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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.

The recent showdown between the US and Iran has ended with Iran emerging victorious and Trump being forced to pause his war efforts. This outcome is a clear example of how to defeat Trump. According to Robert Reich, a former US secretary of labor, the strategy that connects all the successful countermeasures against Trump is simple: refuse to cave to his demands, despite his superior military or economic power. Instead, use a kind of jiujitsu to turn Trump's power against him. Examples of successful countermeasures include: Iran using cheap drones and missiles to close the strait of Hormuz and drive up oil prices, putting pressure on Trump. China leveraging its control of rare earth metals to gain leverage in trade negotiations. Russia using its vast deposits of oil and natural gas to gain leverage over US allies. Canada and Mexico winning tariff showdowns with Trump by leveraging their economic importance to the US. Greenland curbing Trump's ambitions through public opinion. Inside the US, similar strategies have been used by: The people of Minneapolis, who organized non-violent resistance to protect immigrants. Harvard University, which leveraged its influence with federal courts to stop Trump's interference. Comedian Jimmy Kimmel, who turned a crisis into a ratings victory. Writer E Jean Carroll, who secured over $88m in damages from Trump in two civil cases. Law firms like Perkins Coie, Jenner & Block, Susman Godfrey, and WilmerHale, which refused to follow Trump's executive orders. On the other hand, countries and organizations that have caved to Trump have only strengthened his leverage over them. For example, Europe seems incapacitated, fearing Trump will leave Nato, while media networks like ABC continue to lose viewers. The bottom line is that there is now a clear blueprint for how to defeat Trump: reject his demands and use your own asymmetric power to turn his power against him.

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.

For many supporters, the final weeks of the football calendar feel both interminably long and suddenly over. The emotional roller‑coaster is now hitting two very different clubs at opposite ends of the English pyramid.Cambridge United have unexpectedly dropped out of the automatic promotion spots in League Two, just as the run‑in intensifies. Their recent draw against Swindon and a late‑minute error by keeper Jake Eastwood at Cheltenham have left them scrambling for points, with upcoming fixtures against Notts County and league leaders Bromley looming.Meanwhile, Tottenham Hotspur appear to be heading for a relegation battle. A 3‑0 defeat to Nottingham Forest has left them winless in the league since late December, and they sit perilously close to the bottom three as they prepare for a Sunday clash at the Stadium of Light.The club’s turmoil is compounded by the recent appointment of Roberto De Zerbi. While his résumé includes a solitary win in 13 games at Palermo, no victories in nine outings at Benevento, and just two points from five matches at Brighton, his impact at Tottenham remains uncertain. His early apology over comments about Mason Greenwood has done little to soothe a fanbase already on edge.Supporters across the country are feeling the same strain. From West Ham’s uneasy anticipation of a Wolves encounter to Liverpool fans fearing a slip below Everton, the anxiety is universal. Even lower‑league followers—whether in Ipswich, Middlesbrough, Oxford, Leicester, Harrogate, Barrow or Newport—are caught in the same cycle of hope and dread as promotion and playoff hopes hang in the balance.Amid the gloom, a few clubs enjoy relative peace. Fans of Paris Saint‑Germain and Bayern Munich can likely breathe easier, while clubs like Coventry and Lincoln savor modest successes.In the end, the season’s drama underscores a simple truth for football lovers: the joy of the game is inseparable from its inevitable panic, frustration, and the ever‑present possibility of triumph—or heartbreak—just around the corner.

The crew of Artemis II is preparing to return to Earth on Friday, following their historic 10-day lunar flyby mission. Nasa leaders have outlined the critical steps needed to ensure a safe splashdown off the coast of San Diego. The Orion capsule will travel at nearly 24,000mph before making a final splashdown several miles off the coast of San Diego. The operation requires multiple teams and careful coordination to safely extract the crew from the spacecraft. Nasa's associate administrator Amit Kshatriya emphasized the importance of the mission, stating, "To every engineer, every technician that's touched this machine, tomorrow belongs to you. The crew has done their part. Now we have to do ours." Jeff Radigan, lead flight director of the mission, highlighted the precision required for re-entry, noting the team has "less than a degree of an angle" to hit the correct flight path. "Let's not beat around the bush. We have to hit that angle correctly – otherwise we're not going to have a successful re-entry," he said. The splashdown is expected to occur at 5:07pm PT, with the USS John P Murtha ready to assist with recovery operations. The crew will undergo post-mission medical evaluations before being flown to Nasa's Johnson Space Center in Houston, Texas. Pilot Victor Glover, the first Black man to travel beyond low Earth orbit, reflected on the journey, saying, "We have to get back. There's so much data that you've seen already, but all the good stuff is coming back with us. There are so many more pictures, so many more stories."

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.

The latest Cannes lineup reveals a clear pivot from the usual Hollywood glamour toward a roster dominated by celebrated world‑cinema auteurs such as Pedro Almodóvar, Cristian Mungiu and Asghar Farhadi. While last year’s festival was anchored by a Mission: Impossible spectacle starring Tom Cruise, this edition offers a more eclectic mix, including debut features from Andy Garcia (who also stars in his crime drama Diamond) and John Travolta, who directs the aviation‑themed Propeller One‑Way Night Coach based on his own novel.Under the stewardship of director Thierry Frémaux, Cannes continues to bar films that are exclusive to streaming platforms, a stance that has been vindicated by recent Oscar successes for festival selections. The festival also entered the AI debate: Steven Soderbergh’s documentary John Lennon: The Last Interview employs artificial intelligence to reconstruct visual elements of the legendary interview, sparking both fascination and unease among attendees.Gender representation remains skewed, with a noticeable predominance of male directors in the competition slate, although the final list is still pending. Notably absent are any British filmmakers, despite the inclusion of Polish auteur Paweł Pawlikowski, whose biopic of Thomas Mann, Fatherland, could be loosely claimed as a UK entry given his long residence there.Geopolitical undercurrents are hard to ignore. Russian director Andrey Zvyagintsev returns with Minotaur, a film about a beleaguered Russian businessman. Zvyagintsev, once favored by Vladimir Putin, now lives in exile in France, adding a layer of political intrigue to his work amid the ongoing war in Ukraine.The competition also features a strong historical thread: László Nemes’s Moulin revisits occupied France, Emmanuel Marre’s Notre Salut explores Vichy‑era France, and Lukas Dhont’s Coward follows a Belgian soldier’s harrowing experience in World‑I trenches.Among the more provocative entries, Nicolas Winding Refn’s Her Private Hell promises shock value in the out‑of‑competition slot, while the Un Certain Regard section showcases Jane Schoenbrun’s queer slasher Teenage Sex and Death at Camp Miasma, likely to become a festival highlight.

British Airways announced that, when it resumes operations in July, its Middle East timetable will be significantly scaled back, with a portion of the freed‑up fleet redirected to launch additional direct services to India and Kenya. The carrier has suspended all flights to the region following the outbreak of the Iran‑related war. It plans to restart flights to Riyadh in mid‑May and to reopen routes to Dubai, Doha and Tel Aviv on 1 July. However, the airline will reduce Dubai flights from three to one per day and cut the frequency to Doha, Tel Aviv and Riyadh from two daily services to a single flight each. In a permanent move, BA will drop Jeddah as a destination from 24 April. Service to Bahrain and Amman will remain on hold until 25 October, while flights to Larnaca, Cyprus are slated to return on 22 May. Speaking on the adjustments, BA said, “Given the ongoing situation in the Middle East, we have revised our schedule to give customers clearer options. We continue to monitor the situation closely and are in direct contact with affected passengers to provide alternatives.” Since the conflict began, the airline has facilitated the repatriation of thousands of travelers, operated humanitarian relief flights, and increased capacity on key long‑haul sectors. Looking ahead, BA will deploy larger aircraft on its Delhi route from 1 June and similarly upscale the Hyderabad service. The summer schedule will also see additional daily flights to Bengaluru and Nairobi through late October. Further expansion includes new flights to Delhi and Mumbai, a development first reported by the Financial Times, underscoring BA’s strategy to offset reduced Middle East capacity with growth in high‑demand Asian and African markets.

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.