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Punchbag, a south London-based electropop duo, is making waves with their sweaty and unvarnished sound. Recommended for fans of Charli xcx, Confidence Man, and Klaxons, their music is a perfect blend of off-kilter beats and maximalist bass. Their debut single, Fuck It, was a riotous mix of 90s rave and Clara's spit-soaked vocals. Their latest EP, I Am Obsessed, takes a darker turn with tracks like Playing God, a dry ice balladry that tackles the men in power. For those who crave a glorious racket, I Love This! is a shouty, nu-rave adjacent track that channels Charli xcx's style. This week's best new tracks Tara Clerkin Trio – Silently: A relaxing song with gauzy synths, a low-slung beat, and Spanish guitar that evokes a dusky shoreline. Babyfather – Slumpz: A corroded-symphony beat with Dean Blunt's steady flow makes for a welcome return. Thistle. – Pylon: A wobbling mass of noise that rides a giant wave of pondwater surf. Katseye – Pinky Up: A brat-pop party anthem with a chant-along chorus and hyperactive production. Massive Attack – Boots on the Ground (ft Tom Waits): A long-awaited return with wheezing breath, mournful piano, and eerie wailing. Disgusting Sisters – Weirdo Magnet: A playfully creepy track with succubus-style vocals and a bassline that prowls around. PPP – Wisco: A steamy, syncopated track that recalls the harder end of DJ Koze's recent album.

Richard Wagner’s near‑death at sea in 1839 inspired the legend of the cursed ghost ship that underpins The Flying Dutchman. The Welsh National Opera (WNO) brings this myth to life in a fresh production that treats the libretto as a poetic meditation on birth, love, and mortality. Directed by Jack Furness, the opening scene intertwines a woman’s labor with the overture’s turbulent surges, symbolising the birth of Senta—destined to lose her mother and become haunted by the Dutchman’s promise of redemption, which can surface only once every seven years. Visual motifs—circling movements, blood‑red dresses echoing the ship’s sails—reinforce the cyclical fate of both protagonists. Designer Elin Steele and lighting designer Lizzie Powell conjure stormy seas and mist without literal ships, allowing the audience to focus on the raw emotions conveyed by the singers. Minimalist set pieces, occasional gold‑dust flourishes, and precise costume changes keep the drama tight and immersive. The cast delivers a musically rewarding performance. James Creswell shines as Daland with crystal‑clear German diction, while Simon Bailey portrays the tormented Dutchman with a compelling blend of menace and sympathy, especially in the final act. Rachel Nicholls as Senta offers a believable, passionately deluded love, delivering bel canto lines with immaculate pitch. Tenors Trystan Llŷr Griffiths (the Steersman) and Leonardo Caimi (Erik) make strong impressions, though the opera’s numerous choruses feel over‑extended. The WNO orchestra, under the authoritative baton of outgoing music director Tomáš Hanus, creates a convincing tempest that underpins the drama. Facing a thin 2026/27 season, the company is eager to prove its vitality, making these performances a must‑see—though audiences should not anticipate a conventional resolution. Staging dates include the Wales Millennium Centre in Cardiff (19 April), Theatre Royal Plymouth (24 April), Birmingham Hippodrome (7 May) and Milton Keynes Theatre (15 May).Review by Rian Evans, The Guardian, 17 April 2026.

England's women's football team, the Lionesses, are on the cusp of a historic milestone as they prepare to play their 500th game against Iceland in a World Cup qualifier. Manager Sarina Wiegman has stressed the importance of securing a positive result to make their recent 1-0 victory over Spain even more valuable.Wiegman acknowledged that Iceland will present a different challenge, but she is confident that her team is ready. The Lionesses have three wins from three in their qualifying group, and with only the top team from each group in League A securing automatic qualification, the stakes are high.The team has been boosted by the return of Leah Williamson, who has not played since mid-March due to a thigh injury. However, Keira Barry is the only confirmed absence due to ankle problems.Lucy Bronze, who has 146 caps for England, reflected on the significance of the 500th game, saying it's 'insane' to think about. She expressed her pride in being part of the team's history and is optimistic about the future, citing the talent of young players like Lucia Kendall.

Workers at Starbucks' historic first store in Seattle's Pike Place Market are pushing to unionize as the coffee giant and its union appear to be at a standstill over their first contract. The store, which opened in 1971, serves as a major tourist attraction in Seattle.The employees, who have been handling significant tourist traffic, say they face greater customer service responsibilities and issues with disruptive customers and safety concerns. One worker, Nailah Diaz, described experiencing unfair treatment, favoritism, and discrimination with little support from management.The Starbucks workers at Pike Place announced their union election filing earlier this month, joining over 600 Starbucks stores that have won union elections in the US since 2021. However, the fight for a first union contract remains ongoing, with Starbucks Workers United recently filing an unfair labor practice charge against the company.The union is seeking better working conditions and citing Starbucks's record of union busting, including allegations of shutting down unionized stores and disciplining workers for union activities. A Starbucks spokesperson said the company has been engaging in good faith and offering comprehensive proposals that build on its competitive pay and industry-leading benefits.Despite this, workers say they are united in their cause and hopeful for a better workplace. The average time it takes for a union to reach a first contract is about 465 days, but Starbucks workers have been fighting for over four years.

The UK automotive market has reached a pivotal moment in its shift towards electric vehicles (EVs), as the average price of new electric cars has fallen to £42,620, making them £785 cheaper than their petrol counterparts, which average at £43,405. This development is a significant milestone in Britain's transition away from fossil fuels, with the higher upfront cost of electric vehicles being a major deterrent for many drivers. However, with total running costs for electric cars being lower for some time, the decrease in upfront costs is expected to drive increased adoption. The decrease in electric car prices can be attributed to several factors, including the electric car grant introduced last summer, which offers up to £3,750 off certain models, and the influx of Chinese competitors that have been able to undercut traditional brands. Carmakers have also been under pressure to meet electric car targets, known as the zero emission vehicle (ZEV) mandate. According to Bex Kennett, head of new car at Autotrader, the electric car market is becoming increasingly competitive, with manufacturers and retailers working hard to improve both the supply and affordability of new electric vehicles. The recent rise in petrol and diesel prices due to the war in Iran has also contributed to increased inquiries for electric cars from consumers looking to cut their energy costs. Gurjeet Grewal, chief executive of Octopus Electric Vehicles, noted that this milestone removes one of the biggest barriers to switching to electric vehicles, as they are now cheaper than petrol cars on upfront cost and have long been cheaper to run. With growing competition and more choice, electric vehicles are becoming the obvious option for drivers. Despite this progress, the transition to electric cars in the UK still faces some barriers, particularly for households without driveways that rely on the public charging network, which remains patchy in some areas.

Equity’s Choreographers and Movement Directors Network (CMDN) says that theatre’s physical storytellers are still marginalised by awards bodies and should receive dedicated recognition.At the recent Olivier Awards, Fabian Aloise secured the best theatre choreographer prize for "Evita" at the London Palladium. While the network welcomed the visibility, it pointed out that the movement directors behind the nominated productions were omitted from any specific category, sparking a broader debate about the language used to credit theatrical creation.CMDN highlighted several movement directors whose work shaped this season’s most impactful shows, naming Leanne Pinder ("Punch"), Sarah Golding ("Kenrex"), Imogen Knight ("Dead Man Walking"), Jenny Ogilvie ("Into the Woods"), Sung Im Her ("The Glass Menagerie"), Lucy Hind ("Inter Alia") and Kloé Dean ("The Boy at the Back of the Class").Movement direction, the network explains, is not always dance but is essential to a production’s physical language, characterisation and dramatic flow. "If we celebrate the impact of physical storytelling, we must also evolve how we acknowledge the artists behind it," CMDN said.The network praised the Black British Theatre Awards for expanding their choreography category in 2022 to include movement direction, but noted that the UK Theatre Awards and Critics’ Circle Awards still lack dedicated categories for either choreography or movement direction.Founded in 2023 by movement director and choreographer Polly Bennett, CMDN now counts over 200 members. In a 2025 interview, steering‑group member Ellen Kane asked, "Why aren’t there Oscars or BAFTAs for choreography? Why aren’t we being credited?"Last month, more than a hundred theatre professionals signed a petition urging the Olivier Awards to create a separate video‑design category, arguing that the current system lumps video designers with other disciplines. This year’s Olivier winners illustrate the overlap: Tom Pye (set) and Ash J Woodward (video) shared the best set‑design award for "Paddington: The Musical", while Aideen Malone (lighting) and Roland Horvath (video) shared best lighting‑design for "Into the Woods".

Angelina Jolie leads the new fashion‑driven drama Couture, bringing a rare level of personal honesty by confronting a storyline that mirrors her own double mastectomy performed to prevent breast cancer. While her performance is undeniably courageous, the film’s overall execution falls short of its ambitions.The plot follows Maxine, an American indie filmmaker (Jolie) who arrives in Paris to direct the opening short for a prestigious runway show. She discovers, through a compassionate doctor played by Vincent Lindon, that a recent biopsy confirms she has breast cancer, forcing her to consider postponing or abandoning her next project. Jolie conveys the shock and denial with subtlety, yet the script, penned by director Alice Winocour, often lapses into glib dialogue that undermines the emotional weight of the situation.Supporting characters include Ada, a fledgling South Sudanese model (Anyier Anei), makeup‑artist‑turned‑writer Angèle (Ella Rumpf), and the brooding first‑assistant director Anton (Louis Garrel). Their subplots—most notably Ada’s ankle injury that threatens the runway performance—remain underdeveloped, serving more as decorative set‑pieces than integral narrative threads.Visually, the film captures the glamour of Parisian haute couture with polished cinematography, yet this sheen accentuates the story’s lack of depth. The fashion world is presented with a “precious” aesthetic that feels specious, offering little insight beyond surface‑level allure.Despite these shortcomings, Jolie’s star power shines through. Her willingness to align a fictional role with a deeply personal health battle adds a layer of authenticity that the surrounding screenplay fails to sustain. ‘Couture’ will be available on digital platforms from 20 April, offering audiences a chance to appreciate Jolie’s performance even if the film’s broader ambitions remain unfulfilled.

The Agentic Leap: Codex Goes BackgroundOpenAI is intensifying its rivalry with Anthropic by significantly upgrading its Codex tool. The latest update transforms Codex from a passive assistant into an active, autonomous agent capable of operating in the background of a user's desktop. This allows the AI to open applications, click, and type without interrupting the user's primary workflow.Parallel Operation: Codex can now run multiple agents simultaneously on a Mac, handling auxiliary tasks like iterating on frontend changes or testing apps while the user focuses on top-level projects.Browser Control: A new in-app browser feature enables Codex to issue commands and execute tasks on specific web applications, with plans to eventually command the browser fully beyond localhost.Memory and Context: The 'memory' feature allows Codex to recall previous work sessions, generating important context about how a specific user works to improve future assistance.Image Generation: Codex has gained the ability to generate product concepts, slide visuals, and mockups, expanding its utility beyond pure code.Expanded Plugin Ecosystem: The tool now supports 111 plug-in integrations, including tools like CodeRabbit and GitLab Issues, allowing it to handle clerical work across Slack and Google Calendar.Enterprise Integration and Pricing StrategyThe update is not just about features; it is a calculated business move designed to capture enterprise workflows. By offering a new pay-as-you-go pricing option for ChatGPT Business and Enterprise customers, OpenAI is lowering the barrier to entry for corporate adoption of these advanced agentic tools.The sheer volume of integrations—111 plugins—serves as a critical data point. It demonstrates OpenAI's strategy to make Codex a central hub for corporate productivity, capable of bridging the gap between coding and general administrative tasks.Strategic Pivot: From Consumer Tools to Corporate AutomationThis development marks a clear shift in OpenAI's strategy. After a period of focus on consumer-facing tools like Sora 2, the company is retreating from the consumer market to double down on enterprise capabilities. This aligns with the broader industry trend of moving from simple chatbots to autonomous agents that can execute complex workflows.The Future of Autonomous Coding AssistantsAs OpenAI and Anthropic battle for supremacy, the definition of a 'coding assistant' is changing. We are moving toward a future where AI agents are not just suggestions but active participants in the development lifecycle, capable of managing entire workflows autonomously. The winner of this war will likely be the provider that best integrates these agents into existing corporate infrastructure.

The Evolution of Observability in the AI EraThe market for IT reliability tools has undergone a significant paradigm shift. The industry has moved past the era of simply tracking everything to a focus on controlling complexity and costs. However, the rapid adoption of AI agents within enterprises has introduced a new, critical category of workload that requires specialized monitoring. InsightFinder, a startup grounded in 15 years of academic research, is capitalizing on this shift by leveraging machine learning to proactively identify and fix issues in IT infrastructure.Diagnosing the 'Black Box' of AI FailuresInsightFinder has officially launched its new product, Autonomous Reliability Insights, designed to tackle the root causes of AI model errors. Unlike traditional tools that focus solely on the model itself, this solution integrates data, model, and infrastructure monitoring to provide a holistic view. The company’s CEO, Helen Gu, a computer science professor at North Carolina State University, explains that the biggest misconception is that AI observability is limited to LLM evaluation during development. In reality, a robust platform must support end-to-end feedback loops covering development, evaluation, and production.Real-World Application: InsightFinder recently helped a major U.S. credit card company resolve a fraud-detection model that was drifting. The issue wasn't the AI model itself, but outdated cache in server nodes.Technical Approach: The platform utilizes a combination of unsupervised machine learning, proprietary large and small language models, predictive AI, and causal inference to analyze data streams.Why InsightFinder's $15M Round Signals a Market ShiftThe $15 million Series B round, led by Yu Galaxy, comes at a time when the observability space is crowded with competitors like Datadog, Dynatrace, and Grafana Labs. However, InsightFinder's financial performance indicates a strong market demand for its specific approach. The company reports revenue growth of over threefold in the past year and secured a seven-figure deal with a Fortune 50 company within three months.Funding Allocation: The capital will be used to expand the team (currently under 30 people) and invest in sales and marketing to scale its go-to-market motion.Total Raised: InsightFinder has now raised a total of $35 million in funding.Bridging the Gap Between Data Science and SREThe core value proposition of InsightFinder lies in its ability to bridge the communication gap between data scientists and site reliability engineers (SREs). While data scientists understand the AI but not the system, and SREs understand the system but not the AI, InsightFinder provides the insights that connect these two worlds. Gu argues that this unique combination of expertise and customizability acts as a significant moat against larger competitors.The Future of Autonomous IT OperationsAs enterprises continue to integrate AI agents into their core workflows, the demand for observability tools that can handle the full stack will only increase. InsightFinder's trajectory suggests that the future of IT operations lies in autonomous remediation—systems that not only detect anomalies but also fix them without human intervention. The company's success with Fortune 50 clients indicates that deep, enterprise-grade integration is the key differentiator in this emerging market.