great

When Fernando Mendoza won the Heisman Trophy this weekend with another Latino finalist looking on from the crowd, the Cuban-American quarterback did more than just become the first Indiana Hoosier to win college football’s top prize, and only the third Latino to do so. He also subtly offered a radical statement: Latinos don’t just belong in this country, they’re essential.

At a time when questions swirl around this country‘s largest minority group that cast us in a demeaning, tokenized light — how could so many of us vote for Trump in 2024? Why don’t we assimilate faster? Why does Supreme Court justice Brett Kavanaugh think it’s OK for immigration agents to racially profile us? — the fact that two of the best college football players in the country this year were Latino quarterbacks didn’t draw the headlines they would’ve a generation ago. That’s because we now live in an era where Latinos are part of the fabric of sports in the United States like never before.

That’s the untold thesis of four great books I read this year. Each is anchored in Latino pride but treat their subjects not just as sport curios and pioneers but great athletes who were and are fundamental not just to their professions and community but society at large.

Shea Serrano writing about anything is like a really great big burrito — you know it’s going to be great and it exceeds your expectations when you finally bite into it, you swear you’re not going to gorge the thing all at once but don’t regret anything when you inevitably do. He could write about concrete and this would be true, but his latest New York Times bestseller (four in total, which probably makes him the only Mexican American author with that distinction) thankfully is instead about his favorite sport.

“Expensive Basketball” finds Serrano at his best, a mix of humblebrag, rambles and hilarity (of Rasheed Wallace, the lifelong San Antonio Spurs fan wrote the all-star forward “would collect technical fouls with the same enthusiasm and determination little kids collect Pokémon cards with.”) The proud Tejano’s mix of styles — straight essays, listicles, repeated phrases or words trotted out like incantations, copious footnotes — ensures he always keeps the reader guessing.

But his genius is in noting things no one else possibly can. Who else would’ve crowned journeyman power forward Gordon Hayward the fall guy in Kobe Bryant’s final game, the one where he scored 60 points and led the Lakers to a thrilling fourth-quarter comeback? Tied a Carlos Williams poem that a friend mistakenly texted to him to WNBA Hall of Famer Sue Bird? Reminded us that the hapless Charlotte Hornets — who haven’t made it into the playoffs in nearly a decade — were once considered so cool that two of their stars were featured in the original “Space Jam?” “Essential Basketball” is so good that you’ll swear you’ll only read a couple of Serrano’s essays and not regret the afternoon that will pass as quickly as a Nikola Jokic assist.

“Mexican American Baseball in the South Bay”

(Gustavo Arellano/Los Angeles Times)

I recommended “Mexican American Baseball in the South Bay” in my regular columna three years ago, so why am I plugging its second edition? For one, the audacity of its existence — how on earth can anyone justify turning a 450-page book on an unheralded section of Southern California into an 800-page one? But in an age when telling your story because no one else will or will do a terrible job at it is more important than ever, the contributors to this tome prove how true that is.

“Mexican American Baseball in the South Bay” is part of a long-running series about the history of Mexican American baseball in Southern California Latino communities. What’s so brilliant about this one is that it boldly asserts the history and stories of a community that too often get overlooked in Southern California Latino literature in favor of the Eastsides and Santa Anas of the region.

As series editor Richard A. Santillan noted, the reaction to the original South Bay book was so overwhelmingly positive that he and others in the Latino History Baseball Project decided to expand it. Well-written essays introduce each chapter; long captions for family and team photos function as yearbook entries. Especially valuable are newspaper clippings from La Opinión that showed the vibrancy of Southern Californians that never made it into the pages of the English-language press.

Maybe only people with ties to the South Bay will read this book cover to cover, and that’s understandable. But it’s also a challenge to all other Latino communities: if folks from Wilmington to Hermosa Beach to Compton can cover their sports history so thoroughly, why can’t the rest of us?

(University of Colorado Press)

One of the most surprising books I read this year was Jorge Iber’s “The Sanchez Family: Mexican American High School and Collegiate Wrestlers from Cheyenne, Wyoming,” a short read that addresses two topics rarely written about: Mexican American freestyle wrestlers and Mexican Americans in the Equality State. Despite its novelty, it’s the most imperfect of my four recommendations. Since it’s ostensibly an academic book, Iber loads the pages with citations and references to other academics to the point where it sometimes reads like a bibliography and one wonders why the author doesn’t focus more on his own work. And in one chapter, Iber refers to his own work in the first person — profe, you’re cool but you’re not Rickey Henderson.

“The Sanchez Family” overcomes these limitations by the force of its subject, whose protagonists descend from Guanajuato-born ancestors that arrived to Wyoming a century ago and established a multi-generational wrestling dynasty worthy of the far-more famous Guerrero clan. Iber documents how the success of multiple Sanchez men on the wrestling mat led to success in civic life and urges other scholars to examine how prep sports have long served as a springboard for Latinos to enter mainstream society — because nothing creates acceptance like winning.

“In our family, we have educators, engineers and other professions,” Iber quotes Gil Sanchez Sr. a member of the first generation of grapplers. “All because a 15-year-old boy [him]…decided to become a wrestler.”

Heard that boxing is a dying sport? The editors of “Rings of Dissent: Boxing and Performances of Rebellion” won’t have it. Rudy Mondragón, Gaye Theresa Johnson and David J. Leonard not only refuse to entertain that idea, they call such critiques “rooted in racist and classist mythology.”

(University of Illinois Press)

They then go on to offer an electric, eclectic collection of essays on the sweet science that showcases the sport as a metaphor for the struggles and triumphs of those that have practiced it for over 150 years in the United States. Unsurprisingly, California Latinos earn a starring role. Cal State Channel Islands professor José M. Alamillo digs up the case of two Mexican boxers denied entry in the United States during the 1930s, because of the racism of the times, digging up a letter to the Department of Labor that reads like a Stephen Miller rant: “California right now has a surplus of cheap boxers from Mexico, and something should be done to prevent the entry of others.”

Roberto José Andrade Franco retells the saga of Oscar De La Hoya versus Julio Cesar Chávez, landing less on the side of the former than pointing out the assimilationist façade of the Golden Boy. Mondragón talks about the political activism of Central Valley light welterweight José Carlos Ramírez both inside and outside the ring. Despite the verve and love each “Rings of Dissent” contributors have in their essays, they don’t romanticize it. No one is more clear-eyed about its beauty and sadness than Mondragón’s fellow Loyola Marymount Latino studies profe, Priscilla Leiva. She examines the role of boxing gyms in Los Angeles, focusing on three — Broadway Boxing Gym and City of Angels Boxing in South L.A, and the since-shuttered Barrio Boxing in El Sereno.

“Efforts to envision a different future for oneself, for one’s community, and for the city are not guaranteed unequivocal success,” she writes. “Rather, like the sport of boxing, dissent requires struggle.”

If those aren’t the wisest words for Latinos to embrace for the coming year, I’m not sure what is.

United States President Donald Trump’s second administration has introduced a bold and unconventional strategy for the Middle East. The administration intends to recalibrate US influence in a region historically scarred by conflict, prioritising regional stability through economic strength and military consolidation by asserting a stronger, business-minded US presence.

At the centre of Trump’s ambitious goal is what the new US envoy to Iraq, Mark Savaya, described as his goal to “make Iraq great again”. This approach moves away from traditional endless war tactics towards a transactional, results-oriented diplomacy that aims to restore Iraqi sovereignty and economic vitality. It could be the “great gamble” for Trump, who seeks an Iraq that serves as a stable, sovereign regional hub rather than a battleground for foreign interests.

Trump’s primary plans and wishes for Iraq involve a twofold mission: consolidating all armed forces under the command of the legitimate state and drastically reducing the influence of malign foreign players, most notably Iran. The administration seeks to open Iraqi markets to international investment, upgrade the country’s infrastructure, and secure the independence of its energy sector. Hence, the plan is to ground a genuine partnership that respects Iraq’s unity while ensuring that it is no longer a central node for militia activity or external interference.

Militias and political gridlock

This assertive US strategy lands directly in a highly contested and fractured political environment in Iraq, which is less a single state than a patchwork of competing powers. The heart of the problem lies not just in parliament, but also in the persistent shadow influence of armed factions and militias that often operate outside the formal chain of state command. Those groups were among the biggest winners in the November 2025 elections.

Now the ongoing government negotiations have thrown a stark light on these non-state actors.

Their power raises crucial concerns for the future: How can Iraq enforce the law and, crucially, attract the foreign investment needed for revival if armed groups challenge state authority? The consolidation of the country’s armed forces under complete state control is an urgent necessity, underscored by rising regional tensions and security threats.

Moreover, the path to achieving genuine stability is severely obstructed by entrenched political interests.

For Iraq to achieve stability, it must urgently strengthen its institutional frameworks and clearly establish a separation of powers. Yet, many political parties seem more focused on maintaining control over lucrative state resources than on implementing the meaningful reforms the country desperately needs. The result is a governance model struggling to stand firm amid the crosscurrents of competing loyalties and power grabs.

Washington’s play

To achieve these high-stakes goals, Trump has bypassed traditional diplomatic channels by appointing Mark Savaya as the US special envoy to Iraq on October 19. Such an appointment signals a shift towards “deal-making” diplomacy. Savaya’s mission is to navigate the complex political turmoil following Iraq’s parliamentary elections to steer the country towards a stable transition. His job is to bridge the gap between institutional support and massive financial investment, acting as a direct representative of Trump’s business-centric foreign policy.

Savaya is an Iraqi-born, Detroit-based businessman lacking the traditional diplomatic background; his experience is rooted in the private sector in the cannabis industry, but he gained political prominence as an active supporter of Trump’s campaign in Michigan.

He played a key role in the delicate negotiations that secured the release of Elizabeth Tsurkov, the Israeli-Russian academic and Princeton University student who had been kidnapped by an Iraqi militia for more than two years.

Savaya’s communal and ethnic ties have given him significant access to Iraqi power centres that traditional diplomats often lack.

The Iran factor

Iraq’s position in a geopolitical tug-of-war is compounding the internal struggles, forced to balance its critical relationships with two giants: the US and Iran. On the one hand, Washington’s objective is clear: it wants to bolster Iraq’s sovereignty while simultaneously pushing back against the dominance of powerful, often Iran-backed, militias. The US believes that allowing these armed groups too much sway could leave the nation isolated and wreck its fragile economic stability.

But Iranian influence remains a formidable and enduring force. Tehran views Iraq not just as a neighbour but also as a crucial strategic ally for projecting its power across the entire region. The Islamic Revolutionary Guard Corps (IRGC) has been actively working to maintain unity among key Shia factions in Baghdad. This move clearly signals Iran’s deep and enduring interest in shaping Iraq’s political alignment and its future path. Iraq must therefore navigate this high-stakes balancing act to survive.

Savaya’s mission unfolds at a time when Iran’s regional “axis of resistance” is under unprecedented pressure. Having already lost their primary foothold in Syria after the fall of the Assad regime in late 2024, and seeing Hezbollah’s political and military standing in Lebanon severely decimated by the 2025 conflict with Israel, Iranian proxies now face the very real prospect of losing their grip on Iraq too.

In Lebanon, a new government is committed to regaining the state’s monopoly on the use of force, leaving Hezbollah increasingly isolated. This regional retreat means that for Tehran, maintaining influence in Baghdad is a final, desperate stand to remain a relevant regional power.

Other regional actors

The success of Trump’s gamble also depends on the roles of other regional players. Turkiye has recently recalibrated its strategy to integrate Iraq into ad hoc regional trade and security frameworks, effectively diluting Iran’s centrality. Simultaneously, Gulf monarchies such as Saudi Arabia and the United Arab Emirates are emerging as key economic and security partners for Baghdad, offering an alternative to reliance on Iran.

However, these regional actors also bring their own agendas — such as Turkiye’s focus on containing Kurdish movements — which may conflict with US objectives. If Savaya can successfully align these diverse regional interests with Trump’s plan, he may fundamentally rewrite Iraq’s turbulent future.

A realist pragmatism

The “Make Iraq Great Again” strategy reflects a pragmatic reassertion of US interests within the anarchic international system, prioritising Washington’s security and economic power over idealistic goals.

By appointing Savaya — an unconventional, business-oriented envoy — the Trump administration is employing “transactional realism”, utilising economic diplomacy and personal ties as strategic tools to pull Iraq away from Iran’s orbit. This approach views the US-Iran rivalry as a zero-sum game of power politics, where integrating Iraq’s armed forces under centralised state control is fundamental to restoring a state-centric order and sidelining non-state militias that currently feed Tehran’s regional influence.

The new US envoy to Iraq has made clear that “there is no place for armed groups in a fully sovereign Iraq”. His calls resonated with Iraqi officials and militia leaders alike – now at least three militias close to Iran have publicly agreed to disarm. However, other groups have yet to do the same, while rejecting the call from the outset.

However, this high-stakes attempt to shift the regional balance of power faces a significant “security dilemma”, as aggressive moves to diminish Iranian influence may trigger a violent defensive response from Tehran to protect its remaining strategic assets. While the strategy seeks to exploit a regional shift – leveraging the weakened state of Iranian proxies in Syria and Lebanon – it must contend with the “hybrid” power of Iraqi militias and the narrow self-interests of neighbouring players like Turkiye and the Gulf states.

The success of this gamble depends on whether the US can dismantle the shadow economies that facilitate foreign interference and establish a stable, autonomous Iraqi state capable of navigating the intense geopolitical tug-of-war between Washington and Tehran.

The stakes for Iraq’s future

Ultimately, the appointment of Savaya serves as the definitive stress test for Iraqi sovereignty, marking a high-stakes transition towards a transactional “America First” strategy aimed at “Making Iraq Great Again”. By attempting to consolidate military command under the state and dismantle the shadow economies fuelling Iranian influence, Savaya’s mission seeks to exploit the current regional weakening of Tehran’s proxies to transform Iraq into a stable, autonomous hub.

However, the success of this “Great Gamble” hinges on Savaya’s ability to overcome entrenched political opposition and reconcile the presence of US forces with the demand for national unity. If this unconventional diplomatic push can bridge internal divides — particularly between Baghdad and the semi-autonomous Kurdish region in the north — Iraq may finally secure a path towards economic independence; otherwise, the nation risks remaining a perpetual battleground caught in the geopolitical crossfire between Washington and Tehran.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

IT was the year when those noisy Mancunian brothers brought the Britpop Nineties back to packed stadiums everywhere.

It was the year when Pulp made a charming first album in 24 years, with Jarvis Cocker singing about getting older with a wry smile on his face.

But I contest that one band from the era has been the most forward-facing, the most creative and the most kick-ass – Suede.

Which is why their vibrant, visceral, unflinching and wildly adventurous Antidepressants is our Album Of The Year.

Back in September to mark its release, frontman Brett Anderson told me: “We’ve fallen in love with being a rock band again.” And this week I caught up with him again to impart some good news . . . 

Congratulations! Antidepressants is the SFTW Album Of The Year. Does that make you happy?

FAIRYTALE ENDING?

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NAME ROW

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Thank you. Very!

In all the years of Suede, where does 2025 rank?

Right up there. Somewhere between 2024 and 2026.

What have been the highlights of the year for you?

The South Bank takeover gigs in September were great – playing those new songs live for the first time was special.

I particularly enjoyed the Clore Ballroom show where we just did post-reformation stuff.

I thought that was an exciting and fairly unique thing to do for a band of our generation.

Also, I just love the South Bank. Walking over the footbridge from Embankment tube and looking at the skyline always gives me a sense of awe, a feeling of London being this big, beautiful, living thing.

Which of the new songs have you enjoyed singing live the most?

June Rain has a nice dynamic and slow sense of build which works great live. Plus the first half is spoken-word so I get to sit down a bit.

I personally think the album’s opening song Disintegrate should be the Christmas No.1 . . . do you agree?

Ha! Yes, love it. A kind of resolutely unseasonal Christmas song full of dread and fear.

Which album, aside from Suede’s, has been your favourite this year and why?

I liked Sprints’ All That Is Over. It was sharp and shouty and brainy and brash. (Sprints are an Irish garage punk band).

You told me that Suede are “the anti-nostalgia band”. What keeps you facing forwards rather than reflecting on the past (unlike some of your peers)?

Hmmm, huge question. I’ve always thought the point of any artist was to create rather than to repeat and consolidate.

That search for the next great song, the next great album, the next great moment has always been the carrot I’ve chased.

I come from a fiscally poor but culturally rich family background. My mum was an artist and a dressmaker and my dad was a classical music-obsessed taxi driver who made our furniture.

When I was a kid, we didn’t have any money, so if you wanted something you made it yourself.

I’m much less interested in what I wrote 30 years ago than in what I’m going to write next.

Have you started work on the third album of Suede’s “black and white” trilogy, following Autofiction and Antidepressants?

Yes, we’ve written a handful of songs already. I want it to be harder and more extreme than Antidepressants, a relentless onslaught, incessant and uncompromising and very rhythmic.

I already have a title which I’m keeping secret.

You also spoke to me of the importance of family relationships. Does that mean Christmas is a special time for you?

My family and my band are of course so, so important to me and in many ways they feed into each other. It’s hard to write about family without coming across as schmaltzy but luckily I can find the cloud in any silver lining.

Among my favourite songs I’ve ever written are Life Is Golden and She Still Leads Me On which have both been inspired by fatherhood and family.

And yes, Christmas is especially great when you have kids.

Happily though, now my son is older, there’s less pressure for me to dress up in a Santa suit.

What are your hopes for 2026 – for you, your family, the band, and for humankind?

For the band to write a great follow-up to Antidepressants and for humankind to stop scrolling. My hope for myself is always the same – to be a good husband and father.

2. ROSALIA

Lux

THE Spanish star known for her reinvention of ­folk and flamenco turned her attention to more bombastic, classical genres on this fourth album.

Backed by the London Symphony Orchestra it was a lavish production sung in a variety of languages. Bonkers but brilliant. JS 

People Watching

WITH its widescreen ambition, driving intensity and visceral lyrics, songs about “the human experience” couldn’t fail to draw comparisons with Fender’s “biggest hero”, Bruce Springsteen.

But it also marked the Geordie’s coming of age as a major artist in his own right. SC 

4. ROBERT PLANT with SUZI DIAN

Saving Grace

FOR six years, Led Zeppelin legend Plant has surrounded himself with acoustic musicians who live near his Worcestershire home, singer Dian among them.

Together, they gave us a ravishing mix of trad and contemporary covers. Rarely has he sounded so sublime. SC 

5. BIFFY CLYRO 

Futique 

A REFLECTIVE album shaped by friendship, family and loss, it captured Biffy Clyro at their most emotionally open.

Goodbye explored mental health, while A Thousand And One and Two People In Love delivered some of the most moving moments. JS 

6. MARGO PRICE 

Hard Headed Woman

FURTHER proof that Price tells it like it is. This was a stirring return to her country roots, following the trippy rock textures of Strays.

It drew comparisons with her beloved debut, Midwest Farmer’s Daughter, but was inspired by another decade of life experience. SC 

7. TURNSTILE

Never Enough

THIS fourth album from the hardcore punks from Baltimore, known for their energetic live shows, crossed into the mainstream.

The title track had a catchy chorus and melodic guitar breaks while at its heart there was still an uncompromising mandate to rock out. JS 

8. THE DIVINE COMEDY

Rainy Sunday Afternoon

WE’VE long been intrigued by Neil Hannon – not just because he once wrote a song called Something For The Weekend.

These 11 tracks assumed a reflective tone, with love and loss prominent themes, and featured some of Hannon’s most sumptuous tunes. SC 

9. YUNGBLUD

Idols

THIS album sees Yungblud questioning hero worship and identity after a life-changing encounter with a fan.

Inspired by Britpop, it’s his most confident work yet, opening with a nine-minute rock opera and driven by limitless self-belief and ambition. JS 

10. LADY GAGA

Mayhem 

GAGA proved why we loved her in the first place, returning to her dance-pop roots.

She recalled the vibe of her 2008 debut The Fame yet delivered an album for the here and now.

It was marked out by strong singles Abracadabra and Disease. SC 

11. GEESE

Getting Killed

THIS was a case of do believe the hype. With mesmerising singer Cameron Winter at the helm, Brooklyn’s indie rock saviours might channel The Strokes, The Stones, or even Nirvana, but they’re too weird and original to be slaves to their influences.

On the brink of greatness. SC 

12. JACOB ALON

In Limerence

FEW debuts arrived so perfectly formed as this one featuring the tender storytelling of Scottish singer Alon.

With an impossibly pure voice which sat somewhere between Bon Iver and Thom Yorke, it was full of fragile hope.

Vulnerable and haunting ambient soundscapes. JS 

13. PULP

More

JARVIS and Co’s first album in 24 years was dedicated to dear departed bassist Steve Mackey – and it summoned the old mischief. “I am not ageing.

No, I’m just ripening,” cried the singer on Grown Ups, a song filled with lyrical twists and turns. SC 

14. CMAT

Euro-Country

WITH songs about Teslas and Jamie Oliver, there was a quirky, kitsch element to Ciara Mary-Alice Thompson’s third album.

It also plumbed deeper depths of emotional pain but was allied to soft pop melodies.

Issues tackled included social media and objectification. JS 

15. MATT BERNINGER

Get Sunk

TALL, elegant, blessed with a sumptuous baritone, The National’s frontman and lyricist is an, er, National treasure.

But he managed to save wonderfully evocative songs for his second solo outing, including the intoxicating ebb and flow of opener Inland Ocean. SC 

16. DAVE

The Boy Who Played The Harp

HIS first album in four years found Dave drawing on the power of his biblical namesake King David to explore vulnerability and masculinity.

With James Blake’s ghostly production on Selfish and Chapter 16 (ft. Kano), it struck a reflective mood. JS 

17. JASON ISBELL

Foxes In The Snow

THE Alabama-born artist recorded his latest offering without his ace band, the 400 Unit, but with an old acoustic guitar for company.

“This is the first time I’ve done an album with just me and a guitar,” he told SFTW of the exquisite, stripped-back song cycle. SC  

18. BILLY NOMATES 

Metalhorse 

METALHORSE emerged from a personal, tumultuous period for Tor Maries.

A loose concept album set in a dilapidated funfair it featured radio hit The Test, while Strange Gift offered hope.

Closing song Moon Explodes was especially moving, written after Maries’ MS diagnosis. JS 

19. BIG THIEF

Double Infinity

FEW vocalists could handle the word “incomprehensible” like Adrianne Lenker on this LP’s fuzzy joy of an opening track.

Though the indie darlings have contracted to a three piece, there was nothing shrinking about their fearless, exilharating sonic adventure .SC  

20. OLIVIA DEAN

The Art Of Loving

MELLOW and sumptuous, the second album from the stylish Londoner was smooth soul to relax into.

Tracks such as Nice To Each Other and Lady Lady were warm and all-enveloping, exploring affairs of the heart with a particular emphasis on self-care. JS 

21. LILY ALLEN

West End Girl

LILY’S fifth album, the first in seven years, was also her most vulnerable and intensely personal.

It came after her split from actor husband David Harbour and the songs laid it all out in heartbreakingly painful detail.

Infidelity and betrayal were constant themes. JS 

22. BON IVER

Sable, Fable

DIVIDED into two distinct halves, the first was an understated return to the folky stylings of Justin Vernon’s wintery debut album, For Emma, Forever Ago.

The second blossomed into more upbeat territory, primed for glorious spring sunshine. SC  

23. THE WATERBOYS

Life, Death And Dennis Hopper

MIKE Scott took us on a wild ride with this 25-track album celebrating “one of the great American lives”, actor and hellraiser Dennis Hopper.

He summoned a blizzard of musical styles and included cameos from Bruce Springsteen, Steve Earle and Fiona Apple. SC  

24. AFRICA EXPRESS 

Bahidora 

EVEN before Blur completed their reunion gigs, Damon Albarn headed to the Mexican jungle with a dizzying array of 70-plus artists from four continents.

The result? A thrilling mash-up of African rhythms, electronic textures, Latin soul, rock, hip hop – everything! SC  

25. MAVIS STAPLES

Sad And Beautiful World

SHE bears one of the greatest living voices . . .  and it remained in towering form.

Well into her Eighties, Staples tackled our uncertain world with unerring compassion.

Guests included Buddy Guy, Bonnie Raitt, Wilco’s Jeff Tweedy and Bon Iver’s Justin Vernon. SC  

26. BRANDI CARLILE

Returning To Myself 

THIS record found Brandi in an introspective, stripped-back mood after a landmark year.

Working with Aaron Dessner, Andrew Watt and Justin Vernon, the album reconnected her with loneliness, self-belief and politics, from the reflective title track to the powerful Church & State. JS  

27. WOLF ALICE

The Clearing

THE fourth album from the Brit award winners was a grandiose affair, a bold and confident leap forward.

Tracks like Bloom Baby Bloom incorporated all their strengths with bombastic choruses and lush melodies, showcasing Ellie Rowsell’s exceptional rock vocal range. JS 

28. STEREOLAB

Instant Holograms On Metal Film

A STRONG return after 15 years from the much-loved Anglo-French combo.

Led, as ever, by Tim Gane and Laetitia Sadier, the album revisited their distinctive blend of art-pop and motorik beats, really hitting the mark on the effervescent Electrified Teenybop! SC  

29. RICHARD ASHCROFT

Lovin’ You

ASHCROFT’S first album of new music since 2018 arrived after he supported Oasis on tour.

From the Joan Armatrading-sampled Lover to the title track, which sampled Mason Williams’ 1968 Classical Gas, it was a vocally focused, emotionally wide record. JS 

30. WET LEG

Moisturizer

MORPHING from duo to fully-fledged band, the follow-up to their debut album was still as oddball as ever, but it came with a tighter focus.

Tracks like Davina McCall and Jennifer’s Body were heartfelt, kooky love songs backed by ragged, punky basslines. JS  

31. SOMBR

I Barely Know Her

A SPECIAL debut full of heartbreak from the bedroom pop star who quit school to make music.

His melancholy voice accompanied by his own guitar, bass and keyboards and drums, made this magical, with Dime and disco-tinged 12 To 12 emerging as standouts. JS 

32. MOLLY TUTTLE

So Long Little Miss Sunshine

THE Grammy-winning singer forged her reputation at the forefront of the bluegrass revival.

Now she has spread her wings with this ravishing work of myriad styles. It also provided her with the confidence to be open about her alopecia. SC  

33. TOM GRENNAN

Everywhere I Went, Led Me To Where I Didn’t Want To Be

THE down-to-earth singer from Bedford laid his feelings bare on this reflective fourth album shaped by growth, friendship and vulnerability.

It balanced anthemic pop with emotional depth, from Shadowboxing to Boys Don’t Cry. JS 

34. TAYLOR SWIFT

The Life Of A Showgirl

RECORDED in stolen moments during the record-shattering Eras tour, it found Swift reflecting on love and life in the spotlight after falling for NFL star Travis Kelce.

Working with Max Martin and Shellback, it was polished, theatrical pop with self-aware glamour and emotional insight. JS 

35. JOHN FOGERTY

Legacy: The Creedence Clearwater Revival Years

FOGERTY celebrated the recent end of his decades-long fight to get his publishing rights back.

It meant he could belt out timeless hits Proud Mary, Born On The Bayou, Bad Moon Rising and Up Around The Bend with unbridled joy rather than lingering bitterness. SC  

36. MIDLAKE

A Bridge To Far

BEST remembered for their second record, 2006’s The Trials Of Van Occupanther, these enduring Texans rekindled their love of melody-rich folk rock. Two decades on, A Bridge To Far might just have been their best since that hallowed album. SC 

37. TATE MCRAE

So Close To What

THE Canadian singer’s third album was slick and polished futuristic pop and highlighted her journey from teenage dancer to arena-selling pop princess.

Tracks like Purple Lace Bra were multilayered with beats, synths and strings, and created a sultry, sizzling mood. JS 

38. BEIRUT

A Study Of Losses

FOLLOWING Zach Condon’s sortie to the Arctic Circle for 2023’s exquisite Hadsel came this work of unerring beauty.

The 11 songs and seven instrumentals, spanning nearly an hour, struck a melancholy tone but they left a lasting and profound impression. SC 

39. ALISON KRAUSS & UNION STATION

Arcadia

TO Robert Plant’s duet pal Krauss, her latest project was “like stepping into an old pair of shoes”.

Her first album with her virtuoso bluegrass band since 2011 evoked bygone times, while still connecting with 21st Century listeners. SC

40. TOM SMITH

There Is Nothing In The Dark That Isn’t There In The Light

AFTER 20 years fronting Editors and two records with Andy Burrows, Tom Smith stepped out on his own.

His first solo album stripped everything back to the core of his songwriting, capturing the honesty, anxiety and hope that shaped this new chapter. JS 

41. FKA TWIGS 

Eusexua 

THE album title was a made-up word taken from euphoria and sexual to describe “a feeling so intense it transcended the human form”. 

And it lived up to its name.

On the arty, left field side of electronica, this third record was her most complete and satisfying. JS 

42. THE DELINES

Mr Luck & Ms Doom

WHEN ex-Richmond Fontaine frontman Willy Vlautin (lyricist/guitarist in this band) is involved, you tend to get songs with disturbing narratives about people from the wrong side of the tracks.

This firmly ticked that box – and then there was Amy Boone’s enriching, expressive vocals. SC 

43. DAVID BYRNE

Who Is The Sky?

THE world may be going to hell in a handcart, but at least Talking Heads legend Byrne kept a smile on his face.

That was the vibe you get from his latest effort, most notably on rousing opening track Everybody Laughs, which came with a cameo from longtime collaborator St Vincent. SC 

44. BLOOD ORANGE

Essex Honey

ECLECTIC and imbued with an aching sense of loss and nostalgia, Dev Hynes’ fifth album as Blood Orange was an exploration of his upbringing in London.

A collection of memories recalled through spindly indie, jazz, chunky beats and evocative soundscapes. JS 

45. DAMIANO DAVID

Funny Little Fears

FOR Maneskin’s Damiano David, this felt the right moment for a solo album, revealing a more personal, previously hidden side.

It was less rocky than Maneskin, confronting fear and identity through piano-led pop inspired by Keane, The Killers, and Elton John. JS 

46. RON SEXSMITH

Hangover Terrace

THE Canadian has assembled a fine body of work, marked out by sumptuous melodies and perceptive lyrics.

He returned with one of his strongest collections.

Recorded in London, the album visited his childhood, his current concerns and much more in between. SC 

47. MY MORNING JACKET

Is

SINGER Jim James hoped the band’s genre-hopping tenth album would help people “navigate the chaos in the world”. 

If the overall vibe was psychedelic rock with plenty of reverb, MMJ employed elements of pop, country, soul, reggae, you name it. SC 

48. ETHEL CAIN

Willoughby Tucker, I’ll Always Love You

FEW artists have been able to express the intimate, sometimes painful, feelings about first love as well as the singer from Florida.

Evoking a haunting, Southern gothic atmosphere, her ambient rock sound-scapes framed a raw, heartfelt song cycle. SC 

49. CAR SEAT HEADREST

The Scholars

THE career trajectory of Will Toledo is nothing short of breathtaking.

He started out making lo-fi DIY albums in his parents’ car and now, as frontman of a fully fledged band, he made this crazily ambitious rock opera in the vein of Tommy or Ziggy Stardust. SC 

50. ADDISON RAE

Addison

THE debut album from the former TikTok star, who rose to popularity with her dance videos, broke the code.

Stepping confidently beyond influencer fame, she moved into sleek, self-aware pop.

Playful hooks and glossy production balanced vulnerability and attitude. JS 

This lesser-known village features in All Creatures Great and Small, which is set in the 1930s Yorkshire Dales, and offers a ‘true taste of rural England’ with cobbled market squares and beautiful walks

All Creatures Great and Small captivated viewers when it debuted on our screens in 2020, with its delightful period Northern England backdrop – and it transpires the historic town is nearer than you might imagine.

Envision cobblestone market squares, quaint cottage-style shops, and panoramic vistas of the Yorkshire Dales. This perfectly describes Grassington, both in reality and on television. The village provides a charming shopping experience featuring handicrafts, art exhibitions and regional products all curated by independent artisans, plus welcoming establishments for refreshments. Among these establishments is The Hutch Handmade Gift Shop, adored by residents and highly rated amongst Grassington’s attractions.

A visitor described the shop as a “gorgeous spot”, noting on TripAdvisor: “A treasure trove of handmade gifts. Lots of colourful, unique, one-off gifts made by small independent artists, designers and crafters…mostly from Yorkshire.” Another popular attraction that attracts numerous visitors is Grassington Folk Museum. It showcases a fascinating collection of historical artefacts unearthed locally, transporting visitors through time via medical equipment, vintage garments, household objects, geological samples and agricultural keepsakes.

Many regard it as a “lovely museum”, with one recent visitor saying: “We stopped by on a whim and were so glad we did! Lovely collection of items, and the delightful volunteer in the museum was so friendly and knowledgeable! I wish I had gotten her name. Well worth a visit.”

The settlement provides a “true taste of rural England”, which is precisely why it served as the perfect backdrop for a popular television programme. The plot centres around three veterinarians operating in the Yorkshire Dales during the 1930s and draws inspiration from novels penned by writer Alf Wight.

The village serves as an excellent base for outdoor enthusiasts eager to discover the surrounding countryside. Numerous walking and cycling trails await exploration, including a brief circular route connecting Grassington with neighbouring Dales settlement Hebden. Another pathway offers a seven-mile return journey from Kettewell to Grassington.

Home to approximately 1,000 residents, this peaceful location provides genuine serenity. Nowhere captures this tranquil atmosphere better than the town’s Linton Falls, where the River Wharfe tumbles dramatically over spectacular limestone formations. The area’s natural splendour attracts countless visitors. One recent reviewer said: “This place is magnificent! Standing on the bridge as the water thunders beneath is breathtaking. We were even able to have a little paddle upstream.” For those yearning for more natural beauty, Widdop Reservoir is equally stunning and provides a tranquil atmosphere throughout the year. The secluded moorland presents a delightful walk that spans approximately three miles around the reservoir.

Death in Paradise star Don Gilet has opened up on returning to the BBC drama for the Christmas special

Death in Paradise star Don Gilet has expressed his delight at reprising his role, admitting “It was great to come back”.

The actor, 58, joined the BBC drama as DI Mervin Wilson last year, following in the footsteps of previous stars such as Ben Miller and Ralf Little.

Now, he’s eagerly awaiting the 2025 Christmas special and shared his feelings about returning to the role, confessing it was “slightly daunting”.

“It felt good. Slightly daunting, but in a positive sense because you want to do the same again, if not better,” he revealed in a BBC interview ahead of his return. “I jokingly describe it as the second album, the first album went really well, but you can’t rest on your laurels and be complacent, there’s still more audience out there to win over.”

He continued: “So, I went out to Guadeloupe with a renewed appetite. It was great to come back and reconnect with the characters and the actors,” reports the Express.

Discussing what fans can expect from the festive special, Don promised “plenty of humour, but even more heart”.

He elaborated: “It pushes and pulls emotionally and comedically in equal measure. Mervin faces far more antagonism, and things are a lot more challenging for him, especially now he knows there’s a half-brother out there to find.

“But you can still get cosy, sip your Baileys and enjoy another great Death in Paradise Christmas special,” he added.

The forthcoming special presents one of the team’s most perplexing cases yet, as a victim is found dead in a swimming pool on Saint Marie, whilst the murder weapon was locked away in a drawer back in England at the time of the killing, leaving detectives completely stumped.

This comes as Don recently spoke candidly about the “pressure” of filling the boots of previous stars as the latest detective on the show.

During his stint on BBC The One Show on Monday (December 16) evening, he confessed to Alex and co-host Roman Kemp: “I feel the pressure doing this. I’ve said this before, it feels like the second album, you know the first one went well, I was the replacement like a replacement Doctor Who and people have their favourites prior to that.

“So there’s always this sense of ‘well is he going to be as good as…’ are people going to switch off, but luckily no one has switched off yet but you’ve got to come back and do it again and better so I’m not resting on my laurels.

“I do feel a bit pressure but it’s an enjoyable pressure. I love coming back and doing more of the same but with something a bit extra.”

Death In Paradise Christmas special airs on BBC One on Sunday, December 28 at 8.30pm.

Amsterdam’s iconic Christmas market serves glühwein, raclette and festive treats just one hour from the UK – it needs to be on your radar this winter.

There’s only so much time to soak up the Christmas spirit before the big day, and despite work and life becoming more hectic than usual, I managed to swap the hustle and bustle of London for Amsterdam. It was my first trip back to the Dutch capital in a decade, with my arrival coinciding with the start of one of the city’s most iconic Christmas markets, reports the Express.

Christmas markets in the UK can be hit or miss, and I must admit, the ones I’ve visited over the years have never quite matched those on the continent. The first time I realised our markets didn’t measure up was just a few years ago when I visited Vienna, which can only be described as Christmas on steroids.

The largest Christmas market in Amsterdam springs up in the shadow of the Rijksmuseum on Museumplein, where you can blend the festive spirit with a visit to some of the city’s most renowned museums and galleries.

We arrived on its opening day, and even though we visited in the evening, we managed to dodge the wall-to-wall crowds. This was something I never experienced in Vienna, and on this occasion, I was extremely grateful for it.

Entry to the market is free, but you’ll have to fork out €16 for the joy of skating on its ice rink. Much like other European markets, Amsterdam’s was adorned with wooden chalets offering everything from knick-knacks to treats, piping hot cups of glühwein and food from all around the world.

There was even a cabin flying the Union Jack selling fudge. Who would have thought that British fudge was such a hit overseas?

No visit to a Christmas market would be complete without trying some of the local specialities. A Dutch wurst is a robust cured pork sausage typically served with stamppot, a blend of mashed potatoes and kale. However, it seemed we had arrived too late. No wursts for us.

So we settled for the next best thing: barbeque jumbo sausages served on toasted slices of bread with pickled onions and gherkins, topped with crispy onions and mayo. This isn’t your average sausage sandwich. Trying to tackle every bite is a mouthful, overflowing with chunks of smoky sausage and crumbly onions.

It was evidently a popular choice, with crowds gathering around the open flame grill right in the heart of the action, with sausages sizzling and emitting a tantalising aroma. A barbeque might not be what you expect in the depths of winter, but blimey, was it needed.

Sadly, the warmth emanating from the grill wasn’t enough to heat our bones while we waited, so two cups of glühwein were called for. Glühwein is traditional German mulled wine, delicately spiced with cinnamon, cloves, star anise.

I’m not entirely certain what the secret is, but somehow the Germans manage to perfectly balance the red wine and spices in a way that all the mulled wine I’ve sampled at UK Christmas markets always seem far too acidic. Glühwein is the ideal beverage to warm you to your core, particularly in a freezing city in December, even if the city is renowned for its beer.

When our sausages finally turned up, they were heaped with pickled onions and gherkins. Much like a Scandi open sandwich, it was bursting with diverse flavours, so unlike any festive fare you’d find back home.

You received an entire jumbo sausage on one slice of bread, quartered to actually fit into your mouth. The smoky pork was wonderfully offset by the sharp tang from the pickles, with a different texture provided by crispy onions. This isn’t your typical Christmas market grub, but it was delightful to sample some local specialities.

However, no Christmas is complete without a generous helping of cheese. A classic choice at European Christmas markets is bubbling, ooey, gooey raclette.

We opted for the traditional pairing of raclette and potatoes. What could be more perfect? The humble new potato smothered in smoky melted cheese.

The cheesy spuds were served with some more crispy onions and a fresh coleslaw. Now this is what Christmas is truly about. I would devour a bucketful of raclette if they’d offered one.

Sausages, glühwein and raclette: the holy trinity of Christmas market food.

Even though it was late at night and the crowds were thinning, there was still a buzz among the youngsters and families huddled around the electric heaters trying to stay warm, sipping from steaming cups, welcoming the festive season. Compared to Vienna, Amsterdam’s markets offer a more tranquil start to the Christmas season.

Is this the best Christmas market I’ve ever visited? Probably not, but I’m always fascinated to see how other countries embrace the festive season.

Amsterdam is one of those cities where you can spend hours just wandering around, and we certainly did plenty of that. You can meander from spot to spot with ease, particularly if navigating foreign public transport baffles you. That being said, Amsterdam’s public transport runs like clockwork.

From the moment you step out of Amsterdam Centraal, you can sense the Christmas spirit in the air. I returned to the city for the first time in ten years, and up until this point, I hadn’t felt all that festive.

Amsterdam served as a stepping stone into Christmas for me before I head back to Vienna again for round two of Christmas on steroids. If there’s anywhere you should flee to in December, it’s Amsterdam. It’s only a train journey away.

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PETER Greene, the character actor best known for his chilling turns in Pulp Fiction and The Mask, has died aged 60.

Greene was discovered unresponsive inside his New York City apartment on Friday afternoon and pronounced dead at the scene, his manager confirmed.

No foul play is suspected and the cause of death will be determined by the medical examiner, cops said.

Greene’s long time manager Gregg Edwards told the New York Post: “He was a terrific guy.

“Truly one of the great actors of our generation.

“His heart was as big as there was. I’m going to miss him. He was a great friend.”

Read more on entertainment

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Greene built a reputation in the 1990s as one of Hollywood’s most memorable screen villains.

He played Zed, the sadistic security guard in Quentin Tarantino’s 1994 hit Pulp Fiction, and ruthless mobster Dorian Tyrell opposite Jim Carrey and Cameron Diaz in The Mask the same year.

Edwards said: “Nobody played a bad guy better than Peter.

“But he also had, you know, a gentle side that most people never saw, and a heart as big as gold.”

With nearly 95 screen credits, Greene appeared in The Usual Suspects, Training Day, Blue Streak, and Laws of Gravity.

He also starred in Clean, Shaven – a 1993 indie film that earned critical acclaim for his portrayal of a man with schizophrenia.

A New York Times review said his performance turned the role “into a compellingly anguished, volatile character.”

Edwards revealed Greene was preparing to begin production in January on an independent thriller titled Mascots alongside Mickey Rourke.

After notifying the film’s writer-director Kerry Mondragón of the death, Edwards said “they were very upset.”

While Greene had a reputation for being difficult on set, his manager said it stemmed from high standards.

He was “a perfectionist who gave every job his all and wanted his performance to be just ‘right’,” according to Edwards.

“He worked with so many amazing actors and directors,” the manager said, adding that his role in The Mask was “arguably his best role.”

Peter Greene was born on October 8, 1965, in Montclair, New Jersey.

At 15, Greene ran away from home and lived on the streets of New York City, where he struggled with drug addiction.

Greene is survived by a sister and a brother.

This is breaking news. More to follow… please refresh for more updates and follow the-sun.com for the biggest stories of the day…

Lord Krishna, Hinduism’s compassionate god of divine love, is often portrayed with a flute in hand. Perhaps that has something to do with the story that when he cut a large drum in half, producing two hand drums for rhythmic accompaniment, which is a mythical origin for the tabla, these small hand drums came to be treated like a back-up rhythm section. Melody was the star. In classical Indian music, sitar masters were stars, and tabla players traveled second class and were poorly paid.

A father and son changed that. Alla Rakha was the loyal tabla partner of Ravi Shankar, who created an international rage for raga in the 1960s, holding sway over the likes violinist Yehudi Menuhin, the Beatles and Philip Glass. His son, Zakir Hussain, an equally great tabla guru, expanded tabla allure into jazz, swaths of pop music, film and television. He became one of the most convincing early proponents of the world music movement, readily fitting in tabla with flamenco as well as with African, Indonesian , Afro-Cuban, you-name-it drumming. Hussain and his tabla’s most warmly human sounds have entered the wide world’s soundtrack.

Monday will be the first anniversary of Hussain’s death, at age 73, from a pulmonary illness. His last work was a collaboration with Third Coast Percussion, which commissioned “Murmurs of Time” in celebration of the Chicago ensemble’s 20th anniversary. It was the only work by one of the world’s greatest percussionists for a percussion ensemble. Hussain lived long enough to record “Murmurs” with the group but not hear the final mix, let alone play it in public.

The recording with Hussain, “Standard Stoppages,” along with other percussion works, came out just in time for 2026 Grammy nominations and shows up in — and should be an obvious shoe-in to win in — the category for chamber music/small ensemble performance. In the meantime, Third Coast has been touring “Murmurs” featuring a Hussain disciple, Salar Nader, as soloist. Last weekend Third Coast brought the engaging CD program to a sold-out Nimoy, as part of the CAP UCLA season.

Nader, who was born in Hamburg to a family of Afghani refugees and grew up in California, began studying with Hussain at age 7. He is one of the most prominent of the next generation of tabla players poised to take the next step for their instrument, begging the question of whence tabla.

In retrospect, the path taken by Alla Rakha and Zakir Hussain was a lesson in how to create something new and widespread out of the devotion to a profound, yet arcane, learned, physically demanding and extraordinarily complex tradition.

Rakha may have been a formidable traditionalist, so much so that tabla was his whole education, but he found pleasure (and income) writing songs for Bollywood films in the early 1950s. When he returned full time to classical Hindustani music, working with various soloists, he eventually hooked up with Shankar, with whom he then worked almost exclusively. With their quirky and exciting question-and-answer dialogues, the duo riveted the the Monterey Jazz Festival and San Francisco’s Fillmore Auditorium (where I heard them regularly as a college student), to say nothing of Woodstock. No one wanted one without the other.

Hussain (his name was given him by a wandering holy man who showed up at his parents’ door one morning shortly after he was born) heard tabla in the womb. His father lovingly tapped delicate rhythms on his baby boy as he held him in his arms. By his early teens, Hussain was already a Mumbai sensation.

However strict a teacher, Rakha believed in individuality, carbon copies being for the waste bin. And Hussain grew up not only on Hindustani music but the records by the Doors, the Grateful Dead and Jefferson Airplane his dad brought back from his West Coast appearances with Shankar. It wasn’t long before Hussain found himself on the West Coast as well, heady with its 1960s pop music scene. He became friends with Dead drummer Mickey Hart. He met George Harrison, who convinced him that there were thousands of rock drummers but no one with Hussain’s tabla talent.

Even so, Hussain became a tabla master of all trades. He acted, engagingly, in the 1983 feature “Heat and Dust,” along with contributing to the soundtrack. He became part of world-music-jazz ensemble Shakti, founded by guitarist John McLaughlin. Hussain was the drumming glue for Hart’s percussion revolution begun with “Planet Drum,” the recording that brought world music into the world of pop.

Before long, Hussain became a fixture in jazz (playing with the likes of Herbie Hancock and Charles Lloyd). He showed up on the soundtracks of “Apocalypse Now” and made Ryuichi Sakamoto’s score for “Little Buddha” work. He played bluegrass with Béla Fleck. He counted Michael Tilson Thomas, Barack Obama and Nancy Pelosi among his fans.

But while Hussain put tabla center stage, his real accomplishment was as a collaborator. Indian rhythm is incredibly complex and sophisticated. Its own center is religious practice. Tabla players sing the rhythms as well as playing them, the most difficult and astonishing form of chanting there is. The drums can produce melody and, while mellow, come alive with a speed that dramatically raises the pulse rate.

In “Murmurs of Time,” Hussain created a kind of tabla concerto. The ensemble spends much of its time on mallet instruments, setting the stage, keeping a melodic line or pulse going. The opening is an awakening, with group vocalized rhythms, but that is something only a tabla player can really pull off. “Murmurs” is ultimately through with a rousing tabla and drum set dialogue at the end, reminiscent of his father and Shankar’s gripping finales.

Hussain wrote “Murmurs” for himself, working closely with Third Coast over a year. “Wrote” isn’t quite right. He didn’t write down his own part; he needed room for freedom and improvisation. Nader, very impressively, learned the demanding solo from the recording, and he then, as Hussain would have expected, added his own character.

That is something that will need to grow over time. On recording, we have a deeply moving farewell. In concert, “Murmurs” transitions into something new, while, as yet a work in progress, still honoring the guru.

In a discussion on stage after the concert, Nader, who lives in Los Angeles, emphasized his own interest in what’s next for tabla. He too has worked in film, including participating on the soundtrack for Mira Nair’s “Reluctant Fundamentalist.” He’s had fling with Broadway with “The Kite Runner.” He said he’s ready for almost anything. He’s worked in hip-hop, noting tabla is a natural — and it is, “Planet Drum” having been an early influence.

Tabla is here to stay, and Nader bears watching.

PASSENGERS got their first look at the new Great British Railways trains today, ahead of a full rollout from next spring.

Before the switch up the transportation company’s trains were a standard white with red and yellow accents, and GBR scrawled on the side.

But now the trains have had an impactful makeover starring bold colours and shapes.

The new design features a red, white and blue colour scheme and sharp angles intended to mirror the Union Flag – as well as a striking yellow stripe on the nose.

The GBR logo has also been added to the side of each train, its iconic double arrow motif signifying the company’s proud heritage in getting people to and from where they need to travel.

The release comes as the landmark Railways Bill is being debated in the House of Commons today, and just after the Government made the decision to freeze rail fares for the first time in 30 years.

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The Bill will bring together 17 different transport organisations, in an aim to cut through the bureaucracy that continues to plague the railways, and instead run Britain’s railways as a single organisation for the first time in decades.

The new colour scheme is set to be fully rolled out in spring, cloaking every train.

It will also expand out to the company’s online platforms including their website and ticketing app.

Speaking on the fresh look Transport Secretary Heidi Alexander said: “The future of Britain’s railways begins today.

“I’m immensely proud to unveil the new look for Great British Railways as we deliver landmark legislation to nationalise our trains and reform the railway so it better serves passengers.

“This isn’t just a paint job – it represents a new railway, casting off the frustrations of the past and focused entirely on delivering a proper public service for passengers.”