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The Rock and Roll Hall of Fame has revealed its list of 2026 inductees, showcasing a diverse range of artists who have made significant contributions to the music industry. Phil Collins, known for hits like 'In the Air Tonight' and 'One More Night', will be inducted, despite already being part of the hall as a member of Genesis. Collins has earned eight Grammys, including album of the year in 1985 for 'No Jacket Required'.Oasis, the iconic Britpop band, will also be inducted, marking a significant recognition of their impact on the music scene. Sade, the soul-jazz vocalist, is another notable inductee, known for songs like 'Smooth Operator' and 'The Sweetest Taboo'. This will be her second nomination, following her first in 2024.The Wu-Tang Clan will be recognized as rap innovators, having released their game-changing debut album 'Enter the Wu-Tang (36 Chambers)' in 1993. Other inductees include Iron Maiden, who helped power the new wave of British heavy metal, and Luther Vandross, who sold over 25m albums and inspired artists like Kendrick Lamar and SZA.The induction ceremony will take place on November 14 at the Peacock theater in Los Angeles. In addition to the performer category, the Hall of Fame will also celebrate contributions across three special categories: early influence, musical excellence, and the Ahmet Ertegun non-performer award.This year's early influence category will honor Queen Latifah, Celia Cruz, Fela Kuti, MC Lyte, and Gram Parsons. The musical excellence category will recognize songwriter Linda Creed and producers Arif Mardin, Jimmy Miller, and Rick Rubin. The Ahmet Ertegun non-performer award will go to Ed Sullivan, the legendary host of the eponymous TV show that launched many musical icons of the 1950s and 1960s.

Lake Erie, a vital source of freshwater for millions of people, has faced significant pollution challenges for decades. In the 1960s, the lakes and rivers around Cleveland were so polluted that they frequently caught on fire. While water quality has improved since then, the lake still struggles with poor water quality due to chemical runoff and pollution. The 2025 State of the Great Lakes report found that Lake Erie ranks poorly for pollution caused by chemical runoff and is consistently one of the top five most polluted lakes in the US. Over 5.5 billion gallons of freshwater are drawn from the lake daily to meet industrial and consumer needs, highlighting the importance of addressing these pollution issues. In response, the Cleveland Water Alliance, a non-profit organization, is working with over 300 companies, research institutions, and government agencies to develop clean water solutions for Lake Erie. The alliance has deployed hundreds of sensor buoys across the western section of the lake to observe and detect various water-related factors, including E. coli, algal blooms, and turbidity levels. Researchers at Case Western Reserve University have incubated research for a pilot program technology that can capture 90% of microplastics down to 50 microns in washing machines, preventing these materials from entering the lake. Other projects are recording solar radiation, dissolved oxygen levels, and water and air temperatures. Korean companies have also come to the area to test electrochemical water treatment methods in Lake Erie's water. The alliance's efforts aim to position Lake Erie as an open-air research facility, driving innovation and solutions to address the lake's pollution challenges. Despite these efforts, environmentalists say the challenges to cleaning up the lake are huge. A 40% reduction in phosphorus is needed to minimize blooms, with about 90% of phosphorus entering the western Lake Erie basin coming from agricultural runoff. The manure problem is also a growing concern, with the increasing number of livestock operations in the area contributing to pollution. The Cleveland Water Alliance's initiatives, such as the development of a system for making commercial-grade sodium hypochlorite on site, aim to promote technologies for wintertime monitoring of aquatic life activity and behavioral changes as well as levels of water turbidity. By leveraging data and innovation, stakeholders hope to improve the lake's water quality and mitigate the impacts of pollution.

The British government announced that it is putting on hold a bill that would return the Chagos Islands to Mauritius, after President Donald Trump signaled a lack of US support for the arrangement.A UK spokesperson told Reuters and AFP that the deal would only move forward with American backing, stating, "We have always said we would only proceed with the deal if it has US support." The statement added that the islands, particularly Diego Garcia, remain a critical military asset for both nations.Last May, London and Port Louis unveiled a plan under which Britain would cede full sovereignty of the 60‑plus islands to Mauritius while retaining a 99‑year lease on Diego Garcia to preserve the US‑run base that anchors American power in the Indian Ocean.Trump dismissed the proposal in January as an "act of great stupidity," arguing that relinquishing the archipelago would undermine the strategic partnership. In response, the UK reiterated that the base’s long‑term security is the primary reason for the agreement and that it continues to engage with both Washington and Mauritius.At an Indian Ocean conference in Mauritius, Foreign Minister Dhananjay Ramful pledged that his government would "spare no effort" to pursue every diplomatic and legal avenue to complete the decolonisation of the Chagos archipelago, calling the issue a matter of justice.After an initial softening of tone following a February conversation with Prime Minister Keir Starmer, Trump later resumed his criticism on Truth Social, labeling the cession a "big mistake" and a "blight on our Great Ally." The dispute has unfolded against a backdrop of strained US‑UK relations over the ongoing US‑Israel conflict in Iran and the UK's leadership of a 30‑nation coalition protecting shipping in the Strait of Hormuz without US participation.Former senior civil servant Simon McDonald told BBC Radio that Trump’s hostility has forced the agreement into a "deep freeze," noting that when the US president is openly opposed, the British government must reassess its position.Britain has administered the Chagos Islands since 1814, even after Mauritius gained independence in the 1960s. The Diego Garcia base has been pivotal in US operations in Vietnam, Iraq and Afghanistan. The displaced Chagossian community continues to seek compensation, and a 2019 International Court of Justice advisory opinion recommended that the archipelago be returned to Mauritius.

Britain’s recent reversal of the on‑shore wind ban, announced by Energy Secretary Ed Miliband, has set in motion a wave of proposals to install more than one hundred colossal turbines across the Cambrian Mountains of mid‑Wales. The Cambrians, a 500‑square‑mile stretch of moorland and high ground that remains the most extensive wilderness south of Scotland, could soon host turbines reaching 220–230 metres – roughly 50% taller than any existing on‑shore turbine in England and Wales and more than twice the height of Big Ben. Each turbine would sit on a 2,000‑tonne concrete foundation and require at least 100 tonnes of steel. The scheme also envisions over 200 km of new pylons to link the farms to the National Grid, alongside roads, repair bays and storage depots. Analysts note that the construction phase would generate a substantial carbon footprint, especially given the turbines’ relatively short operational life of 20–25 years. Environmental organisations, including the Wild Wales Trust and the Campaign for the Protection of Rural Wales, have rallied against the plans, warning that they would "degrade and industrialise huge areas of the uplands and valleys" and could encroach on Wales’s sole UNESCO biosphere reserve in the Dyfi valley. Local opposition is hampered by the region’s sparse population, but activists have been posting hand‑drawn notices on the Glaslyn uplands and highlighting the visual impact of proposed turbine clusters – for example, a hilltop site slated for 26 turbines that would dominate the skyline across the country, and a location dubbed “Artists Valley” that could be renamed after a row of 37 similar structures. Critics argue that Wales, which is moving toward renewable self‑sufficiency and already exports surplus power, does not need these installations for its own energy security. Instead, the turbines appear designed to feed the broader UK grid, echoing historic instances where Welsh resources were harnessed for the benefit of other regions, such as the 1960s water transfers to Liverpool. With the Cambrian Mountains lacking any national‑park protection – a status denied in the 1950s due to local farming opposition – the landscape remains vulnerable to large‑scale industrialisation. The proposed developments raise a fundamental question: should a politician’s ambition for renewable credentials outweigh the preservation of one of Britain’s most pristine natural areas?

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.

NASA's sonifications have made it possible for us to experience the cosmos in a new way, transforming electromagnetic energy into sound waves that our ears can pick up. This innovative approach has allowed us to 'hear' the orbits and energies of celestial bodies like Jupiter, Saturn, and the Sun. The Artemis II mission, which recently slingshotted four astronauts around the moon and back, has provided a unique opportunity for us to connect with the astronauts on board. The mundane details of the mission, such as the wake-up music that NASA pipes into their module every orbital morning, have given us a glimpse into the daily lives of these space travelers. In the 1960s, the Apollo 10 mission encountered mysterious sounds while on the far side of the moon. The astronauts reported hearing a high whistling sound accompanied by a lower whooshing noise. Initially, this sparked speculation, but it was later discovered that the sounds were caused by interference between two VHF radio transmitters on board the spacecraft. NASA's sonifications are not just limited to the sounds of spacecraft. The agency has also created sonifications of cosmic phenomena like black holes and supernovae. These sonifications have allowed scientists to better understand the behavior of these phenomena and have also inspired artistic works. The article also touches on the connection between music and the universe. Samantha Harvey's novel Orbital describes the sounds of celestial bodies, such as Neptune's sound being 'liquid and rushing, a tide crashing onto a shore in a howling storm.' The article also mentions the 'music of the spheres', a concept that dates back to ancient Greece, which suggests that the universe is governed by musical ratios. Overall, NASA's sonifications have opened up new ways for us to experience and understand the cosmos, and have inspired a new generation of artists and scientists to explore the intersection of music and space exploration.

In a powerful display of dissent, hundreds of women took to the streets of Havana, Cuba's capital, to protest the de facto oil blockade imposed by the United States. The demonstration, which took place on what would have been the 96th birthday of Vilma Espin, a leader in the Cuban Revolution, saw protesters carrying banners and signs with the slogan 'Tumba el bloqueo' or 'Tear down the blockade'. The protesters are demanding an end to the US campaign that they say has caused widespread suffering and economic hardship.The protest was led by top officials in Cuba's communist government, including Deputy Prime Minister Ines Maria Chapman and Deputy Foreign Minister Josefina Vidal. Vidal denounced the US campaign as a form of collective punishment, stating that 'This policy of abuse has to stop. The Cuban people don't deserve this. It's the most comprehensive, all-encompassing, and longest-running system of coercive measures ever imposed against an entire country.'The US blockade has had a significant impact on Cuba's energy supply, with the country suffering at least two island-wide blackouts in the last month. The blockade has also led to food spoilage, water pumps ceasing to function, and medical patients going untreated. Russia has announced plans to send a second oil tanker to Cuba in defiance of the US blockade.The protest comes as the US and Cuba are in negotiations to lift the recent oil blockade. Deputy Foreign Minister Vidal stated that the talks are in a 'very preliminary' phase. The US blockade has been in place since the 1960s, but the current 'maximum pressure' campaign began under US President Donald Trump in his first term as president.

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.

The quest to find Australia's oldest playable musical instrument has led to the discovery of several remarkable pieces. A 16th-century double bass crafted by Gasparo da Salò, a renowned luthier, has been found to be one of the oldest playable instruments in the country. Currently on loan to Max Bibeau, principal double bass for the Australian Chamber Orchestra (ACO), this instrument was made around 1580 in Brescia, Italy. Only a handful of such instruments exist globally, and Bibeau's relationship with the double bass was not immediate. He notes that it took considerable time and effort to 'wake it up' and make it playable again. The instrument had been stored in an abbey in northern Italy for centuries before being discovered by German bass player Prof Günter Klaus in the late 1960s. Culturally, the yidaki (didgeridoo), a sacred instrument to the Yolŋgu people, is likely Australia's oldest instrument, with a history spanning thousands of years. For an exhibition in 2017, curators at the South Australian Museum worked with Yolŋgu community members to restore a selection of the oldest and most unique yidaki to playing condition. The oldest restored yidaki was made around 1890. Another contender for the oldest instrument is a piano from the First Fleet, a 'square' piano made by Frederick Beck in 1780. This instrument, now housed at the Western Australian Academy of Performing Arts, has a softer and smaller sound compared to modern pianos. The oldest instrument found in Australia is an ocarina from Colombia, estimated to have been made around AD 1200. This ancient vessel flute is part of a collection of 830 musical instruments donated to the Queensland Museum. While it can produce a sound, its original sound and playability are uncertain due to its fragility and age. The wood used for the front of Bibeau's da Salò bass has been dated to a tree growing as early as 1266. According to Bibeau, age can enhance an instrument's sound, but it requires careful preservation and play to maintain its quality. He notes that 'instruments need to be played' and that 'the more it vibrates, the better it vibrates.'