music

Anjali Sud, most recently the chief executive officer of the ad-supported streaming service Tubi, is taking the top job at the subscription audio entertainment company SiriusXM.

SiriusXM announced Monday that Sud will succeed current chief executive Jennifer Witz, who is stepping down Dec. 31 and will remain in an advisory role through next year.

Sud, 43, has been an independent director of SiriusXM since 2025. In a statement, the company cited her extensive experience in digital media and streaming businesses. She has led Tubi since 2023. The platform has grown to 110 million monthly users and is now a profit center for Fox Corp., which acquired the company in 2020.

Tubi was recently absorbed into Fox Digital Platforms, a new unit created following Fox Corp.‘s $22 billion acquisition of the streaming platform Roku. The deal was closed on Friday.

Sud previously served as chief executive of the video platform Vimeo.

“I am honored to lead SiriusXM in its next chapter,” said Sud. “Premium audio experiences will be more important than ever to the future of entertainment, and I believe SiriusXM can evolve to lead that future.”

Witz, 57, has been with SiriusXM for 25 years, including nearly six years as chief executive.

SiriusXM offers live and on-demand programming across music, talk, news, sports, and podcasts, and the company reaches around 255 million monthly listeners across its platforms.

Best known as the satellite radio platform for morning personality Howard Stern, SiriusXM has moved aggressively into podcasting and specialty channels built around personalities with passionate followings including Conan O’Brien’s “Team Coco,” and Alex Cooper’s “Call Her Daddy.” The service also offers shows or channels from such personalities as Trevor Noah, Kevin Hart, Stephen A. Smith, and former Fox News anchor Megyn Kelly. Last month, SiriusXM reported having 33 million total subscribers.

In the third quarter of 2026, the company reported revenue of $1.6 billion for its flagship SiriusXM segment, flat with its year-ago performance. Gross profit increased slightly to $963 million.

It is the largest authentic German Christmas market outside of Germany

While there are still six weeks to go, Christmas festivities are already starting. Towns and cities across the UK are starting to be decked out in lights, decorations and entertainment.

Christmas markets have become increasingly popular in recent years, and they are sure to get everyone into the festive spirit. Manchester Christmas Markets opened this weekend, as well as Birmingham’s Frankfurt Christmas Market.

Timber huts are now lining Birmingham’s streets alongside traditional food, drink, handmade gifts, decorations and jewellery. Visitors can tuck into schnitzels and bratwursts while sipping German beer and hot chocolate.

Where is Birmingham’s Frankfurt Christmas Market?

The market takes over the city centre, making it hard not to join in. Stalls and entertainment sit in Victoria Square and New Street, between Corporation Street and the Bullring.

This year, there is a slight change due to roadworks. There will be no stalls between Nando’s and the Apple Store on New Street.

When is the market open?

Birmingham’s Christmas Market opened its doors on Thursday, November 5 and will run until Thursday, December 24. It is open every day during that time period.

Monday to Thursday, the market will open from 11am to 9pm, while on Fridays it will stay open until 9:30pm. Saturday hours are 10am until 9:30pm, and Sunday hours are 10am until 9pm.

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What is on?

Musicians from Germany will entertain crowds at lunchtime and in the evenings from Monday to Friday, and all day at weekends. The German House Band will play a mix of Christmas songs and family favourites.

On Monday evenings, a talent slot is open to new and up-and-coming musicians. The two best acts from the Monday sessions will be given the chance to perform in a prime-time December slot.

The big wheel and ice rink also make a return to Centenary Square. These attractions will run until January 3.

How to get to Birmingham Christmas Market

Birmingham’s three stations, Snow Hill, New Street and Moor Street, are within walking distance of the market. It can also be accessed by Metro tram stops and bus services.

There are plenty of car parks near the market, but drivers are advised that the market is located within Birmingham’s Clean Air Zone, which may incur a fee.

Bronx-born musician and producer Judy Torres remembers the first time she heard Nayobe’s 1985 song “Please Don’t Go”: the upbeat dance track with an infectious bass line and love-struck lyrics that pleaded with a lover to stay close.

“ I was floored at how beautiful of a vocalist she was,” said Torres of the Afro-Cuban artist, who hailed from Brooklyn but found a musical home in the genre known as freestyle. Though sometimes dubbed as “Latin freestyle” or “Latin hip-hop,” thanks to the many Latino vocalists who came to shape its sound, some fanatics trace the origins of the electro-funk genre to “Let the Music Play,” the 1983 smash hit by D.C. singer Shannon.

As Torres puts it, this distinctly 1980s sound — crafted with synthetic instrumentation and syncopated percussions sourced from Roland TR-808 drum machines, as popularized by Afrika Bambaataa’s 1982 single “Planet Rock” — didn’t have a label then. “It was just music,” she says.

But by 1993, as prominent radio stations transitioned from dance-pop to hip-hop and R&B, the freestyle movement fizzled out.

“Like a record scratch, there were no shows,” added Torres.

The genre’s vibrant, knotty history of set the scene for the musical-dance production of “Freestyle: A Love Story,” of which Torres is a co-producer. Created and directed by George Valencia — alongside his wife, “Scrubs” actor Judy Reyes as executive producer, plus “Ugly Betty” actor Ana Ortiz as co-producer — “Freestyle: A Love Story” will make its Los Angeles debut on Nov. 6 at the Wilshire Ebell Theatre.

The musical tells the fictional story of two middle-aged Caribbean Latinos, who reunite during a nostalgic night at a Freestyle Extravaganza at New York’s Radio City Music Hall. As 808 kicks echo through the atmosphere, the pair is transported back to 1987: the night they fell in love at a bass-thumping freestyle show.

Proceeds from the night will benefit the Sound of GOL Foundation, an organization founded by George Valencia and Judy Reyes that supports Latina soccer players.

(From George Valencia)

“The idea of telling a love story and having that love story run parallel with the actual musical movement of freestyle, which lasted nine years, is basically the whole framework of the play,” said Valencia to De Los.

Proceeds from the night will benefit the Sound of GOL Foundation: an organization founded by Valencia and Reyes, which supports Latina soccer players.

“Right now, in a time that is looking very dark for Latinos in the United States, I want people to take away that our history has proven time and time again that no matter what they do to us, they can’t take away our revolutionary joy,” added Valencia, making mention of the Trump administration’s mass immigration sweeps.

The production will star “One Day at a Time” actors Justina Machado and James Martinez as the former lovers — as well as Torres and K7, a.k.a. Louis Sharpe, frontman of the Latin freestyle group TKA, who will further bring the artists’ perspectives into the narrative.

“It’s the music that was a part of our everyday life,” Machado told De Los. “Wherever there was a huge Latino population, I think it was kind of a rite of passage.”

Machado was particularly obsessed with Lisa Velez, the lead vocalist of Lisa Lisa & Cult Jam, who took freestyle to new heights. The group’s breakout 1985 single “I Wonder if I Take You Home” echoed in the dance clubs before crossing over into mainstream radio and landing the No. 34 spot on the Billboard Hot 100.

Their flamboyant track “Head to Toe,” hit No. 1 on the Billboard Hot 100 in 1987, making it the first time a Latina vocalist (as part of a group) topped the chart.

“When I was on ‘One Day at a Time,’ they knew I loved Lisa Lisa so much they hired her to perform at the wrap party for Season 1,” recalled Machado. “I have a video from 10 years ago, where I am just freaking out — ‘Is that Lisa Lisa?’ I swear I saw nobody else. It was just me and Lisa Lisa … She was my hero.”

Torres said she lost her mind when someone told her Lisa Lisa was Puerto Rican, just like herself. She recalled thinking: “If she can do it, maybe I can do it,”

By 1996, Torres would release her first single, “No Reason to Cry,” a punchy, melodramatic dance track ghostly vocals that reassure someone of her love.

That song reached No. 30 on the Billboard Hot Dance chart the following year. The track was the lead single from her 1989 debut album, “Love Story,” an electrifying project that sonically transports listeners into dramatic telenovela scenarios.

“Freestyle was the original Latin explosion, because it was created in New York, by the people of New York,” said Torres. “It was street kids, Hispanic kids. All of a sudden, the fans were realizing, ‘Wait a minute — this music represents us, the artists look like us.’ It took off so quickly that many of us were signed by major record labels. We were performing all over the country. We had several shows a weekend.”

Still, prominent Latino artists with Spanish surnames, including Torres, were often told they had to change their last name in order to appeal to pop radio stations. She included these experiences into monologues during “Freestyle: A Love Story.”

“Freestyle music was never given flowers,” said Judy Torres.

(From George Valencia)

The artist known as Soavé, who sang the hypnotic 1989 hit “Crying Over You,” revealed to music magazine Wax Poetics in 2010 that his birth name, which is Jeffrey Martinez, “wouldn’t have sold a record.”

Meanwhile, Puerto Rican singer George Lamond, whose 1990 single “Bad of the Heart” peaked at No. 25 on the Billboard Hot 100, professed that he dropped his surname, Garcia, at the behest of his label, Colombia Records. In an interview with Youtuber Honey German, the artist said the label argued that he needed to be more marketable to audiences — but in reality, they didn’t know how to market an artist who was neither Black nor white.

“Now, did I get airplay on the pop stations? No. Is it because I decided to keep [the name] Torres? I’ll never know that,” said Torres. “In a way, we opened the doors [for future Latin stars], because now it’s common for us to hear the last names. Jennifer Lopez, Selena Gomez, Christina Aguilera.”

Torres acknowledged that “freestyle music was never given [its] flowers.” But with “Freestyle: A Love Story,” fans and artists alike can take “a  trip back into time” and revel in its glory for an evening.

“I can’t change it,” said Torres of freestyle’s eventual sunset. “So I have to choose how I’m gonna move forward.”

GRAMMY-winning music producer Phil McDonald has died at the age of 80.

The celebrated music veteran manned the desk for some of The Beatles’ greatest final records, shaping both the White Album and Abbey Road.

He also engineered iconic solo projects including John Lennon’s Imagine and George Harrison’s All Things Must Pass.

Phil’s stellar work on Abbey Road behind the scenes earned him a Grammy.

Born Philip John McDonald in Leeds on February 3 1946, he relocated to Earl’s Court in London with his family during the early 1960s.

Gifted with perfect pitch, he landed a job at EMI Studios in 1964, long before the legendary facility was renamed Abbey Road Studios in 1976.

Starting out in the tape library, he quickly progressed into the cutting rooms before ultimately securing his role as a tape operator and balance engineer.

His inaugural session with The Beatles took place on June 17 1965 to work on Yesterday.

Paul McCartney debuted the track to an exclusive audience of just two people: McDonald and producer George Martin.

The eventual collapse of The Beatles only caused his workload to surge.

Paul McCartney would sneak tapes from his secret debut solo album into Abbey Road’s Studio Three for McDonald to mix and edit.

At the exact same time, the tireless producer was stationed in Studio Two, assisting Ringo Starr with his album of standards, Sentimental Journey.

Phil Spector arrived on the scene a few months later with a mission to salvage the chaotic Let It Be sessions.

Working closely alongside McDonald, the pair successfully transformed the messy tapes into a releasable record.

Spector and McDonald went on to form a formidable studio partnership between the summers of 1970 and 1973.

Together, they delivered George Harrison’s sophomore solo effort, Living in the Material World, alongside the acclaimed All Things Must Pass.

During this highly productive window, McDonald also helped shape John Lennon’s initial post-Beatles output. He engineered both the John Lennon/Plastic Ono Band record and the legendary Imagine.

Away from the Fab Four, he recorded a raft of talent for EMI’s prog and folk imprint, Harvest.

His diverse roster included Roy Harper and Syd Barrett, with McDonald working on the latter’s 1970 release The Madcap Laughs.

He also proved instrumental in the studio for Linda Lewis, steering four of her albums between 1972 and 1975 and later secured credits on the landmark 1970 album Deep Purple in Rock.

That very same year, he collaborated with Eric Clapton to capture the defining Derek and the Dominos record, Layla and Other Assorted Love Songs.

By 1973, he had secured his second Grammy nomination for his work on Harry Nilsson’s A Little Touch of Schmilsson in the Night.

Leaving the music business behind, Phil and his wife Sandra – who survives him – moved to New York in 2001 and remained in the US.

Juan Atkins, the Detroit club music producer who pioneered techno as a genre, has died. He was 64.

Atkins’ death was confirmed in a social media post by his management firm Greensmith Artists. The post did not include a cause of death, though Greensmith said in a statement to Resident Advisor that he was found unresponsive in his hotel room in Mexico City prior to a planned performance. Atkins had suffered from diabetes-related complications in recent years.

Atkins, raised by a concert-promoter father in the shadow of Motown, formed his taste on the progressive Black-owned radio station WGPR-FM. As an artist, he rose to prominence as a teen in the early ’80s with the duo Cybotron, with Richard “3070” Davis. The pair, infatuated with Kraftwerk, Afro-futurism and acid-fried psych rock, retrofitted Detroit funk in the post-disco era with rigorous synthesizers and science-fiction themes on tracks like 1981’s “Alleys of Your Mind.”

They carved a new style of club music that echoed their city’s industrial legacy, and captivated the city’s Black teenage middle class. They scored a major underground hit with “Clear,” famously sampled by Missy Elliott and others.

After leaving Cybotron, Atkins also conjured a new alias, Model 500, for his solo records in 1985. The same year, he founded his longtime record label Metroplex, which released scores of his singles like “No UFO’s” along with 1995’s LP “Deep Space,” 1999’s “Mind and Body” and 2015’s “Digital Solutions.”

Atkins formed deep friendships with two other proto-techno producers, Derrick May and Kevin Saunderson, who became locally known as the Belleville Three (named for the small Michigan town where Atkins had moved to). The trio honed an aesthetic distinct from neighboring Chicago’s emerging style of house music, stripping out vintage soul for chillier, futuristic productions. While house was music was based on samples, designed to call a dance floor together, techno was meant to be challenging, alien and fundamentally new.

His music, including his other production projects like Infiniti and Borderland, was formally radical, and Atkins stressed that this strain of club music could “make social statements,” as he told the Guardian in 2024. Tracks like Cybotron’s “Industrial Lies” — “You buy the missile, buy the laser, buy the tank … Evict the widow, put the money in the bank” — worked as social critique and floor-filler alike. “My lyrics are supposed to make you think about something other than shaking your booty on the dance floor and falling in love.” he said. “I feel like artists have an obligation to say something meaningful.”

In the wake of Atkins’ inventions — as noted on his track “Techno Music” — a new class of acts like Jeff Mills, Drexciya, Robert Hood and Underground Resistance would go on to formalize techno as rooted in a Black, Midwestern subculture with a distinct instrumental virtuosity. While the genre has had a cross-border dialog with Germany since its inception, Atkins was confident that he and his scene got there first.

“I put it this way,” Atkins said. “I know I’m the first one to apply the word ‘techno’ to electronic music. I can’t claim to be the inventor or originator of electronic music, but I can definitely say that I got that.”

Atkins continued to tour and play prominent festivals like Detroit’s Movement and Amsterdam’s Dekmantel, often with his daughter, the musician Milan Ariel Atkins.

Detroit Mayor Mary Sheffield said in a public statement that Atkins “opened doors for generations of Detroit artists who followed him.”

“Today, millions of people dance to music that traces back to him and to our city,” Sheffield continued. “That is a Detroit story: genius, grit, and invention, from neighborhoods the world too often overlooked.”

The symphony orchestra takes its name from the Greek symphonía, meaning sounding in agreement, and orkhēstra which implies a public stage for dance or, in ancient Rome, where senators and other big shots sat. Democracy comes from dēmokratia, rule by the people. Even though the modern orchestra originated three centuries ago as a plaything of princes, there has always been an implicit connection — and tension — between orchestras and democracy.

Despite the orchestra never having been a financially sustainable model, dependent on some form of patronage, the symphony orchestra was embroiled in political activism by the early 19th century. Beethoven brazenly yanked the dedication to Napoleon from his “Eroica” Symphony when the “hero” proclaimed himself emperor in 1804, a betrayal of the democratic ideals of the French Revolution.

More than two centuries later, the orchestra continues to be a potent reminder of power to the people, a community of exquisitely trained artists marching to a beat, staying in tune and on message. In this year’s election season orchestras have been practicing the call for democratic thinking on a global scale, including in Los Angeles, Boston and Leipzig, Germany. Strikingly, this comes at a time when beleaguered orchestra musicians have also been demanding a more democratically minded workplace.

Throughout October and up to election day, Wild Up in L.A. has taken the lead in orchestral electoral activism. Its “Democracy Sessions” are an ongoing procession of interdisciplinary concerts, theatrical events, interactive gatherings, environmental presentations and gabfests in theaters, museums, libraries, parks, on neighborhood streets and around the L.A. River. Wild Up winds up its call for democracy with “Music to Vote By,” lunchtime solo acoustic sets, noon to 2 p.m., through Tuesday at the Democracy Center at the Japanese American National Museum Plaza in Little Tokyo.

Wild Up, itself, is a uniquely egalitarian collective, a chamber orchestra of composers and soloists, although one that nonetheless requires traditional leadership of its visionary founder, conductor Christopher Rountree. Rountree’s interdisciplinary “sessions” run from the musically sophisticated and accomplished to ad hoc and participatory funkiness, less designed to change minds than to relieve democracy anxiety.

A democracy zeitgeist, for instance, pervaded a performance at REDCAT of Louis Andriessen’s “De Staat,” a Dutch minimalist masterpiece from the mid-1970s. To intense rhythmic propulsion of piano and winds, four women vocalists intone excerpts from “The Republic,” in which Plato calls for rule of the people not the rule of music, fearful of a music that can alter “the most fundamental laws of the state.” Andriessen set out to show how mistaken Plato was.

Elsewhere, Rountree acted as an assembler, demonstrating democracy in action. In British composer Oliver Leith’s “Garland,” a kind of musical and theatrical tool kit, Rountree created a spectacle of song, dance, instrumental mayhem (whirly tubes, button whistles and the like added to the mix) and included amateur performers from the community hymn singing with the pros. It ended with a lovely appearance by a black horse all in the expanses of MOCA’s Geffen Contemporary. What does this have to do with the price of gasoline? Nothing more than a reminder that the quotidian world around us can be a hymn all by itself.

Wild Up’s performance of “Garland” at the Geffen Contemporary at MOCA.

(Josh Rose / Wild Up)

Germany is having its own brush with democracy with a recent election in which the far-right Alternative for Germany party won power in the central state of Saxony-Anhalt. The city of Leipzig borders that state, and its historic Gewandhaus Orchestra marked the days preceding the election with a democracy weekend it called “Reading the Signs.” The suggestion here was rather than falling for oversimplification and conspiracy theories when it comes to examining the interaction of “music, discourse and social action,” look to Beethoven.

That included a performance by Stegreif, an improvising orchestra that functions as a kind of German Wild Up. For Democracy Weekend, Stegreif “exploded” Beethoven’s “Eroica.”

It so happens that the Boston Symphony and Gewandhaus share a music director in Andris Nelsons, who has strived to bring the two orchestras together in joint projects. Sure enough, the BSO has been living up to its calling as the orchestra in the birthplace of American democracy. At Tanglewood, the orchestra’s summer home in the Berkshires, the orchestra celebrated the semiquincentennial with the premiere of Philip Glass’ “Lincoln” symphony and Yo-Yo Ma’s weeklong “We the People” residency, which offered a widely varied look at our democratic musical roots.

Then barely two weeks before the midterms, the BSO channeled Boston’s revolutionary spirit with explosive AI. At a time when much of the country sees artificial intelligence as a significant threat to democracy, the premiere of Tod Machover’s “already and not yet,” a concerto for orchestra with electronics bathed in AI, begs otherwise.

Machover’s brilliant new half-hour orchestral score asks AI for agency. It does so by treating the technology as stupid, musicians as creative artists and the audience as capable of opening its collective mind. It handles democracy not as a done deal, but a series of scary questions — and doesn’t trust the heartless machines for answers.

A commission in celebration of the 40th anniversary of the MIT Media Lab, “already and not yet” challenges us to make the world more beautiful by looking deeply into ourselves. The Media Lab is an unprecedented electronic playground born of AI. For one of the optimistic developers of AI, the musically minded computer scientist Marvin Minsky, the Media Lab functioned akin to a surgeon removing blockages to the imagination.

The interior of MIT’s groundbreaking Media Lab.

(Mark Swed)

Minsky was also a mentor to Machover, who has been at the Media Lab since the start and now heads the faculty. Machover’s AI is not a data collector in the sense of the commercial, data-gobbling, mind-numbing monstrosities lately foisted on the public. It becomes a new tool in his piece, not a way of life, something merely taught to listen and analyze in hopes of giving musicians a new idea or two.

With the help of an AI operator, Manaswi Mishra, who is embedded in the orchestra, the AI becomes the “already” in “already and not yet.” It doesn’t have much use in the tumultuous first movement, “SMASH UP,” when the world is a mess and that’s our problem. In the ethereal second movement, “WAKE UP,” players become individual and AI spits out responses that read as ordinary electronic mimicry, but the players, if game, take that as a challenge. Weirdly the machine brings them to life and as individuals. In the last movement, “STAND UP,” the machine is tamed! We frolic in a new, sonic wonderland. Even Thoreau might approve!

Can AI-assisted utopian art save democracy? That’s a tall order. Let it first try to do something about the BSO. As conductor, Kent Nagano was the ultimate listener (he can cut off the AI when it’s not interesting). After the performance he told me the orchestra was always game. And he sandwiched Machover with lithe, colorful Mendelssohn performances (including the Fifth Symphony).

But this is an orchestra in revolt, and it looked it. Grim of mien, many players on the night I attended sported red flowers on their lapels, a sign of their dissatisfaction with the administration for not renewing Nelsons’ contract when it expires this summer, after 13 years leading the BSO. The orchestra claimed it was broadsided by the announcement that management and Nelsons did not have a shared vision. The players want a say, an orchestra as democracy and more than just AI’s version of agency.

Ironically, Nelsons, who signed a nondisclosure agreement, doesn’t seem to show much vision when it comes to democracy. The Latvian conductor did not participate in Tanglewood’s democracy concerts (although he did conduct excerpts from John Adams’ “Nixon in China,” which sounded, in the radio broadcast, as having such a heavy hand that there was no room for free thinking).

In Leipzig, Nelsons’ contribution to the Gewandhaus democracy weekend was no democracy at all, only an irrelevant program of Tchaikovsky and Dvorak standards. Leipzig, bursting like Boston with young people, has become a German tech hub, it too could have used a whirl with democratic AI.

Swed is The Times’ former classical music critic.

The touring production of Meredith Willson’s “The Music Man” that opened Tuesday at the Ahmanson Theatre isn’t an Actors’ Equity Assn. production. When I listed the revival, directed by Matt Lenz, among my fall preview highlights, I assumed it would be of the caliber we have come to expect from Center Theatre Group.

I attended Tuesday’s opening and was disappointed to find a community-theater-level production beneath the superficial sheen of a commercial national tour. The costumes (by Santo Loquasto from the 2022 Broadway revival starring Hugh Jackman) are stunning. The painterly, storybook scenic design by Ann Beyersdorfer, engineered for maximum efficiency, is also lovely and blends beautifully with the Loquasto’s color palette.

The singing is robust, full-throated and spirited. Elizabeth D’Aiuto, who plays Marian, the librarian of this small Iowa town who captures the roving eye of traveling salesman and con man Harold Hill (Elliott Andrews), has a piercing soprano that many an opera singer would envy.

The barbershop harmonies spin an alluring web. The ensemble fills the Ahmanson with blazing, amplified sound. But the strong singing seems disconnected from the actual story. The music has little character. We might as well be watching a concert version of the show.

The problem is the acting, which is broad, detached and, frankly, often amateurish. I felt as if I were watching a polished troupe of semi-amateurs. The less said about the supporting cast, the better. The characterizations are unsubtle across the board. And how could it be otherwise when the actors seem more intent on impressing the audience than relating to one another?

Andrews seems particularly guilty of this sin. But then his character is meant to be smugly self-congratulatory. Harold Hill has come to River City to pull off another swindle. He’s selling musical instruments and costumes to a town that doesn’t yet even have a children’s marching band.

A wiry presence with a capering physical comedy spryness reminiscent of Dick Van Dyke (who starred in the 1980 Broadway revival of “The Music Man” that had a pre-Broadway run at the Pantages Theatre), Andrews makes a rather dashing and daring Harold Hill. He’s no Hugh Jackman, who had the Broadway audience in the palm of his hand when he essayed the role. But Andrews handsomely fills out the part and can sing appealingly when not too much emotion is required. But his theatrical self-absorption makes it hard to care about Harold and even harder to understand why Marian would fall for this transparent fake.

The magic of Marian’s love turning Harold into an upstanding man fizzles. Neither performer seems able to connect. Both are acting in their separate bubbles. It’s like we’re watching a pantomime of “The Music Man” with some glorious, blaring music.

For those who want to scratch an itch for golden age musical nostalgia, this sparkling yet empty production might suffice. But we should expect more from CTG, which is touting that this is the first major production of “The Music Man” to be done in Los Angeles in 46 years.

When I learned that this was a non-Equity production, I was disappointed that CTG was damaging its stature as a nonprofit theater leader by offering such an important showcase to this second-tier touring production. But now having seen the production, I’m more disappointed that audiences are being bamboozled as badly as the good people of River City.

Theatrical gimcrack is being palmed off as a precious stone. Yes, the score still shimmers, but not everything that glitters is gold.

For John and TJ Osborne, work and family have long been intertwined.

Today the siblings are known to country music fans as Brothers Osborne, the rock-leaning twosome that’s put 13 songs on Billboard’s Country Airplay chart and been named vocal duo of the year half a dozen times at the annual CMA Awards. Before they moved to Nashville, though, the brothers grew up helping out with their dad’s plumbing business in the late 1990s in the small fishing town of Deale, Md.

“You know how every country star opens a bar in Nashville?” John asks. “I was thinking it’d be funny to start a Brothers Osborne plumbing company that services all the bars.”

With TJ on lead vocals and John on lead guitar, the brothers look back at those early days in Deale on their nostalgic new album, “Watertown,” which came out last week, 10 years after the release of their first LP. It’s got handsome, well-drawn songs about long-lost loves and teenage indiscretions, not to mention one tune about some of the colorful Osbornes who don’t play in the band.

“We got a mama that you wouldn’t want to take home to mama,” TJ sings in “Family Business,” which rhymes that line with “Got a daddy with a girlfriend who loves marijuana” and “Sister took a swing at her first boy’s father.”

“I always tell people that TJ and I are the most boring people in our family,” John says. “Our sister really did punch her ex-husband in the face.”

TJ, 41, calls the album a tribute to the people who shaped him and his brother, who’s 44. “When you’re a kid, you want to run away from home and spread your wings,” the singer says. “Then at some point, it’s like that place is almost calling you back.”

That the Osbornes are at an age to memorialize the old days puts them on the outskirts, to some extent, of a country scene crowded with ascendant zoomers like Ella Langley, Tucker Wetmore and Megan Moroney. Yet the brothers are hardly fuddy-duddys: In 2021, TJ became the first country artist signed to a major label to come out as gay; musically, he and John consistently make unexpected stylistic choices — take the ringing new wave guitars in “Family Business” — even as they court down-the-middle success, as with the new album’s lead single, “Born and Raised Hell,” which features the country radio kingpin Cody Johnson.

“John and TJ don’t make corporate country music,” says Ashley McBryde, who’s collaborated repeatedly with the brothers. McBryde calls John “a guitar god” and says TJ’s deep voice “could make your kneecaps come unglued”; she adds that she likes to listen to their records “while I’m doing yard work, slinging a chainsaw.”

“Our mission the whole time has been: How do we thread the needle of doing something that’s a little left of center while making it commercial enough that people can hear it?” TJ says over coffee at an outdoor cafe in Griffith Park. The Osbornes are in town on a recent afternoon between tour dates; last night they did dinner at Nobu in West Hollywood — “bougie as f—,” John acknowledges — then “climbed up the La Cienega mountain,” as the guitarist puts it, back to their hotel on Sunset.

“The last 50 yards, I felt like I was gonna puke,” John says.

Does Nashville have good sushi?

“They do now,” John replies. “Back in the day, there was just this place Ken’s — kind of a hole in the wall where you’d get these huge styrofoam containers of rolls. It was really cheap, and we’d all get really stoned and eat tons of sushi.”

The brothers learned to play from their dad in Maryland in a family roots-music combo called Deuce and a Quarter; each went to Nashville to do his own thing but didn’t really gain any traction until they teamed up — a union they say their mother envisioned from the jump.

“I think the second TJ was born, she thought to herself: I have a country band on my hands,” John says. “She’s very — what’s the word I want to use? — goal-driven, in a good way. So when we finally joined forces and things started taking off, there was a bit of ‘I told you so’ about it.” He laughs. “In her defense, she was right.” (The brothers’ sister Natalie also works in Nashville as an A&R exec at the indie label Leo33, where she signed Zach Top.)

Brothers Osborne — nominated again for vocal duo of the year at next month’s CMAs ceremony — came up in a tightknit peer group that also included McBryde, Maren Morris and Kacey Musgraves. The duo broke out with a No. 1 showing for “Stay a Little Longer,” a single from their platinum 2016 debut; since then they’ve scored hits with tunes with like “21 Summer,” “Nobody’s Nobody” and “Burning Man,” the last a collab with Dierks Bentley that also went to No. 1.

Asked why they’ve been embraced by the traditional Nashville biz in a way that’s sometimes eluded Musgraves, TJ shakes his head. “There’s so many Kacey songs that I’m just like, How was this not a huge hit for her?” he says. “There is a game you have to play with country radio — doing things for them that we were willing to do that I know Kacey was just like, ‘No thanks.’”

Why does he reckon he and his brother were willing to jump through the hoops?

“I mean, we knew it would help,” he says. “We grew up in a poor family where everyone worked their asses off just to get by paycheck to paycheck. So I think for us it was about the fact that we’re gonna put in the work and get noticed.”

“You have to be willing to compromise — not your art or your dignity but compromise your time,” John says, “in the hopes that you can pursue a career in music because it’s very competitive.”

Over the past few years, some of Nashville’s biggest hits have come from outsiders like Post Malone experimenting with country music. Speaking broadly, TJ says the trendiness of the genre “is a little annoying because people are like, ‘I hate all country music,’ until their career flounders and suddenly they do a country record. Some of these people, they don’t know anything about it.

“At the same time, the genre is the biggest it’s ever been, which probably set the stage for a song like ‘Choosin’ Texas’ to be the song that it was,” he adds of Langley’s pedal-steel-soaked mega-smash, which just logged its 25th week atop Billboard’s Hot 100 — longer than any other song in chart history.

“I was just up in Brooklyn at a gay bar, and I’m like, All the gays are singing along — what the f—?” TJ says. “Also very jealous of that. I want a song all the gays are singing.”

Five years after he came out in a widely publicized Time magazine story, TJ says he doesn’t think much about his position as one of the few openly gay men in country music. As we keep talking, though, some things seem to come to mind.

“There was a moment recently with all the equity and inclusion stuff where [my identity] started to feel political — that was weird,” he says. “It felt like picking sides, even though I’m like, This is just my sexuality. But I feel like we’re kind of getting back out of that a bit.”

Then again, TJ recalls his appearance at May’s ACM Awards, where he presented Langley with the prize for female artist of the year. “I made a joke about my gay ass being up here giving this award, and there were comments from people being like, ‘I don’t understand why you have to talk about it,’” he says. “It’s like, F—, maybe people aren’t as open to it as I thought. It was proof to me that there’s still a lot of ground to cover.”

Is TJ up for doing the work of opening minds?

“I am. And I think it’s important work because there’s so many different types of gay people. There’s also so many different types of rural Americans. We’ll go to some places, and there are people who I perceive to maybe have some sort of bigotry towards me but I read them wrong and they’re actually totally cool.

“Look, you’re not gonna be able to convince everybody,” he adds. “There’s people that just hate on people for the stupidest reasons. Girls have it the worst. Anytime a girl does anything — ‘She looks like a slut,’ ‘She’s fat,’ ‘She’s too skinny.’ There’s just some mean people out there.”

“We’ve heard it all,” John says.

“There was this amazing burn we got one time where we’d taken ‘21 Summer’ out of the set,” TJ says, “and someone commented, ‘I can’t believe Brothers Osborne played 21 guitar solos but not ‘21 Summer.’” He laughs. “See, at least that’s pretty clever.”

TO some, Tiffany Pollard is the ultimate reality queen, gracing Celebrity Big Brother and many other shows with her own explosive brand of drama.

But it is less well-known that she is now a recording artist as well, thanks to a cheeky sample on Zara Larsson‘s track Hot & Sexy.

Tiff — who dubs herself the Head Bitch In Charge, or HBIC — speaks the refrain “beautiful, fly, hot and sexy” on the pop princess’s empowering song.

Speaking for the first time about the collab, Tiffany said: “Zara is multi- talented, and for her to come for the HBIC to honour a track blows my mind.

“I was in that studio. It was like I was Beethoven because I wanted to get it right and iconic just for her.

“I was dedicated to the piece and a lot of people dance to it, so we’re happy.”

Read more on Tiffany Pollard

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The track from Zara’s multi-platinum album Midnight Sun was even played during last week’s Victoria’s Secret catwalk.

But we’re not going to see Tiff on tour with Zara any time soon.

She revealed: “I don’t want to crush dreams or anything like that, but our girl is going to handle it. I’m not gonna be on tour — I got bad knees, honey.”

Tiffany’s back on the reality beat as she begins a stint on ITV’s Celebrity Big Brother — a decade on from her career-defining appearance.

Fans will remember her spats with Gemma Collins and the “David’s dead” misunderstanding when housemate Angie Bowie was told her ex-husband had died, but Tiffany thought it was David Gest who had passed away — until others found him asleep in bed.

Today Tiffany heads into a divided house, with the self-proclaimed “hierarchy” of Rochelle Rackham and Philip Regan facing accusations of bullying — but she is ready to take them on.

The outspoken American said: “It’s Halloween week and I’m gonna put the whore in horror.

“I’m gonna listen to people, I’m gonna have an authentic experience but I don’t want to be on my best behaviour.

“It’s called the hierarchy? The king and the queen of the house? Oh, please. It’s time for me to knock down the bricks.

“I only go around this life one good time and I want to make sure I’m living it authentically.

“I don’t want to quiet a voice of something that should have been said.

“I have a lot of people who are betting on me to be real and to just say what it is.”

Tiffany will also make time while staying in the UK for some of her favourite British pastimes — including watching Towie, Hollyoaks and tucking into our good old fish and chips.

Just hours before heading on to Big Brother, she said: “Bring all that vinegar. People are so nice here.”

We’ll see if she feels the same following her stint in the spy-on-the-wall house.

• Big Brother continues tonight at 9pm on ITV2 and ITVX.

Dutch withdrawal is the latest in a number of boycotts by countries unhappy about Israel’s inclusion.

The Netherlands has withdrawn from next year’s Eurovision Song Contest, its public broadcaster NPO has confirmed, citing “sensitivities” over Israel’s participation.

“We have known for some time that Israel’s participation elicits various reactions in society and causes discussion and division,” the NPO’s media director Jurre Bosman said in a statement.

“Therefore, after consultation with the board of broadcasters, the NPO has decided to forgo participation in 2027.”

The announcement follows a decision in August by Dutch broadcaster AVROTROS to boycott the competition. AVROTROS, which usually selects the Netherlands’ entry and broadcasts the show, said the event could “no longer be considered neutral”.

NPO stepped in last month, saying it would take responsibility for the Dutch entry to the competition, before reversing course on Tuesday.

Jet de Ranitz, NPO’s executive chairman, acknowledged that the decision would disappoint fans but stressed that the contest would still be aired on public channels.

“Due to the sensitivities surrounding the themes currently at play, we have decided to take a step back for the time being,” De Ranitz said.

The announcement follows the Netherlands’ boycott of the 2026 edition. Iceland, Spain, Ireland, and Slovenia all pulled out, with the latter three refusing to broadcast the show at all.

More withdrawals

In August, the organisers announced that countries would be unable to host the competition if “an armed conflict, a sensitive geopolitical situation, or any other situation materially affects the security, safety or stability of their state or immediate region.”

But that has not prevented withdrawals, with Ireland already having announced that it will not be participating in next year’s contest for the second year in a row.

Earlier this month, the Czech broadcaster also pulled out of next year’s event, but cited spending cuts as the reason.

Bulgaria will host next year’s edition of Eurovision for the first time in the Black Sea city of Burgas, after Bulgarian singer Darina Yotova, known as Dara, won this year’s contest in Vienna, Austria, with her catchy floor-filler ‘Bangaranga’. 

Since its first edition in 1956, Eurovision has become the world’s biggest live televised music event. It catapulted Swedish icons ABBA to worldwide fame, as well as boosting artists such as Celine Dion and Olivia Newton-John. 

GEORGE EZRA has been quiet since dropping his third album, Gold Rush Kid, four years ago.

But it turns out he’s busy behind the scenes helping other artists make music.

I’m told that after disappearing from public life following his last gig in 2023, the Green Green Grass singer is in no rush to jump back into the spotlight just yet.

Instead, he has started renting out his own recording studio so that it is not sitting empty.

I can reveal George, who has also stopped posting on social media, has set up a business at Hotel Quebec studios in Hertford.

He is advertising for artists and writers to come and work on their own music at the facility.

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In an advert, he says: “Hello, my name is George Ezra and I would like to introduce you to my personal recording studio, Hotel Quebec, a state-of-the-art recording facility in Hertford, just outside of London, that was designed and built for me — my musical projects, my writing and my recording.

“It gives me great pleasure to tell you that the studio is now available for you to book and for you to record in, whether it’s for a day, a week, a month: if you are looking for a uniquely beautiful and creatively safe environment to work in, please don’t hesitate to get in touch.

“On behalf of myself and the small but dedicated team here at Hotel Quebec, we hope you are well and we look forward to hearing from you.”

Those close to George said he had been quietly beavering away on his own projects in the studio, but added: “He wants to share what he’s created and it’s a clever side hustle.

“George has no confirmed plans or dates for a return yet, but he has been using the studio for his own projects.

“By renting the studio out, George can help other artists — and he’d much rather have that than the place being empty when he’s not using it.”

I told at the end of 2024 how George had quietly become a father for the first time, so I’m sure a few extra quid from the venture will be welcome.

The Brit Award winner has had three No1 albums and topped the singles chart in 2018 with Shotgun.

However, on his 2023 tour, he was forced to cancel some live ­performances due to acute vertigo, and he has always made it clear he’s not particularly keen on fame.

With that in mind, I can’t blame him for wanting some time away from the spotlight.

But I’ll be gutted if we don’t get any more music from George soon.

So I’m keeping my fingers crossed he doesn’t wait too much longer before treating us again.

MADGE IS CRAZY FUR ROCCO’S ART

ROCCO RITCHIE has found his biggest fan – in his mum Madonna.

She has shared a load of snaps from the budding artist’s most recent exhibition, which includes a self-portrait in which Rocco is cos-playing the Incredible Hulk.

Madge slipped into a fur coat and silky shorts for the event and told her Instagram followers: “Everyone knows I love art.

“Can you imagine how much more I love it when it’s my son, Rocco’s?

“It’s been so exciting watching him grow as an artist, finding his groove, his style, struggling with the loneliness of being a painter, locking himself in his studio. Watching him turn nothing into something.

“I love that he is moving into sculpture now.”

LEDS NIGHT FOR PAUL

THERE was a meeting of legendary musical minds over the weekend as Sir Paul McCartney headed out on a double date with Led Zeppelin guitarist Jimmy Page.

Beatles maestro Paul was spotted arriving at the trendy West London restaurant Dorian with his wife Nancy Shevell, before being joined by Jimmy and his missus, poet Scarlett Sabet.

The foursome were snapped during the course of their dinner, with one onlooker telling me: “They talked music non-stop. People were doing double takes when they saw Paul and Jimmy together.”

As Paul was heading home he was overheard telling the waiting photographers to make sure they took pictures of his “good side”.

It all looks good from where I’m sitting.

A RAYE OF HOPE

RAYE is considering legal action against an unnamed artist after they seemingly released a song written by her grandad without any credit or money for him.

The Where Is My Husband! singer, who clearly has music in her veins, revealed grandpa Michael wrote and recorded a track when he was younger and sent it to a record label who, without his knowledge, gave it to an artist, who she hasn’t named.

Raye, who won the Mercury Prize on Thursday, said: “He [Michael] was burnt by the industry. He wanted to make it as a songwriter, so he would write songs on the piano, score them and record it.

“Then he’d put them in boxes and post them to record labels in London, hoping that someone would play his tapes, like it, contact him and bring him down to London to live his dream. Unfortunately – and it was the case back in the day – so many songwriters were just absolutely done so dirty.

“He sent one song, and it was released two years later with no credit, no contact, and it completely broke his heart.

“There was nothing he could do about it – he had no money.

“He couldn’t afford a lawyer so no one cared.”

On whether she might pursue the case now she is a big star herself, Raye told the And The Writer Is… podcast: “I have looked into it.

“It’s just, financially, I just don’t know if the evidence is substantial enough because the evidence was sent off.

“All he has is a songwriting book with things jotted down, and yeah, it would be a giant thing.”

I’d love to see justice done.

DRAKE’S BOYBAND BIRTHDAY

DRAKE got a huge 40th birthday surprise when Backstreet Boys helped him celebrate the milestone.

The Hotline Bling rapper got up on stage in New York to sing with the group at Casa Cipriani, where they performed I Want It That Way.

I revealed last month that the American lads were poised to announce a run of shows at London’s O2 Arena in the coming weeks, with the concerts scheduled to take place next year.

Backstreet Boys will return to the Sphere in Las Vegas in December and January as part of their Into The Millennium residency.

After a nice break in the early new year, coming back to the UK will be the perfect way to kick-start 2027.

KASABIAN front- man Serge Pizzorno was the secret guest at the 20th anniversary celebrations of This Feeling in London.

The club, which has helped launch some of the biggest names in indie, put on a huge night of performances on Saturday.

Little Bit Of Love singer Tom Grennan was also on hand to perform a set as revellers partied until 2am.

HIGH SCHOOL MUSICAL

@ Troubadour Wembley Park Theatre

★★★★☆

YOU’D be foolish to walk into a stage ­musical based on a Disney kids’ movie and expect an edgy take on youth culture.

But that’s exactly why the new stage ­version of High School Musical delivers – it doesn’t try to be anything it’s not.

Having opened in Manchester, clever staging at its new home in London takes you courtside as the East High gang juggle basketball, science class and drama club.

And you’re immediately made one of them as the cheer squad lead you in ­routines ahead of the Wildcats’ big game.

McFly’s Harry Judd stars as Coach Bolton while Tobias Turley and ­Leonor Correia play young lovers Troy and Gabriella, who meet on holiday then find themselves at the same school. But it’s Luke Bayer and Caitlin TIpping, as siblings Ryan and Sharpay, who steal the show.

The writers wisely reprise the banger, Bop To The Top, and the show ends with a frenetic all-cast montage. It’s unlikely to win any awards or challenge minds, but this extra helping of cheese went down a treat.

By Felicity Cross

A Michigan man and former studio engineer is facing the music for his theft of rapper Eminem’s unreleased works.

Joseph Strange, a 48-year-old Michigan resident, pleaded guilty to criminal copyright infringement and will be sentenced to prison in January, the Department of Justice announced Thursday. He faces up to five years in prison. Federal prosecutors accused Strange in March 2025 of stealing and selling unreleased work by Eminem (legal name Marshall Mathers III).

An attorney for Strange did not immediately respond Friday to The Times’ request for comment, but told Variety in a statement that his client is a “good” man and his “children have suffered greatly in all of this.” The attorney said the case is “far more complicated and nuanced matter” beyond the theft.

“Nevertheless, my client has taken accountability for what he has done, has tremendous remorse for what has happened to his family,” the attorney reportedly added, “and has great faith, as do I, in the judges of our district to see this case for what it is.”

A spokesperson for 15-time Grammy winner, maker of hits “The Monster” and “Lose Yourself,” did not comment.

Strange was charged in 2025 with copyright infringement and interstate transportation of stolen goods, federal prosecutors announced. Investigators said at the time that more than 25 songs had been played or distributed online without permission from Eminem or the group that owns his music, Capitol Labels Group. Investigators discovered the music on password-protected hard drives stored in a safe at Eminem’s studio in Ferndale, Mich., an FBI affidavit said. At the time, an attorney for Strange denied the “untested allegations.”

The charges against Strange arose after studio employees alerted the FBI of the theft in January 2025, alleging the unfinished releases were shared to a number of online platforms. Files from a hard drive in a safe were transferred to an external hard drive in October 2019 and January 2020, around the time when Strange was working at the studio.

A Canadian resident informed investigators that he purchased 25 unreleased Eminem songs from Strange for about $50,000 in Bitcoin and that he raised the funds through the support of a group of Eminem fans. He also claimed Strange also put some of Eminem’s handwritten lyrics up for sale.

The affidavit says a federal search of Strange’s home in January 2025 led to the discovery of numerous lyric sheets and notes handwritten by Eminem, a VHS tape of an unreleased video and hard drives with about 12,000 audio files.

“Joseph Strange abused a position of trust to unlawfully copy and sell unreleased music belonging to Eminem, profiting from works that were not yet authorized for public distribution,” said A. Tysen Duva, assistant attorney general for the Department of Justice Criminal Division. “His conduct undermined both legal and artistic rights.”

The Associated Press contributed to this report.

WITH Halloween fast approaching, our Spotlight on column focuses on Londonderry, Northern Ireland.

The city is home to Europe’s biggest Halloween festival – now in its 40th year.

To celebrate, the city is launching a year-round Derry Samhain Experience and a permanent Halloween mural.

Here are some other top tips from us, including where to stay and some hidden gems.

MUST SEE/DO

From October 28 to November 1, The Awakening The Walled City Trail fills the city centre with light installations, street theatre, fire performers and live music, while the Little Horrors programme keeps younger children busy.

On Halloween night the Carnival Parade sets off at 7pm, followed by fireworks over the River Foyle.

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Pack a costume, as locals take dressing up seriously.

The trail, parade and fireworks are all free, but if you plan to visit make sure you book a bed as soon as possible.

BEST VIEW

Derry‘s 17th-century walls, built between 1613 and 1618 to protect English and Scottish settlers, are the only fully preserved city walls in Ireland.

They have never been breached, not even during the 105-day siege of 1689.

The mile-long loop takes you past seven gates and 24 restored cannons, including Roaring Meg, stamped “Fishmongers, London, 1642” after the livery company that paid for it.

From the ramparts you can look down over the Bogside, where murals and Free Derry Corner tell the story of the Troubles.

HIDDEN GEM

The Dickensian-style Derry Craft Village in the heart of the city is a reconstruction of an 18th-century street and 19th-century square, home to more than 70 local makers.

It was built by the Inner City Trust, a charity set up in 1976 to rebuild the city centre during the Troubles. Its cafes are good for a coffee or a bite.

Derry Girls fans should then pop next door to the Tower Museum, home of the Derry Girls Experience.

RATED RESTAURANT

Browns Bonds Hill, on the east bank of the River Foyle, serves modern dishes made with local, seasonal produce.

Opened in 2009 by chef patron Ian Orr, Michelin‘s inspectors single it out for its good value.

For something more casual, sister restaurant Browns in Town is across the river on Strand Road and serves classic burgers, steak sandwiches and pasta.

BEST BAR

Peadar O’Donnell’s on Waterloo Street has live traditional Irish music every night, in a pub done up like an old-fashioned grocer’s and hung with flags.

It’s a top spot to pull up a stool and sink a pint of Guinness. If it’s too busy, try the Gweedore Bar, under the same roof with an equally buzzy atmosphere.

HOTEL PICK

The Walled City Hotel opened last autumn with 40 rooms in a 1920s former Bank of Ireland building on Strand Road, a two-minute walk from the Guildhall.

Its vaulted ceilings now look down on a bar and restaurant. Rooms cost from £102 per night. See walledcityhotel.com.

Prince WIlliam once dreamed about being a policeman before he turned his hand to DJing – but The Prince of Wales has been brutally honest about his talents during a surprise TV interview

Prince WIlliam has revealed his childhood dreams of becoming a DJ live on TV.

He joined Cate Blanchett, Robert Irwin and Hannah Waddingham on The Graham Norton Show last night. During the episode William was asked whether he had wanted a different career growing up, other than becoming the future King, to which he surprised the audience by saying he had.

His dream role was once to be a policeman, and he even said he wanted to be a DJ. He said: “I did want to be a policeman when I was younger; I thought I could make a good policeman.” Graham interjected saying: “Well, you’re tall.” Then Robert chipped in: “There’s a bit more to it than that mate.”

Graham continued: “Well, you’d look good in the uniform and the hat.” Prince WIlliam added: “I wasn’t on the catwalk. Yeah, being a policeman I thought was quite cool and then I went through a phase of wanting to be a DJ – which didn’t go very well and I came up with a name, I was called DJ Xara with an ‘X’, it wasn’t good.”

Graham asked: “Did you DJ at school parties?” To which Prince William said: “No, I didn’t, I never got that good.”

To see more of the stories you love from The Mirror and to find them easily in Google, then make us your preferred source. Free and easy to do, just click on the link here to find more from The Mirror at the top of your feed.

The audience is heard laughing along, prompting many royal fans to take to X to comment on the prince’s sense of humour, with many referring to William as “funny”.

One fan commented: “Prince William is articulate, funny and an intelligent decent man,” another added: “Prince William is pretty funny and bet he would look good in a police uniform.”

Another added: “I [red-heart emoji] seeing people realise just how charismatic and funny Prince William is, and that he has absolutely no problem laughing at himself. This clip of him on The Graham Norton Show is the perfect example of that. The poor man was absolutely red in the face from laughing so much.”

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

RAZORLIGHT are keen to show they’ve still got the golden touch as they prepare for their 28-date tour across the UK and Europe.

The new shows will see Johnny Borrell and Andy Burrows celebrating the 20th anniversary of their self-titled second record, which spawned hits including America, In The Morning and Before I Fall To Pieces.

Speaking at the Ovo Arena Wembley, where the band plays on December 4, frontman Johnny recalls: “The first time we played here was supporting the Manic Street Preachers, it was a great show.”

Buzzing to be back, drummer Andy adds: “We feel very lucky, but at the same time we also feel like we did something really cool.”

The tour starts in Europe and reaches the UK with Glasgow on November 26, before cities including Nottingham, Bristol and Leeds.

And time on the road means more time to make new music.

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“I’m hoping we do some writing on the road because we used to do that a lot,” Johnny says.

“Now we’re going out on the tour bus again, I think we’ll have a good chance of doing that.

“We’ve got a couple of really good songs at the moment and the next step is bringing it to the band and we’ll see how it sounds.

“I like where we’re at with Razorlight at the minute, we’ve got the bit between our teeth.”

Andy says: “These shows and playing together will fuel that. It would be easy to play some gigs, earn some money and be like, ‘See you in two years.’

“But we have that drive to say, ‘F**k, we need to do this again and do it better’.”

Johnny adds: “Everyone has to bring their A-game, then we need to meld together because then it creates something incredible.”

Johnny thinks the group — which first formed in 2002 — have some exciting years ahead.

He explains: “I think a band needs that hunger. And I think we have that right now.

“We’re writing new material and we’ve got that drive.

“I always feel most comfortable in that kind of position where I’m fighting and trying to prove something. I like being the underdog and I like taking it on. When we play live, we’re not playing along to a backing track or anything pre- recorded or a click track or something like that, which 90 per cent of bands are doing now.

“It’s depressing. People do it because it’s easier and it’s cheaper to do. Anyone can go off and do 364 days of something else, then turn up and get a haircut and look like they’re in a band, you know?

“But we’re doing it the real way.

“It doesn’t matter if you’re the biggest band in the world. It doesn’t matter if you’re like the newest, youngest band starting out.

“If you’re doing it properly and you’re doing it for the love of the music, it’s a long road and you just have to keep fighting.

“And that’s our vibe right now.”

FLUFF LUCK FOR RAYE

RAYE was the big winner at the Mercury Prize do after taking home the coveted gong.

She received the award for her incredible second record, This Album May Contain Hope.

After the bash at Newcastle’s Utilita Arena, the star was snapped leaving in a faux fur coat and fluffy slippers while holding her trophy out for the waiting photographers.

Raye, who turns 29 today, said: “I just poured so much heart into this album, I really did. This accolade is serious and something that I always dreamed to one day receive. I just feel really grateful.

“It’s the best birthday present I could have asked for.”

Olivia Dean left the night empty-handed but made up for her loss by partying until 3am with her pals in Newcastle.

One of my mates spotted the Man I Need singer heading off with her friends to cool DIY music venue The Lubber Fiend.

They told me: “Olivia might have lost to Raye but she was in great spirits. She went dancing with her mates and was having the time of her life. She’s a great girl and a proper good laugh.”

WIGHT MOVE BY ROBBIE AND CO

ROBBIE WILLIAMS, Kings of Leon and Fatboy Slim have been announced as the headliners for the 25th Sky Presents Isle Of Wight Festival.

They will be joined by a slew of stars including Becky Hill, Kaiser Chiefs, Myles Smith, Cruz Beckham& The Breakers, Courteeners, Rudimental and Scouting for Girls.

The event, which takes place across four days from June 17 next year, still has some more acts to be announced.

Tickets go on sale at 8am on Monday,

Festival director Caroline Giddings said: “There’s a real mix of artists for different generations and tastes, and there’s still more to come.

“We put a lot of thought into what happens beyond the main stages, too.”

JoJo in a good lace

SINGER Jojo Siwa wows in lace as she attends the 2026 Dancers Against Cancer Gala in Beverly Hills.

The former child star looked worlds away from her wild pop star persona as she walked the red carpet in a stunning white dress.

The singer was in good company at the glitzy bash, with actress Carmen Electra and singer Janet Jackson also in attendance.

JoJo is currently enjoying some downtime in America after releasing a series of singles following her stint in the Celebrity Big Brother house last year.

GEORGE MICHAEL’s estate is hosting a free screening for NHS staff of his film, The Faith Tour, at London’s Roundhouse .

The show comes 20 years after his gig at the same venue for nurses, to thank them for caring for his mum who died of cancer in 1997.

Tickets will be distributed by NHS England.

STRIP away his rock star status and Noel Gallagher is just like us.

In the new episode of Chicken Shop Date, he tells host Amelia Dimoldenberg: “I’m pretty low-key. My children live with me. We played a gig in São Paulo to 90,000 and I got home and came downstairs to find my two lads arguing over what was left in a box of Coco Pops. I thought to myself: ‘48 hours ago I was on stage – now I am arguing with two bellends about Coco Pops.’”

Tribute specials are always a bit macabre. They exist, and are sometimes quickly thrown together, to honor and celebrate an artist who impacted so many. They are also ratings and advertising cash grabs that air on major TV and streaming platforms.

“CMA Presents I Will Always Love You: A Celebration of Dolly Parton,” which aired Wednesday on ABC and Disney+, was a lovely tribute to the music and cultural icon who died from cancer in August. It also was a missed opportunity. As music superstar Vince Gill said toward the end of the two-hour program, “this is not a memorial; but a celebration of an undeniable force of nature. Dolly was somebody that everyone loved: City, country, young, old.”

But most likely because the event was put on by the Country Music Assn. — which naturally wanted to showcase its own talent — it lacked a chance to really celebrate that she and her music could not be contained by one genre.

This isn’t just ironic because Parton’s most-known song — a song that was both the title of the special and the end performance of it — was made all the more famous by Whitney Houston, another iconic performer and also one who happens to have been a woman a color and who did not have any other direct ties to the Nashville scene. Dolly herself, famously, appreciated so many other kinds of music. After her passing, Eminem shared on social media a letter she’d written to him to congratulate him on his 2022 induction to the Rock & Roll Hall of Fame.

“She definitely didn’t have to take the time to do it,” he said as part of the post. “Even for a kid who mostly listened to rap music, she was an icon. A superstar in every sense.”

That said, from Reba McEntire opening the show with stories of just how kind her friend was in real life to a pre-recorded tribute from Bono where his Irish accent briefly attempts to slip into a Southern one while emulating her conversations with him, there were some touching and memorable moments. We’ve rounded up five of them here:

Reba McEntire, “He’s Alive”

Technically, the song is meant to be the apostle Peter singing about Jesus Christ’s resurrection. But McEntire’s take on Parton’s take of the Don Francisco gospel brought in the very modern-day sense of fear that so many parents and partners feel when their loved ones go out to dangerous jobs or even just leave the house for school or concerts.

Carrie Underwood, “I Will Always Love You”

There’s no denying that this is a perfect song and that Underwood is a once-in-a-lifetime voice. And credit must be due to Underwood for pulling off an undertaking where any little slip would be pounced on by critics. But staging her to stand in front of one of the many animatronic butterflies that lined the stage in such a way that it looked like she had angel wings was … a choice.

Carly Pearce and Kristin Chenoweth, “9 to 5”

Both of these women, especially Tony winner Chenoweth, are masters of stage presence. Their banter with each other before singing, not to mention their duet itself, embraced the liveliness and feminine feminist-ness of that song.

Ella Langley, “Jolene”

This was not the most powerful performance of the night, as Langley seemed happier to dance on the stage than belt out the music. And it didn’t boil with the grief and seething rage of a scorned woman the way that Beyonce’s 2024 cover did. But it was nice to see a symbolic baton be passed to the “Choosin’ Texas” singer.

Zac Brown, “Butterfly”

Brown’s backstory of writing, and then recording, what would become his 2025 duet with Parton came off as sweet and genuine. It also helped it not feel awkward or gratuitous when he and the producers opted not to recast the Parton half of the song and instead let her voice carry through the speakers.

John Anderson, a country western star known for his traditional tunes and twangy voice, has died.

A representative for Anderson confirmed to The Times that the storied singer-songwriter died in his sleep at his home in Smithville, Tenn., on Wednesday. He was 71.

“It is with the heaviest of hearts that we share the passing of our beloved husband, father, grandfather, and best friend,” a statement from Anderson’s family read. “To the world, he was a gifted country music singer whose voice and songs touched countless lives. To us, he was so much more. He was the heart of our family, the one who made us laugh, loved us fiercely, and made every ordinary moment feel special. We are completely heartbroken. His music will live on, but for us, his greatest legacy will always be the love he gave his family and the memories we will carry with us forever. Please keep our family in your thoughts and prayers as we grieve this unimaginable loss.”

Born in Apopka, Fla., on Dec. 13, 1954, Anderson got his first guitar when he was 7 years old and played in garage bands as a teen. When he finished high school, Anderson packed his bags for Music City. He gigged at Nashville nightclubs until he landed his first record contract with the support of music publisher Al Gallico; he signed with Warner Bros. Records in 1976.

Over his storied career, Anderson earned 20 top 10 country hits, including five No. 1s. Through the 1980s and ’90s, Anderson was a leader in the explosion of neotraditional country tunes, and honky-tonks were filled with couples two-stepping to hits including “Swingin’,” “Seminole Wind,” “Straight Tequila Night,” “Wild and Blue” and “Black Sheep.”

In 1993, Anderson received the Academy of Country Music career achievement award. Introducing the award, Reba McEntire said Anderson was an early new traditionalist who “combined a sweet and pure country sound with great energy and emotion.” Billy Dean gave remarks, too, saying, “Back in the early ’80s, John’s sound and material struck the exact right chord with country record buyers and inspired a whole bunch of up-and-coming artists just like myself.”

In 2014, Anderson was inducted into the Nashville Songwriters Hall of Fame, and in 2024, Anderson he was inducted into the Country Music Hall of Fame alongside Toby Keith and James Burton.

“This is an institution that preserves greatness,” Anderson said of the honor. “That I get the chance to be amongst this kind of greatness, words can’t explain.”

This is a developing story.

COUNTRY music legend John Anderson has died at the age of 71.

The iconic voice behind Swingin and Straight Tequila Night was inducted into the Country Music Hall of Fame in 2024 with his heartbroken family paying a touching tribute.

John, a native of Apopka, Florida, passed away on Wednesday.

His cause of death is yet to be announced.

An emotional statement from John’s family read: “It is with the heaviest of hearts that we share the passing of our beloved husband, father, grandfather, and best friend.

“To the world, he was a gifted country music singer whose voice and songs touched countless lives.

MESSAGE SENT

Zach Bryan reginites Ed Sheeran controversy at sold-out Gillette Stadium show

“To us, he was so much more. He was the heart of our family, the one who made us laugh, loved us fiercely, and made every ordinary moment feel special.

“We are completely heartbroken.

“His music will live on, but for us, his greatest legacy will always be the love he gave his family and the memories we will carry with us forever.

“Please keep our family in your thoughts and prayers as we grieve this unimaginable loss.”

He boasted a trio of hugely popular number one hits on the country charts for Wild and Blue, Black Sheep and his signature song Swingin.

John’s last public appearance saw him appear alongside his fellow inductees at the Country Music Hall of Fame Medallion Ceremony in Nashville on October 18.

They were inducting the 2026 stars Tim McGraw, Paul Overstreet and the Stanley Brothers.

John said his own induction into the elusive club was one of his best achievements.

He told Rolling Stone at the time: “One of the main gratifications is I got to live to see it.

“Several of my friends were inducted posthumously.”

John leaves behind his wife of 43 years Jamie Anderson and their two daughters Brionna and Alexa.

Eric Dangerfield is surrounded by senior citizens.

After a packed set at Riot Fest the previous weekend, the 25-year-old lead singer and rhythm guitarist of the Paradox welcomed the quiet of his boomer-dominated neighborhood.

“I’m a suburban dude,” he said, smiling from his home in metro Atlanta, his cropped two-toned dreads bobbing as he spoke.

The Paradox spent much of the summer on the festival circuit, powering through a growing discography of pop-punk gems, so Dangerfield and the three other band members are taking a brief breather before their Proceed With Caution Tour starts this month — their first as headliners.

It’s peaceful. That is, “Except when the boys come over,” he adds.

On a late morning in September, the boys are here and accounted for: patching in to a video call, minutes apart, from their homes, also in suburban ATL. Dangerfield, born with the perfect stage name, has ideas that flow faster than he can seem to get them out. Then there’s Donald Bryant on bass. Yin to Dangerfield’s yang, with a quiet, commanding presence.

Percy “PC3” Crews has been playing drums since he was 3, and his vicious skills on the drum kit contrast with a cheery, relaxed demeanor. Finally, there’s Christopher Bernard, a.k.a. Xelan — the lead guitarist and Dangerfield’s vocal complement.

Dangerfield likens the four to musical superheroes from a Marvel series. But not so much the “Earth’s mightiest heroes” variety.

On their first headlining tour, the band brings its new EP, “Proceed With Caution,” to Los Angeles while claiming space in a historically white genre and weaving social commentary into its pop-punk sound.

(Shorefire Media)

“I’m like Mister Fantastic and Donald’s my Invisible Woman. Xelan’s the Thing, and Percy is John Storm,” he says of his partners in musical mischief. “If I’m ugly, just say that,” quips Xelan, the band’s oldest member at 30. “Yeah. Because you’re strong, bro,” reassures Eric.

By this time, the interview has devolved into fun-loving chaos.

They finish each other’s sentences and switch up their Google Meet backgrounds, cracking up as an awkward graduation portrait pops up. At some point, Bernard decides to give a bedroom tour, showing off his collection of Blink-182 and Fall Out Boy posters.

A photo of him with Travis Barker hangs next to a framed Billboard plaque on a nightstand. Barker was featured on the Paradox’s 2025 single “Bender” and performed with the group at Vans Warped Tour the same year.

The Billboard plaque commemorates the band’s song “Get the Message” from its debut EP, “NSFW,” reaching No. 1 on the Alternative Airplay chart in January — a great achievement for any rock artist — but the Paradox also happens to be the first all-Black band to do so.

The success, although rapid, didn’t come from nowhere. All of the members have been working toward music in some form for years.

Dangerfield had a deal with a small label where he was originally making a go of it as a pop and R&B soloist. He also put out his music online. Looking for something different, he remembered his passing interest in pop-punk from his days growing up in Palm Coast, Fla. It was the “Fat Lip” video by Sum 41 that sealed the deal.

Yearning to be in a band, he started working with Bernard, whom he met online and shared his passion for the genre. Bryant was Dangerfield’s childhood friend from Palm Coast who had also moved to Atlanta, while Crews had been a fixture on the local music scene. And the name? It came from Dangerfield’s love of quantum physics.

Shortly after the group officially formed in June 2024, Dangerfield’s then-girlfriend — now wife and band “momager” Lexi Dangerfield — opened Instagram and TikTok accounts filming and posting their homey videos. The band’s song “Kaitlyn” and some covers blew up. The artists’ perspective, filtered through a Gen Z lens, struck a multigenerational nerve.

Attention came so quickly that Dangerfield felt the need to defend against online detractors who were convinced the group was an industry plant.

From there, the fairy-tale plot thickened. Billie Joe Armstrong followed Dangerfield on Instagram, and the two struck up a friendship that led to the Paradox opening for Green Day on the Atlanta stop of its Saviors Tour. But this was, of course, after Jack White’s people called — who the group ended up opening for at Basement East in Nashville.

Things haven’t slowed down in the two years since, with opportunities coming fast and furious. In the spring of last year, the band signed a deal with Hundred Days Records, a subsidiary of Virgin Music Group, and teamed up with producers Mike Pepe and Robopop to work on “NSFW.”

“Bender,” the group’s collaboration with Barker, and “Do Me Like That” are featured on Madden NFL 27 and NBA 2K26 video game soundtracks. Last month, the musicians streamed a concert from Twitch superstar Kai Cenat’s house. And now, instead of opening for their idols, they are inviting them up on stage as guests. For their second Warped Tour in Long Beach, that meant Deryck Whibley of Sum 41 and Logan Henderson from Big Time Rush.

The embrace from established musicians has definitely helped the band navigate its rise. In a moment of doubt, Crews said Good Charlotte’s Joel Madden, in particular, came through with sage advice.

“He asked me a question: ‘How does it feel being where we were?’ And I was like, ‘It feels like a dream.’ It felt like I was gonna wake up on my desk sophomore year with drool on my f— table. And I was telling him that, and he was like, ‘You know, it may feel that way, but it is real … It’s real, and it’s you … you belong in these rooms.’”

The irony of being embraced in a mostly white subgenre of punk rock while Black American culture formed its foundation is not lost on the group. Had the band come about during one of Dangerfield’s favorite eras of music, the ’50s and ’60s — there would likely have been rooms in which they weren’t welcomed.

While the band members understand the impact their visibility has — especially for non-white kids who grew up in the suburbs as they did: skating, riding BMX, building Legos, watching anime, dreaming of a life onstage — it does require some balance. “They’re not asking Taking Back Sunday this stuff,” Dangerfield acknowledged when asked if they might tire of the representation mantle. “Or Blink, but … We are a minority in this space and in this country, and I think that you know the stuff that comes with being Black should definitely be talked about. I think those conversations are important.”

He said as much in August, when the group made its Tiny Desk debut in celebration of NPR’s Black Music Month. “Now, like they said, we made history,” he said, leaning into the mic after the first song. “And the Paradox is in the business of bringing rock ’n’ roll back to the originators.”

A glance at the comment section under the video makes clear the group’s authenticity resonates with those who haven’t felt seen or heard in certain spaces.

“I’m a black girl from the suburbs of Metro ATL,” wrote @rainjojo. “And I’m glad to see representation of people who are like me indulging in punk rock. I got into this genre from childhood shows like “16,” “Stoked”, and other early 2000 to 2010 shows, and I remember being bullied for being whitewashed. Please keep making more music like this.”

The tour is named after “Proceed With Caution,” the band’s sophomore EP released on Oct. 2. Across six tracks, it continues in the same vein as “NSFW,” with sharp melodies and a dash of humor thrown in. But on “That’s Not Fair,” the group wades deeper into social commentary. It was also the most difficult to record, cut raw with no click track.

“We were just trying to think of things that were not fair, [from] small and trivial like losing your keys to, I don’t know, using it as a bridge to talk about larger issues and things like that,” Dangerfield says of the song. “I think a big thing for me personally, it’s not political … is kind of the fact that everything is getting so expensive. The price of everything is rising so rapidly, and the salaries that people are being paid are not really growing to match that.”

The Paradox perform at The Moroccan Lounge on Thursday, Oct. 22.

(Hunter Lyon)

“And it’s like, we got very lucky, but the thing is, most people don’t,” he continued. “If you’re gonna sacrifice all your time, slaving away working for big corporations and stuff like that, you should at least be able to, you know, buy a candy bar or something.”

So far, the musicians aren’t taking anything for granted and are trying to enjoy the in-between moments.

Dangerfield and his wife took their daughter on a Disney cruise for her second birthday — she’s spent much of her young life traveling with the band.

With some of his publishing money, Bernard indulged his love of vintage Japanese fashion and has a 2000s-era Tuscan house on his vision board. Crews stays healthy, listens to lots of Snarky Puppy, and looks forward to the relaxed cannabis laws of L.A. when the tour stops at the Moroccan Lounge on Oct. 22 and 23. If time allows, he might even have time to surf in Malibu.

Bryant, who counts Mike Dirnt, Mark Hoppus and James Jamerson among his biggest influences, balances a dream of seeing his band play for thousands with looking forward to a life lived like his older brother: a chiropractor with a nice family.

But some dreams will have to wait as the band goes back to making music, hopefully with lasting impact. The members want to become household names, “like Nirvana,” with music people will play for hundreds of years. Why not?

Anything is possible when you are a fantastic foursome.

Alesha Dixon leapt to the defence of her The Voice UK co-star Cheryl Tweedy after a contestant on Britain’s Got Talent attempted to criticise the Girls Aloud singer

Alesha Dixon instantly supported Cheryl Tweedy following a scathing comment from a Britain’s Got Talent hopeful. Although Alesha is currently appearing on the ITV talent show as a judge, next year she will take on a new role.

The singer will join Stacey Solomon, taking over from Emma Willis, as the pair join forces to host The Voice UK. The singing competition, which also airs on ITV, has undergone a major shake-up, with longstanding coach Sir Jom Jones axed.

Instead, Will.i.am will be returning alongside Kelly Rowland. Girls Aloud singer, Cheryl Tweedy, will join the panel alongside rapper Aitch. And it appears Alesha has already formed a strong bond with Cheryl.

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During filming for Britain’s Got Talent in Blackpool, it’s reported that a contestant attempted to criticise Cheryl’s vocal abilities. The Sun reports that Alesha hit back instantly.

The Mis-Teeq star slammed her red buzzer halfway through the hopeful’s act and used her feedback to make it clear that she wouldn’t allow his comments. “You don’t come after a mate of mine,” the singer fumed.

Although fans won’t see Cheryl taking on her full-time role as a coach until next year, they were, however, treated to a glimpse earlier this month. The singer joined her pal Will during the Battles Round of the ITV competition.

During the episode, Will revealed that he had been trying to get Cheryl to join him for the past 13 years. Cheryl knows exactly what it takes to make it in the music industry, having found fame after being selected for Girls Aloud on Popstars: The Rivals in 2002.

Speaking to Team Will, the Call My Name songstress said: “I’m so excited for you. You couldn’t be in better hands than you are with my man Will. Will and I have collaborated a lot over the years, so we know what it’s like for two very different artists to come together. I wish you all the very best for what you’ve got today, and I’m excited to see you all!”

Reflecting on her own experience, having found fame on Popstars, Cheryl said during a solo interview: “I have stood in the shoes that the contestants are standing in, and I know what it feels like to perform in this environment. You’ve just got to know that you’re good, or you wouldn’t be here.”

Cheryl’s decision to sign up for the show marks a return to television after a lengthy break from the spotlight. In recent years, Cheryl has turned her attention to family life and has only taken on brief work spells, including her West End debut in 2:22 A Ghost Story.

While she once dominated the music industry and became the first female artist to have five records debut at Number One, her last single, Let You, was released in 2019 and peaked at Number 57 on the Official Charts Company.

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