festival

Muslims around the world have begun celebrating Eid al-Adha, the “Festival of Sacrifice”, which falls on the 10th day of Dhul Hijjah, the 12th and final month of the Muslim lunar calendar.

One of the biggest holidays in the Muslim calendar, it coincides with the last day of the annual Hajj pilgrimage in Saudi Arabia.

In Gaza, where Israel’s months-long offensive has devastated neighbourhoods and displaced most of the population, many families are marking Eid in tents and crowded shelters, with little meat or festive clothing.

More than 1.7 million people are taking part in the Hajj this year, slightly up from 2025, even as a war pitting the United States and Israel against Iran casts a long shadow across the Middle East.

On Tuesday, pilgrims prayed on Mount Arafat, where Prophet Muhammad is believed to have delivered his final sermon. They then spent the night out in the open at Muzdalifah, halfway between Arafat and Mina, where they collected pebbles for the symbolic stoning of the devil.

After the stoning ceremony in Mina, pilgrims return to Mecca for a final circumambulation of the Kaaba, the cube-shaped building at the heart of the Grand Mosque towards which Muslims around the world face when they pray.

Eid al-Adha commemorates the Quranic story of Prophet Ibrahim’s willingness to sacrifice his son Ismail as an act of obedience to God. Islamic tradition holds that God spared the boy, replacing him with a ram.

The day is marked with the sacrifice of an animal – usually a sheep, goat or cow – and the distribution of its meat among family, neighbours and those in need, underlining the festival’s themes of faith, charity and community.

ACTRESS Demi Moore wraps up the Cannes Film Festival in her 16th outfit of the gala.

The US star was on the jury so became a red carpet fixture over two weeks.

For Saturday’s closing ceremony, Demi, 63, enveloped herself in a green Balenciaga gown with huge blue sleeves.

Across the fortnight, she dazzled in an array of outfits.

She kicked things off with two Jacquemus designs, including a crystal-embellished gown and a polka-dot dress.

But her designer of choice was Gucci, with four custom-designed gowns.

MOORE STYLE

Demi Moore, 63, looks sensational in violet gown on red carpet at Cannes

SHOW ME MAUR

Maura Higgins, Demi Moore & Heidi Klum dazzle on red carpet at Cannes

They included a mermaid-inspired sheer lilac outfit she wore in 2003 for the Matrix Reloaded premiere.

Her judging stint came 29 years after her Cannes debut.

Back in 1997 she joined then-husband Bruce Willis for festival opener The Fifth Element.

Mother-of-three Demi’s fellow jurors included Hamnet director Chloe Zhao.

Demi said: “We had the opportunity to truly appreciate contemporary cinema every day.

“There was a lot of kindness — both between us and in the way we felt about the films.”

Actress Demi was joined on the red carpet by stars including Gillian Anderson and Ruth Negga.

Demi was last at Cannes in 2024, promoting her film The Substance, which won her a Golden Globe for Best Actress.

Just months ago, Demi capped off a stellar career comeback by being named Glamour’s Woman of the Year.

She was interviewed by her Substance co-star Margaret Qualley for the mag and said: “With everything I’ve been through, which has been a lot, I wouldn’t trade where I am today.”

After 10 days of crazed moviegoing at the Cannes Film Festival, Times film critic Amy Nicholson and Times film editor Joshua Rothkopf are all but spent. They leave with 10 recommendations (listed below in alphabetical order), including several titles you’ll be hearing about during awards season, but also, admittedly, more reservations than usual.

Amy Nicholson: There are worse ways to spend your life than watching four movies a day in the south of France. For a week and half, we ran in and out of the dark theaters, blinking at the shock of the sun and bickering about what we just saw with the highest concentration of film lovers anywhere — most of us jacked up on espresso or rosé. Yet, we’re flying home miffed that the movies themselves were mediocre. Cannes is meant to launch ambitious, prickly works by grandmasters and next-generation talents. This year, the programming looked like a party with an impressive invite list — Nicolas Winding Refn, Asghar Farhadi, Hirokazu Kore-eda — but upon arrival, all the guests felt like old acquaintances tapped out of anything interesting to say.

I’m being harsh. Cannes had good movies, too. But I needed this year’s Cannes to be great. Audiences trickling back into theaters deserve to see something fantastic. Instead, too many filmmakers took the crowd’s attention span for granted; even the strongest films in competition could delete a half-hour of dead air. Fittingly, the majority of my favorites came from Cannes’ kookier programming sections, Directors’ Fortnight and Un Certain Regard — and I suspect many of yours did, too, oui?

Joshua Rothkopf: I did find a handful of films from the main competition that impressed me, but point taken: Nobody is served if we can’t admit that this year’s edition was weaker than others. We could blame screenwriting or pacing (though paradoxically I was impressed by both the longest and the shortest movies in competition). Maybe it’s an overall lack of boldness. When a restored version of Ken Russell’s salacious 55-year-old “The Devils” eclipses virtually everything else shown at the festival, a certain timidity is hard to deny. There were too many “nice” films: perfectly respectable but not what I want Cannes to be.

Fortunately, we saw enough to sharpen up a list of favorites. Here’s what stirred us.

‘All of a Sudden’

I’m not convinced that the utopian vision of end-of-life care presented in Ryusuke Hamaguchi’s drama has a fighting chance in America, but we deserve the opportunity to grapple with its compassionate turns and have that discussion. The director of “Drive My Car” continues his process-centric exploration of workplace relationships in this quietly revelatory movie, one with a centerpiece conversation that merits comparison to the long walks of Richard Linklater’s “Before” movies. Virginie Efira and Tao Okamoto let a day’s stroll linger into profundity, the twilight dimming and human connection brewing in all its possibilities. Is it too late for them? It doesn’t need to be. — Joshua Rothkopf

‘The Beloved’

Esteban (Javier Bardem), a renowned bad boy Spanish filmmaker, returns to his homeland from New York to shoot a period picture in the desert. Off-screen, he’s gifted one of the four leading roles to his estranged daughter (Victoria Luengo), an aspiring actor who hasn’t seen her father in 13 years. Esteban failed as Emilia’s dad. Can he succeed as her director, especially when her big break packs this much pressure? Not likely, especially as Emilia has inherited his disastrous boozing habits. “The Beloved’s” actual director, Rodrigo Sorogoyen, unleashes his leads to become a tag team of destruction, each blaming the other for what’s going wrong on set. They’re both mired in clashing narratives of their relationship. Sorogoyen shows us the truth, as well as the visible frustrations of the film-within-a-film’s cast and crew that risk shutting down this too-passionate passion project. — Amy Nicholson

‘Bitter Christmas’

(Iglesias Mas / Sony Pictures Classics)

Pedro Almodóvar’s self-flagellating film about his artistic process has a Charlie Kaufman-lite structure that I’d rather let audiences discover on their own. In brief: Almodovar’s avatar, a filmmaker named Raúl (Leonardo Sbaraglia), gets dragged over the artistic coals by the dramatic female characters he’s been writing for decades, one of whom dares him to simply coast on his legacy. Too many veteran filmmakers in his year’s Cannes competition seem to have accepted that bargain, so when Raúl got to the end of a new script and decided it wasn’t up to his standards, I nearly shouted “Bravo!” Navel-gazing cinema about the creative process isn’t usually my bag, but Almodóvar doesn’t take his own misery that seriously, even inserting a manic pixie dream hunk, a male stripper-slash-firefighter played by Patrick Criado, for a little bump and grind. — Amy Nicholson

‘Clarissa’

It’s been 101 years since Virginia Woolf first published “Mrs Dalloway,” a novel about persnickety party hostess Clarissa Dalloway colliding with her former lovers, one male and one female. The plot seems simple, but every glare and sigh tells a whole story about modernization, capitulation, cynicism and violence. Twin brothers Arie and Chuko Esiri have transplanted the tale to present-day Nigeria and stacked the cast with Sophie Okonedo, Ayo Edebiri, Nikki Amuka-Bird, David Oyelowo and the staggeringly talented India Amarteifio as the diva in her captivating youth before she married a tedious oilman and started bullying the help. “Clarissa” makes several smart adjustments, swapping in a traumatized Boko Haram soldier for a shell-shocked veteran of the Great War, and cocking an eyebrow at the shiny new yoga studios and coffee shops littering Lagos’ once-lush waterfront. Better still, it’s sexy as heck — the flashbacks are one swimsuit party after another. — Amy Nicholson

‘Club Kid’

The one-sentence pitch of Jordan Firstman’s debut dramedy — a gay nightclub promoter sobers up when he discovers he has a 10-year-old boy — sounded as fun as snorting a line of aspartame. I stand corrected. “Club Kid” is a blast: a spicy, surprising and irreverent comedy that rarely peddles the audience anything artificially sweet. Firstman stars as Peter, a debauched millennial aging out of a New York scene that never cared about him as a person in the first place. His business partner Sophie (Cara Delevingne) is a horror; his selfish squatter-roommate Nicky (Eldar Isgandarov) is even worse and so hilarious I’d watch a spin-off sequel just about him. Peter’s shock son Arlo (Reggie Absolom) has a casual charm that pickpockets your heart, but it’s the script’s sour quips that will have you urging people to get past the treacly set-up and go see “Club Kid” themselves. — Amy Nicholson

‘The Diary of a Chambermaid’

Art punk Radu Jude’s latest satire is about a Romanian immigrant with a burlesque double life. By day, Gianina (Ana Dumitrașcu, fantastic) is the live-in housemaid of a daft Parisian family; by night, she’s an actress in a turn-of-the-20th century slapstick farce about a housemaid whose master suckles her patent leather boots. In neither world can she openly say what she thinks (although in her native tongue, she curses her employers and their young son plenty). Fast, crisp and snide, “The Diary of a Chambermaid” gives equal weight to the monotony and the absurdity of Gianina’s grind. And Jude isn’t above including a mocking slow-motion shot of a spoiled French boy totally whiffing a soccer kick. — Amy Nicholson

‘Fatherland’

The tension at the heart of Paweł Pawlikowski’s period piece, set in a ravaged, fallen Germany after the end of World War II, is one that goes unresolved. All that’s left are defensive denials, evasions of Nazi collaboration and the faint hope that something higher has survived. I could watch this kind of guilt-ridden post-apocalyptic movie for hours; instead, this lasts a scant 82 minutes. The conclusion, a wordless moment between father and daughter set to the strains of Bach played on a broken pipe organ, was the most devastating passage of the entire festival. “Fatherland” shows off Pawlikowski’s exquisite way with black-and-white evocations of European tragedy, but he’s never summed them up as poetically. — Joshua Rothkopf

‘Fjord’

People at the festival called this one complex; I found myself disagreeing. It’s actually a fairly straightforward story about a religious but mostly level-headed family flung into conflict with an overly sensitive branch of child protection services — and maybe with the whole of agnostic Norwegian progressivism. As reactionary as that sounds, I was totally rapt. Partly that’s due to a beautifully plotted courtroom scenario and the immersive performances of Sebastian Stan and Renate Reinsve, reuniting after “A Different Man,” as parents increasingly out of their depths. But mainly, I credit Romanian director Cristian Mungiu, who knows a good story when he sees one, crystallizing its potency with every camera choice. — Joshua Rothkopf

‘Minotaur’

The ice-chilled return of Russian filmmaker Andrey Zvyagintsev (after a multiyear battle with long COVID) is worth the wait: a condensation of everything he does well into something so purely distilled, it should come with a proof warning. The movie kicks off as a casual portrait of the vacant nouveau riche lifestyles of the mini-oligarchs: fancy dinners, divorces, bathroom gossip. Then it becomes an erotic thriller (it’s based on Claude Chabrol’s 1969 “The Unfaithful Wife,” as was Diane Lane’s “Unfaithful”). But the best comes last, as the situation gets fixed in broad daylight with breathtaking brutality. The war in Ukraine? Someone else’s problem. “Minotaur” takes on the whole of Putin’s dissociative society and puts its winners above the blackened clouds, looking down at the rest of us. — Joshua Rothkopf

‘Teenage Sex and Death at Camp Miasma’

I am growing to love Jane Schoenbrun’s exfoliation of ’80s horror obsessions, especially for the movie’s nonjudgmental embrace: Let these movies be free in all their “problematic” badness and let them work on you. The fact that “Teenage Sex” sometimes plays like a bottle episode of “Hacks” doesn’t hurt. Hannah Einbinder brings vulnerability to a project that needs her brand of self-excoriating fearlessness. Points, too, for not turning this into yet another celebration of some forgotten male director reclaimed as a genius. Rather, the opposite: It’s about an abused scream queen (Gillian Anderson, gamely campy), a liminal, wintry campground and the exhilaration of running in the woods in your pajamas. — Joshua Rothkopf

In a squeaker race for Cannes’ top prize, Romanian director Cristian Mungiu prevailed on Saturday, taking the Palme d’Or for his tense community drama “Fjord.”

The movie, a widely admired conversation-starter at the festival, stars Sebastian Stan and Renate Reinsve as religious parents who come into conflict with the child protection services of their tiny Norwegian town where they have relocated with their family.

Mungiu, a previous winner of the Palme for his controversial 2007 abortion drama “4 Months, 3 Weeks and 2 Days,” now joins an exclusive group of 10 filmmakers who have won the Palme twice — an achievement shared by Francis Ford Coppola (1974’s “The Conversation” and 1979’s “Apocalypse Now”) and Ruben Östlund (2017’s “The Square” and 2022’s “Triangle of Sadness”), among others. No one has ever won a third Palme d’Or.

Another record, maybe even more impressive, was set by distributor Neon, which, with “Fjord,” extends its streak of Palme wins to an unprecedented seven in a row. Those previous six Neon winners, many of which eventually claimed Oscars, are “Parasite,” “Titane,” “Triangle of Sadness,” “Anatomy of a Fall,” “Anora” and last year’s “It Was Just an Accident.”

Neon will release “Fjord” in the fall, with an extensive awards campaign to follow.

This year’s nine-member main competition jury, led by Korean director Park Chan-wook and studded with notables including “The Substance” star Demi Moore, Stellan Skarsgård and “Hamnet” director Chloé Zhao, seemed intent on spreading the wealth among as many winners as possible. There were three ties at Saturday’s awards ceremony.

The award for actress was shared by Virginie Efira and Tao Okamoto, co-stars of Ryusuke Hamaguchi’s “All of a Sudden,” a movie pegged by many to potentially go all the way. Similarly, the prize for actor was bestowed on both Emmanuel Macchia and Valentin Campagne, co-stars of Lukas Dhont’s World War I romantic drama “Coward.”

The prize for directing went to three people — and two movies — with a joint win for Javier Calvo and Javier Ambrossi (better known as Los Javis) for their century-spanning queer historical drama “The Black Ball,” as well as to director Paweł Pawlikowski for his exquisite post-World War II psychodrama “Fatherland.” (Pawlikowski half-joked at the podium, “This was a disastrous piece of mise-en-scène” after the awkward award presentation had him waiting in the wings.)

Claiming this year’s Grand Prize (essentially second place) was “Minotaur,” the rapturously received comeback film of Andrey Zvyagintsev, a Russian director who had been sidelined with a near-fatal bout of long COVID that put him in a coma. His new movie, about a wealthy Moscow family, is both an erotic thriller and an indictment of amoral oligarchy detached from the war with Ukraine.

The festival’s third-place Jury Prize went to the borderland German drama “The Dreamed Adventure,” directed by Valeska Grisebach.

OUR Spotlight On column takes an in-depth look at the best things to see and do in popular holiday destinations, as well as shining a light on the lesser-known spots.

This week we’re heading to Vilnius in Lithuania, and Travel Reporter Alice Penwill recently visited.

Travel Reporter Alice Penwill recently visited and was stunned by how cheap it was.

She said: “Eating and drinking out is such a bargain, so it makes for an insanely affordable European weekend break.

“I found bars serving beer for around £2.60, and coffee for just a few quid.

“Even cocktails like Aperol Spritzes were under a fiver – and make sure to soak it up with some ‘kepta douna’ (a local garlic fried bread that’s a popular bar snack).”

ON TRACK

New direct UK trains set to launch to European country for the first time EVER

RIDE ON

Little-known European theme park’s £43m makeover has ‘island’ lands and new rides

MUST SEE / DO

Yes, Vilnius has one of Europe’s oldest and best-preserved medieval Old Towns but it’s quickly gaining a reputation as a capital of cool.

With a thriving arts scene and a vibrant coffee shop culture, it’s a great value option for a weekend break with beers from £3.50 and a traditional lunch for under £9.

It’s also just 15 minutes from the airport to the city centre.

While there’s history and amazing architecture aplenty in the Old Town, cross Vilnele River to enter the self-declared ‘Republic’ of Uzupis.

This bohemian neighbourhood has its own constitution, president, currency and anthem celebrating free spirit, art and community with lots of cafes, galleries and bars.

Don’t miss Literatų Gatvė (Literature Street), a winding alleyway decorated with more than 200 small pieces of art dedicated to famous writers.

HIDDEN GEM

Lukiškės Prison 2.0 has seen a high security prison that doubled as a filming location for the Netflix smash Stranger Things transformed into a museum and arts venue.

There are more than 250 creators working in the repurposed former cells. Take a tour to find out about its grim history then stay for a gig or a drink in the courtyard in the evening.

BEST VIEW

Take in the Old Town’s unique red-tiled roofs, church spires and narrow streets from 14th Century Gediminas Tower.

Set at the top of Gediminas Hill, it houses an interactive exhibition. Also great for panoramic views is the Hill of Three Crosses.

RATED RESTAURANT

You can’t go to Vilnius and not try its legendary Pink Soup – a cold beetroot soup.

The traditional dish is so popular there’s even an Pink Soup Festival with themed food, music and festivities to kick off summer.

This year it runs from May 29 to 31.

And you can try the soup at any time of year at Lokys in the Old Town where a bowl costs £7.50 and comes with baby potatoes.

BEST BAR

For sheer quirkiness, check out Peronas Bar, literally next to the tracks at the main train station and great for live music – don’t miss the giant statue of Tony Soprano by the al-fresco tables!

For pint professionals, head to Alaus Biblioteka – an actual Beer Library where there are 60 styles of beer with 17 beer taps and almost 500 bottled beers from around the world.

HOTEL PICK

The 4* Neringa Hotel has a great combination of historic vibes and modern touches.

Freshly revamped, there’s a restaurant and rooftop bar to admire the views and you’re within walking distance of all the main sights.

Rooms are very Scandi-chic and prices are keen.

Three nights’ room-only is from £240pp including flights from Stansted in June. See onthebeach.co.uk.

At this year’s festival to unveil our inaugural Cannes issue, I had to opportunity to sit down with Sony Pictures Classics co-founders and co-presidents Michael Barker and Tom Bernard and EVP of Acquisitions, Production and Business Affairs Dylan Leiner on the Main Stage at the Marché du Film to discuss the company’s festival strategy, bidding wars, artificial intelligence and more. Watch the full conversation and read edited excerpts below.

How much does the festival reception of a movie, the reviews coming out of a festival, the buzz around it, shape decisions that you’re making? Or is it just confirming what your gut already knows?

Leiner: I want to tell one story that speaks to that, which was at the first Berlin Film Festival we attended after COVID. I remember, in the same day, I ran into three international distributors who all asked if we had seen “The Teacher’s Lounge.” And I didn’t even know what the film was. It wasn’t on our radar, it wasn’t in competition. So we quickly saw “Teacher’s Lounge” and we acquired the film [which went on to be nominated for the 2024 international feature Oscar]. And that was one of the great values of an in-person festival, the ability very quickly to communicate with distributors, with tastemakers, with critics from around the world and get that kind of information. Gut, personal taste… It plays into it a lot, but then we need reassurance. And being at a festival and being in this fishbowl environment is really helpful for that.

For a lot of people, myself included, the mystique of a festival is often around the bidding war narratives: Who’s going to pick up what and what are they going to pay? I’m curious for your take on the first big acquisition of this year’s Cannes, A24 buying “Club Kid” for a reported $17 million.

Bernard: Throughout the years, there were companies [that would] maybe overpay, or they were going to bid to get this movie no matter what, because they were the headline in all the newspapers covering this festival. So in terms of a company that’s branding — which, A24 is one of the best in branding — I think that that had to do with a little bit of the cash that went up. … There’s a branding aspect in a lot of festivals for a movie that’s a hot movie that the press has decided to seize on.

Barker: Here’s a key to how we have survived. It’s different from the way you talk about it. When we acquire a movie, whether anyone else has offers, we try to block it out. And we have trained ourselves to not let that noise bother us. What is it worth to us? What do we think it’s going to do? Dylan runs these incredible models of what it’ll do on the low end, what it will do on the high end. And then you decide where you want to be.

Bernard: Or we think we can make it work.

Barker: But at no point do we sit around and worry about who else has a higher offer for the movie. Because I have to say, in very few instances, on the movies we buy, are we the higher offer. We just do the best we can, and if we lose it, we lose it.

Bernard: [French film producer] Serge Silberman, a sage of the past, he always said, “You never lose money on a movie you didn’t buy.”

That brings up a question that I had about “Nuremberg,” which was a real success. What you’re saying is, it performed in alignment with your expectations. Were there any lessons that you took away from that in terms of future projects that might come along?

Leiner: Yes, it performed in accordance with our expectations. What’s interesting about that film, we acquired it here last year. Nobody else was really interested in the movie. … So our challenge basically was to figure out how to convince the filmmaking team that, because it was a very expensive film, that we were the right company to acquire the film on the terms that we could afford and that we could make it work. And it was a very intense series of phone conversations, in-person meetings.

Bernard: We felt like we were auditioning to get married to somebody. We were never going to be able to pay to make their money back. It was a $40-million movie, and they were really sort of out there without anybody really looking at it. And we said, “Listen, sell it to us. We think it’s going to be a great success. We’ll make your movie way more valuable over the test of time.”

Barker: There are two types of movies that are being made and distributed. One are the big tentpole studio movies. It’s about winning the weekend theatrically. These are the theatrical-driven movies. And it’s all about making that huge budget back very quickly. But the other kind of film, which is why we are in business, is the evergreen. Every one of our films, we open it with the best marketing push we can. Yes, we try to get the highest box office. But what we know will happen, even if the box office ends up being less, we believe in these films as long-term players. And these films have really long tails. You look at movies like “Run Lola Run” or “Call Me By Your Name” or even “Living” … They have generated revenues to the filmmakers and to us that’s way beyond what the box office would have portended when it opened.

I would be curious, what areas of the filmmaking process or the film distribution process do you think AI is appropriate for use, that you’ve experimented with it, that you’re excited about its prospects? And where are your red lines, if you have any?

Barker: One of the people on our staff — we really love our young staff. One of them was writing a screenplay with AI, and told me they got certain rules on AI. And I’m listening to all these rules. You can’t have your main character die in a first scene. You can’t have your romantic female lead be totally unlikable, people aren’t going to go. I’m listening to this, and I said, “Have you ever seen ‘Sunset Boulevard?’” And she goes, “No, what is that?” I said, “Go watch that movie.” She came back and she was like, “Holy cow.” I said, “Billy Wilder sat down and made that up based on what he observed.” AI is not going to be able to do that.

FOUR of the world’s biggest stars dazzled on the Cannes red carpet last night.

Julianne Moore, Cate Blanchett, Bella Hadid and Carla Bruni-Sarkozy starred before the screening of new film Garance at the 79th annual Cannes Film Festival.

Hadid wore a custom Prada powder pink sheath dress, with a matching stole and beaded detailing.

She was flanked by Moore in a strapless red gown and diamond jewellery.

Former First Lady of France Carla wore a white-tiger ballgown signed by Roberto Cavalli while Cate Blanchett stunned in a shiny Givenchy floral look.

Garance is a film about a gifted young actress living in a small Parisian apartment.

Hollywood icon John Travolta turned heads at the 79th annual Cannes Film Festival, debuting a dramatic new look.

The 72-year-old Grease pin-up arrived on the red carpet looking preened-to-perfection as he posed with his stunning daughter, Ella Bleu.

HOLLYWOOD star Demi Moore showcases her chic side at the Cannes Film Festival.

The US actress, 63, wore a strapless, violet gown for a screening of French romantic comedy La Vie D’Une Femme.

She was joined on the red carpet by stars including Gillian Anderson and Ruth Negga.

Demi was last at Cannes in 2024, promoting her film The Substance, which won her a Golden Globe for Best Actress.

Just months ago, Demi capped off a stellar career comeback by being named Glamour’s Woman of the Year.

She was interviewed by her Substance co-star Margaret Qualley for the mag and said: “With everything I’ve been through, which has been a lot, I wouldn’t trade where I am today.”

SAG STARS!

Demi Moore lead stunning stars as they walk red carpet at SAG Awards

LESS IS MOORE

Age-defying Demi Moore wows in plunging see-through playsuit at TV premiere

She added a difference with her younger self is the “freedom to know I don’t have to have the answer, and life is not going to be completely stolen from me if I somehow don’t know”.

During Demi’s emotional Golden Globes acceptance speech last year, she spoke of having been at a “low point” and not thinking she was “enough”.

The actress has battled countless traumas and rejections during her life – including her biological dad leaving before she was born, saving her drug addicted mum from suicide, two spells in rehab and being raped aged 15. 

The star of Ghost, Indecent Proposal and A Few Good Men’s return to form in the satirical horror movie The Substance is one of the greatest Hollywood comebacks of all time.

CANNES, France — Greeting from the Croisette, where the 79th Cannes Film Festival is underway — and where the Envelope has its inaugural Cannes issue.

I’ve been hard at work since before the Oscars assigning and editing stories about the global film industry and this storied event’s role in it, albeit with an L.A. twist. And with this special edition of the newsletter, you too can be a part of the “Entourage,” at least vicariously. Read on for more highlights from the issue, and be sure to check out Amy Nicholson and Joshua Rothkopf’s conversation about the Cannes films they’re most excited to see before you block out your schedule.

Cover: Almodóvar, uncensored

(Shayan Asgharnia / For The Times)

You know you have a juicy interview on your hands when you wake up to it being aggregated by the trades, and I can’t really blame them: Columnist Glenn Whipp’s cover profile of Spanish auteur Pedro Almodóvar, in competition here with his new film “Bitter Christmas,” is chock full of pungent quotations.

At 76, the filmmaker is unafraid to speak his mind, whether it be about the apolitical Oscars or the decline of American democracy. But his metafictional treat, in which an acclaimed filmmaker falls out with an old friend over pilfering real life for inspiration, shows that he’s equally willing to turn that critical lens inward. It’s the film, he says, “where I’ve been cruelest with myself.”

Digital cover: Cannes kid Diego Calva

(Ian Spanier / For The Times)

In one of those serendipitous intersections editors dream off, it’s Almodovar that our digital cover star is most amped to meet during the fortnight: “If Almodóvar shakes my hand, I can die in peace,” Diego Calva tells contributor Carlos Aguilar.

With two films at the festival — Jordan Firstman’s “Club Kid,” playing in Un Certain Regard, and Nicolas Winding Refn’s highly anticipated out-of-competition title “Her Private Hell” — Calva, who appeared earlier this year in “The Night Manager” Season 2, may be hard for Almodóvar to miss. But the actor isn’t letting the auspicious moment go to his head. “My friends don’t care whether I have seven Golden Globes or if I’m not working at all,” he says. “To them, I’m just Diego.”

What’s next for Nollywood

(Photo illustration by Stephanie Jones / For The Times; photos courtesy of Anthill Studios, African International Film Festival)

I admit I didn’t know much about the Nigerian film industry beyond the term “Nollywood” before reading Daron James’ deep dive on how the West African country is charting a new course after its recent streaming boom went bust. Now I’m eager to see if its embrace of theatrical exhibition — including, gasp, building more cinemas — can rub off on its American namesake.

Nollywood may produce “the second most movies globally after India,” as James writes, but “creative hustle… is still as important as ever.”

More coverage of the 2026 Cannes Film Festival

AN X Factor star has mysteriously pulled out of a major festival gig for “unforeseen” reasons.

The 30-year-old shot to fame on The X Factor in 2012 and went on to enjoy huge success as a musician.

The In It Together festival, which takes place this month in Wales, has announced that X Factor star Ella Henderson will not be appearing this year.

Taking to social media they said: “We’re very sorry to share that Ella Henderson has unfortunately been forced to cancel some of her upcoming appearances due to unforeseen circumstances, and as a result will no longer be appearing at In It Together Festival this year.

“We completely understand and support Ella’s decision, and we want to send our love and very best wishes to Ella and her entire team at this time.

“We sincerely hope to welcome Ella to In It Together in the near future.”

OH BOY

Eurovision shock as Boy George fails to make the final after cameo performance

GO JOJO

Strictly pro Johannes Radebe set to join Emma Willis as part of new host line-up

The statement continued: “While we know many of you will be disappointed, we’ve worked tirelessly behind the scenes at the last minute to secure a huge replacement artist and someone you absolutely do not want to miss.

“Join us on Sunday at 2PM on the Together Stage for the official reveal. Trust us… this is BIG.”

Ella found fame on the ITV talent show in 2012 aged 16 where she wowed judges with her rendition of Cher’s Believe before reaching the live finals.

But she finished in sixth place behind winner James Arthur.

Following her stint on the show, Ella went on to sign with Simon Cowell’s label Syco Music and released her first studio album, Chapter One, with the music mogul in 2014.

During her time with label, Ella scored several hits with her single Ghost, which she wrote with the American writer producer Ryan Tedder, and emotional ballad Yours.

She went on a four-year hiatus in 2015, and released her second studio album, Everything I Didn’t Say, in 2022. It became her second top 10 album in the UK.

Ella has received the Brit Billion Award, and nominations for four Brit Awards and an Ivor Novello Award.

After a day spent hiking across the Col d’Entrèves glacier, a sugar hit is required. I descend on the cable car and join the queue at the ice-cream counter. Above me, surrounded by jagged peaks, looms the huge white figure of Mont Blanc, serene and pure against a brilliant blue sky. Although it’s late afternoon, people are still heading up the mountain, and there are two clear groups. On one side are the tourists, who are about to be lifted into unfamiliar frozen realms at 3,375 metres (11,072ft), hoping to grab a picture and return. Mixed among them are the weathered faces of mountain experts: hikers confidently heading for a high-altitude hut, or climbers with coils of rope.

How many of those tourists, I wonder, are wishing they could be mountaineers, secretly regretting the twists of fate that kept them away from that path? But all is not lost. The aspiring adventurer, no matter what age or background, can begin the journey to competence in the mountains. The annual mountain festival I am attending aims to facilitate that by offering the chance to gain hands-on experience with experts.

I have been up on the glacier with an Italian Alpine guide, who was coaching me in crossing the ice safely. Next to me when I make it to the lemon sorbet is Meta, a musician from Berlin, who has just been rock climbing. “I’ve only ever climbed indoors,” she says. “But I want to get experience outdoors. This seemed the perfect way to start.” What had held her back? She raises an eyebrow. “Berlin doesn’t have any mountains.” And how was it? “Amazing. I definitely want to do more.”

The Arc’teryx Alpine Academy in Chamonix began 16 years ago with a focus on rock climbing, but has since extended its range. There’s now a UK festival too in the Lake District in May. These days, there’s tuition in everything from Alpine botany to advanced multi-pitch climbing. Max from Rome is buzzing after a day of trail-running with experts. “They were so helpful, sharing their knowledge and tips.”

When we get back to the festival base camp, I meet others who have been out studying photography and mountain geology. Frenchman Jean-Luc is in a state of blissful shock. “I went on a climbing course and found myself teamed up with Jim Pope,” he says. “Can you imagine? He’s a climbing hero of mine, and was so friendly and encouraging. I still can’t believe it happened.” Elvin and Annie from Stockholm did an introduction to ice-climbing and thoroughly enjoyed it.

Meta and I watch the male and female Alpine guides chatting. “Look at them,” she says. “I want to be like that: with that physique and those skills.” She turns back to me, laughing. “They are cool.”

Rock climbing as a sport is cool right now. My local climbing wall is full of cool. Hamish McArthur, one of the stars of world climbing and an expert tutor at the festival, began his career on that wall in York.

Meanwhile, the crowd is enjoying the festival. There is a programme of music too, from live bands to DJs, and the London band Kokoroko are playing as I tour the stalls. There’s one where you can borrow equipment for a day, just to try it. That solves one tricky part of the how to get started equation. At another stall, I learn how to wash my waterproofs correctly and do small repairs. At the next tent, I get a beer and wander over a small grassy hill to discover Austrian climber Alex Luger chatting to a small group about psychology and climbing. Alex is a professional climber turned psychotherapist who specialises in facing fears, an appropriate area of expertise for a man who has scaled some of the most terrifying rock walls on the planet. “I enjoy meeting such a variety of people,” he tells me afterwards. “And facing fears is not just about climbing; it applies to many situations.”

Next to the food tent, I meet organiser Stéphane Tenailleau, from the brand Arc’teryx, who is also facing his fears. “Sending 800 people, some of them total beginners, into the mountains carries a certain amount of risk.” That number includes disadvantaged kids from Paris and other underprivileged groups.

All too soon, the festival is over, but nearby Geneva provides an interesting coda. I stroll around the historic old town, my need to climb still burning. On the side of a cable car station overlooking the city, I find a climbing wall and instructor Pierre, who turns out to be an unsung genius of motivational psychology. I had always regarded the crux of a climb, the hardest bit, as the moment when I give up. Pierre rewires my brain. On the 20-metre concrete wall, with Lake Geneva far below, I reach the pinch point and get ready to fail.

“That desire to stop,” pipes up Pierre, who seems to know exactly what I’m thinking, “that is the dark place of climbing. Now balance your mind and body. Breathe. Move your left foot 2cm to the right. Extend the ankle. And now go on.”

And I do.

The trip was provided by Geneva Tourism, with accommodation at the Crowne Plaza Geneva, doubles from CHF 225 (£212). The 2026 Arc’teryx Alpine Academy in Chamonix, with a range of individually priced clinics, takes place 2-5 July. Other locations for the festival include the Lake District, 23-25 May

REALITY star Maura Higgins pads about in Cannes.

The former Love Islander sashayed around the city in a 1980s-style shirt dress with big shoulders and collar.

Irish model Maura, 35, later changed into a dramatic Guinness-like black and white gown for the film ­festival’s opening ceremony on the French Riviera.

She was joined by actress Demi Moore — in a pearl sequinned gown — and model Heidi Klum in a peach dress with floral decoration.

Maura will be Dancing with the Stars next — we revealed last month that she has landed a place on the US ­version of Strictly.

Reality TV star Maura has confirmed she’s walked away from her Love Island USA: Aftersun hosting job after three years.

TOWIE TRAGEDY

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The Irish star told Vulture that she won’t be returning to Fiji for the upcoming eighth season.

She said: “You won’t. I’ve done it for three years, and they’ll always be family to me, but I think it’s time to try something different.

“I’ve got amazing opportunities coming in the door.

“I think it’s time to say good-bye. But you know what? I won’t say forever.

“I’ll still be watching from afar and I love them and miss them. It’s just time to move on.”

Temples in Thailand gathered for the annual ‘Look Noo’ rocket festival, an ancient Mon tradition. Once used in funeral rites for senior monks, the ritual has evolved into a competitive event, keeping the centuries-old practice alive.

A FREE-to-visit wine festival is set to return to the UK this summer.

Battersea Power Station in London has confirmed The Wine Circuit will return from June 12 to 14 with everything from a markets to street food and bar pop ups.

Wine Merchant Stalls at the festival will be open from 11am to 8pm on June 13 and between 11am and 6pm on June 14 and include popular brands such as Vagabond Wines.

There’s also an Artisan Market on June 12 and 13 between 10am and 8pm and again on June 14 between 11am and 6pm where you can shop handmade wine glass and wine-themed gifts.

Alternatively, you could buy a ticket to one of the panel talks at the festival, or The Wine Cup, where you can try different tasters of wine.

The Wine Cup allows visitors to enjoy up to 10 wines from around the world and then vote for the ‘Best in Show’, as well as ‘Highly Commended’.

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Tickets are split into the different types of wine including red, white, rose and sparkling and range from £37.90 to £41.10 per person – and even includes a tote bag and cup.

Events already confirmed for this year include Drag Wine Tasting on June 13 between 7pm and 9pm.

While little details have been released about the wine festival this year, last year the festival hosted sessions about wine making, drinking trends and insider tips from experts.

There were also live music, talks on topics such as natural wine and alcohol-free wine, and for pub quiz lovers, even a wine quiz with blind tastings

As for the wine market, stalls sold wine-related gifts such as bottle stoppers and decanters while food pop-ups included Ashes BBQ and Masa Tacos.

The Power Station already has a number of wine destinations for visitors to explore including Vagabond Wines and Searcys Champagne Bar.

“I WAS a bit of a Duracell bunny,” confesses Iron Maiden’s irrepressible Bruce Dickinson. 

“To some extent, I still am — much to the dismay of people around me! They’re like, ‘Don’t you EVER stop?’” 

Dickinson is reflecting on the manic energy he brought to the heavy metal titans after replacing original singer Paul Di’Anno. 

In 1981, he was a 22-year-old member of hard-rocking fellow travellers Samson when Maiden’s manager Rod Smallwood came calling.

Unlike many of his peers, including his predecessor, Dickinson didn’t have to rely on drugs and booze to fuel his high-octane performances. 

He continues: “I discovered that having these amazing, ecstatic, endorphin-filled moments — being in front of people and singing with a group in total sync — was way more uplifting than any drugs on offer.” 

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One of the great spectacles in rock is a sweat-soaked Dickinson running and jumping around on stage with audiences in the palms of his outstretched hands. 

Match his physical presence to a rich operatic tenor and an iconic catchphrase, “Scream for me!”, and you have a powerful combination.  

The songs that stretch his vocal cords aren’t too shabby either — many filled with intriguing historical references.

Run To The Hills deals with European colonisation of Native American territory, The Trooper visits the Crimean War’s Charge Of The Light Brigade and Aces High is a pilot’s eye-view of the Battle Of Britain — not your average metalhead subject matter.  

What about the 14-minute Rime Of The Ancient Mariner, based on Samuel Taylor Coleridge’s poem and written by Maiden founder and leader Steve Harris? 

“It’s just epic,” says Dickinson of the closing track on the band’s fifth album Powerslave, released in 1984.  

“It’s one of my favourites to perform.

“I love the storytelling aspect and we’ve got huge screens now to tell the whole story.” 

Let’s also not forget the enduring core band which today comprises bassist and chief lyricist Harris, three virtuoso guitarists in Dave Murray, Adrian Smith and Jannick Gers, mighty drummer Nicko McBrain (now retired from touring after a stroke in 2023) — and, of course, Dickinson.

The singer remembers Maiden’s gruelling, breathless climb to metal’s summit in the Eighties, when he was “run ragged but young enough to handle it”. 

Now 67, he accepts that his unfettered antics have taken their toll on his body, but insists: “Damaging it and knackering it by doing things on stage is a relatively easy fix — drugs take away your soul.” 

I’m speaking to Dickinson to mark the arrival in cinemas next Thursday of Iron Maiden: Burning Ambition, a riveting film documenting their 50-year rollercoaster ride with insightful interviews, live footage and unguarded offstage moments. 

Through the prism of band members past and present, and superfans including Metallica’s Lars Ulrich, Public Enemy rapper Chuck D and actor Javier Bardem, it is 106 minutes of pedal to the metal. 

The movie is the first milestone in a momentous year for the band formed in Leyton, East London, by Harris in 1975. 

In late May, Maiden continue the Run For Your Lives world tour, including a monster outdoor event, Eddfest (named after their shape-shifting undead mascot Eddie), at Knebworth on July 10 and 11. 

Then, in November, they join Oasis, Phil Collins and Billy Idol, among others, in being inducted into the Rock & Roll Hall Of Fame in the US. 

Dickinson says: “We’re about to do the biggest tour of our lives, playing to 2.5million people in six months. 

“People might say, ‘How the hell did that happen?’ to which I answer, ‘Have a look at the film — that is how’. 

“We’ve had lots of tidal waves and earthquakes in our career.”

Crucial to the upward trajectory has been the sense of community around Maiden and their fans, which Dickinson believes is only rivalled by “a very different kind of band, the Grateful Dead and their Deadheads”. 

He says: “We’ve never compromised and have grown on our own terms, creating our own universe. 

“You reach those millions one person at a time,” he adds. “Look them in the eyes — although that is a lot easier in a pub than in a 50,000-seat arena!” 

Though the upcoming tour will send Maiden through Europe, then on to North, Central and South America, Australia and Japan, Dickinson spares a thought for the places they can’t visit “because of the chaos in the world”. 

“There are huge pockets of fans in Iran,” he affirms.

“And in Israel, Ukraine and Russia — all these wonderful people who just want to love everybody else who loves Iron Maiden. It’s tragic.” 

This is cue for him to trawl through the mists of time to the early days again and it’s clear that, above all, it is Steve Harris’s band. 

Referred to as “the boss”, he formed Maiden just before punk upended the music scene. 

Dickinson says: “Steve felt very strongly about punk because many in the media decided it was the ‘acceptable face of heavy metal’ — and that enraged him. 

“Frankly, the first LP wasn’t that well produced so it actually sounded like a crap punk album.

“Steve has always said, ‘My God, I wish I could have remade it with Martin Birch [who produced their next eight records].” 

In the Burning Ambition film, we see the struggles of original singer, the late Paul Di’Anno, who embraced rock and roll excesses to the full, prompting Harris and Smallwood to search for a replacement. 

“Paul was very charismatic with a characterful voice,” says his successor. “He was a bit of a pirate . . . like Adam Ant or a member of band I loved, Johnny Kidd & The Pirates.  

“His look was different to the rest of the metal world — and that was cool.” 

With a rueful expression, Dickinson remembers being described as a “human air-raid siren” after his first gig with Maiden. 

He says: “They were obviously big fans of Paul who came to see me at the [now defunct] Rainbow and one of them sent a letter to a music magazine, Melody Maker maybe. 

“It said what a terrible disaster the show was, like ‘hearing my favourite songs being sung from inside a cement mixer by an air-raid siren’. 

“Even though someone was trying to be insulting, Rod Smallwood took the attitude, ‘When life throws lemons, make lemonade’. 

“He nicked the idea and turned the whole thing on its head, which actually made me laugh.” 

ON EDDIE: ‘EASTWOOD OF ZOMBIES’

MENACING mascot Eddie is an Iron Maiden icon.

Illustrated in numerous guises by Derek Riggs, the shape-shifting creature has appeared on every album cover and in every outlandish stage set. 

He inspired the name of the band’s outdoor shindig Eddfest at Knebworth in July and features in new animated sequences for the Burning Ambition movie. 

Bruce Dickinson calls Eddie the “Clint Eastwood of zombies” and says: “He has a Dirty Harry type of morality about him. 

“You think he’s evil but he’s ambivalent, so you don’t know exactly where you stand with him,” he explains. 

“If you’re basically a good person, you’re probably going to be OK – but he’ll blow you away if you’re not!” 

Dickinson believes Eddie has a future beyond Maiden. “One day, inevitably, we’ll stop playing live. 

“The great thing about Eddie is that he’s eternal. He can have a whole career on his own. We could even write albums for him.  

“In fact, there’s so much you could do with him, whether it’s movies, animation, or an Eddie avatar show. All these things are up for grabs.” 

To Dickinson, sharing the stage with Eddie is a rite of passage. 

“He’s an extension of our world but you just can’t pin him down.” 

A fascinating aspect of Maiden has been Dickinson’s relationship with Harris, not always plain sailing but one that created undeniable chemistry. 

And surely Harris accepts that the flamboyant singer helped propel his band to stadium-slaying proportions. 

“When I was in Samson, people were calling Steve ‘the Ayatollah’,” says Dickinson. “He had a reputation for being uncompromising and rigid. 

“But, as we’ve got older, he’s been much more amenable to ideas that might broaden the vision.” 

However, Dickinson had to set one thing straight from the start.  

“When I first did shows with Maiden, I was thinking, ‘Why am I standing on one side of the stage? I’m the singer’. 

“The answer was because Steve would go running down front and centre playing the bass. Suddenly I would have this big old lump of wood thrust in my ear. I nearly lost a couple of teeth because of it!” 

Dickinson insisted that, as lead singer, he was going to “stand at the front, in the middle — and I wasn’t going to back down”. 

Iron Maiden’s third album, The Number Of The Beast (1982), was Dickinson’s first and its songs including the title track, Run To The Hills and Hallowed Be Thy Name took the band to the next level. 

For the new recruit, making the album was the calm before the storm.  

He says: “It was like 1939 when Britain was at war but everybody was still out sunbathing and reading the papers because nothing bad had happened.  

“Then we hit the road and, wow, we had a No1 album, the single was going crazy and we were doing seven, eight, nine shows in a row. Even our day off was travelling.” 

Despite the overwhelming demands, Maiden enjoyed a rocket-fuelled rise to the crest of the New Wave Of British Heavy Metal (NWOBHM), a movement that included Def Leppard, Saxon and Motörhead. 

Dickinson says: “The albums we were producing in the Eighties were phenomenal. We created a style with The Number Of The Beast and it continued with Piece Of Mind and Powerslave. The trajectory was fantastic.” 

As the Burning Ambition movie attests, the band began building a devoted following in all corners of the globe. 

In August 1984, Iron Maiden ventured behind the Iron Curtain to play five shows in Poland, much to delight of fans starved of music from the West. 

In January the following year, the band went nuclear in South America by playing Rock In Rio to a 300,000-plus crowd.  

ON FLYING: ‘I HAD ROAD TO DAMASCUS MOMENT’

ANYONE who follows the life less ordinary of Bruce Dickinson will know there’s a lot more to him than just being the singer in Iron Maiden.

At school, he took up boxing but he “wasn’t very big” and people “would beat the crap out of me”.

So he took up fencing instead, inspired by a metalwork teacher who brought in a “full-on, two-handed sword like Excalibur”.

Not one to do things by halves, he became a champion – so good that he reached the UK top ten, trained with the Olympic squad and is still a member of fencing clubs in London, Paris and LA.

Dickinson harboured other dreams, too. “I was really into aviation and wanted to be an astronaut or a pilot,” he says.

This helps explain how he qualified as an airline pilot and ended up flying Iron Maiden on three world tours, firstly in a Boeing 757 dubbed Ed Force One and then, in 2016 for the Book Of Souls tour, a jumbo jet.

He says: “My love of flying came from my great uncle who was in No. 200 Squadron RAF in the Second World War. When I was five, he’d tell me all these stories.

“But I was rubbish at maths in school and you need to be a rocket scientist to be a pilot so I became a rock star instead.

“Then, in the Nineties, I took a trial flying lesson in Florida for 30 bucks, just to see. It was a road to Damascus moment.”

The next step for Dickinson was training with British Airways, flying a 757. Picking up the story, he says: “From 2000 to 2011, I was a pilot for UK company Astraeus, flying people around the world on holiday. I had to take unpaid leave to go on tour with Iron Maiden.

“You would probably have had no idea I was your captain because no one listens to captain’s announcements!”

During this time, Dickinson hatched the idea to extend his flying exploits to his other job as a member of Iron Maiden.

“I thought, ‘Wouldn’t it be cool if we put all the equipment, the band and the crew on one airplane?’ To my surprise, our manager Rod thought it was a great idea. Normally, I get told to p*** off!

“So we did three world tours. It was brilliant calling it Ed Force One – I think that was an invention by the fans.”

Dickinson remembers his initial horror when American secret servicemen boarded the plane in Chicago. “I went, ‘Oh s**t! What have we done wrong?’ Turned out Obama was coming in the next day on Air Force One and the men just wanted to have a look at Ed Force One.

“I’ve still got Air Force One-branded M&Ms, matches and a bottle opener somewhere.

“So, I’m thinking, ‘What’s going on in the President’s plane?’ They’re cracking open beer bottles, smoking themselves to death and taking all the red Smarties.”

As the Eighties progressed and the Nineties dawned, the pace rarely slackened and, as we witness in unvarnished detail in Burning Ambition, “the wheels eventually fell off”.  

Guitarist Smith quit in 1990 over “creative differences” and an exhausted Dickinson dropped a second bombshell by leaving in 1993 to pursue his solo career, much to the consternation of his bandmates, notably McBrain. 

“It was a sudden burst of artistic integrity of my own invention,” confesses Dickinson. 

“I knew Maiden were great, but they didn’t allow me to do anything a bit out there.  

“I was still in my thirties and the thought of leaving momentarily terrified me. But then I read Henry Miller’s quote, ‘All growth is a leap in the dark, a spontaneous unpremeditated act without the benefit of experience’. 

“It hit me like a ton of bricks. I thought to myself, ‘If you don’t jump, you’ll never find out’.” 

As for the reaction to his departure in the Maiden camp, Dickinson says: “The only person I told was the manager, Rod. I don’t know what got said between him and the guys but Nicko got upset about it. And fair enough.” 

He sees what became a five-year absence as part of “a real story of real people”.  

He adds: “We’re a bunch of bizarre brothers who got stuck together. In the end, we had to make it work.” 

So it was in 1999, after Wolfsbane singer Blaze Bayley had gamely attempted to hold the fort, that guitarist Smith and singer Dickinson returned to the fold — for good. 

“To use a football analogy, Blaze had been passed a ball which was a ticking timebomb,” says Dickinson, before recalling his bizarre meeting with Harris and Smallwood to discuss his return. 

They convened in secret at a yacht club in Brighton, entered by a special code — an occasion Dickinson likens to a scene from a John Le Carré novel. 

“Part of me was thinking, ‘This is ridiculous’. It felt like going through Checkpoint Charlie in The Spy Who Came In From The Cold,” he says. 

“But I looked at Steve and realised he’d been through the ringer with all kinds of things. I decided that if he’s up for it, then we should get on with it. 

“I told him, ‘I am the one guy on the planet you can trust. When I say we’ll make a great new album together, we will’. And we did [Brave New World]. 

“Steve and I are very different individuals — but that’s our strength. 

“I’ve certainly grown to respect him. Has he grown to respect me? I don’t want to put words into his mouth.” 

Dickinson signs off with a heartfelt statement: “The music is the thread that holds us in Maiden together. Whatever we started, we started well — and when eventually we finish, we will finish well.” 

Bob Olinger rode off into retirement with victory in the Champion Stayers Hurdle on day three of the Punchestown Festival.

Ridden by Darragh O’Keefe, the Henry de Bromhead-trained 11-year-old (4-1) saw off Willie Mullins’ Jimmy Du Seuil (9-1) and pre-race favourite Teahupoo (5-4) who was seeking a third consecutive triumph in the race.

It capped a remarkable 11-win career that produced three at Cheltenham, as he rolled back the years to go out on a high.

Teahupoo led as they headed down the final stretch of the three-mile circuit, but Bob Olinger had closed the gap by the final fence and had more in the tank to open a gap.

While Jimmy Du Seuil applied late pressure, it just was not enough as Bob Olinger had three-quarters of a length to spare.

The Novice Chase went the way of Salvator Mundi (13-2) who took advantage of a fall from favourite Kopek Des Bordes.

With Mullins’ new retained jockey Harry Cobden onboard, it was a case of taking advantage of his stablemate’s misfortune two fences from home to claim the win.

Kopek Des Bordes seemed to be in full control before the fall with Salvator Mundi, who was on his coattails, galloping to a 12-length win from second place Irish Panther (15-2) and Jacob’s Ladder (18-1) in third.

Gaelic Warrior raced clear to claim the Punchestown Gold Cup on Wednesday.

With Paul Townend on board, the 5-6 favourite powered home ahead of stablemates Fact To File (13-8) and Grangeclare West (28-1). All three are trained by Willie Mullins.

It was eight-year-old Gaelic Warrior who got the better of his rival this time after Fact To File’s win in the Irish Gold Cup came following defeat in the John Durkan.

It was another excellent race with Gaelic Warrior making his move in the penultimate jump and storming home with 26 lengths to spare.

“It was a huge performance,” Mullins told RTE Sport.

“My heart was in my mouth when Paul joined him (Fact To File) between the fourth-last and the third-last. I was thinking ‘would they knock one another’ or what would they do? They were going some lick.

“Both jockeys just let fly. Over that trip Gaelic Warrior seemed to have the measure of Fact To File. Over a shorter trip it might be different. It was a hell of a horse race.”

With Nolimit (14-1) came through to win the Grade One Punchestown Champion I.N.H. Flat Race.

Trained by Gordon Elliott and ridden by Josh Halford, the five-year-old got the better of pre-race favourite The Mourne Rambler (11-8) with Boycetown (5-1) third.

In the Novice Hurdle, Le Frimeur (18-1) maintained his unbeaten record to see off Zanoosh (11-4f) and I Started A Joke (11-1).

SYDNEY Sweeney left very little to the imagination as she almost fell out of a blue corset dress at Stagecoach.

Stunning Sydney, 28, made a surprising appearance on stage at Diplo’s Honkytonk during the 2026 Stagecoach Festival.

The Euphoria star looked sensational as she handed out knickers while on stage.

Sydney’s baby blue corset dress looked as though it was held up by luck alone as she appeared on stage.

Fans were so shocked by Sydney’s appearance at the festival, with many overjoyed to see her on stage.

After handing out panties from her SYRN lingerie line, she and Diplo took part in a fun karaoke session

PILLOW TALK

Euphoria’s raunchiest sex scenes as Sydney Sweeney strips down for new season

‘NEXT LEVEL’

Olivia Dunne wows as she poses for Sydney Sweeney’s skimpy lingerie brand SYRN

A video of Sweeney and Diplo was posted via the underwear brand’s Instagram stories on Saturday evening, with the caption: “@diplo Thanks for stopping by!!!”.

Fans rushed to the comments of the main post shared on SYRN’s Instagram reels, which showcased all of the famous guests who stopped by.

One fan said: “This whole look, I am in love.”

While another added: “The people’s princess.”

And a third wrote: “She’s too hot, it’s almost uncomfortable.”

Meanwhile, since the footage of Sydney made its way onto X, one person on the platform penned: “Love it. Love how she doesn’t give 2 sh*t’s about her haters and living her absolute best life with no apologies needed!!!”

“I love her so much,” said a second.

“She owns the damn place. She can do whatever the F she wants,” wrote a third.

“She looks stunning and she also looks happy and free. Haters gonna hate,” chimed a fourth.

While a fifth said: “Sydney is an ALL AMERICAN BADDIE!!”

“I love sydneys outfit,” swooned a sixth.

And a seventh gushed: “Sydney Sweeney is literally perfect.”

This comes as Sydney continues to enrage fans with her portrayal of Cassie in Euphoria.

Sydney plays the role of Cassie Howard in one of TV’s steamiest shows, with fans left angered by the level of raciness in its third season.

Cassie’s controversial new career choice as an OnlyFans model with a montage of raunchy photoshoots.

In one compromising position, Cassie licks a melting ice cream cone as it drips down her entire naked body – including on her bare chest.

Another shot showed Cassie, butt naked in nothing but a backwards baseball hat on her head and her hand covering her modesty.

These have not been the only controversial scenes in Euphoria season three thus far.

Sydney is dressed as a baby with a pacifier in her mouth in episode one.

Posing in a suggestive way with her legs open, fans were left fuming over the NSFW display.

We went back for a second day of Stagecoach and spent most of the day holding on to our hats. Before strong winds resulted in the short-lived nighttime postponement and evacuation of the festival, Day 2 had plenty of gusto that carried us through the afternoon and evening, including sets from Bush and Teddy Swims along with some high-octane cooking with Guy Fieri. When crowds were called back after the wind-related fiasco that pushed everything back for headliner Lainey Wilson and caused Journey and Riley Green to cancel their performances, fans who returned still got to witness Wilson triumph over the elements and get down and dirty with Pitbull at Diplo’s Honky Tonk. Luckily the unexpected havoc didn’t blow away all the good vibes. Here are the best, worst and windiest from Day 2.

Guy Fieri features his latest smokehouse dish during the Stagecoach Country Music Festival.

(Evan Schaben / For The Times)

Food lessons from the Guy Fieri fever dream

Stagecoach is known for strange bedfellows (see: Emo Nite with Ashlee Simpson Friday) but Guy Fieri with Wynonna Judd, Billy Bob Thornton, Gavin Rossdale and Gavin Adcock is so odd it seems like an AI hallucination. I promise you it happened Saturday afternoon.

“Everybody loves food. That’s the common denominator,” Fieri told the crowd, which included a woman who impressively dressed up as Fieri, fake mustache/goatee and a flame-covered bowling shirt.

“Flavortownnnnn!” Judd said as she walked onto the demonstration stage at Guy’s Stagecoach Smokehouse.

“Just so you know, we could do our own cooking show,” Fieri said as he introduced her.

Each of the stars was paired with a chef, which included Eric Greenspan, Mark Murphy, Aaron May and Hunter Fieri.

Thornton made salmon and fried okra with spicy hummus with Hunter Fieri. The “Landman” star said the key for good fried okra is to use cornmeal. He also shared his favorite chili, which isn’t hot for the sake of being hot.

“Calabrian chili has a flavor,” Thornton said.

He also told the crowd of a new delicacy he discovered: white grapes dipped in spicy Dijon mustard.

“It blew my mind,” Thornton said.

Adcock, meanwhile made a giant prime rib sandwich and beer-battered onion rings.

“I’m a big beef guy,” Adcock said.

Meanwhile, Bush frontman Rossdale was doing what Fieri said was a first for Stagecoach — he made an Asian dish of smoked chicken dredged and flash-fried and shared with two sauces: one a Japanese rice wine and the other a sweet sauce.

“This guy is a real foodie,” Fieri said about Rossdale, who has his own cooking show. “I’m gonna put a chef with him, but he doesn’t need it.”

Speaking of strange things, here’s my pitch for an “Odd Couple” reboot: Rossdale and Adcock with Fieri as the wacky neighbor. Someone point me to the Paramount+ tent so I can pitch it. (Vanessa Franko)

Teddy Swims performs Saturday on the Mane Stage during the second day of Stagecoach in Indio.

(Allen J. Schaben / Los Angeles Times)

Does Teddy Swims just live here now?

Has anyone checked on Teddy Swims’ house in whatever city he lives in besides Indio? The tattooed soul-rock singer played Stagecoach on Saturday night after doing both weekends of Coachella, and once again he brought out David Lee Roth to sing Van Halen’s “Jump” — an indelible ‘80s staple these guys are double-handedly willing into a Gen Z anthem. (Mikael Wood)

Diplo introduces Sydney Sweeney, who gave out her Syrn lingerie to the crowd at Diplo’s Honkey Tonk on the second day of Stagecoach.

(Evan Schaben / For The Times)

Theo Von crowd surfs, Sydney Sweeney tosses out lingerie and Shaboozey parties in Diplo’s Honky Tonk

If the first Stagecoach fever dream of Saturday was the unlikely cast of Billy Bob Thornton, Wynonna Judd, Gavin Rossdale and Gavin Adcock cooking and chopping it up with Guy Fieri at the Stagecoach Smokehouse, a close second was Diplo’s early evening set in the Honky Tonk.

Already billed as Diplo with podcaster-comedian-Ella Langley duet partner Theo Von and Barstool Sports media personality Caleb Pressley, it also attracted some special guests. Actor Sydney Sweeney showed up to toss panties from her Syrn lingerie brand into the crowd. (She has a pop-up Syrn saloon on the festival grounds).

The “Euphoria” star wasn’t the only surprise during the set — “A Bar Song (Tipsy)” hitmaker Shaboozey also made an appearance. Even though they played some of his songs, he didn’t perform. Like Sweeney, Shaboozey also has a pop-up saloon at the festival, his promoting upcoming record “The Outlaw Cherie Lee & Other Western Tales.”

And when you think things couldn’t get any weirder, Von went crowd-surfing. Stay weird, Stagecoach. (VF)

Singer and guitarist Gavin Rossdale and drummer Nik Hughes of Bush perform on the Mustang Stage at sunset as extreme weather begins to move in during the second day of Stagecoach.

(Allen J. Schaben / Los Angeles Times)

Catching up with Bush’s blustery Saturday evening set

Just before we were told to evacuate Friday night, I was about to write about Bush’s Stagecoach debut on the Mustang Stage.

Even as the weather turned colder and the winds turned gnarlier, Gavin Rossdale seemed to be having a great time as the band ripped through a 50-minute set packed with hits including opener “Machinehead,” “Everything Zen,” “Swallowed,” “Glycerine” and set-closing sing-along “Comedown.”

Stagecoach festivalgoers evacuate the Mane Stage after announcements were broadcasted to evacuate the area due to extreme high wind gusts during the second day of Stagecoach.

(Allen J. Schaben / Los Angeles Times)

The wind advisory and short-lived postponement nearly blew the fest away

Due to high winds, Stagecoach promoter Goldenvoice postponed the festival Saturday night until further notice and crowds were evacuated. An “emergency evacuation” message showed up on screens on the festival’s Mane Stage saying “the festival has been postponed until further notice. Please move quickly and calmly to the nearest exit.”

At 8:42 p.m., the festival advised via its mobile app that Stagecoach would resume momentarily. “We are working to open doors and prep the site for your safety,” the alert said. Just before 9 p.m. the gates were reopened. Stagecoach updated its schedule for Saturday night after a temporary evacuation due to high winds. Journey, which had been scheduled to play the Mustang Stage, did not perform; Riley Green, set to play the Mane Stage, also didn’t perform. Lainey Wilson, who was set to headline the Mane Stage, played an hour later than originally scheduled at 10:30 p.m. (VF/MW)

Lainey Wilson performs on the Mane Stage during the second day of Stagecoach.

(Evan Schaben / For The Times)

Lainey Wilson takes the stage after the wind
After an hourlong delay due to high winds, Lainey Wilson kicked off her headlining set at Stagecoach on Saturday night with a one-two punch of “Can’t Sit Still” and “Wildflowers and Wild Horses” — each a solid example of the riff-heavy country-rock that’s made Wilson one of the biggest stars to come out of Nashville in the last 10 years.

“Y’all ready to sing it loud tonight?” she asked the crowd, which was maybe a bit thinner than it might’ve been thanks to fans who left before the festival announced it was reopening. Those who stuck around seemed plenty willing to bellow along. (MW)

The one item on Pitbull’s Stagecoach agenda

Pitbull hit the Mustang Stage an hour later than expected Saturday night after gusty winds forced Stagecoach to evacuate attendees for more than an hour, but Mr. Worldwide didn’t let a delay stop the fun.

“We came here to do one thing and one thing only,” he said from the stage early in the set.

The one thing? Party.

After an intro featuring his DJ and full band that included Metallica’s “Enter Sandman” and Beastie Boys’ “(You Gotta) Fight for Your Right (To Party!),” Mr. Worldwide appeared, flanked by a half dozen dancers in revealing costumes, to open the raucous set with “Don’t Stop the Party.”

After the song he thanked everyone at Stagecoach for staying and also name-checked some Goldenvoice employees, including Stagecoach booker Stacy Vee, as well as Lainey Wilson, who had just wrapped her headlining set on the Mane Stage.

He followed up the moment of gratitude with “Hey Baby (Drop It to the Floor)” and “Hotel Room Service.”

Later on in the set, Lil Jon joined Pitbull for “Jumpin” before being showered with more gratitude from Pitbull and the crowd. Then the pair performed “Damn I Love Miami.”

I’d like to start a petition for Stagecoach to book Pitbull every year — and bring him to Coachella too! (VF)

As the 2026 Stagecoach Country Music Festival rides off into the sunset, enjoy the last day of the performances from the comfort of your home. The festival will be livestreaming most of the performances, so you’ll be able to watch Post Malone and Warren Zeiders from the couch. You can also take a trip down memory lane with Hootie & the Blowfish, Brooks & Dunn and Third Eye Blind. Close out the festival by watching Loud Luxury, DJ Pauly D and Ludacris onstage.

The festival will be livestreamed on Amazon Music, Prime Video and Twitch. On Sirius XM’s The Highway (Channel 56), you can listen in to exclusive interviews and live performances. Their station Y’Allternative will also be covering the festival on Sunday.

Here are updated set times for the Stagecoach livestream Sunday performances (times presented in PDT):

Channel 1

3:05 p.m. Jake Worthington; 3:25 p.m. Ink; 4 p.m. Bayker Blankenship; 4:25 p.m. Hudson Westbrook; 5 p.m. Kameron Marlowe; 5:55 p.m. Brett Young; 6:50 p.m. Brett Young; 6:50 p.m. Brooks & Dunn; 8:50 p.m. Hootie & the Blowfish; 10 p.m. Post Malone; 11:30 p.m. Ludacris

Channel 2

3:05 p.m. Adam Sanders; 3:25 p.m. Amos Lee; 4 p.m. Cameron Whitcomb; 4:40 p.m. Zach John King; 5:15 p.m. Max McNown; 6 p.m. The Wallflowers; 6:55 p.m. Eli Young Band; 7:25 p.m. Ty Myers; 8:25 p.m. Third Eye Blind; 9:25 p.m. Wyatt Flores; 10:30 p.m. Loud Luxury; 11:20 p.m. DJ Pauly D

Sirius XM The Highway

3:05 p.m. Hudson Westbrook; 4 p.m. Kameron Marlowe; 5:15 p.m. Brett Young; 6:30 p.m. Warren Zeiders; 7:50 p.m. Brooks & Dunn; 9:30 p.m. Post Malone

Sirius XM Y’Allternative

7 a.m. Larkin Poe; 9 a.m. S.G. Goodman; 11 a.m. Ole 60; 1 p.m. Sam Barber; 3 p.m. Red Clay Strays; 4 p.m. Marcus King Band; 6 p.m. Treaty Oak Revival; 7 p.m. Charles Wesley Godwin; 9 p.m. Wyatt Flores

[Update: At of 8:42 p.m., the festival advised via its mobile app that Stagecoach will resume momentarily. “We are working to open doors and prep the site for your safety,” the alert said. Just before 9p.m. the gates were reopened.

Stagecoach updated its schedule for Saturday night after a temporary evacuation due to high winds. Journey, which had been scheduled to play the Mustang Stage, will no longer perform; Riley Green, set to play the Mane Stage will also not perform. Lainey Wilson, who was set to headline the Mane stage, will play an hour later than originally scheduled at 10:30 p.m.]

Due to high winds at Stagecoach, the festival promoter Goldenvoice postponed the festival Saturday night until further notice and crowds are currently being evacuated.

An “Emergency Evacuation” message showed up on screens on the festival’s Mane Stage saying “the festival is been postponed until further notice. Please move quickly and calmly to the nearest exit.”

The city of Indio where the fest is located is under a strong wind advisory until 11 a.m. Sunday morning. The advisory issued by the National Weather Service was in effect at 2 p.m. but the gusts didn’t pick up until Teddy swims’ Mane Stage set just after 5 p.m.

Thousands of people poured out of the festival. Despite there being messaging on the screen to evacuate, some emergency exits were still closed by security staff between the main stage and the main entrance. In addition to messaging on screens, the Stagecoach app sent an alert for people to evacuate.

Fans at the festival reported that the winds earlier were much stronger than the evening gusts that resulted in the spontaneous postponement.

“The show was pretty windy when we got there but we went into a saloon to see one of our friends do karaoke,” said Krystine Malins, 58. “When we came out palm trees were like bending in half.”

Malins, who has attended the festival since the first installment in 2007, said an evacuation was “the best call.”

“I just feel bad for these girls walking around half-naked in this wind,” she said.

Two Stagecoach festival attendees, Ellie, 27, and Angelique, 22, sat at tables farther back from the stage watching people filing out of the festival.

“We were trying to see Pitbull at the end of the night, so that’s kind of like our whole night, I don’t know, ruined I guess,” Angelique said. “We were kind of hoping for a refund.” Asked about whether the wind felt seriousness enough to stop the show, the pair were cautiously optimistic. “Honestly I would say yeah [it’s bad], but I feel like there could still be potential for it to go down, but it felt worse earlier,” Angelique said.

Despite the evacuation, the general atmosphere among many festival goers was calm as crowds were walking back to their cars.

“I didn’t even know what was going on until I saw the screen [at the Mane Stage] and then I started hearing “Hey they’re evacuating, get out,” one festival goer told the Times. “But then we had to sit it out because there was a clog at the exit. It’s not that bad.”

After a brief reprieve following the end of Coachella, we find ourselves in the desert again for Stagecoach — hot, dusty and eager to be amused. The first day of the weekend offered plenty of top-tier country performances including Cody Johnson, Ella Langley, and Bailey Zimmerman along with a dose of nostalgia courtesy of ‘90s stars Counting Crows and Emo Nite featuring Ashlee Simpson. Let’s also not forget that Stagecoach is a place to catch celebrity cameos—we’re looking at you, Sydney Sweeney. Here’s our recap of all the fun we experienced on Day 1 of the festival.

Jessie Erickson, of Anchorage, Alaska, sings “more than my home town” by Morgan Wallen at the SYRN Saloon during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.

(Allen J. Schaben/Los Angeles Times)

I found a karaoke bar at Stagecoach — but it was Sydney Sweeney’s lingerie pop-up

En route to the press tent this sunny Friday, I saw a spot with saloon doors boasting karaoke. It didn’t click that the air-conditioned pop-up was a bar connected to Sydney Sweeney’s Syrn brand until I was inside and saw the lingerie hanging from the bar.

It was early in the day, so not much karaoke was happening, but you could scan a QR code and sign up via a Karafun link. I contemplated doing “A Long December” from the Counting Crows since they’re playing the Mustang Stage this evening, but thought it would No.1 bring down the mood and No.2, not really fit in with the Coyote Ugly vibes.

However, I saw dartboards on the wall and a sign to ask the “brand ambassador” about darts and I immediately thought — the hard drinkin’ Stagecoach crowd should probably not have sharp objects. They don’t. I found a “brand ambassador” and he showed off the darts, which were magnetic. It still might not be the best idea to let people throw projectiles as the night goes on, though. (Vanessa Franko)

Emo nite featuring Ashlee Simpson performs at Diplo’s Honkytonk during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.

(Allen J. Schaben/Los Angeles Times)

Emo Nite with Ashlee Simpson and 3OH!3 made Stagecoach dance with their feelings

I said that it felt like I went to Warped Tour two weeks ago when I saw ska/punk band Less Than Jake perform at Coachella’s Heineken House and this weekend I found the Stagecoach version of Warped Tour on Day 1!

How is the giant country festival channeling the SoCal-born traveling punk festival, you ask? The popular Emo Nite DJ set was booked at Diplo’s Honky Tonk. (Emo Nite is no stranger to the Goldenvoice desert fests, by the way. They played the Sahara Tent at Coachella a few years back, too.)

Emo Nite’s Morgan Reed and T.J. Petracca opened up with Fall Out Boy’s “Sugar We’re Goin Down” to set the sing-a-long tone before blistering through a set of remixes to songs by beloved emo and pop-punk artists such as Panic! At the Disco, Paramore, All-American Rejects and My Chemical Romance. They also played some emo-adjacent and not-so-emo-adjacent tracks, such as the Killers’ “Mr. Brightside,” System of a Down’s “Chop Suey” and Justin Bieber’s “Baby.” (Bieberchella lives even at Stagecoach!)

Actress Sydney Sweeney takes photos with fans during the Stagecoach.

(Evan Schaben/For The Times)

Sydney Sweeney takes pictures with fans at Stagecoach

Actress Sydney Sweeney snapped photos with fans during BigXThaPlug’s set at the Mustang Stage Friday at Stagecoach. Sweeney also has a pop-up bar promoting her lingerie line Syrn at the festival. (Evan Schaben)

Ella Langley performs on the Mane Stage during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.

(Evan Schaben/For The Times)

Ella Langley takes a victory lap

“I’m gonna go ahead and burst your bubble,” Ella Langley said about halfway through her main-stage set Friday night. She’d just teed up her brand-new single, “I Can’t Love You Anymore,” a shimmering roots-soul duet with country’s biggest star, Morgan Wallen. “Morgan is not here,” she continued. “He’s on dad duty this weekend. Can’t blame a man for being a good dad.”

And you can’t blame Langley for managing expectations. But she didn’t need Wallen (or anybody else) to show why she’s the biggest thing in country music right now: This was an effortlessly cool performance by a deeply vibey singer and songwriter who’s absorbed more than Stevie Nicks’ predilection for lightweight shawls. (“Broken” was extremely Fleetwood Mac-coded.)

Langley did bring out a special guest: the podcaster Theo Von, who did Riley Green’s part in “You Look Like You Love Me” for some reason. (Big podcaster energy is what I’ll say.) She played “Choosin’ Texas” — her dreamy pop-country smash that’s currently at No. 1 on Billboard’s Hot 100 — not last but next to last, leaving “Weren’t for the Wind” as her closer. Baller move. (Mikael Wood)

Counting Crows will perform on Sept. 3 at the Rady Shell at Jacobs Park.

(Courtesy of the San Diego Symphony)

Counting Crows and the perfect Stagecoach sunset

I am very into the ‘90s alt acts playing Stagecoach 2026 (I see you, Third Eye Blind) and Counting Crows got things off to a sublime start as the sun set Friday.

While the band played its breakout hit, “Mr. Jones,” early in the set, singer Adam Duritz let the crowd take the lead and almost did some spoken word in the second verse.

“How was your first day at country Coachella? They only call it Stagecoach because Count-chella doesn’t sound good,” the singer asked the crowd before the band launched into the “Shrek 2” ditty “Accidentally in Love.”

The hits kept coming, including “Round Here” and “Rain King.”

But the perfect moment under cotton candy skies happened during the band’s penultimate song, “A Long December” off 1996’s “Recovering the Satellites.” With the crowd singing along, the sun setting behind the mountains and good feelings all around, it was nothing if not a vibe. (VF)

Bailey Zimmerman performs on the Mane Stage during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.

(Evan Schaben/For The Times)

Bailey Zimmerman with an encouraging word

Bailey Zimmerman brought his puppy-ish energy — and an encouraging self-help message — to Stagecoach’s main stage Friday night ahead of Cody Johnson’s headlining set. “I grew up with nothing, and I worked my ass off to be where I am,” he bellowed before ripping off his shirt to punctuate the point. (MW)

Cody Johnson performs on the Mane Stage during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.

(Allen J. Schaben/Los Angeles Times)

Cody Johnson closes Night 1 with Boyz II Men

Cody Johnson opened his headlining set Friday night by promising to “bring a little Texas to California if that’s all right with y’all.” Yet the most surprising moment of his 90-minute show actually brought a bit of Philadelphia to Stagecoach when Boyz II Men dropped in to join Johnson for a rendition of the veteran R&B crew’s “On Bended Knee.”

If we’re being honest, the vocal mix was … not the evening’s finest. But the selection was appealingly unexpected from a down-the-middle country star like Johnson, who spent much of the rest of his set recounting his long music-industry come-up and urging folks to see past their differences in the name of unity.

He also lamented the three months he had to take off the road after busting his eardrum last year — “I was depressed about it,” he said — before acknowledging that the unanticipated break meant he got to be home for the birth of his youngest child. (MW)