Desire

Deir el-Balah, Gaza – Early this morning, Salama Badwan, his wife and daughter headed to a polling station in Deir el-Balah, central Gaza, to participate in the municipal elections, which are taking place for the first time since 2006.

The 43-year-old said he was delighted to be casting a vote after such a long absence, and overjoyed that his daughter, who recently turned 18, could vote for the first time in her life.

The vote is also the first since a “ceasefire” took effect in Israel’s genocidal war against Palestinians in the Gaza Strip. The war has affected all aspects of life, including the electoral process itself. With many of Deir el-Balah’s buildings damaged or destroyed during the war, polling stations have been set up in temporary fibreglass tents on open land.

“I am very happy today, because this is a truly Palestinian democratic celebration. Many generations have been deprived of it for more than 21 years, and today my daughter is voting for the first time,” Badwan told Al Jazeera.

For him, the importance of the elections is providing Palestinians in Gaza with a chance to achieve change through peaceful and democratic means.

“We must change everything through the ballot box … whoever wins, it is their right, but not through inheritance … change must be in the hands of the people.”

But despite this enthusiasm, the reality in Deir el-Balah, in central Gaza, remains complex amid the ongoing “ceasefire”.

The city, which Badwan describes as “always calm,” has become a refuge for hundreds of thousands of displaced people from across Gaza, putting unprecedented pressure on its infrastructure.

“The city received large numbers of displaced people, each coming with different ideas, circumstances, and harsh suffering … This created enormous pressure on water networks, sewage systems, and waste management, and exhausted the previous municipality.”

Deir el-Balah was given the opportunity to hold elections because its infrastructure was less damaged than that of other cities in Gaza during the war.

Badwan places his hopes on a new municipal council capable of handling the scale of the crisis left by the war, away from the political divisions that have swept the Gaza Strip between Hamas and Fatah, the two main rival factions.

“We want a very strong municipal team that does not belong to any faction … one that can secure support from donor countries and meet people’s needs, because today Deir el-Balah is hosting all.”

On the street, he describes the atmosphere of the elections as “positive and enjoyable”, despite general frustration with the political class.

“People are fed up with politicians and unfulfilled promises,” he says, adding that he encouraged those around him to participate in the elections in the hope of creating change.

“I told my friends and children we must go and vote … we cannot just sit at home and wait for change.”

‘I finally have a voice’

Standing beside her father, Dunia, Salama’s 18-year-old daughter, did not hide her joy at casting a vote, despite the exceptional circumstances surrounding her.

“I’m very happy that I can vote in my country and my city, Deir el-Balah … and that I, like others in my generation, can finally participate and have a voice,” said Dunia, a first-year nursing student at Al-Aqsa University.

“Honestly, I had never voted before and didn’t have a clear idea … but when the elections came, my father explained how things work and how our voices could help change the difficult reality we live in, even a little,” she said.

Like many of her peers, Dunia’s motivations are practical and directly tied to daily life, which has sharply deteriorated since Israel launched the war in October 2023. She chose a candidate list composed mostly of young people, describing them as “capable and experienced in their work,” reflecting her hope for a more efficient municipal administration.

“The reality the city is living after displacement is far from stable… the situation is tragic, especially cleanliness, public streets, healthcare, and even education … everything is in very bad condition.”

“I hope these elections help create a situation where students return to schools, and new housing alternatives and camps are provided for displaced people instead of using schools,” she said.

“We want things to go back to how they were … schools should return to students instead of being shelters, hospitals should improve, and streets should be cleaned,” she says.

A long-delayed moment

For Awda Abdel Karim Abu Baraka, 73, the elections represent an opportunity to choose those capable of “reviving society and institutions that have been stalled for years”.

He believes that the local elections could carry broader significance beyond Deir el-Balah. “They are part of a larger system … the West Bank and Gaza,” he explains.

“Holding elections today in Deir el-Balah shows the world that we are a democratic people, and we choose our representatives without imposition,” he adds, expressing hope that “the international community will support this path.”

He also stressed the need for the winners of the vote to respect the city’s residents who have suffered for years amid Israel’s war. “There must be real programmes, not high slogans that later fall … the citizens must be respected, and their dignity and humanity – violated by war – must be restored.”

Despite recognising the scale of challenges, he remains committed to gradual change. “We know the challenges are big and that change takes time … a long journey begins with a single step, and hopefully, this is the first step on the way.”

‘Born out of nothing’

Meanwhile, Mohammad Abu Nada, coordinator of the Deir el-Balah electoral district, moved between voters and staff inside tents set up in place of school polling stations, describing an electoral process that was “born out of nothing”.

He recalls greeting the initial announcement of the elections by the Central Elections Commission in the West Bank with a mix of surprise and a sense of responsibility.

“At first, the news was unexpected … there was joy that we were returning to work after two and a half years of suffering under war, but at the same time, there was a strong sense of responsibility.”

That feeling quickly collided with the complex logistical reality in a city suffering from widespread destruction and severe shortages of resources.

“Capabilities are extremely limited … even this place was just empty land. We relied on tents from international organisations to use as polling stations,” he says, noting that most schools have been turned into shelters for displaced people.

Despite these challenges, polling centres were set up across the city, in a task he describes as far from easy.

The difficulties did not stop there. Essential electoral materials, usually transported from Ramallah, were prevented from entering Gaza.

Abu Nada explains the challenges in securing logistical items such as ballot boxes, stamps, papers, and campaign materials.

“We had to rely on our local capabilities … ballot boxes were designed and manufactured here in Deir el-Balah, and they served the purpose fully.”

Even electoral ink was unavailable after being denied entry by Israeli authorities. “We used ink previously used by the World Health Organization during vaccination campaigns … we tested it, and it stays on the finger for days and worked well,” he explains.

Amid shortages and soaring prices – “multiplied 10 times” – work continued intensively.

“We worked day and night … everything was difficult, from papers to stamps, but in the end we managed,” he says, noting that approximately 70,000 voters are eligible in the city.

While turnout appeared to be limited in the early morning, it picked up later in the day, Abu Nada said, attributing the slow start to people’s focus on meeting basic needs.

“People are standing in lines for water and bread … but we expect turnout to increase.”

The choice of Deir el-Balah for holding elections was not random, but due to its relatively better conditions compared to other areas.

“It is impossible to hold elections in completely destroyed areas like northern Gaza or Khan Younis … so the decision was to start in an area with minimal capacity, hoping to expand later.”

Still, the challenges facing the upcoming municipal council remain significant.

“Deir el-Balah today is not what it was before the war … population pressure is huge, and expectations from the new municipality are high,” he says.

As for the campaign, Abu Nada explains it was conducted in record time and with intense efforts.

“We worked like a beehive … organised more than 20 awareness workshops, worked with local institutions and influencers, and distributed posters and materials explaining how to vote and encouraging participation.”

At the end of his remarks, he expresses a sense of achievement despite the difficulties.

“Today, in front of everyone, we are exercising our electoral right despite all conditions … and that in itself is a success,” he says.

“And hopefully, this is the first step on a longer road.”

Chelsea head coach Liam Rosenior said his team’s performance was both “indefensible” and “unacceptable” as he faced angry chants from his own supporters for the first time.

The chants began when Chelsea fell 1-0 behind at the Amex Stadium, with the visitors having barely registered an attempt on goal, before they eventually succumbed to a 3-0 defeat on Tuesday night.

It was a worrying display and a further dip in performance given Chelsea did not mount a shot on goal until the 40th minute and were error-prone defensively.

Chelsea extend an unwanted run of five consecutive defeats without scoring, their worst such sequence since 1912.

It played out in front of influential co-owner Behdad Eghbali and the club’s sporting directors on the south coast, where Rosenior began his coaching career.

As a result, questions will grow over whether the Englishman can continue in the dugout in the long term, with a last chance to save the season to come in the FA Cup semi-final at Wembley against Leeds on Sunday.

In response to questioning about delivering such a poor display, Rosenior said: “It was unacceptable in every aspect of the game, unacceptable in our attitude. I keep coming out and defending of the players.

“That’s indefensible, that performance tonight. The manner of the goals we conceded, the amount of duels that we lost, the lack of intensity in the team. Something needs to change drastically right now.

“I think the players as well need to have a look in the mirror for what they put in. You can talk about tactics, tactics come after the basics. Having more courage to play, winning duels, winning headers, tackles, conceding terrible goals. That was an unacceptable performance tonight.”

Seven points behind fifth-placed Liverpool, having played a game more, Chelsea‘s Champions League hopes look in tatters and there are questions about whether the head coach, the players or the fans are on the same page.

ARLO PARKS’ third album is a reset, inspired by the nightlife, freedom and spontaneity she missed out on when she broke through as a teenager. 

For Ambiguous Desire, the London-born singer-songwriter wanted to escape from way she had created songs in the past.  

Arlo, 25, says: “I wanted this to be from ground zero and exactly how I feel now, while I’m really living. 

“When I got to the end of the cycle for my second record, My Soft Machine, I was like, ‘OK, I want to see what it’s like when I DECIDE the path of my days’.  

“I wanted to spend more time in nocturnal spaces, making friends with DJs, club organisers and people in different collectives, and getting inspired by exploring the subcultures and the history and the architecture of those spaces. That’s what was fascinating.” 

Using voicenotes, journal entries and memories from nights out, the Mercury Prize winner’s intimate album is rooted in storytelling.  

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She says: “For this record, my mantra was to write it exactly how it felt.  

“In the past, I was focused on making things as beautiful and poetic as possible, but this time I stripped it right back to the lean truth of it, and that felt more authentic.  

“I also wanted to bring in those references exactly as I heard them, without softening the edges or maybe adding guitars to bring it into the indie world. 

“I wanted it to be inspired by house and garage, the music I’ve been loving. It was just about being true to myself.” 

This raw approach to songwriting runs through 12-track Ambiguous Desire. 

Arlo, real name Anais Marinho, says: “I wanted to make the music feel exciting and dynamic, so the song Jetta is just a voicenote in an Uber with my friends from one of those nights. 

“It’s the sound and the stories of people. Even the vinyl cover and the inserts are photos I took of my friends on nights out.” 

I chat to Arlo at her London record label office the day before she flies back to LA, which has been her home for the past four years. 

Arlo, who won the Brit Breakthrough Artist Award in 2021, following the success of her debut album Collapsed In Sunbeams, says: “LA does feel like home, but London will always BE home.  

“When I moved to LA, I was coming into myself as an artist, so I see it as the place where I built my community and grew into my confidence. But London is where I grew up, where my roots are, where I wrote my first word and heard my first song.”  

While London holds emotional ties — Arlo has been staying with friends and family while in the capital — LA has provided the creative community and space to push her sound. 

She says: “It’s the place where I met a lot of the people that I make music with. And there’s something about the pace of life there, the nature and the sunshine that gives me this sense of peace, where I can just sit and write.  

“My main collaborator, Baird, lives there and we made the whole record in the space he shares with his brother. 

“It’s like a living-room studio with pianos, acrylic paints, sewing machines — it’s an amazing creative hub. The place has been really inspiring for me and given me the peace to experiment.” 

Club culture became both creative research and a release from everyday worries.  

She says: “In New York, we were going to clubs like Nowadays and Basement, which is more in the techno world, and then in LA there are nights like Midnight Lovers. 

“The scene there feels much more DIY, more warehouses than big institutions like London’s Fabric.  

“It was nice to have that as part of our week, like knowing on a Saturday we’d go out and experience it. 

“And I love living in LA because so many artists pass through, so you can catch shows all the time. People like Jamie xx in those spaces were amazing.” 

The euphoric dancefloor-inspired Heaven was the first song that Parks wrote and knew she was on to something special.  

She recalls: “I’d been out with my friend Kelly [DJ Kelly Lee Owens], who was supporting Caribou and, the night after, I’d written all of these little fragments in my journal, like my friend wearing pink Adidas shoes. That’s in the song, which came together exactly like the night had felt.  

“I was able to distil that experience into a song. It felt very cinematic.” 

Clubbing helped Arlo reconsider how songwriting can be a collective experience rather than just a personal one.  

That instinct carries into the brilliant 2Sided, the first track released from the album, which describes the heat and chaos of a night out with friends at a club. 

She says: “It felt like the right song to start this era, and it came about really naturally.  

“I felt it when I made it, and also a lot of my friends — my partner, everyone in my life — were like, ‘That’s the one’.” 

Her other standout tracks explore different themes.  

The dreamy Beams includes the line “I know it’s not a way to treat people you love”, and Parks says: “I think that sentiment is really simple.  

“There’s a moment where you’re in a situation or a relationship and you’ve become used to being treated a certain way and then you realise, ‘Wait, that’s not actually how you treat people. You should be softer, kinder’.  

“It’s about that realisation of what you actually deserve.” 

Luck Of Life is another brilliant track, which explores grief. Arlo says: “That started just me on my computer at the kitch­en table.  

“It’s about loss, something we’ve all experienced whether it’s someone passing away or a break-up, but the impact those people had on our lives and, hopefully, bringing comfort to people who are hurting.” 

On Senses, a collaboration with Sampha, she says: “It’s soothing. I think a lot of that comes from Sampha, as he’s just such a soulful person. 

“He’s always tried out lots of different genres in his career, which is really inspiring to me.” 

For her forthcoming live shows in the UK, US and Europe, Arlo has made some changes. 

She says: “It makes sense to shift the set-up as well for these shows. For a long time, it’s been kind of indie — I had a guitar band — but I want to bring the samplers and the drum machines in.  

“I’ve been inspired by how Massive Attack are touring now and bringing those Nineties sounds into more contemporary spaces. 

“With the smaller shows we did at the end of last year, I had this idea of a light box above with a blue wash, and the stage being in the round with all my samplers and equipment in the middle.  

“I wanted to feel like those nights. Even the imagery came from that.  

“We went back to some of those clubs and did this kind of guerilla-style photography with my friends.  

“It was about staying true to what really happened and trying to recapture that.”  

In 2022, Arlo cancelled some US tour dates due to “debilitating” mental health issues. She has since learned to slow down to avoid another burnout. 

She says: “Music is what I love most in the world, so if I ever feel anything negative, I know it’s because I’m feeling overworked, not because of the music itself.  

“It’s my passion, it’s very much at the centre of who I am.” It is why she also took her time making Ambiguous Desire.  

She says: “I didn’t really want it to be this sprint where I would then have a crash, I want to do this for the rest of my life.”  

Arlo, who became a Unicef UK Ambassador in 2024, to advocate for child mental health, adds: “I’ve always wanted to be a career artist and be making music forever. I knew that I had to pace myself a bit. And, looking back, I’ve had some amazing times. 

“Thinking back to Glastonbury and winning the Mercury Album Of The Year [for Collapsed In Sunbeams] as well, I couldn’t believe it.  

“There’s something really specific about the Mercury because it’s just one winner and it was at the Hammersmith Apollo, which I used to cycle past on the way to school, which made it surreal.” 

Parks has previously been hailed a “voice of her generation”, but that must come with pressure.

She says: “I felt like I was speaking to collective experiences we were going through, rather than being some kind of spokesperson. I never really saw myself as that, so I didn’t feel pressure to be a certain way.  

“I was just telling stories about what I was seeing and living, and that happened to connect with teenagers at that time. 

“But, anyway, my fan base is broad — I love it when I see whole families at a gig and I’ve seen grandparents with grandkids as well as groups of friends. It really is a bit of everything. And I love that. That makes me feel really happy.” 

Ambiguous Desire concludes with track Floette, which she describes as “a note of hope”. 

Arlo says: “I wanted to embrace the fact that change is inevitable and part of life, and we’re all growing and trying our best.  

“ ‘We’re blossoming’ as it says in that song.  

“Looking at myself, I’m more confident and I feel happier than ever.  

“I’ve made something I’m really proud of, which colours the lens that I’m looking at things through.  

“It’s the start of something new, and in the future, I’d love to write a book and a screenplay and be part of a soundtrack for a film.  

“It’s like I’m coming of age. Maybe it’s just growing up. 

“While I’m proud of the music that I made before, this feels a little bit more different.  

“I feel like I’ve finally arrived, after years of making music. I’ve found the confidence to step away and do things my way, take a risk and witness it pay off. 

“I trust myself and my intuition more than ever.” 

• Ambiguous Desire is out today. 

ARLO PARKS
Ambiguous Desire

★★★★☆