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Tracey Nelson, a NYC-based singer-songwriter, is set to release his debut album 'Hercules' on July 10. His music is described as beautifully dazed, countrified indie-rock, drawing comparisons to bands like The Clean and The Feelies. Nelson's self-titled 2025 debut EP was a lesser-heard gem, featuring tracks such as 'New Years Flowers' and 'Just Shoot Me Now'.The upcoming album 'Hercules' is co-produced by MJ Lenderman and Colin Miller, and features a lineup of musicians including Lenderman, Miller, Karly Hartzman, and Jack Kraus. The album promises to amplify the country elements of Nelson's previous work while giving him more space to explore his sound.This week's best new tracksPozer – Hulk Hogan (ft AJ Tracey): A standout track in the UK scene, delivering social realism over Jersey club beats, with an excellent verse from AJ Tracey.Zoh Amba – Another Time: A remarkable free jazz saxophonist turns songwriter, blending Appalachian roots with indie rock.One Leg One Eye – Many Are My Names Besides: A haunting track that combines scratchy drone and distorted wailing.Enter Shikari – Dead in the Water: A highlight from their new album, blending rave-rock with elements of Everything Everything and The Prodigy.James K – Peel (Loidis remix): A 14-minute remix turning ethereal dancehall-pop into snappy microhouse.Ambrose Akinmusire and Mary Halvorson – Soundcheck: Disarming trumpet playing and unsettling guitar work.Max F – Dream Channel (Space Ghost Club Remix): Life-affirming piano-centred house instrumental.

The conflict that erupted in April 2023 between Sudan’s army and the Rapid Support Forces has driven the country’s humanitarian situation to catastrophic levels, according to the international non‑governmental organisation Humanity & Inclusion.Three years on, the NGO warns that civilians are enduring a deepening crisis, while people with disabilities are confronting extreme challenges as violence continues, essential services crumble, and unexploded ordnance spreads across former battle zones.Humanity & Inclusion estimates that 11.6 million Sudanese have been displaced by the fighting, and that **more than 33 million people now require humanitarian assistance**—roughly half the nation’s population. By the end of January 2026, over **3 million displaced individuals had begun returning home**, including **700,000 who had fled abroad**. Most of these returns have been to states where hostilities have eased, such as Khartoum, the Blue Nile and Gezira regions.The organisation highlights that **4.6 million Sudanese—about 16 % of the total population—live with disabilities**. In conflict‑affected areas this proportion is likely higher due to war‑related injuries, trauma, and deteriorating health conditions. The NGO stresses that disabled persons “face extreme challenges in fleeing violence, accessing aid, and protecting themselves from harm,” and are often among “the first to be left behind,” exposing them to heightened risks of violence, abuse, discrimination and exclusion.Adding to the peril, Humanity & Inclusion points to the lingering presence of **explosive remnants of war**, describing them as a “new and deadly danger” for millions returning to their homes. Unexploded ordnance—including antipersonnel mines—has contaminated former front lines, residential areas, schools, hospitals, places of worship and roadways, severely restricting access to essential services and livelihoods.These findings underscore the urgent need for intensified humanitarian response, targeted protection measures for people with disabilities, and comprehensive clearance of explosive hazards to prevent further civilian casualties and enable the safe return of displaced populations.

Event details: The heavyweight showdown between Tyson Fury and Arslanbek Makhmudov is scheduled for Saturday, 11 April 2026. The main card will tip‑off at 19:00 GMT, with the headline bout slated for just after 22:00 GMT at the Tottenham Hotspur Stadium in London. The fight will be streamed live on Netflix, while Al Jazeera will provide a text‑based live commentary starting at 18:00 GMT. Fury, the 37‑year‑old former two‑time world champion, returns after a 15‑month hiatus following consecutive defeats to Oleksandr Usyk. His professional record stands at 34‑2‑1 with 24 knockouts, and he towers at 206 cm (6 ft 9 in) with a 216 cm reach. Makhmudov, a 36‑year‑old Dagestani‑born Canadian resident, holds a 21‑2‑0 record, 19 of those wins by KO, measures 198 cm (6 ft 6 in) and has a 194 cm reach. The bout is billed as a 12‑round heavyweight clash, offering Fury a chance to rebuild his résumé and potentially earn a high‑profile encounter with fellow Briton Anthony Joshua. Makhmudov, however, is far from a tune‑up opponent; 90 % of his victories have come by knockout, and he has demonstrated power against seasoned fighters such as Dave Allen and Carlos Takam. Fury’s perspective: In a recent BBC interview, the “Gypsy King” said he feels “as good as I’ve ever felt” and is “as sharp as I’ve ever been,” emphasizing the need to be at peak form to survive Makhmudov’s single‑punch knockout power. He added that a win would pave the way for a long‑desired showdown with Joshua. Makhmudov’s outlook: The Dagestani fighter described Fury as a “legend” and expressed confidence in his ability to win, noting that the contest will test both mental and spiritual strengths. He hinted at a philosophical edge, saying, “It’s a war between mind and spirit – Inshallah the spirit wins.” Beyond the headline fight, the co‑main event will feature Conor Benn versus Regis Prograis** at 21:30 GMT, marking Benn’s first bout under Zuffa Boxing after parting ways with Matchroom. The British heavyweight title will be defended by Jeamie Tshikeva against Richard Riakporhe**, while Frazer Clarke meets Justis Huni** in a heavyweight clash. Preliminary action includes middleweight, light‑welterweight and flyweight contests, rounding out a full card designed to keep fans engaged throughout the evening. Personal drama adds intrigue: Fury’s father, “Big John” Fury, who has been a vocal presence in his son’s career, is reportedly absent after a recent fallout, though Tyson downplays the impact, stating that the crowd’s composition is irrelevant to his focus. Overall, the London event promises a high‑stakes narrative – a veteran champion seeking redemption, a rising knockout artist eager to cement his status, and a potential pathway to a blockbuster British heavyweight showdown later in the year.

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 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.

Since its inauguration in 1875, Mumbai’s Sassoon Dock has transitioned from a Gulf‑bound trading hub to the beating heart of the city’s fishing sector. Today, the once‑bustling harbour is marked by an unsettling silence.Rows of fishing boats sit idle under the morning sun, their colourful flags fluttering against the skyline. The familiar chorus of net‑unloading, diesel‑engine rumble, ice‑hauling and fish‑monger shouts has faded.Boat owner Shekhar Chogle, weather‑worn from years at sea, has been compelled to keep his vessel moored since the conflict began. Plummeting earnings, relentless labour costs and diesel prices soaring above $1.20 per litre ($4.54 per US gallon) have rendered fishing operations virtually impossible.The dock’s diesel pump now sits abandoned, draped with a wilted marigold garland. A worker returns from the petrol station empty‑handed, his wooden barrow holding six unfilled containers, underscoring the fuel shortage that has crippled cooperatives that normally supply affordable fuel, ice and equipment to fishers.This fuel crisis reverberates beyond Mumbai, affecting fishing communities throughout India and wider Asia. Fishers confront a stark choice: stay ashore and forfeit income, or brave the sea at the risk of further financial loss, jeopardising both individual families and entire coastal economies.A recently announced two‑week ceasefire between Iran, the United States and Israel offers a glimmer of hope, yet analysts warn that normalising fuel supplies will take time.For Chogle, the clock is ticking. “Our income has dropped significantly since we have not been able to take our boat out to sea,” he lamented.Despite the soaring fuel costs, a few boats still venture out. Morning markets persist, though catches are modest. Women in vibrant saris haggle over the limited fish, and a mother balancing a baby on her hip scrutinises each purchase, weighing cost against necessity.“If diesel prices don’t come down soon, I don’t know how we’ll survive,” Chogle warned, encapsulating the precarious future of Mumbai’s once‑thriving fishing trade.

Stephen Fry opened his appearance on ITV’s The Assembly with a startling question: “You tried to kill yourself a couple of times. Are you happy to be alive now?” The boldness set the tone for a conversation that veered far from the usual celebrity‑friendly script.The programme distinguishes itself by placing a well‑known guest in front of a panel of young adults with neurodivergence or learning disabilities. Free from the conventional safeguards of mainstream talk shows, the panel asks questions that are simultaneously unconventional and deeply human, prompting guests to respond without the usual rehearsed veneer.For Fry, the format proved liberating. Known for translating complex ideas into accessible language, he used the platform to discuss suicidal ideation, likening the experience to the lingering memory of a broken limb—painful yet now distant. This candidness allowed him to reaffirm why he remains a cultural touchstone.One of the most memorable moments came when a participant asked, “I read that you are bipolar. One of my family has that. How can I help them?” Fry responded with a vivid analogy, describing bipolar disorder as a “rainstorm raging inside you—eventually the sun returns, and it’s the weather, not the person, that changes.” This explanation resonated as both compassionate and educational.The interview oscillated between gravitas and levity. Fry fielded whimsical queries such as “Can you help me meet Céline Dion?” and “How much have you spent on cocaine?” alongside the probing “Are you a top or a bottom?” The juxtaposition amplified the emotional weight of the serious topics.At one point, a young panelist named Luca chose not to ask a question, instead performing William Wordsworth’s poem “The World Is Too Much With Us” with theatrical flair—a rare blend of poetry and performance that underscored the show’s experimental spirit.Another highlight involved Jacob, a panel member who brandished a list of Fry’s past advertising gigs—Heineken, Twinings, Honda, and more—before delivering the punchline, “Is there anything you wouldn’t do for money?” The extended joke built a collective laugh that softened the subsequent, more probing inquiries.Critics have likened the show’s tone to a hybrid of Radio 4’s In the Psychiatrist’s Chair and the cheeky, irreverent style of classic British comedy interviews such as those with Dame Edna Everage or Mrs Merton, creating a unique space where vulnerability and humor coexist.The episode concluded with Nina Simone’s “I Wish I Knew How It Would Feel to Be Free” playing as Fry reflected on his experiences with antisemitism and bipolar disorder. Moved by the music, he rose and danced, offering a visual testament to the therapeutic power of the format.The Assembly aired on ITV1 and is now available for streaming on ITVX.

Copenhagen returns to the London stage under Michael Longhurst’s direction at Hampstead Theatre, a timing the reviewer calls “terrifyingly timely.” The three‑hander dramatizes the 1941 encounter between Danish physicist Niels Bohr (played by Richard Schiff) and German scientist Werner Heisenberg (Damien Molony), set against the looming threat of Hitler’s nuclear ambitions. The production draws unsettling parallels to contemporary politics, invoking Donald Trump’s recent threats toward Iran as a modern echo of the era’s extremist rhetoric. This resonance, the reviewer notes, amplifies the play’s relevance alongside the theatre’s downstairs offering, ROI (Return on Investment), which also interrogates the morality of scientific discovery. Visually, Joanna Scotcher’s set is a striking, non‑realist circle surrounded by water—a subtle nod to the “heavy water” used in Nazi nuclear research and a poignant reminder of the personal tragedy that befell one of Bohr’s sons. The second half’s dense scientific dialogue is rendered accessible, though the reviewer argues it sometimes falls short of fully unpacking the deeper metaphors embedded in the science. Performance-wise, the age gap between Bohr and Heisenberg (Bohr being sixteen years senior) hampers the on‑stage chemistry. Schiff’s portrayal of the seasoned Bohr occasionally stumbles over lines, while Molony’s Heisenberg comes across as a brooding, almost adolescent figure. In contrast, Alex Kingston’s turn as Bohr’s wife and editor, Margrethe, provides the emotional core, shouldering much of the play’s affective weight. Thematically, the drama wrestles with the question of whether scientists bear a moral duty beyond their research. Heisenberg’s famed uncertainty principle is employed as a metaphor for the psychological ambiguity surrounding their historic meeting. Yet the script conspicuously omits any direct reference to the bombings of Hiroshima and Nagasaki, focusing instead on the fear of a Nazi atomic weapon and sidestepping the United States’ own nuclear legacy. While the production boasts compelling aesthetics and a thought‑provoking premise, the reviewer finds moments of sluggish pacing and a missed opportunity to confront the irony of overlooking the U.S. bombings, especially as contemporary concerns about American military assertiveness rise. The show runs at Hampstead Theatre, London until 2 May.

The recent ceasefire between the US and Iran offers a glimmer of hope for the energy crisis that has been exacerbated by the conflict in the Strait of Hormuz. However, the deal's stability is already being questioned, with Iran claiming that Israel's attacks on Lebanon breach the agreement. Even if the ceasefire holds and hundreds of tankers stranded in the Gulf start to transit once more, analysts fear that it will not be enough to return the flow of oil, gas, chemicals, and other vital items to pre-crisis levels. An estimated 2,000 vessels with about 20,000 seafarers onboard have been trapped in the Gulf since the outbreak of the conflict. Shipping analysts and owners have cautioned that even a temporary ceasefire does not provide a sufficient guarantee that it is safe to make the passage, particularly because Iran's foreign minister has stated that transit will be under Iranian military management. Many questions remain for shipowners and their captains over whether it is safe to navigate through the strait. The disruption has been compounded by the forced shutdown of oil and gas production across the Gulf as storage facilities reached capacity. In addition, many key energy production sites have been damaged by drone attacks. Experts have said it could take months or years to fully restore the Gulf's energy production. Energy markets have fallen sharply on the hope that millions of barrels of crude oil and gas trapped in the Gulf could soon help to relieve a crisis that the International Energy Agency has said is more serious than the energy flashpoints in 1973, 1979, and 2022 combined. However, traders are also expected to price in a continuing 'geopolitical risk premium' to reflect uncertainty over whether the ceasefire will hold.