on 4‑of‑16 shooting, and Azzi Fudd contributed eight points on 3‑of‑15, including a poor three‑point performance (2‑of‑9). In contrast, South Carolina’s Ta’Niya Latson scored 16 points and Agot Makeer added 14.Defensively, the game was a battle: UConn was called for 17 fouls, while South Carolina drew just eight. The Gamecocks’ interior size limited Strong’s attempts, and the Huskies could not find rhythm, recording their lowest point total since a 49‑point effort in the 2022 championship loss.UConn entered the Final Four with a 38‑1 record, marking their ninth undefeated run to the semifinal and the third consecutive year they fell short of the title. South Carolina (34‑3) will now face UCLA for a chance at their fourth national championship.

A recent performance at the Royal Festival Hall by the renowned Argentinian pianist Martha Argerich and her Korean mentee Dong-Hyek Lim left the audience in awe. The duo's setlist included Mozart's Sonata for Two Pianos in D Major K448 and Ravel's two-piano arrangement of La Valse, as well as a surprise encore of Schubert's Fantasia in F minor D940.The performance was marked by a sense of gentle anarchy, with Argerich and Lim chatting and occasionally bowing between works. Their onstage negotiations about swapping pianos and furious looks at page-turners added to the charm. The audience was treated to moments of astonishing pianistic ventriloquism, particularly in the second movement of the Mozart sonata, where Lim imitated Argerich's gossamer touch in a breathtaking sotto voce passage.Argerich, widely regarded as the greatest pianist alive today, brought her unique touch to the performance, conjuring 50 shades of grey in the Schubert and veiled, suspended-animation pianissimo in portions of the Rachmaninov. Lim, on the other hand, favoured bright attack and primary colours. The Ravel arrangement was deliciously muddy, with the work's intoxicating pulse gradually rising from the depths as the two pianists exchanged bass detonations.The encore, a monumental 20-minute rendition of Schubert's Fantasia, was a testament to the duo's exceptional chemistry and skill. Argerich pushed forwards, ever-faster, her hands barely skimming the keyboard, as Lim scrambled to keep up, the waltz teetering on the brink of catastrophe in a high-wire act that couldn't have been more thrilling.

Liverpool's season has reached a critical juncture, with five matches in 16 days set to determine the fate of manager Arne Slot's vision for the team. The Reds face a daunting schedule, including cup quarter-finals against Manchester City and Paris Saint-Germain, as they seek to salvage a disappointing campaign.The team's inconsistent form has raised concerns about their ability to secure Champions League qualification, a crucial aspect of the club's business model. Liverpool's recent performances have been marred by defeats to Wolves and Brighton, highlighting issues with fitness levels, efficiency in front of goal, and organisation.The return of Alexander Isak to team training could provide a much-needed boost, but the striker will have to prove himself upon his return to competitive action. Isak's partnership with Florian Wirtz has been limited due to injuries, and the duo will need to deliver to justify Liverpool's £125m investment in the striker.Liverpool's hierarchy, including owner Fenway Sports Group and sporting director Richard Hughes, are aware of the challenges faced by Slot this season, including the death of Diogo Jota and injuries that have hindered the team's performance. However, the club's supporters are growing increasingly disillusioned, with ticket price increases and a record revenue of £703m failing to translate to on-field success.A positive note was struck by Jürgen Klopp's return to Liverpool, which drew a sellout crowd of 60,482 and raised over £1m for the LFC Foundation. Nevertheless, the adoration for Klopp contrasted with the frostiness towards Slot, highlighting the challenges faced by the current manager in reviving the team's fortunes.

Friko, the Chicago‑based indie outfit, is gearing up for the launch of their second LP, Something Worth Waiting For, slated for 24 April. The record, described as a “radiant ramble” through modern indie rock, reflects the band’s recent touring experiences and explores themes of yearning, growth, and stability.The lead single, "Choo Choo", bursts with a road‑trip vibe, pairing vocalist‑guitarist Niko Kapetan’s urgent, quavering delivery with guitarist Korgan Robb’s atmospheric riffs. Critics note a vocal timbre reminiscent of Modest Mouse’s Isaac Brock and Sparks’ Russell Mael, while the track’s lyrical nods to classic American road food add a playful, homespun charm.Since their 2024 debut Where We’ve Been, Where We Go From Here, Friko has expanded from a duo (Kapetan and drummer Bailey Minzenberger) to a full four‑piece, adding Robb and touring bassist David Fuller. The new album also benefits from the touch of Grammy‑winning producer John Congleton, known for work with Mannequin Pussy, The Mountain Goats, and St Vincent. His influence shines on the Bowie‑esque chamber‑pop ballad "Seven Degrees", underscoring the group’s evolving sound.In addition to the album news, the Guardian’s weekly Add to Playlist roundup spotlights a curated selection of fresh tracks. Highlights include Wallis’s techno‑laden “Biscuit,” Beth Orton’s intense “The Ground Above,” Toronto pop‑star Chxrry’s catchy “Hall of Fame,” and a collaborative anti‑immigrant‑detention compilation track by Wendy Eisenberg’s trio Darlin’. The list also features Jeff Parker’s hopeful “Like Swimwear (Part One)”, a dubstep‑rap hybrid “Duro” from Skrillex and Young Miko, and Cass McCombs’s garage‑rock anthem “Seeing the Elephant”.Listeners can stream the full playlist on Spotify, Apple Music, Tidal, or other services, ensuring the week’s most inventive indie and electronic releases are just a click away.