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Mom’s mantra – “don’t borrow trouble” – became the compass that steadied Feimster during the uncertain early years of her comedy career. She says the simple advice helped her shift focus from endless worry to actually performing. Growing up, Feimster was captivated by Carol Burnett’s slapstick brilliance, a love sparked by her grandmother’s nightly reruns. The legendary comedian’s on‑ and off‑screen silliness shaped Feimster’s own comedic sensibility. When she was cast as the beaver Nibbles in the upcoming Zootropolis 2, the process was anything but typical. “The script was top‑secret,” she recalls, noting that she entered the recording booth with only a brief scene description from director Jared Bush, never knowing how pivotal her character would become. Feimster also laughs about a nightmare charity gig in a Virginia biker bar, where the stage was literally a wooden crate, the lighting resembled a construction site, and a karaoke machine served as the sound system. “Nobody, including me, enjoyed the show,” she admits. Unlike many performers, she has no elaborate pre‑show rituals. She arrives minutes before the curtain rises, chats with the audience, and treats each performance like a regular day, much to the amusement of co‑host Tom Papa. The relentless travel schedule is a double‑edged sword. Feimster describes the constant touring as exhausting, with the added pressure of having to write fresh material after every special. “You finish one project and must start from scratch,” she says, highlighting the creative churn that fuels her growth. On set with Arnold Schwarzenegger for the film Fubar, Feimster found the experience inspiring. She notes that the legendary actor’s varied career – from bodybuilding champion to governor – made every day on set feel like a master class. Looking ahead, Feimster has wrapped two Netflix comedies: one starring Will Ferrell as a washed‑up pro golfer where she plays his caddie, and another ensemble with Kim Kardashian, Nikki Glaser and Brenda Song. She hints at a future shift toward a more serious, less self‑referential role. Meanwhile, her current stand‑up show “Takin’ Care of Biscuits” continues its North American and European leg, with a stop at London’s Hackney Empire on 3 June and the tour running through 9 August.

Tori Amos has taken to the stage, delivering a dramatic deep dive into her vast and sprawling back catalogue. Her 18th studio album, In Times of Dragons, and first tour in three years have generated significant excitement among fans. The allegorical tales that make up her forthcoming record – a metaphorical story about the fight for democracy over tyranny – are evident in her live performances.The concert featured a range of tracks from Amos's extensive discography, including the delicate deep cut Ruby Through the Looking-Glass and the atmospheric, slow-burn jazzy grooves of Little Amsterdam. The love in the room for Amos is palpable, with her songs, voice, and masterful piano playing bringing out an almost devotional following.Amos's musicianship was on full display, accompanied by a drummer, bass player, and three backing singers, whom she refers to as 'angels.' While their presence occasionally detracted from the raw intimacy expected from Amos, it mostly elevated the performance to new levels. Tracks such as Pandora's Aquarium and Witness were lifted to stirring new heights by the vocal back and forth.The setlist may not have been hit-stuffed, but Crucify was a beautiful closer, delivered in a way that felt both tight and loose, detailed yet expansive, tender and rousing. The encore of early career favourite Cornflake Girl had the whole venue on its feet and in dizzy awe. As Amos navigates the brutal state of the world, she has an audience that will gladly follow her deep into the heart of any dragon's den.

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.

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.

The ceasefire deal between Iran and the US has been hailed as a significant achievement for China, which has been actively working to promote de-escalation and an end to hostilities in the region. Beijing's powerbrokers are being credited with pushing Iran towards agreeing to the ceasefire, bolstering its status as a regional mediator.In China's tightly censored domestic media, articles basking in the glory of China being the grown-up in the room at a time of international crisis were allowed to circulate. China's role in the negotiations was confirmed by US President Donald Trump, who told the Agence France-Presse news agency that he believed China had got Iran to agree to a ceasefire.However, some analysts are sceptical about how influential China could actually have been in the late-night discussions. The deal is advantageous to Iran, and encouraging the regime to agree to it would have been like 'pushing an open door', according to one analyst. Nicholas Lyall, a senior researcher at Trends, a research and advisory firm in Abu Dhabi, said: 'In terms of whether China had to do much pushing of Iran for it to agree to the temporary ceasefire, and whether Iran was swayed by this reported Chinese effort, it's essential to clarify what Iran has actually agreed to.'Officially, China has not confirmed or denied reports that it played an active role in the Islamabad negotiations. At a press conference on Wednesday, the foreign ministry spokesperson Mao Ning said only that China 'had been actively working to promote de-escalation and an end to all hostilities'. China's economic interests are also at stake, as the risk of a global recession and soaring fossil fuel prices poses a threat to the Chinese economy, which is heavily dependent on exports.Analysts are even more sceptical of the idea that China might act as the guarantor of any ceasefire agreement in the Middle East. Song Bo, a fellow at the Center for International Security and Strategy at Tsinghua University, said: 'China doesn't have a direct stake with any of the parties in the Middle East. Acting as a guarantor for a ceasefire would be an extremely high-cost diplomatic undertaking, and I don't think China would commit to that easily.'

Arthur Rosenfeld, 73, and Meryl Tankard, 70, open the performance by introducing themselves as “sprightly old geezers,” setting a tone of candid humor that runs through the evening. The production, ‘Kontakthof – Echoes of 78,’ is a fresh staging of Pina Bausch’s iconic 1978 work, now re‑imagined by Australian choreographer Meryl Tankard. Unlike the 2010 London run that split the piece between teenagers and senior amateurs, this rendition features the eight surviving members of the original cast—all now in their late sixties to early eighties—performing the very roles they created half a century ago. A ninth dancer was absent due to illness. Their live movements are mirrored on a large screen by the black‑and‑white film of the 1978 performance, creating a visual palimpsest where past and present dance together. The choreography, set to 1930s dance‑hall songs, remains a wry commentary on courtship, power dynamics and consent. Tankard’s direction emphasizes the passage of time, allowing audiences to witness the same steps executed by bodies that have aged, yet retain a striking vitality. Dancers such as Josephine Ann Endicott, now in her seventies, glide across the stage in silk dresses, their frames more fragile but their confidence undiminished. Moments of poignancy arise when the film shows cast members who have since passed away. Onstage, John Giffin reaches for his late partner’s face, only to grasp empty air—a visual metaphor for loss that resonated deeply with the audience. Personal revelations punctuate the performance: Beatrice Libonati, 71, describes herself as “paranoid and a misanthrope,” while Tankard admits, “I wish I’d had children; I miss my mother every day,” underscoring the undercurrent of longing that runs through the piece. Beyond its narrative, the production offers a meditation on continuity. Bausch’s signature walking patterns—slow circles and linear traverses—are repeated, suggesting that despite changing bodies, the human species continues to tread familiar social routes. The music, unchanged from the original, carries on until the final dancer pauses, symbolising the inevitable end of the dance of life. The show runs at Sadler’s Wells, London through 11 April, offering a rare glimpse into how art can bridge generations and celebrate the endurance of the human spirit.

Bill Ackman's Pershing Square has unveiled a €55.75 bn cash‑and‑shares bid to acquire Universal Music Group (UMG), valuing the label at €30.40 per share – a 78% premium over the previous close of €17.10. The proposal translates to roughly $64.31 bn, positioning it as one of the largest recent takeovers in the entertainment sector. The offer is tied to a strategic plan to relocate UMG’s primary listing from Amsterdam to New York. A U.S. listing would broaden the investor base, potentially attracting index funds and enhancing liquidity, which Ackman argues could lift earnings and drive a higher market valuation. In a letter to UMG’s board, Ackman praised chairman‑CEO Lucian Grainge while criticizing what he described as an “underutilized balance sheet” and the company’s €2.7 bn investment in Spotify Technology. He suggested that a refreshed governance structure – including former Hollywood super‑agent Michael Ovitz as board chair and two Pershing Square directors – would better position the label for future growth. Market reaction was immediate: UMG shares jumped 13% on the news, while Bollore Group’s stock rose 5% and Vivendi’s shares climbed over 10%. Pershing Square currently holds a 4.7% stake in UMG, making it the fourth‑largest shareholder. Key shareholders whose support is essential include Bollore Group (18.5% stake), Vivendi (13.4%), and China’s Tencent. Notably, the Bollore family controls about 80% of UMG’s voting rights, giving it decisive influence over any transaction. Industry analysts point to several headwinds that have pressured UMG’s share price, which has fallen nearly one‑third since its 2021 IPO. Streaming growth is decelerating, and concerns about AI‑generated music – from copyright disputes to fully synthetic songs – are reshaping the competitive landscape. A recent survey found that 97% of listeners can differentiate between AI‑created tracks and human‑composed music. Despite these challenges, global music revenues continue to rise year over year, prompting major labels such as Sony and Warner Music to double‑down on streaming partnerships with platforms like Spotify, Amazon, Apple and Deezer. Under the proposed structure, Pershing’s SPARC Holdings would merge with UMG, creating a Nevada‑incorporated entity listed on the New York Stock Exchange. If approved, the deal could set a precedent for how legacy entertainment firms adapt to evolving technology and investor expectations.

As the deadline set by US President Donald Trump for Iran to reopen the Strait of Hormuz approaches, Iranians are bracing for a potential catastrophe. With over 90 million people facing uncertainty, daily life in Iran could drastically change by Wednesday.Trump has issued ominous warnings, stating that if Iran does not comply, its electricity, bridges, and other critical infrastructure will be targeted, despite this violating international law. Such actions could lead to the destruction of a whole civilisation, as Trump previously mentioned.In the hours leading up to the 8pm US Eastern Time (23:00 GMT) deadline, residents of Tehran express their fears. A Tehran resident noted, “We all know he’s crazy enough to do it. He doesn’t care as long as he believes it serves his interest.” This sentiment reflects the anxiety gripping the nation as the threat of an attack looms.Preparations for potential blackouts and shortages are underway. Iranians are charging phones and power banks, using household appliances, and stocking up on essentials like bread, flour, and bottled water. The price of bottled water has surged due to chronic inflation and the ongoing conflict.The impact on vulnerable populations, including the sick and disabled, could be severe. Long-lasting power cuts would hinder access to essential medicines and medical equipment, exacerbating the crisis.Market prices for electrical devices and generators have skyrocketed, with many struggling to afford these necessities. A resident from the northern province of Gilan shared that he purchased a generator to power essential items, spending nearly all his earnings.Despite the threats, there is some optimism about Iran’s decentralised power distribution system potentially mitigating damage. The Ministry of Energy assured the public that they are prepared for worst-case scenarios and urged calm.The Islamic Revolutionary Guard Corps (IRGC) announced readiness to expand its target list and attack critical infrastructure in neighbouring countries if the threatened attacks proceed. Iranian politicians, including former President Hassan Rouhani, have condemned Trump’s statements, highlighting Iran’s resilience and cultural heritage.As the situation unfolds, protests and demonstrations are taking place across the country. State-backed motorcades are roaming the streets of Tehran, playing revolutionary songs, while armed checkpoints maintain control over highways and public spaces.

The metal music scene has witnessed a surge in popularity of masked bands, with many notable acts donning elaborate masks as part of their stage presence. This trend is not only visually striking but also allows the bands to create a sense of mystery and anonymity. For bands like Imperial Triumphant, Gaerea, Sleep Token, Ghost, and Gwar, their masks have become an integral part of their image and artistry.Imperial Triumphant, an avant-garde metal band from the US, chose to wear striking gold masks modeled after 1920s art deco architecture. These masks brought their own set of problems, including getting lost in transit. The band's singer/guitarist, Zachary Ezrin, notes that the masks add a layer of complexity to their music, allowing them to tap into different parts of their personalities.Gaerea, a Portuguese black metal band, has also adopted the trend of wearing masks. Lead singer Alpha notes that the mask allows him to get into a different mode in his psyche, similar to how athletes get into a trance-like state during intense physical activity. The band's masks are not just for show; they also help to create a sense of anonymity, allowing the band to focus on their music rather than their individual identities.The use of masks in metal music is not a new phenomenon. Bands like Gwar and Slipknot have been using masks for decades, and their influence can be seen in many modern metal bands. However, the current trend of masked bands goes beyond just shock value; it's about creating a sense of mystery and artistry.The masks also allow bands to create elaborate mythologies and universes that fans can engage with. For example, Ghost poses as a subversive, devil-worshipping church, while Sleep Token's songs are ostensibly about their devotion to a god called Sleep. These mythologies help to create a sense of depth and complexity, drawing fans into the band's world.Despite the challenges of performing in masks, many bands find that it allows them to access new parts of their personalities and create a more immersive experience for their fans. As Ezrin notes, "I love the presentation of Imperial Triumphant... Even in 2026, when there are a million masked bands out there, I'd say we're still unique."