festival

In a nondescript black building in downtown L.A.’s Arts District, rich sounds of sax and bass filled the air for hours. Inside, surrounded by the paintings and posters of iconic musicians, albums and films, dozens of people gathered for a night designed to prove a simple point: You can’t “cancel” jazz.

On Thursday night, eight jazz artists and groups performed a pop-up show, including Okay Coleman!, the Don Brown Collective, Joy Guerilla, and Genghis Don, who also organized the event. All of these artists had one thing in common: They were billed to perform on the now-canceled inaugural L.A. Jazz Festival.

The planned 17-day event was supposed to kick off on Aug. 7 and feature dozens of performances spread throughout every City Council district. Organizers hoped the shows would draw 250,000 attendees and inaugurate the city as a home for jazz events on par with New Orleans and Montreal. The festival was to include a final show headlined by Janelle Monáe, John Legend, Charlie Wilson, Parliament Funkadelic and Raphael Saadiq at Dockweiler State Beach.

“When I got booked for it, I was really excited,” Genghis Don said. “It was one of the bigger festivals I’ve done so far in my career.”

Glen Turner of Joy Guerilla performs at the “Can’t Cancel Jazz” event Thursday.

(Brian Feinzimer / For The Times)

Then, the festival was abruptly canceled due to “last-minute public safety and municipal costs.”

But Don was determined for the show to go on. He partnered with Tída Norasingh of JIJI’s Jazz Club to host the “Can’t Cancel Jazz” pop-up show at Slow Jamz Gallery — a musical experience that was curated in less than 72 hours, according to Don.

“It all came together thanks to so many people who were involved in this,” Don said. “I really couldn’t have done any of this without them.”

The crowd, which leaned younger in part because the event allowed attendees 18 and older, trickled in around 7 p.m., and by 9 p.m., the party was in full swing. It was easy to see how audience members connected with the music by the way they cheered, danced and sang along through the night.

The pop-up show struck a balance between creating an accessible, music-forward environment for fans and providing support for the musicians who had been affected by the cancellation. The event’s entry fee was $20, while the nonalcoholic bar accepted additional donations. Some artists also had merch available for sale on site.

While “Can’t Cancel Jazz” may have been a response to the L.A. Jazz Festival being called off, it wasn’t aiming to replace it. Instead, the pop-up offered something more intimate. At times, the music overtook the gallery, completely captivating the attention of the room. At other moments, conversation and connection were happening right outside on the balcony between attendees, some of whom were meeting each other for the first time.

The result was something distinctly authentic with an underground quality that would have been hard to replicate at a sprawling, weeks-long festival.

“This was more so a test of L.A.’s community,” Don said. “They showed out, people came, the artists came together, and you know that’s the true definition of community.”

TINIE Tempah was spotted crashing a couple’s beach wedding after performing at Boardmasters festival in Cornwall.

The rapper, 37, who has just announced a new album after ten years, looked as if he was in his element as he posed next to the newlyweds.

Bride and groom Jenny and Dave Boorman had just got married in Newquay, when they were spotted by Tinie.

The singer saw the couple from Leicester celebrating with their friends and family on the beach.

The kind-hearted star then came over to Jenny and Dave and congratulated them on getting married, and the three of them all posed for photos.

Just hours before, Tinie had performed to 50,000 at the Boardmasters Festival, as he signals his return to music.

READ MORE ON TINIE TEMPAH

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Chart-topping Brit music star announces first album in nearly 10 years

HE’S BACK

Huge Brit rapper reveals new album is WEEKS away 9 years since last record

The star announced at the weekend that he is set to release his first album in ten years.

The singer’s last record, Youth, came out in 2017, and included songs Girls Like featuring Zara Larsson and Not Letting Go with Jess Glynne.

A decade on, and Tinie thrilled fans when he shared the exciting news that he’s releasing his fourth studio album.

“Last time I announced an album, lockdown wasn’t a thing,” he told fans.

“The UK was still in the EU, Supreme was selling bricks, memes were taking over the world, and 1 Bitcoin was worth £500.

“So much has happened in the world since then.

“It’s crazy to be announcing my 4th studio album, ‘The Night’s Not Dead,’ coming 16th October 2026.”

He added: “The journey of a night out starts today with Heaven Or Hell ft. Reggie. The track to start your night with. Let’s go!”

The Sun was first to reveal that Tinie was making his comeback.

Last month, he told us: “I’ve not released new music in a while, but I’m back on the grind and it feels good.

“I’ve started putting new music in my sets, but the album is coming in October.”

Tinie’s debut tune, Pass Out, hit the top spot in 2010 and he’s collaborated with massive stars including Rita Ora, Zara Larsson and Ellie Goulding.

This month’s LA Jazz Festival was slated to be one of the largest concerts in Los Angeles history.

With dozens of performances spread throughout every City Council district, organizers hoped the shows would draw 250,000 attendees and inaugurate the city as a home for jazz events on par with New Orleans and Montreal.

Those hopes will have to wait, as organizers announced the cancellation and postponement of the festival on Friday, including its main show Aug. 22-23 on Dockweiler Beach.

“Due to significant, unanticipated last-minute public safety and municipal costs associated with the final permitting of the On The Beach Festival, we have reached the decision to unfortunately postpone this year’s inaugural LA Jazz Festival,” organizer Martin Ludlow said in a statement to the Times. “Although this decision was an extremely difficult one to reach, our commitment to the audiences and artists participating in the festival is to have a first-class experience worthy of the great legacy of Jazz and our great city. We were encouraged by the enthusiastic support of the artists on the bill, the fans and our sponsors for this inaugural event, and we look forward to presenting all of the components of this incredible cultural opportunity for Los Angeles and the world in 2027 and beyond.”

John Legend, Janelle Monáe, Charlie Wilson, Parliament Funkadelic and Raphael Saadiq were booked to headline the main show.

“We are so grateful to all the artists–from our headliners to our musicians in the parks, many of whom went above and beyond to make this affordable to the community,” Ludlow added. “All current ticket holders for LA Jazz Festival events will be refunded in full within 30 days. We apologize deeply for this situation and vow to make this right over time.”

LA Jazz Festival was a major project for Ludlow, a former Los Angeles City Council member turned music promoter and community activist after pleading guilty to misappropriating funds in 2006.

Ludlow announced the show in a splashy speech on the steps of City Hall in February, flanked by Mayor Karen Bass and other civic leaders. “During this journey, you can only imagine there’s a lot of highs and a lot of lows,” Ludlow said then. “When you have those lows, you want a friend that really can lift you up.”

Back in February, Ludlow described the mission of LA Jazz Festival with a civil rights-inspired fervor, saying that “This festival is intended to lift up our ancestors that came to this country in bondage, terrorized, brutalized. It’s also about celebrating the end to those last bastions of Jim Crow racism, the days we were denied access to public drinking fountains, public swimming pools and public beaches. From the beginning of this journey, we’ve been very intentional about telling the narrative of that human rights struggle called Jazz.”

Camp Bestival 2026 review – Britain’s happiest family festival proves there’s still nothing quite like it

What do you get if you cross two mini ice-cream cones with Ursula and King Triton from the Little Mermaid?

The wacky and immersive world of Camp Bestival of course!

Britain’s happiest family festival once again put on a show for not just the ages, but all ages.

For one glorious weekend each summer, the stunning grounds of Lulworth Castle in Dorset are transformed into what can only be described as a giant playground.

The brainchild of renowned music specialist Rob da Bank and creative director Josie da Bank, and founded in 2008, Camp Bestival is known as the UK’s ultimate family festival, having won Best Family Festival at the UK Festival Awards six times.

Created with a vision of reinventing family time, it has gone from strength to strength, and from personal experience as a multi-time Bestivaler, 2026 delivered one of its strongest editions yet.

While Camp Bestival has never been centred on drawing the crowds solely for big name headline acts, you’d be hard pushed to get a better line up than rave DJ Fatboy Slim, De La Soul, the Cuban Brothers, Billy Ocean, Leftfield and chart-topping Bastille, just to name a few.

For sure, these acts would pull in massive crowds at any venue round the country, but the magic for 30,000 festival goers in any year is what you will find away from the main stages.

Have you ever danced to a country band in a Pig’s Big Ballroom, or raved with your kids to a grammatically correct rap MC Grammar? No, then what are you waiting for?

For our family, two big kids (me and my wife Katie) and our two small humans, aged five and two, like so many others, running around sun soaked fields, listening to music, climbing giant robot sculptures (them not us!), riding a ferris wheel or letting loose on swinging chairs at the fun fare; this was a real chance to connect.

Let’s be honest, life can seem pretty tough these days. The news cycle can be overwhelming at times, then chuck in work, school, bills, exams, kids!

But as soon as you enter into this kaleidoscope of countryside colour, where bubble machines float across fields packed with picnics, children chasing giant puppets through woodland trails, and every pathway revealing another adventure waiting to be discovered, your worries can be a distant memory.

Unlike many festivals where the music is everything, Camp Bestival’s magic lies in the moments in between.

As we gathered for the annual trolley competition – the type you either haul to the beach or the park with your camping chairs in, or your exhausted children back to your tent after a day of festival fun – we were given a glimpse into how special this place can be.

The aforementioned mini ice-cream cones were two toddlers dressed up in exquisitely made papier mache inventions, alongside parents dressed as ice cream sellers and their vehicle imaginatively turned into a mobile ice cream stall.

Dozens of families queue patiently every year to show off their creative talents, but this particular entry had an added meaning.

As people clapped and cheered their flawless construction, the mum-of-two not only announced that she was pregnant – nine months and a week in fact! – but that she had just got the all clear from cancer and the festival was the family celebration of how far they had come.

I’ve always been impressed with how, unlike many large-scale events, at Camp Bestival there is an overwhelming sense that everyone was looking out for one another, but the cheers and applause that rang out in that moment was something magical.

And what more could you want from a weekend away with your loves ones?

Scenes where parents dance with toddlers on their shoulders to TV pranksters Dick & Dom, chats with Traitors star Joe Marler and the odd appearance from kids’ favourite Bluey – even on stage with Bastille – and teenagers queuing patiently for activities alongside parents and grandparents.

This is a place where children truly get to enjoy the rare freedom of exploring a safe, welcoming environment where imagination is not only encouraged, but pretty much mandatory, at every turn.

Festival founders Rob and Josie have spent years perfecting an event that understands exactly what families need.

Every year the festival revelers such as us also get a chance to play dress up and this year’s theme played homage to the Sunday headline act, Brighton boy Norman Cook, aka DJ Fatboy Slim,.

The 2026 At the Seaside Fancy Dress Competition was a full-blown celebration of British seaside spirit: swimmers, mermaids, jellyfish, lobsters, sailors, and a Baywatch themed lifeguard flashmob.

Yes, there are headline acts capable of filling arenas, but there are also puppet shows, storytelling sessions, outdoor adventures, comedy, wellbeing activities and enough arts and crafts to keep even the busiest little minds occupied for hours.

There are hundreds of free activities for families to explore from theatre, circus skills, science explorations, sports and immersive theatre through to amazing live acts and DJs, family raves, comedy, award-winning street food, and flamboyant evening cabaret – all shared with families simply there to have the best time.

Tucked away in a haven of calm amidst the festival buzz, Slomo Wellbeing offered a three-day programme of free wellbeing session designed for all ages.

Headliners Jasmine Hemsley, Joe Wicks, Zita West, Trish Whelan, Rosie Underwood, Jonni Pollard, Carla DiMattina and Mama Shrooms lead a wellbeing programme featuring soundbaths, meditation, breath work, mindful movement, dance, yoga and food workshops, alongside a range of one-on-one treatments and, of course, Slomo Wellbeing’s hugely-popular saunas, ice baths and hot tubs.

Reflecting on Camp Bestival, presented by Debenhams 2026, festival curator Rob da Bank says: “What a ridiculously fun and sun kissed weekend we’ve had, bringing families together in proper Camp Bestival style.

“It always blows us away to see 30,000 revellers get stuck into so many activities, dancing to the beats and bands, getting arty and active with their families across our amazing site.

“There’s nothing Josie and I love more than to see all generations enjoying time together. We can’t wait for 2027 and are thrilled to announce that Early Bird Weekend Tickets go on sale this Friday! See you in Lulworth next year, campers!”

Returning for a second year as a headline partner, Dan Finley CEO of Debenhams Group added: “After such a fantastic debut with Camp Bestival last year, we couldn’t be more thrilled to return as headline partner for 2026.

“The energy, engagement, and connection we saw across families and festival-goers was incredible, it brought the heart of Debenhams to life in a vibrant way.

“We’re looking forward to building on that momentum, deepening our relationships, and delivering another unforgettable experience together.”

In an increasingly crowded festival market, Camp Bestival remains exactly what it has always aspired to be: a joyful celebration of music, adventure and family life, leaving thousands already counting down the days until next summer.

Thank you Camp Bestival. We can’t wait to come back!

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With memories made and next year’s adventure already calling, eager fans can already snap up 2027 Early Bird Weekend Tickets from 10am on Friday 7th August 2026.

Camp Bestival by Debenhams will take place from Thursday 29th July – Sunday 1st August 2027.

Early Bird Weekend Tickets go on sale 10am on Friday 7th August.

For more information and to buy tickets visit campbestival.net.

2027 Early Bird Prices:

Adult Weekend Camping: £225

Teen Weekend Camping: £157.50

Child 10-12 Weekend Camping: £130.50

Child 5-9 Weekend Camping: £110.50

Child 2-4 Weekend Camping: FREE (but ticket required)

Babes In Arms Weekend Camping: FREE (but ticket required)

The sister of Meredith Kercher has criticised a solo comedy show by Amanda Knox, who was convicted and later acquitted of murdering the British student in Italy in 2007.

The Edinburgh Festival Fringe website says Knox’s show, Cartwheel, is about motherhood and how she will explain what happened in Perugia to her daughter.

Stephanie Kercher, addressing Knox directly on BBC Breakfast, said: “What I would say [to Knox] is to think about the family here, think about her friends and to turn the tables if it was your sister that this had happened to, because I know you have a sister as well.”

Knox said the show, set to run over 11 days from Friday, honours Kercher’s memory.

Her comedy show’s title Cartwheel references a story that once claimed she did cartwheels in the police station after her friend’s death.

Knox told the Telegraph newspaper, external last week: “I don’t joke about Meredith’s death. I joke a lot about how I was vilified, but I don’t joke about her murder.”

Asked if Meredith Kercher would have found her comedy funny, she added: “Yeah, I think so. I mean, it is funny!”.

Responding to that suggestion, Stephanie Kercher told the BBC: “Meredith absolutely wouldn’t find these topics of any comedy value.”

She said: “Our family’s pain is immense. I can’t explain to you how much pain our family have been through, and also we’re talking two decades later now, this pain.”

A petition against the show, set up by a friend of Meredith, has been signed by just over 2,400 people, and says the show disrespects her memory and also risks normalising violence against women by making light of such a harrowing event.

“I would choose to be Latina in every lifetime,” Kali Uchis said from her Saturday night closing set at L.A.’s EDM music festival Hard Summer. “Where are my Latinos at?”

The crowd responded with a resounding roar.

Throughout the day, fans crossed the grounds in bright Latin American soccer jerseys, the eye-catching complementary greens and reds of Mexico and the rich blue of El Salvador dotting the crowd. They held up flags, piñatas and tall signs pasted with images of Dr. Simi and “Dragonball Z” hero Goku — used to mark one’s place in the sea of people.

“Electronic music is for the beach and for Latinos,” said Dominican dembow artist and Hard Summer act Tokischa. “It’s for us. We love to dance, to feel sexy. And electronic music does that.”

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Hard Summer attendees, like Jason, wore Mexican flags as accessories in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

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Latino Hard Summer ravers added a spin to festivalwear with vibrant jerseys, flags, and accessories in Inglewood on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

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Chris Mondaca couldn’t contain his excitement as he danced to Miguelle and Tons’ set at Hard Summer on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

Hard Summer first launched in downtown L.A. in 2007 — yet no Latin artists received top billing. Between Justice, Peaches and hip-hop group 2 Live Crew, the festival became a summit for English-language acts in the electronic and hip-hop genres. Yet last year’s lineup included Colombian reggaeton artist Feid as headliner, along with DJs Deorro, Funk Tribu and Sara Landry, who boosted the Latino community’s presence at the event.

This year at Hollywood Park in Inglewood, Colombian American crooner Kali Uchis headlined the main stage after a day of memorable sets by Argentine singer Six Sex, Mexican producer duo R∅z and Mexican American DJ Bolo.

“The underground DJ scene [in Southern California] is beautiful, but I will say: a few years ago, there was not a lot of Latino representation in the big festival lineups,” said Edgar Avalos, known as Bolo. “I feel like there are more opportunities for Latinos in these lineups. And I want to create an environment for Latino ravers to feel like they’re welcome in this space.”

Saray Zamora, Dafne Carbajal, Ailynn Sanchez , Cecilia Garrido and Celest Garrido decided to go to Hard Summer themed in their family’s home country flags in Inglewood on Saturday, Aug. 1, 2026.

(Katerina Portela / De Los)

The Mexican American DJ and L.A. native Deorro was an inspiration to Avalos, who describes him as “one of the first to break through on major lineups.” Following Deorro’s example, Avalos felt inspired to start his own record label Vibraza for Latino artists and to advocate for their inclusion in festivals — which includes not just onstage visibility, but career opportunities offstage too.

“I feel like there’s a huge bubble, a lot of dope emerging acts within the Latino dance community,” Avalos said. “It’s a blessing to be a part of the crew that’s putting [Latino DJs] on the map.”

According to Luminate’s 2026 data report, electronic dance music dominated the first half of 2026 as the largest growing genre in the U.S. Meanwhile, nearly 1 in 10 streams in the U.S. were songs in Spanish — and casual monthly listenership of Latin music in the States climbed to a peak of 54% of streams in the first quarter of this year.

“[Latino electronic] music makes you feel like … when you’re in the streets, you’re dancing, you feel proud, you let go of certain things or norms,” said Francisca Cuello, known as Six Sex. “Something about being Latino represents a cultural release and an understanding of fun that fits so well with electronic music at night.”

Cuello performed her new album, “Ultra,” as her pouting femme-bot persona who waxes poetic about eroticism over thumping techno beats. She said she was shocked by the number of people who sang the music back to her, despite the album having only been released earlier this summer.

“I never set out to make electronic music, but it’s what called to me,” Cuello said. “To be so far from my country and to connect with people in a country so different from mine, like the U.S., it’s such an honor.”

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Hilary Joy fans herself and jumps at one of the last Hard Summer DJ sets of the night in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

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Many of the Latina festivalgoers at Hard Summer wore colors of their home country’s flags or ribbons in their hair, as Alejandra Tadeo chose to do in maximalist braids on the way to Roz’s set in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

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Saiah Landaverde said they were most convinced to go to their first Hard Summer for the Latino artists, like Six Sex, on the lineup. They danced with their friend Josh Roque at Roz’s set in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

Festival attendee Azareal Hernandez-Moreno said she was most excited for the Hard Summer lineup this year because “it’s for us.”

“I feel like it’s a big moment for these artists to perform at such a big festival,” said Hernandez-Moreno. “[They] get to represent where they’re from. It means something to us as Latinos, as fans.”

Atop the Beatbox Art Car — a Hard Summer stage for emerging acts, which is approximately 20 feet tall and built to resemble a rainbow boombox — DJ Spiñorita mixed house, Latin dance and original funk for her audience. Donning a slicked-back hairstyle, Virgen de Guadalupe top and thick golden hoop earrings that reflected the penetrating rays of the sun, Spiñorita nodded and lifted her arms as ravers mouthed lyrics of “El Sonidito” back to her.

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Hard Summer attendee Angel Rosario dances along to a DJ set by VTSS in an El Salvador jersey in Inglewood on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

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Heidy Menendez dressed up in blues and whites to represent El Salvador as she held up a Spanish meme totem that reads, ‘If you know this is how I get, why do you invite me?’ at Roz’s Hard Summer set in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

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Latino Hard Summer ravers added a spin to festivalwear with vibrant jerseys, flags, and accessories in Inglewood on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

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Miami-based Ecuadorean Peruvian DJ Milushka in the media hub of Hard Summer on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

Spiñorita, who is Angela Ramirez by day, said that the L.A. rave scene is one of support and community among Latina artists, who run events for themselves year-round.

“We’re out here and brown and proud of it,” Ramirez said. “We’re putting in the work to make fundraisers for social issues and giving back to our community. Raving and DJing helps to heal trauma and helps us to open up.”

Earlier that day, R∅z sparked crowds of fans to run to their stage as they brought out música mexicana star Peso Pluma. The artist reached out to the crowd as he rapped in Spanish, fans jumping and raising their phones to take pictures and document the moment.

“Viva Mexico!” said R∅z’s Hugo Lara, as cheers rang and flags waved before him.

“I think that because the demographic here is very Latino, we’re all supporting each other,” said Frida Mitre, a Hard Summer attendee. “It was very heartwarming when [Kali Uchis] asked if we were out here, especially because we’ve been going through a lot.

Mitre said one of the sets she was most excited for was Tokischa — “for being so herself.”

Dominican-born rapper and musician Tokischa in her green room at Hard Summer in Inglewood on Saturday, Aug. 1, 2026.

(Katerina Portela / De Los)

“I was born and raised — lived my entire life — in the Dominican Republic,” said Tokischa, just after her high-octane performance. “Where my music plays, it reaches Dominicans there. In the crowd, I saw some Dominican flags. I raise that really high. I just want to see my community having fun.”

As the sun lowered on Sunday, and most Latino artists had finished for the day, local DJ Bianca Oblivion began spinning records jubilantly in her Mexican flag corset, grinning in the afterglow of a landmark weekend.

“It’s a really cool moment to be a Latino DJ,” she said. “Whatever people’s idea of what Latino music is … is not limited. We’re constantly crossing genres and cultures. We’re on the rise.”

HUGE headliners. Gorgeous Suffolk countryside. Woodland spas. Entire fairgrounds, theatre and comedy tents. Oh, and fluffy pink sheep.

If you’re looking for the UK’s best family festival, you’ve found it at Latitude.

I visited the festival this year to celebrate its 20th birthday, and as a first-timer, it truly surprised me.

This year I sang my heart out to sets from Tom Odell and Lewis Capaldi, but over the years, the festival has hosted artists like The 1975, Liam Gallagher and Florence + The Machine.

Pair those headline sets with DJ sets from Dermot O’Leary and Gok Wan, and you’ve got yourself a pretty interesting line-up across the festival’s six music stages.

The thing that struck me the most about this festival was just how family-friendly it is.

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At the very front of the main stage, you’ve got dedicated superfans stood against the barrier.

Zoom to the outer edges of the crowd, and you’ve got multi-generational families sat on camping chairs and picnic blankets, with pully trolleys packed with snacks, toys and games.

And when I say this is an all ages festival, I mean ALL ages.

I saw pairs of grandparents slow-dancing together as well as tiny toddlers grooving on the grass.

Those who wanted to stay out late or head to over 18’s zones could do just that, whilst those who want to peel off early to put the kids to bed can easily do so, too.

It was refreshing to find a festival where you can enjoy huge headline acts such as Lewis Capaldi and David Byrne, and not get caught up in the pushing, shoving and moshing that comes with other UK festivals.

Although – if you are wanting that vibe – head to the Trailer Park late at night, where alternative and up-and-coming acts like Grooveline put on incredible, high-energy sets.

This is also the area of the woods that’s best for exploring, where you’ll find everything from a redneck oracle offering life advice, to a rat-themed caravan hosting a rat-themed rave.

I won’t lie, this exploration was done during the early hours of the morning and I was starting to question my own eyes. But I can assure you that the Trailer Park, in all of its randomness, is real.

There’s even a secret, apres-ski themed stage that plays dance music and blasts fake snow over the crowd – accessible only by crawling through an unsuspecting ski shed.

Forgetting the chaos of the nighttime escapades, this festival experience can also be as relaxed as you want it to be.

Maybe it’s the chilled Suffolk countryside that puts everyone at ease, but this festival has an incredibly relaxed and friendly atmosphere.

There’s even free punting trips along the river, where you’ll cruise by a floating stage that puts on experimental art performances and classical music from a live orchestra.

And if you really want to unwind, there’s an entire wellness area dedicated to just that.

Slip through sparkling streamers into the zen zone and find food trucks serving nourishing smoothies, massage tents, saunas and daytime yoga sessions.

My favourite part of this zone was the “peace tree”, draped in flowers and colourful hangings, with soft cushions scattered across the grass beneath it.

It’s the ideal spot for a quick moment of meditation (or, let’s be honest, to retreat to when you’ve had one too many drinks).

Here, you can simply lie back on the earth, rest your head on a cushion, and breathe – and don’t worry, no one will judge if your quick lie-down turns into a full afternoon snooze.

To the left of the zen zone you’ll find the comedy tent, where you can catch a stand-up show from both budding talent and big names.

I managed to catch a set from the hilarious Sue Perkins, which started with all things Bake Off and ended on embarrassing, behind-the-scenes moments from her Netflix travel show.

Just a few minutes’ walk from the comedy tent will take you to the massive dedicated kids area, which is packed with free workshops, theatre shows and more from 10am – 6pm daily.

The baby and toddler tent offers a sheltered soft play plus areas to feed, change and even bathe the little ones.

For older kids, there’s a fairground with a giant helter skelter, plus a kids theatre tent with song and dance workshops, arts and crafts activities and pop-up Punch and Judy shows.

Over in the forest, you’ll find bushcraft skills, pop-up museums and interactive space and science stations. All in all, it’s pretty impossible for kids to get bored here.

When it comes to camping, there’s plenty of options.

There’s general weekend camping, plus dedicated family camping zones, ideal if you have children aged 16 and under in your group.

The family camping zone has its own ‘Enchanted Garden’ area with extra activities, plus it’s only a short walk from here into the main arena, which is ideal for those with little legs.

I stayed in the Pink Moon glamping area, which is well worth it if you’re looking to treat yourself.

Here there’s plenty of sparklingly-clean loos and showers, plus lounge zones with sofas and a dedicated pamper tent, complete with mirrors, hairdryers and straighteners that are yours to use.

As for food and drink, you’re pretty spoilt for choice here.

Stonebaked pizzas, macaroni cheese bowls, loaded jacket potatoes, coconut curries, duck wraps, fluffy Biscoff pancakes…my mouth is watering just thinking back to the meals I had.

Expect food festival prices, but my top recommendations would be to grab a salted maple iced latte from Pantha Coffee (£5), and indulge in home comforts with a full-on roast dinner from Roasthost (£18).

You can even just grab a side of roasties with gravy and cauli-cheese for a cheeky snack (£10).

Or head to The Local Larder by the kids zone to pack your own picnic, where you can put together a lunch of scotch eggs, sausage rolls, cheese twists, salads, pastries and more.

Ultimately, Latitude Festival can be whatever you make it.

Want a wholesome family camping weekend where the kids have a fairground and woodland workshops on their doorstep? Sorted.

Or days of drinking at waterfront wine bars, going punting, catching a few DJ and comedy sets thne ending the night by dancing to drum and bass? That’s easily done, too.

All of this in a fantastical woodland setting dotted with pink sheep, hidden forest raves and floating river stages – I’d say that’s a recipe for a pretty magical weekend.

Latitude 2027 Early Bird tickets go on sale on August 13 at 10am.

Day tickets start from £110 for adults and £18 for children.

General weekend camping tickets start at £308 for adults and £28 for kids, which covers four nights of camping plus entry to all free performances, workshops and activities.

Pink Moon camping starts from £285 per adult for the weekend, excluding a festival entry ticket.

See latitudefestival.com.

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BERLIN — An experiment with artificial intelligence at the famed annual Richard Wagner festival in the southeastern German town of Bayreuth drew boos from the audience after producing a staging that appeared to leave some spectators confused.

Curator Marcus Lobbes and his team were greeted with boos and whistles as they took to the stage at the end of Saturday evening’s performance of “Götterdämmerung,” German news agency DPA reported. However, there was warm applause for the singers and musicians, and particularly for conductor Christian Thielemann.

Festival organizers said ahead of the performance that it would be the first time AI took part on stage at the event, “not as a character, but as an image-generating force.” They said that singers would be “the fixed point within a visually seething cosmos of light, texture, history, and association, amidst projections that erupt, constantly shift, and merge into one another.”

The AI-assisted projections included scenes from previous performances of Wagner’s “Ring” cycle and historical themes, and drew from images preselected by Lobbes, the director of the Academy for Theater and Digitality in Dortmund, and his team.

The collage that the technology projected on stage puzzled the audience, DPA reported, with images including late former German Chancellor Helmut Kohl, the towers of the World Trade Center after the Sept. 11, 2001, attacks, and a special postage stamp marking German reunification in 1990.

The festival website said that “every performance will be unique — because the images and associations never stand still.” Two more performances are scheduled.

AS the mum of a seven-year- old boy, I think the two most-used words in my household are Pokemon and Lego.

So excitement was off the scale on a trip to Legoland Windsor’s second annual Lego Festival, featuring their new Pokemon Trainer attraction.

The festival, billed as the “ultimate celebration of play’’ — has five zones across the park, where you complete activities to earn stamps on a card.

Get three of the five stamps and earn a prize at the end of the day.

We created our own race car in the new F1 Brick Stop Challenge and added our own flower to the new garden in the Chill Zone.

But our favourite task was the Pokemon Play Zone — a 15-minute attraction where kids get their own interactive Lego Pokemon character to feed and take into battle.

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At the end, you can also make your own Poke Ball out of Lego to take home.

The festival showcases live performances, including headline act Battle Of The Bands, featuring rock and pop stars.

I’m a big fan of the seasonal offerings that Legoland puts on throughout the year and the Brick Or Treat Halloween attraction is unmissable in October.

We always fit so much in that we are too knackered to fully appreciate Miniland on the way out to the car, so I’ve resolved to make the miniature towns and cities our first stop during our next visit.

The theme park’s rides are also awesome. Flying theatre ride Flight Of The Sky Lion is my favourite, and Driving School is still a must for kids, despite dating from 1996.

But what makes Legoland stand out is the attention to detail in every corner of the park.

From the moment you start up Legoland Drive, where the Lego figurines spell out a scrambled version of “Welcome’’, to the excellent Miniland countries (which a team of five maintain full-time), there is something everywhere to marvel at.

I also love the permanent creative zones around the park, designed to let kids build when they need a break from rollercoasters.

While most theme parks focus on the biggest and best rides, Legoland manages to prioritise both entertaining kids and encouraging them to entertain themselves.

That said, these are my favourite five rides for ages five to ten . . . 

As I’ve said, Flight Of The Sky Lion is mindblowingly good.

If you are going to use a fast pass on anything, make it this. It is also not scary — any child aged four and over should be fine.

Minifigure Speedway is a duelling rollercoaster — with two separate tracks where cars race forward and backward past each other — that is one of the park’s newest rides and aimed at pleasing tweens.

My seven-year-old still won’t go near it.

Driving School is an oldie but a goodie — kids love being given the freedom to drive themselves solo around their own road circuit.

Coastguard HQ is right next to Driving School and perfect if your child is too young to handle their own car, as this lets them drive a boat around a lake while you accompany them.

The Dragon is an excellent starter rollercoaster for kids, with some decent drops and a few twists and turns, but it is easy enough not to terrify anyone while scary enough to make young ’uns feel they have braved something big.

Of course, most of these rides also have the biggest queues.

Fortunately, on our visit we were staying at the on-site Legoland Resort Hotel, which gave us early access to the park.

Guests can go on a number of rides, including Flight Of The Sky Lion and Coastguard HQ, from 9.30am — 30 minutes before the public opening.

The hotel lays on plenty of added extras for guests, from the Lego in the lobby to character meet-and-greets at breakfast, and evening dance parties.

Our room got full marks for fun, too, with a treasure hunt and Lego prize, along with a Lego build zone.

In fact, it is a miracle I got my son out in time for our 9.30am start.

But the lure of becoming a Pokemon Trainer was too strong.

If only I could use that trick every morning once school restarts.

EUROPE’S biggest pumpkin festival is returning this autumn for its most immersive experience ever.

The iconic pumpkin patch, loved by celebs, welcomes thousands of visitors every year and it’s set to make an epic return.

Tulleys Farm has become an annual tradition that’s a must-do around Halloween for many Brits.

The West Sussex attraction boasts Europe‘s largest pumpkin patch with 1.5million pumpkins in over 100 varieties available to pick and take home.

Set across more than 100 acres of sprawling Sussex countryside, Tulleys Farm is just a 45-minute drive from central Brighton.

Priding itself on offering “more than just pumpkin picking”, the farm has so much on offer and has levelled up for 2026, preparing to welcome guests for its “best season yet”.

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Opening its gates once again from September 19 until October 31, Tulleys new Pumpkin Festival will offer the ultimate autumnal experience.

Nestled in the newly created Pumpkin Valley, the festival will bring live entertainment, tasty seasonal food, unique shopping and roaming performers for families to enjoy.

The enchanting attraction promises some magical escapism, as guests “wander along winding paths, with wooden bridges leading across gentle streams and peaceful ponds”.

Speaking about the new experience, Tulleys Farm co-owner, Sam Beare, said: “We have always believed the Pumpkin Festival should evolve every year. We are excited to introduce the Pumpkin Valley for 2026.

“Our vision with Pumpkin Valley was to create something truly unique, an area that pushes the boundaries and immerses guests in an entirely new world,” he added.

“The Pumpkin Festival is so much more than just picking a pumpkin, it’s an experience for all generations and we look forward to welcoming our guests back for what we believe will be our best season yet.”

Guests can visit by night, too, for an even more marvellous experience.

The after-dark events, kicking off from September 26, offer illuminated woodland trails, spectacular photo opportunities, delicious cocktails and tasty treats, live music along with an unforgettable atmosphere.

Tulleys will no doubt be as popular as ever this year, so its advised to book in advance, with tickets available from £8.95 per person.

A former security guard for Drakeo the Ruler testified under oath that he saw rapper YG produce a knife and slash it toward him during the 2021 backstage fight in which Drakeo was fatally stabbed, according to recently obtained deposition excerpts.

Alrick Cooper III, who was part of Drakeo’s security detail at the Once Upon a Time in L.A. festival, said YG was “front and center” during the Dec. 18, 2021, brawl and was one of three men he saw carrying what appeared to be short, improvised knives. He said YG, whose real name is Keenon Jackson, was wearing a ski mask, but he recognized the rapper’s hazel eyes as he tried to protect Drakeo, whose legal name was Darrell Caldwell Jr. Representatives for YG did not immediately respond to requests for comment.

The excerpts come from Cooper’s March 19, 2025, deposition, which surfaced last month in a court filing by attorneys representing Drakeo’s family in a civil lawsuit against festival organizers and security contractors. It adds more context to the fight after law enforcement investigating the killing searched a Burbank property and detained YG in the process on Thursday.

The California Highway Patrol, with help from the Burbank Police Department’s SWAT team, briefly detained YG while officers searched the property. He was released after the search and was not arrested.

YG has repeatedly denied involvement in Drakeo’s death. On his June 2026 song “We Know the Truth,” he rejected allegations connecting him to the killing and said he learned after arriving to perform at the festival that someone had been stabbed.

A CHP spokesperson said the agency “cannot comment as this is an ongoing and open investigation” when asked if YG was a suspect or person of interest in the case. No one has been arrested in the ongoing murder case. NBC Los Angeles reported that the warrant was served as part of the continuing homicide investigation. CHP told NBC that YG was present when officers arrived and was released when the search was completed.

Drakeo’s son and other relatives, along with Cooper, sued Live Nation, C3 Presents, Bobby Dee Presents and several security contractors in February 2022, alleging the companies involved in staging and securing the festival failed to protect Drakeo from a foreseeable attack. YG is not a defendant in the lawsuit.

‘Front and center’

Cooper testified that Drakeo’s group was confronted by at least 20 to 25 people backstage. When asked whether he recognized anyone in the opposing group, Cooper named only YG.

“He was directly involved in the fight?” an attorney for Drakeo’s family asked.

“Yeah,” Cooper answered. “Front and center.”

Cooper said the attackers divided into groups and surrounded Drakeo’s party near the artist entrance. Some wore red clothing, ski masks or hoodies and Cooper said festival security personnel failed to intervene and instead closed two gates that could have provided an escape route.

“They actually closed the gates and trapped us in to where we couldn’t leave,” Cooper testified. According to his account, one exit was blocked by security personnel while attackers swarmed the other side of the backstage area.

Cooper said he initially struck one of the approaching men and momentarily lost his footing. He then found himself fighting YG and a man he described as YG’s bodyguard, with Drakeo positioned a foot or two behind him and to his right.

“And then YG produced a knife from his left hand,” Cooper testified, describing the weapon as appearing to emerge from Jackson’s sleeve. “And when I saw that I just backed up.”

As the confrontation continued, Cooper said, the attackers moved toward Drakeo and “swarmed over” him. Police arrived almost simultaneously, according to Cooper, and began breaking up the fight.

Three men with knives

Cooper described the weapon he attributed to YG as a silver blade approximately three or four inches long. He said he did not see a handle and compared its appearance to an improvised prison shank.

“He was slashing at me with it, like getting me to back up,” Cooper testified. He said he was not stabbed.

Cooper said he saw two other men standing near YG with similar weapons. He described one man as being immediately beside YG and another as positioned behind and between them. Cooper said he concluded the men were armed after observing movements that differed from ordinary punching.

“Once I saw the stabbing, jabbing motion,” Cooper testified, he tried to move away from those individuals.

Cooper described one of the other men as a bald Black man, approximately 5 feet 9 inches or 5 feet 10 inches tall, with light-brown or hazel eyes and a blue patterned crew-neck shirt. He described the third as a similarly sized Black man with dreadlocks but said he could not remember the man’s clothing. Cooper estimated YG was approximately 6 feet 1 inch or 6 feet 2 inches tall.

Identifying YG behind a mask

Cooper acknowledged that the person he identified as YG was wearing a black balaclava that exposed only the area around his eyes. He said the man also wore a black bomber-style jacket, black pants with red stripes and shiny black shoes.

Asked how he could make the identification with much of the man’s face covered, Cooper said he had met YG “a lot” and recognized his eyes, body type, height, walk and demeanor.

Cooper also testified that members of the attacking group taunted Drakeo during the confrontation.

He recalled hearing statements including “Is this Drakeo?,” “Is that who I think it is?,” “What you want to do?” and “Now we finally got him.” Cooper also reported hearing Blood gang expressions, including “soo whoop” and “Sup, Blood,” and seeing individuals beating their chests.

Earlier in the deposition, Cooper said he had previously intervened when the two rappers encountered each other outside a recording studio.

According to Cooper, YG approached Drakeo and asked, “What’s up [with] all that internet stuff?” Cooper said he had to defuse that encounter.

Cooper also cited Drakeo’s 2021 song “IngleWeird,” interviews and music released by artists associated with the two camps as evidence of an escalating dispute. He recalled a summer 2021 interview featuring YG and two other artists in which, according to Cooper, someone said, “We don’t do that internet stuff, the homies going to get you.”

Cooper testified that the history led him to warn Drakeo before the festival that more security was needed. He believed there was a substantial chance the two artists or their entourages would encounter each other as Drakeo left the stage or festival grounds.

All parties will be back in court for the first of two hearings beginning Aug. 13 covering motions to dismiss the case brought by Bobby Dee Presents and Live Nation.

Kevin Lyman has always lived life on the move. For years it was a symptom of working to keep up with Warped Tour, a punk rock circus on wheels. Since bringing the festival back last year to celebrate its 30-year anniversary, he’s switched his mode of transport from buses to planes. What started as a two-month tour across the U.S. and parts of Canada is now a strategically placed, five-date extravaganza starting this weekend in Long Beach. With stops in Montreal, Mexico City, Orlando and Washington, the tour has gotten bigger with the partnership of EDM promoter Insomniac but Lyman insists that the soul of it remains the same.

Thriving on a mix of punk, emo, ska, hardcore, metal and action sports, Warped has become an entry point to festival culture for a new generation of fans, requiring Lyman to always move forward in his musical tastes while still trying to stay true to the essence of what made Warped more of a community than just an annual event.

Recently he chatted with The Times to discuss the process of continuing the fest’s revival and why it’s still a vital part of the summer festival ecosystem.

What were your initial thoughts after Warped Tour’s big comeback in Long Beach last year?

I was really nervous. To be honest, I knew I had one shot at getting it right. I knew there were going to be bigger stages, we were going to have video and lights, but I also knew that I had to make it feel like Warped Tour between the performances. So that little bit of controlled chaos we had between the stages — the merch tents, all the sponsorship booths, the skate ramps, the surprises we threw out each day — I think it was mission accomplished. The feedback overall has been fantastic from the fans. For some people closer to my age demo, maybe it was a little too much — their feet hurt. But Warped came back strong, we went back on sale [for 2026] fairly quickly, and to still have 50% of the people buy the tickets right away without knowing a band on the bill yet was great.

Jimmy Eat World is doing like their 25th anniversary of “Bleed American” at the fest this year. What does it mean to you to have some of those early Warped Tour bands like that on the bill again?

It felt good to have a lot of those bands. For me, one of the more emotional ones last year was Rise Against. They had such a big moment. They were such a part of Warped Tour, and you get them to come back and then watch that crowd, every phone went up in the crowd, and probably 50% of the people there had never seen them before.

“I’ve been a disruptor, and the disruption I’ve caused has attracted enough people. Now we’re a niche of people,” Lyman says. “Warped is a great niche.”

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You’ve always had your own way of doing things that created the culture of Warped Tour. Why do you feel it is still so vital in the festival ecosystem today?

I had to carve a niche out for myself in the industry. I was never going to really quite conform. I kind of came from that rebellious spirit that Goldenvoice instilled in me back in the ‘80s when I worked for them, and Gary Tovar was rebellious. So I’ve always kind of had that mentality of, “Hey, let’s go against the norm. Let’s make it something our own.” And even when I’m teaching at USC now, I say you have to learn the foundations of every business. And those foundations, to me, were working 12 years in the clubs of L.A., 320 nights a year, and then you have to make something your own. I always say when you decide to go for it — go for it. And I did, and it seemed to connect with enough people and resonated with enough people that I’d been around that said, “Wow, this is different. He needs to work on it. But instead of knocking him down, let’s support him.”… I’ve been a disruptor, and the disruption I’ve caused has attracted enough people. Now we’re a niche of people. Warped is a great niche.

How did you keep Warped on people’s minds year-round while you were planning it out this year?

That was a challenge because before we used to have the two-month tour, so we were able to build community to keep the conversation going. Community is a big driver for me. Everything we’re doing now is investing in the community, and I think it’s working. [In January] we had a downtown Long Beach event with the band Holy Wars, we had an event in Orlando. We had one event in a fraternity house backyard in Virginia, we had events in Mexico City and Montreal … canned food drives, blood drives or, you know, register to vote. We’ll drop those kind of events so we’re constantly in everyone’s mindset. And it’s not about monetizing. I think people are always asking “How do you monetize the superfan?” I’m like, “How do you reward them?” Giving people a free Sunday afternoon event in Long Beach, that’s a thank you. Those are the people that are going to spread the word when you post a video, they’re going to share it with all their friends, and then they’re going to be telling kids at their schools. A third of the people going to Warped had never been to a festival or even a concert before, so we need to engage them in a different way.

What are your ways of scouting out bands you want to take a chance on when booking the festival?

Well, I have a great booker named Amanda Phelan. She books with me, so she’s kind of that on the ground talking to the agents and things. I don’t necessarily do that much anymore. I talk to them, but my part is more like, “Oh, I want to see what bands other bands are talking about, or young people are talking about.” And then I’m also talking to lots of the independent promoters out there that you know I used to work with.

Why do you think younger generation of fest goers will keep discovering Warped Tour?

We used to be that festival where you know it was over by sunset, your mom could pick you up at the curb or you could get home by dark, and then you went off to other festivals. We were your entry point to festivals. We may be that entry point again, but a lot of it now will come down to price point. We know the economics of Warped Tour are conducive for people that want to go on two levels: ones that want to come and explore a festival, and other ones, maybe some of your peers, who don’t get to go out every night and see bands anymore because they all have real jobs and things. But they can go for one for two days and catch up on all music, which makes you feel like you’re staying young.

At least two people have been killed in a shooting at a street festival in Toronto.

Police in the Canadian city initially received reports of an active shooter on St Clair Avenue at approximately 20:12 local time (01:12 BST), where a salsa festival was being held.

Five victims with gunshot wounds were found by police, who said two people had been pronounced dead at the scene.

Police said they had secured the scene, but urged the public to stay away from the area, where a large police presence would remain. They added that more information would follow.

St Clair Avenue, located in midtown Toronto, is lined with shops and restaurants.

Between the 11 and 12 July, it was set to host the annual Salsa on St Clair Latin festival, a yearly celebration which features a host of live music and dance performances.

This year was the festival’s 22nd iteration.

This breaking news story is being updated and more details will be published shortly. Please refresh the page for the fullest version.

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Enjoying the local produce is one of the great pleasures of travel – and a trip that coincides with a food festival is a win-win. We’d love to hear about foodie festivals you’ve discovered on holiday in Europe or the UK – from tiny village affairs to well-established events that draw the crowds, tell us where you went, what you ate and why it was so good.

The best tip of the week, chosen by Tom Hall of Lonely Planet wins a £200 voucher to stay at a Coolstays property – the company has more than 3,000 worldwide. The best tips will appear in the Guardian Travel section and website.

Keep your tip to about 100 words

If you have a relevant photo, do send it in – but it’s your words we will be judging for the competition.

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A MAJOR US band has cancelled all of their UK tour dates including a massive headline festival appearance. 

The popular nineties group pulled out of their tour just hours before their first UK show due to “medical issues”, leaving fans devastated. 

The American punk rock band, Alkaline Trio, have revealed to fans the sad news that they are unable to continue on their UK tour. 

Frontman Matt Skiba, Dan Andriano and Tosh Peterson make up the Chicago originated group.

The trio were all set to perform last night in Birmingham but hours before the show was set to start, the band released a statement on social media.

It read: “We are immensely sorry but we must cancel our dates in England, including tonight’s show in Birmingham, due to medical issues Matt has been suffering from that have worsened.

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“He’s gonna be okay but needs to be treated stateside as soon as possible.

“We will be back healthier and stronger!

“Refunds are available at the point of purchase.”

Not only will the band miss their upcoming UK tour dates to return to the States, but they have also been forced to cancel their highly anticipated headline performance at 2000trees Festival. 

Frontman Matt went on to share a video to fans from London Heathrow Airport, expressing his gratitude for “all the love and support”.

He added: “You guys deserve a better show than I can throw right now. I got numbness in my feet, numbness in my hands as you can tell I’m losing my voice so I can’t really talk, walk, play or sing. But I’m okay.”

After the news broke fans rushed to the comments, one user said: “Sorry to hear this and get well soon.

“Have flights and accommodation booked for the Manchester gig on Wednesday as no Dublin date. Dang.”

Another added: “Gutted to hear this guys, was so looking forward to seeing you again in London tomorrow, but know this decision wouldn’t have been taken lightly. Get well soon Matt.”

“Me looking at my tickets for London and 2000trees (crying emoji) Get well soon, Matt! Wishing you a speedy recovery fam,” a third added.

“It is what it is. Just a shame cus I was literally about to leave my hotel when I saw the message,” penned a fourth.

The band, whose name derived from Matt Skiba simply flicking through a dictionary to find a cool word to stick in front of the “Trio”, was founded in 1996 and went on to sell over a million albums.

Matt is well known for serving as the co-lead vocalist and guitarist of Blink-182 from 2015 to 2022.

Alkaline Trio are best known for songs like ‘Stupid Kid’ and ‘Private eye’. 

The band shot to fame when they released their debut single ‘Sundials’, in 1997.

Dine-in movie theater chain Alamo Drafthouse Cinema is launching a new initiative to show unreleased independent films that had successful festival runs, a move that comes as specialty films have struggled to gain distribution.

The Alamo Exclusives program, announced Wednesday, will give limited theatrical runs to films that showed at festivals including Sundance, the Toronto International Film Festival, Tribeca Festival and South by Southwest festival, as well as Alamo’s own Fantastic Fest.

The idea is to help showcase films that received critical acclaim, but did not secure distribution or acquisition deals. The chain will not acquire these films, but instead will enter into agreements with filmmakers to exhibit their films on Alamo Drafthouse screens. By showing these films to audiences on the big screen, these films could get the momentum they need for further opportunities.

The program’s first film will be the documentary “Butthole Surfers: The Hole Truth and Nothing Butt,” which debuted last year at South by Southwest and chronicles the history of the punk rock band.

The film will be shown in Alamo Drafthouse theaters for a limited time later this summer.

The Austin-based chain, which is owned by Sony Pictures, has a long history of curating indie films for its audiences, giving Alamo Drafthouse confidence that its viewers want to see these kinds of movies, company chief executive Michael Kustermann said in a statement.

“Time and again, they’ve shown they’ll come out to support bold, original films when given the opportunity,” he said. The new Alamo Exclusives “gives us another way to champion filmmaker-driven films that deserve to be discovered and connect them with the wider Alamo Drafthouse audience.”

The initiative comes at a difficult time for indie films. Since the pandemic upended the movie business, traditional studios and distributors have had less appetite for risk, including betting on smaller indie films out of festivals.

And as the 2023 dual writers’ and actors’ strikes thinned out theatrical lineups, that aversion to uncertainty became a push for reliable and profitable hits.

“Too many incredible films premiere at festivals and then never receive the theatrical life they deserve,” Lisa Dreyer, director of Fantastic Fest and film innovation at Alamo, said in a statement. “We are actively searching for films across all genres, from horror to comedy, to everything in-between, to champion in this new, exciting way.”

AN ICONIC music festival will host its final line-up this summer – after more than 18 years of hosting performers.

This marks a blow for residents as the county’s biggest festival comes to an end.

Nottingham’s Splendour festival will run for a final weekend next month, as the festival is set to be closed permanently.

The decision comes after organisers said they faced challenges within the current festival market, and have struggled to manage “the cost of staging events”.

Launched in 2008, Nottinghamshire’s biggest festival hosted a number of well-known performers throughout its run, including the likes of Noel Gallagher and Calvin Harris.

It regularly drew in crowds of up to 25,000, and had expanded into a two-day event in 2022.

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Now, the final show will take place from July 18 to 19 in Wollaton Park, with The Wombats, Primal Scream and Snow Patrol performing as headline acts.

George Akins, DHP Family managing director, said: “Like many independent festivals, Splendour has had to navigate a very different landscape in recent years, with the cost of staging events rising sharply at the same time as household budgets have come under pressure and the festival market has become much more crowded.

“After a lot of careful thought, we feel the right thing to do is to make this year a proper celebration of everything Splendour has meant to Nottingham and give it the send-off it deserves.”

Local artists, including Nottingham act Jake Bugg, had often used Splendour as a springboard for their careers.

To mark the final edition, organisers launched a two-for-one ticket offer on general admission day tickets.

Akins added: “Thanks to everyone for your loyalty and support over the years, we couldn’t have done it without you.”

BECKY Hill has hit back at the crowd that booed her during her surprise festival set as she addressed a viral video.

The pop star, 32, was treated badly at the weekend after she vowed to play only new songs at her secret set at TRNSMT. 

Speaking about the viral video that showed the crowd, she has now said: “Getting booed is not nice.

“I haven’t found a single one of these easy, it’s really upsetting.

“Because I love this job and that’s not making me love it as much as I usually do.”

Speaking directly to the camera she added: “I wanted to bring a new and exclusive thirty minute set of brand new music to a festival crowd unannouced.

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“I thought it would be a great opportunity to play the new music I’ve been working so hard on.

“And I personally love so much.”

She then thanked the team at the festival for giving her that stage and also the crowd of people who you stayed and danced with her right until the very end.

She added: “It was amazing to have such a captive audience who wanted to hear the new stuff too.

“I said on stage how difficult it is to transition into a new single, and new music and new albums.

“And all this conversation online is exactly what I meant.

“I’m not a jukebox, I’m an artist and the tickets at TRNSMT were not sold with my name as part of the line-up.

“And I wanted to do something new, artistically driven.”

Becky explained that she doesn’t normally get the opportunity to do that much in her career.

She added: “But trust me when my name is on the poster I will always sing the tunes that people know and love.”

“I feel really grateful to have those records in my catalogue,” she explained.

The singer concluded that in order to have a long career she needed to have new music and thanked those that stayed to listen to her.

The pop star has no shortage of hits to choose from, with 19 top 40 singles, six top 10s and a number one to her name.

Becky played her new track Daddy’s Range Rover at TRANSMT which hits out at Jack Whitehall for mocking her when he hosted last year’s Brit Awards.

The pair have since buried the hatchet and Jack admitted he apologised to Becky for calling her “Wetherspoons Whitney”. 

Addressing her fans while performing earlier this year, she said: “I’ve had enough of all this s*** so I wrote about it.

A NOUGHTIES pop star looks unrecognisable 23 years after his controversial hit, as he braved the rain at a UK festival.

This US singer, now 54, shot to fame in a quirky Detroit rock band – but can you guess who he is?

The star in question is Dick Valentine, who is known for the band Electric Six, which he founded with friends from high school.

The band launched into the spotlight in the early noughties, and were known for their controversial song Gay Bar.

The tune was released in June 2003, and lead singer Dick, who’s real name is Tyler Spencer, has now revealed how he came up with the song.

Speaking in the rain at Download Festival, he told the Academy Music Group: “The real story, I was in a rock and roll bar. Okay, and so there’s ambient noise, there are people talking, there are drinks clinking.

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“In the background, on the jukebox, right, you’re hearing the song that they’re playing in the jukebox, but you can’t quite make out the lyrics.

“The song on the jukebox was Girl You Want by Devo, where the lyrics are, ‘She’s just a girl, just a girl, girl you want.’

“Those are the lyrics, those are the actual lyrics.”

Continuing with his story, Dick said: “But I thought he was saying, ‘She’s just a girl, just a girl in a gay bar.’

“And so I started singing that, and my friend was like, ‘No, no, no, what are you singing?’

“So then I’ve got this lyric now about a girl in a gay bar, right, I’ve got this, and it hasn’t been used, so now this is mine.

“So that was the genesis of it. It was just a misheard lyric in a pub, and it worked out really well for me!”

When Gay Bar was released over twenty years ago, the track certainly caused a stir.

While the song and music video got a lot of airplay the lyrics mentioning the Iraq war, which was ongoing at the time, were edited because they were perceived to have been offensive at the time.

Meanwhile, Electric Six shot to fame with their first single, Danger! High Voltage, which soared to No. 2 in the UK charts.

Along with Dick, the original line-up included Cory Martin on drums, Anthony Selph on lead guitar, Joe Frezza on rhythm guitar, and Steve Nawara on bass.

Over the years the band has experienced various changes in members, but Dick has always remained at the helm.

Electric Six continue to perform, and are currently on tour right now in the UK.

A FREE UK beach festival dubbed a “giant family playground” returns this weekend to an iconic seaside town.

Tens of thousands of visitors are expected to descend on the beachfront to enjoy a programme of live music and workshops.

A huge, free beach festival is set to return this weekend (June 20 to June 21) with tens of thousands of visitors expected to attend.

The First Light Festival takes place annually in Lowestoft, Suffolk, and features more than 200 performances across 24 stages.

The creative festival also offers visitors a wide-ranging programme of workshops, wellbeing sessions, crafting, dance, science, storytelling and family adventures for a fun-filled weekend.

Taking place over the summer solstice, the festival is a celebration of the first sunrise of midsummer.

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This year, visitors will be able to attend a “special Indian Sunrise raga” at dawn on Sunday, June 21.

The festival covers an expansive area of the South Beach, spreading along the seafront, promenade and nearby Kensington Gardens and East Point Pavilion.

Converting the seafront into a “giant family playground”, festival-goers will enjoy events such as dance parties, science discoveries and circus skills workshops.

There are also camping options for those looking to stay overnight, including a glamping experience in well-equipped campervans.

Visitors are able to enter the First Light Festival for free and without a ticket.

However, after 9.30 pm, any festival-goers looking to attend one of the Sundown Events happening on Saturday night after the free programme of beach events ends will need to purchase a ticket.

The festivities began on Friday, June 19, with a selection of live theatre and music events to kick off the celebrations, and there are many more activities to get involved in as the weekend progresses.

A huge Big Bang Boogie parade takes place on Saturday, June 20, starting at the East Point Pavilion at 11 am and travelling along the seafront towards the main Sunlight Stage.

Other activities include a grounded movement ring, rocketry experience, and a traditional Punch and Judy show.

Visitors can also explore a selection of dance workshops, aerial displays and even get to see objects from the Natural History Museum.

Returning for its sixth year, the festival also has a huge impact on the town itself.

Chairman of Lowestoft Vision business improvement district, Danny Steel, told the BBC that the midsummer festival was “massive” for Lowestoft.

He explained: “We get about 30,000 people come to the First Light Festival over the weekend, and if all of those people spend £35 in Lowestoft, that’s £1m extra into the Lowestoft economy.”

Chief executive officer of the First Light Festival, Genevieve Christie, said the festival is about “coming together” as a community and gives people the chance to “experience things in real life”.

The festival also aims to put Lowestoft on the map as a holiday destination.

She explained: “All of our work is about raising the profile of Lowestoft, actually as a place to come on holiday, to be a tourist.

“We’ll be looking forward to 2028, when we’ll be operating the new cultural centre in Lowestoft, and our whole idea there is to bring the spirit of the festival into the town.”

There’s something delightful about plays about grand divas in crisis.

The prima donna in extremis in Pearl Cleage’s “Angry, Raucous, and Shamelessly Gorgeous,” which is having its Los Angeles premiere at the Geffen Playhouse, has an air of Bette Davis extravagance to her. When Anna Campbell (Charlayne Woodard) struts around her elegant hotel suite in Atlanta, she can’t resist delivering one of Davis’ signature lines: “What a dump!”

She’s not at all dissatisfied with the accommodations. She’s just frustrated that the weather isn’t cooperating with her upcoming outdoor performance and agitated that this might be a bad omen for her big American comeback.

More than 30 years ago, Anna and her manager and trusted companion, Betsy Samson (a formidable Denise Burse), fled to Europe on the heels of a highbrow scandal. Anna made waves when she performed “Naked Wilson,” a protest piece that had her delivering male monologues from August Wilson’s plays while standing stark naked before a divided audience.

The idea was to call attention to the way women have been de-centered in the male canon, but some felt it was sacrilege to subject Wilson’s work to a feminist stunt. Acting opportunities dried up, and Anna high-tailed it to Amsterdam, where her histrionic grandeur was put to good use in European classics.

Charlayne Woodard in “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.

(Jeff Lorch)

Woodard brings Anna to life with a smokey voice, a statuesque presence and an arch demeanor. When her arms are in flamboyant motion, she leaves the impression of a seductive windmill that might slice you to bits if you come too close.

The sumptuous production, directed by LaTanya Richardson Jackson with solidarity for Cleage’s characters, provides a marvelous showcase for Woodward to slink around on Beowulf Boritt’s glamorous five-star set in costume designer Emilio Sosa’s inspired Pucci-esque outfits. Her Anna doesn’t do much but give attitude. Ah, but what delicious attitude she gives!

Cleage’s play, it must be said, is hamstrung with exposition. More time is devoted to setting up the dramatic situation than to activating it. Author of “Blues for an Alabama Sky,” a 1995 abortion drama still ahead of its time, Cleage is telling a backstage story that’s clearly close to home. She’s also spinning an intergenerational tale of Black women groping past their initial distrust to a deeper understanding of what they have in common.

The intentions are noble and the themes are handled with admirable complexity, but the writing is sluggish. The plot is like an old car whose engine just refuses to start on a cold winter morning.

Anna has returned to Atlanta to headline a festival that is rebooting her “Naked Wilson” piece. She’s worried about disrobing at her age, but it turns out that she’s only being honored for her work. A much younger and far less experienced performer has been cast in the part that made her a cause célèbre.

Denise Burse, from left, Deborah Joy Winans, Charlayne Woodard and Olivia Washington in “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.

(Jeff Lorch)

Precious Watson (Olivia Washington), who goes by Pete, has not only never performed in a Wilson play but she’s never even seen one on stage. She’s a stripper whose only real dramatic experience has come from the adult entertainment industry. (Don’t call her a porn star, not because she’s ashamed of the films she made but because she’s too modest about her screen credits.)

Anna, her hauteur hardening like a protective shell, is aghast. She’s also fearful about her future. She’s run out of money, and this festival was to have launched her return to the U.S.

Betty, whose fate is tied to Anna’s, has been dangling the prospect of a national tour. But when Kate Hughes (an appealingly grounded Deborah Joy Winans), the producer of the festival, hears of this idea, she thinks it’s completely unrealistic.

“I love Anna,” she tells Betty. “ I’m honoring Anna, but there just isn’t an audience for the kind of presentation you’re talking about.”

Time marches on, and one era’s sensational renegade becomes a footnote in the next. But Anna can’t believe that all she holds sacred — study, discipline, seriousness, commitment — is of little value in the social media world.

Deborah Joy Winans, left, and Denise Burse in “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.

(Jeff Lorch)

Pete (whom Washington plays with impressive self-possession) doesn’t seem at all bothered about what she doesn’t know. Anna keeps prefacing her remarks with the words “no offense,” but Pete can’t help being offended by her pointed disdain. Their standoff energizes the play, but this jolt of momentum comes a little too late.

“Angry, Raucous, and Shamelessly Gorgeous” is not just the title. It’s also a plot summary. The gorgeous part is the richness of Cleage’s characters, radiantly realized by all four actors under Jackson’s warm direction.

Cleage gives the women plenty of substance, though her novelistic mode — more telling than showing — deprives her drama of style. The elegant staging tries to compensate, but the performers have to rely a little too heavily on their own charms to make up the difference in a play that swerves unexpectedly at the end into a cutesy fairy tale.