onstage

A BRIT rock back have been forced to cancel an impending gig after an “unexpected medical situation”.

Enter Shikari were due to play a gig at Dublin Academy in Ireland this evening but have been forced to withdraw.

The band kept details sparse but confirmed a “medical reason” was behind their decision to pull the plug on the gig in the Irish capital city.

Issuing a statement, the band revealed they were gutted to be unable to complete the concert as planned.

The band said: “Due to a medical situation both unexpected and beyond our control, we’re sad to have to say we’re having to postpone tonight’s Dublin Academy show.

“If you know anything about us, you know that cancelling/postponing shows is always the absolute last resort once all other options have been exhausted, especially at this short notice.

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“We’re very sorry for any inconvenience this causes anyone.

“We’re in conversation with our Irish promoter and will immediately start looking at potential date to reschedule to.

“Thank you in advance for your understanding, and we hope we can see you as soon as possible. ES x.”

Their fans were quick to issue their well-wished amid the uncertain situation.

One penned: “Sending you guys so much love hope you’re all ok.”

Another went on to write: “Hope all is ok – let us know when you’re planning to be back in Ireland!”

A third then said: “Absolutely gutted as flew here solo from Brighton especially *but* sending everyone so much love and hope, and thank you for still being the reason I finally visited Ireland!”

Before a fourth commented: “Sending love as this can’t have been an easy decision, get well soon.”

Whilst a fifth comment read: “Health first always. Hope all is ok. We go again even harder on the rescheduled show to make up for this. Grá mór.”

The band were first formed in 1999 and adopted their current identity in 2003.

Their debut album, Take to the Skies, was eventually released in 2007 and reached number four on the UK Albums Chart.

Their seventh record, released in 2023, became their first chart-topper.

The group’s latest record, surprise released earlier this month, managed to chart at number 16.

PINKPANTHERESS brought out Zara Larsson, KATSEYE and Janelle Monae at the second weekend of Coachelle for her on-stage birthday bash.

The singer, 25, celebrated her big day while performing, with a slew of famous faces joining her for the iconic show.

Her fellow pop star Zara came out solo during her set to perform her song Midnight Sun to the crowd.

She thanked them and appeared to tease that PinkPantheress will feature on the upcoming deluxe version of her album of the same name.

At one stage, Janelle briefly joined the Boy’s A Liar singer on stage to play the guitar.

Later on, Australian DJ Ninajirachi played during the set, which led to several stars appearing, including actress Chase Infiniti, Manon from KATSEYE and Slayyyter.

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During her performance of Illegal with Tyriq Withers, the two spent the entire set dancing around one another.

The actor expressed: “I really had something important to say. I know it’s Coachella, shoutout Coachella, but a birdie told me that it is your birthday.”

He gave her a rose as the back up dancers held up a sign that said “Happy Birthday” which led to a thunderous applause from the audience.

The pair hugged before walking off stage hand in hand.

PinkPantheress wasn’t the only performer to bring out a special guest at this year’s Coachella festival.

Justin Bieber brought out Billie Eilish during weekend two, who has been a longtime fan of his.

He then sang he song One Less Lonely Girl to her midway through his Coachella set.

Clearly overcome by the special moment, Billie appeared emotional as she enjoyed being serenaded.

Fans took to X to react to the moment as one said: “THE FACT that it wasn’t planned, literally it was Hailey Bieber herself who pushed Billie Eilish to get on stage and be the OLLG.”

A second wrote: “No way that Billie Eilish became one less lonely girl in 2026.”

“This is so cute I love how Billie still stays in her fangirl zone around Justin,” said a third.

“Will go down as one of the most iconic Coachella performances ever,” added a fourth.

During her own set, Sabrina Carpenter stunned revellers by bringing out the icon that is Madonna.

The 67-year-old legend teamed up the Espresso singer for a show-stopping finale – dressed-to-impress in purple lingerie.

Two decades after her own epic headlining slot at the Californian festival, the queen of pop turned heads in a flesh-flashing frilly outfit.

The duo delighted the crowds with classic hits including Vogue, Like A Prayer and I Feel So Free from Madonna’s new album.

Sabrina had been mid-performance when an instrumental tease of Madonna‘s 1990 hit song Vogue weaved in.

Madonna told the cheering audience: “Wow, thank you.

“Sabrina, thank you so much for inviting me on your show.”

Holding hands, she replied: “No thanks needed, Madonna.”

British singer-songwriter Lola Young is opening up about the “breaking point” that steered her toward recovery.

The “Messy” hitmaker told Rolling Stone in a recent interview that she was grateful that she fainted onstage late last year, and framed the scary ordeal as a wake-up call. “What do you call that? Like, a breaking point which allowed me to then be able to be here today, allowed me to be better for my fans, better for the future, and better for myself,” she told the outlet.

In September, the Grammy winner collapsed onstage during a performance at the All Things Go Music Festival in New York City. Following the health scare — which drew speculation and worry from fans who’d watched the viral video of Young stumbling and dropping her microphone before falling backward — Young canceled the remainder of her tour, which included a 21-stop North American run.

The tour, in support of her third album, “I’m Only F— Myself,” was expected to conclude with two dates at the Hollywood Palladium in December. Instead, she spent two months seeking holistic addiction treatment in a facility that prioritizes psychotherapy. She’s now attending 12-step meetings and working with a sponsor.

When announcing that she would have to nix forthcoming performances to prioritize her health, Young told fans on social media that she was “going away for a while” and apologized, writing, “I love this job and I never take my commitments and audience for granted so I’m sorry to those who will be disappointed by this. … I really hope you’ll give me a second chance … once I’ve had some time to work on myself and come back stronger.”

Young told Rolling Stone that, naturally, some folks were really angry that she’d canceled her tour. “[I]t was a decision that I had to make, and it was sad that I had to do that. What else was I going to do, die? That was the reality of where my addiction was heading.”

This wasn’t the first health incident for Young, who is known for her chart-topping breakout hit, “Messy.” The budding megastar performed at the Coachella Valley Music & Arts Festival in 2025, and during her Weekend 1 performance, she struggled to get through. The heat lingered around 100 degrees, and while Young danced and sang, she began to visibly gag and retch before running off the stage and asking for a bucket.

The acclaimed artist has been candid about her struggles with cocaine and alcohol addiction and often explores those struggles in her lyrics. In the song “d£aler,” a bouncy goodbye letter to her drug dealer, she sings about spending the day trying to be sober but feeling miserable nonetheless: “I wanna get away, far from here / Pack my bags, my drugs, and disappear.” … “Pack my bags and tell my dealer I’ll miss him.”

Young also sat down with the Times UK and said that she didn’t want to say too much but confirmed that she was in recovery for drug addiction. “But what I would say is that recovery is an ongoing process. I’m not the finished article, but I’m doing a hell of a lot better.”

“Kim’s Convenience” may not win points for originality, but originality isn’t really the point of an immigrant family drama meant to be instantly, one might say universally, recognizable.

The play, which opened Tuesday at the Ahmanson Theatre, was a runaway hit at the 2011 Toronto Fringe Festival. That success led to a larger production at Toronto’s Soulpepper Theatre that brought more attention to the show, paving the way for runs off-Broadway, in London’s West End and Washington, D.C.

But the show’s familiarity has another source. “Kim’s Convenience,” which was turned into a sitcom for Canada’s CBC, found an international audience on Netflix.

The story is set in Toronto, and the Kim family (owners of the titular convenience store) is of Korean background. But immigrants from Ireland, Italy, Latin America, India and Eastern Europe and their more assimilated children won’t have any problems relating to the generational conflicts at the heart of this gentle comedy.

Author Ins Choi, who once played the role of the prodigal son, has matured into the part of Appa, the patriarch who left Korea with his wife, Umma (Esther Chung), to start a new life in Canada. He opened a 7-Eleven-style shop, which he once considered calling 7-12, and has been living above the store with his family in what has been an all-hands operation.

Appa made sacrifices to give his son and daughter a better life — and he’s more than happy to tick off a list of what everyone owes him. He’s a mostly benevolent tyrant, but his crotchety side can get ugly and he’s not always in control of his temper. His son Jung (Ryan Jinn) ran away at 16, absconding with money from the store safe, after one of Appa’s flare-ups sent him to the hospital.

Janet (Kelly Seo), Appa’s 30-year-old unmarried daughter, bears the brunt of being the adult child who remained at home. She still works at the store, though her true calling is photography. Her father considers this just a hobby, a weekend recreation that shouldn’t interfere with her taking over the store one day. But she has other ideas for her future.

Change is coming whether Appa likes it or not. A Walmart is heading to the area, and with this news comes an unexpected offer for the shop that would allow him to comfortably retire. But selling the store is tantamount to discarding his story.

Brandon McKnight, left, and Kelly Seo in “Kim’s Convenience.”

(Dahlia Katz)

He explains this to Janet, hoping that she’ll continue his legacy. But she’s put her life on hold for too long. Both her parents never let her forget that she still doesn’t have a husband. But how can she get married when her father subjects any man she dates to the third degree?

Alex (Brandon McKnight), the police officer who answers the 911 call Appa had Janet place to report a Japanese car parked illegally by the store (he still hasn’t forgiven Japan for its invasion of Korea), turns out to be a childhood friend of Jung’s — and someone Janet used to have a crush on. The sparks between them are obvious, and Appa, the soul of indiscretion, can’t help meddling in his overbearing way.

Choi isn’t averse to shtick, if the result is an explosion of audience laughter. One comic gimmick involves Appa’s superhuman grip that can subdue even the mightiest of men. A shoplifter (also played by McKnight, who portrays all the customers and passersby) learns the hard way that Appa is not to be underestimated.

Esther Chung, left, and Ins Choi in “Kim’s Convenience” at the Ahmanson.

(Dahlia Katz)

The scene involves an unsavory routine on how to recognize a shoplifter. Janet challenges Appa’s racist assumptions, but father knows best and no one can convince him otherwise. Janet can’t win with him, but don’t count Appa’s daughter out.

Or his son, for that matter. Jung, who had a stint in rehab, hasn’t had an easy path in life, but he’s stayed in touch with his mother and eventually he and his dad will have their dramatically inevitable reckoning. There’s something determinedly hopeful about “Kim’s Convenience,” which like the store it’s named after, wants its patrons to leave satisfied.

The cast members, under the direction of Weyni Mengesha, all deserve high customer ratings. Choi’s Appa is impossible to stay mad at even when he’s said or done something unforgivable. He doesn’t mean to offend, though other people’s feelings are a luxury he has never been able to afford.

Still, his paternal bluntness is not without its infuriating charm, as when he informs his headstrong daughter, “You have to understand, now is desperation time for you. Sudden death, overtime, penalty kick shoot out. Expiration date is over. Take over store is only choice you having.”

Esther Chung and Ryan Jinn in “Kim’s Convenience” at the Ahmanson.

(Dahlia Katz)

Seo’s Janet is as feisty as she is loyal, making it easy to root for her and her quickly budding romance with McKnight’s worthy Alex. Chung’s Umma doesn’t take up a lot of room in the play, but her maternal presence registers sharply nonetheless. Jinn endows Jung with hidden dimensions of pain and regret.

But the most vivid performance might in fact be the convenience store itself, brought to fluorescent, sanitized, colorful life by scenic designer Joanna Yu and lighting designer Wen-Ling Liao. Nicole Eun-Ju Bell’s video and projection designs subtly transpose the setting when, for instance, Umma meets up with her son at church. The production seems right at home at the Ahmanson, a function of both the broad sitcom-friendly style and the warm Korean American reception that was audible at Tuesday’s opening.

“Kim’s Convenience” has an eager-to-please TV sensibility that can seem formulaic at times. But representation, particularly these days, can be a radical act, and there’s something heartening at the sight of the Kim family enjoying their turn in the mainstream spotlight.