WASHINGTON — President Trump was evacuated from the White House Correspondents’ Assn. dinner on Saturday evening after an incident led to a security response and reports that gunshots were fired.
A Times reporter attending the dinner was forced to shelter in a restroom. He said he heard about four to five gunshots around 8:30 p.m. Eastern time. He said security told him that the person may have had a firearm. It was unclear whether the person was dead or wounded.
Guests at the White House Correspondents’ Assn. dinner mingle while awaiting updates about a shooting during the event at the Washington Hilton Hotel on Saturday.
(Andrea Castillo / Los Angeles Times)
A presidential motorcade was spotted outside the Washington Hilton hotel at about 8:45 p.m., though Trump’s location is yet unknown.
At about the same time, an ambulance arrived on scene as about 100 event attendees were escorted out of the secured event. The bulk of the attendees are still inside the hotel.
Gemma Collins and Sinitta reacted angrily to Jimmy Bullard’s claims of what led to his own bitter row with Adam Thomas during this I’m a Celebrity…Get Me Out of Here series
22:52, 24 Apr 2026Updated 02:03, 25 Apr 2026
Sinitta had enough – and left her co-stars(Image: ITV)
Gemma Collins and Sinitta both stormed off stage during the I’m a Celeb finale.
Drama unfolded moments before actor Adam Thomas was crowned the winner of the show, beating Mo Farah to the title. Singer and actress Sinitta, 62, appeared to take issue at something Jimmy Bullard had said about his own spat with Thomas which happened earlier in the series.
Addressing the audience, Sinitta said: “You guys weren’t there, you don’t know what happened.” She then stormed off stage, and was soon followed by TV personality Gemma.
Jimmy, the former professional footballer, had accused Thomas of being “abusive, aggressive and intimidating”. Adam came face to face with Jimmy and David Haye again for the first time since their bitter camp fallouts in South Africa.
And it was ex boxer David that made the first move, calling out the star when he was chatting to Ant and Dec. This season has been full of twists, trials, tension and tears and now I’m A Celebrity South Africa has reached its end.
When he was announced the winner, Adam said: “Thank you guys, thank you so much. I love ya.” Before he did his final trial in South Africa, Adam, 37, admitted there had been “a lot of drama” in camp. And there was a lot of drama in the final too, as hosts Ant and Dec struggled to stay on top of things.
Adam reflected on it and said he had apologised to Jimmy several times. Looking serious he said: “Listen I take full responsibility for my actions. Yes emotions were definitely running high in that moment. But, you know, I have got nothing but love for Jimmy.”
When David Haye tried to interrupt him Adam also said “will you just let the finalists speak”. Adam then said: “I take everything he said into account. That is not how I want to show myself off and I have never showed myself off in that light before that or after that. And I am sorry Jimmy.”
Adam was given a final eating trial in South Africa called Swallow the Odds, and looking ahead to the prospect of winning said: “I am gonna be a legend baby” He then proceeded to smash the trial, eating five courses with the likes of five pig teats, two century fermented eggs, tarantula and fermented tofu.
He even cheered himself on, saying “come on Adam, ” in between mouthfuls. After watching Gemma said: “You done so well, you amazing.”
But he also had to cope with a backlash from other contestants, as David Haye interrupted the show at this point and said: “Do you think you deserve to win it after calling Jimmy the C-word a couple of times?”
JUSTIN Bieber superfan Billie Eilish dramatically dropped to the floor on at Coachella when he brought her out on stage.
At weekend 2 of the desert festival, Billie could be seen crawling up the stage before sitting on a chair in front of her idol, Justin, who she has long been a fan of.
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Billie Eilish was taken on stage as Justin Bieber performed One Less Lonely GirlCredit: Youtube/CoachellaBillie has long been a superfan of Justin and was visibly overwhelmed on stageCredit: Youtube/CoachellaShe looked so shocked as Justin sang to herCredit: Youtube/CoachellaJustin hugged her at one pointCredit: Youtube/Coachella
Justin then sang the song One Less Lonely Girl to her midway through his Coachella set.
Billie, who has long been a fan of the Baby singer, looked so emotional as she was serenaded by the star.
On X, fans have reacted to the moment.
One person penned: “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.
“She’s such a fan lmao,” penned a fifth.
While a sixth said: “Justin pulling Billie on stage for ‘One Less Lonely Girl’ and holding her like that?? Coachella 2026 just healed my 2015 heart. This is the collab we NEVER knew we needed.”
Billie has long credited Justin as an inspiration, and even grew up as a Belieber.
“He’s amazing. He’s so sweet and, like, I feel – just, honestly, I feel for him, man. He’s been through a lot, dude,” Billie toldEllen DeGeneres previously.
The pair met at Coachella in 2019 and went on to collaborate on the remix to her song Bad Guy.
When the remix came out, Billie shared a photo of her as a teen in her bedroom which had posters of Justin plastered all of the walls.
Alongside the snap, she penned: “BAD GUY FEAT. JUSTIN BIEBER OUT NOWWW OMGFFFFGGG ANYTHING IS POSSIBLE MAN.”
This weekend’s set from Justin marked his second weekend headlining at Coachella this year.
Following his headline set last weekend, the star hosted a blowout bash with wife Hailey and A-list friends.
“Many people were turned down who had previously been invited,” they claimed.
“Promoters also had a lot of girls on their guest lists and I heard Hailey was turning them away.”
Influencer Zach Clayton echoed this by sharing a video on his TikTok showing a guy complaining, “They cut all my guest list off.”
He explained he invited 20 girls and they were all denied, joking that Hailey is a “boss,” and she was likely the reason they were not given access to the private event.
Justin headlined Coachella this yearCredit: YouTube
Anyone who thinks Coachella’s biggest surprises are reserved for Weekend 1 was proven wrong Friday night as Sabrina Carpenter welcomed Madonna on stage during her Weekend 2 headlining set. The crowd exploded with waves of cheers as the iconic pop star came on stage.
Madge joined Carpenter as a surprise guest during “Juno,” in which Carpenter reemerged in a gown that was a nod to Botticelli’s “The Birth of Venus” for a torch-passing duet of Madonna’s 1990 pop-house gauntlet “Vogue.”
The classic was followed by the debut of the gloriously upbeat “I Feel Free,” the first track from the pop icon’s forthcoming new album “Confessions II,” due out July 3.
The singer announced the record, a sequel to 2005’s “Confessions On A Dancefloor,” on April 15, alongside a 60-second teaser video for “I Feel Free.”
The Coachella performance, however, marks the first time the song has been heard in full — a fitting full circle moment 20 after Madonna played the Sahara Tent in 2006, complete with the same boots and costuming from that gig. “Confessions II” will be Madonna’s first full-length album since 2019’s “Madame X.”
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“Let’s try to be together. Let’s try to avoid disagreements,” Madonna said as she spoke about the moon and planets aligning.
Before the pair ended with “Like a Prayer,” accompanied by a choir, Madonna had another reason to be grateful.
“This is probably the first time I’ve ever performed with someone shorter than me,” Madonna said to Carpenter as the crowd laughed. “Thank you for giving me that experience.”
Senior Audience Editor Vanessa Franko contributed to this report.
Coachella’s 25th anniversary was more than just a milestone in the festival’s history. It’s a year that showcased its vitality and vision for the future — and yes, it’s still a great place to take a selfie. While the amount of great music we absorbed as a staff left us a little delirious, it ensured we’d have plenty of moments to recall for a highlight reel of Weekend 1. From Radiohead’s immersive bunker experience, to Sabrina Carpenter’s triumphant return, Justin Bieber’s YouTube karaoke set and Karol G becoming the first Latina to headline the fest on Sunday night, here’s our list of the 21 most memorable moments we caught during Weekend 1.
FRIDAY
(Mark Potts / Los Angeles Times)
Radiohead’s bunker is Coachella’s version of Disney’s Tiki Room
Finally! Coachella has its own version of the Enchanted Tiki Room attraction from Disneyland — and it comes from the most unlikely of artists: British alt rockers Radiohead.
Here’s what I mean by that.
Say you’re in search of an air-conditioned place to rest your weary feet while a visual and musical spectacle plays out before you. Where do you go? If you’re a parent taking your kid to the happiest place on Earth, you go to the Enchanted Tiki Room. If you’re a desert festivalgoer in Indio, you go to the Bunker.
Tip: The ushers appeared to be letting festivalgoers into the experience throughout the runtime of the movie, so there’s a possibility you’ll be able to get in even if you didn’t land one of the scarce time slots. And seeing as how the experience was only about a quarter of the way full by the time it ended, you might be in luck. (David Viramontes)
Devo performs at the Mojave Tent during Coachella.
(Christina House / Los Angeles Times)
Devo’s new wave dance party at sunset
Look, it’s a very different Coachella than when we last saw Devo here in 2010. The Mojave Tent should have been more packed for these legends.
However, those of us who hightailed it here were treated to a set of the band’s best. Early on in the performance, the band played “Girl U Want” into “Whip It,” and during the latter, Mark Mothersbaugh tossed a handful of red “energy domes” — you know them as the Devo flowerpot hats — into the crowd.
Similar to Bini earlier, Devo had a costume change from the navy worksuits into their signature yellow Devo suits for a rousing performance of “Uncontrollable Urge.” There was even some choreography. (Vanessa Fanko)
A festivalgoer holds a Coachella sunset cocktail.
(Danielle Dorsey / Los Angeles Times)
A Coachella sunset served as a cocktail
One of the best parts of Coachella is catching the sherbet-colored sunset at the end of the day, not just because cooler temps are ahead but because of the Lisa Frank explosion of colors that bleed into the horizon as it shifts to night. That event was made all the sweeter today when I paired the actual sunset with the Coachella sunset cocktail, which layers citrus and a speared kumquat with tequila, served in a branded cup that doubles as a souvenir. (Danielle Dorsey)
The xx performs on the Coachella Stage.
(Kayla Bartkowski / Los Angeles Times)
Indie minimalists the xx come back bigger, brasher than ever
The xx’s return was among the most buzzed-about sets of the festival this year, a credit to how well their catalog has stood up on its merits. At their debut, they almost singlehandedly inaugurated a shift toward hyper-intimate headphone pop — it’s hard to imagine Billie Eilish sounding quite the same without them.
Yet on Friday, they bolstered that purity with the confidence, swagger and precision of the veteran rock act they’ve become.
Dressed in their typical all-black palette, their faces carrying a little more gravity and composure with age, the set slipped between the ships-in-the-night duets of “Shelter” and “VCR” to the after-hours whomp of Romy’s “Enjoy Your Life.” “On Hold” best married the band’s two worlds, sample-soaked yet rock driven; “Angels” remained a peerless devotional ballad. (August Brown)
Katseye performs on the Sahara Stage.
(Christina House / Los Angeles Times)
Katseye performs ‘Golden’ with ‘K-Pop Demon Hunters’ at Coachella
Katseye proved no this ain’t their debut at their first Coachella performance, bringing out Ejae, Audrey Nuna and Rei Ami for a kinetic performance of “Golden” from “K-Pop Demon Hunters.” Despite the absence of Manon, the girl group packed the festival field with Eyekons packed shoulder to shoulder as far as the Do Lab. (D.V.)
Turnstile performs at the Outdoor Theatre.
(Kayla Bartkowski / Los Angeles Times)
Turnstile’s hardcore roots and tender hearts on display at Coachella
Turnstile’s set on the Outdoor Theatre on Friday night had some unexpectedly poignant moments from the Baltimore band with hardcore roots.
Before the band took the stage, there was footage of interviews with fans and also a previously recorded message from Bill Yates, the father of Turnstile singer Brendan Yates.
“We love you, Turnstile loves you and enjoy the ride,” he said.
The band played a 55-minute set split between its last two albums, 2025’s “Never Enough” and 2021’s “Glow On,” in a condensed version of the tour they brought through Southern California last fall. Highlights included “Seein’ Stars” off the latest record, where Blood Orange’s Dev Hynes joined the band on the cello before his own late night set in the Mojave Tent, “Mystery” and “Holiday” off “Glow On” and set-closer “Birds,” which won a Grammy earlier this year. (V.F.)
Sabrina Carpenter brings her hits (and Susan Sarandon?) to Coachella
“How you feeling, Sabrinawood?” Sabrina Carpenter asked as she gazed out at the tens of thousands of fans she’d gathered into a makeshift city Friday night. “I can’t believe I’m headlining Coachella.
“I mean, I can a little bit.”
Indeed, when Carpenter made her Coachella debut in 2024, the Disney kid turned pop icon vowed that the next time she played the desert festival, her name would be atop the bill.
She returned as promised this weekend as one of music’s biggest acts, with two No. 1 singles and a pair of Grammy-nominated albums under her belt and a story to tell about her rise to stardom. (Mikael Wood)
SATURDAY
Jack White draws a crowd at the Mojave Tent.
(Christina House / Los Angeles Times)
Jack White kicks off Coachella’s rock-tastic Day 2
I thought Jack White’s opening riffs were a beacon. Then he ended his surprise Mojave Tent set with the White Stripes’ “Seven Nation Army.”
It will not surprise you that the tent, which attracted an overflow crowd once he played the iconic riff, had people singing along and jumping and pumping their arms in the air to the track that has become a sporting event staple (including for my beloved Baltimore Ravens).
What did surprise me was that the crowd was also ridiculously loud for a sing-along to the Raconteurs’ “Steady As She Goes” a few songs before.
White ended the set by telling the crowd that he was planning to catch Geese and the Strokes that day and that music is sacred.
Rock is indeed alive and well at Coachella, especially as the fans kept singing “Seven Nation Army” after White and his band had left the stage and the set was over. (V.F.)
A visit to Coachella’s coolest rock club, literally, to catch Ecca Vandal
I know my phone says it isn’t as hot as it was Friday but maybe it was rocking out with Jack White that made us all a little more sweaty.
I booked it over to the Sonora Tent to catch a little bit of Ecca Vandal to confirm that the Sonora Tent still has the vibes of a cool rock club in the middle of the festival. I mean cool both figuratively and literally since the AC is always blasting.
The blue-haired singer leaped onto the stage — wearing a short poofy dress and tall boots — accompanied by a drummer and a multi-instrumentalist with a lot of flashing lights.
The beginning of her set was leaning on more of her pop crossover songs than the punk vibes that initially drew me to her, but I did catch her do the rocking “Bleed But Never Die” before I needed to move on to catch another set. (V.F.)
The Goodyear blimp flies over the Coachella Valley Music and Arts Festival on Saturday.
(Kayla Bartkowski / Los Angeles Times)
We sent our reporter to see what Coachella looks like from the Goodyear Blimp
The ride on the Goodyear Blimp over the Coachella grounds was gentler than I’d anticipated — kind of like a boat ride in a harbor. We took off from a giant dirt field at the Jacqueline Cochran Regional Airport in Thermal, Calif., and tooled around for 30 minutes or so; when we got over Coachella, we could see a few hundred Beliebers camped out as close to the main stage as they could get — nine or 10 hours before Bieber’s performance was scheduled to begin.
They looked so little down there — so small in size, so big in Beliebf. (M.W.)
Giveon performs at Coachella on April 16, 2022.
(Dania Maxwell / Los Angeles Times)
Giveon bottles the magic hour
Long Beach’s R&B savant Giveon kept his Coachella stage to a monochrome motif during his sundown set. Black suit, white lights — he didn’t need anything more to bottle the magic hour on Saturday.
An old soul with with a huge, commanding voice, his catalog hovers between the orchestral swoon of pre-rock ballads, the pristine melodies of Anita Baker and the rangy, resilient yearning of his hometown’s soul tradition. Kendrick Lamar and SZA may have formally kicked off the Luther Vandross revival, but Giveon has inherited it, especially on his latest 2025 LP “Beloved.”
Backed by a big, throwback live band, “Lost Me” beautifully papered over a failed relationship with an uncertain young bravado; “Backup Plan” gave his one-of-kind baritone room to roam and plead. He brought out Kehlani for “Folded,” another perfectly regal ballad that revels in a small aperture. But by the time he got to “Heartbreak Anniversary,” his suit was coming off and the mood was positively lusty.
Giveon should be counted among the great SoCal voices, and his Saturday show proved his ambitions for it have no ceiling. (A.B.)
Sombr performs at Coachella on Saturday.
(Kayla Bartkowski / Los Angeles Times)
Sombr’s star burns brighter when he brought out Billy Corgan
Sombr’s performance happened on a day when Coachella had a notable number of rockers — Jack White kicked things off in the Mojave Tent in a set announced earlier this week and there was much excitement for the Strokes on the Coachella stage Saturday night before headliner Justin Bieber.
But one of the moments that simultaneously proved that rock never died and that it’s on the rise was when Sombr brought out a special guest, who Boose said was making his first visit to the festival. Billy Corgan of Smashing Pumpkins came out to join in on a cover of his band’s mid-’90s alt-rock hit “1979,” which was more recently trending audio on TikTok and Instagram. (V.F.)
David Byrne performs at the Outdoor Theatre at Coachella.
(Christina House / Los Angeles Times)
David Byrne and the art of performance as an experience
More than an hour before Justin Bieber decided to have a YouTube karaoke party to headline Coachella, David Byrne closed out the Outdoor Theatre on Saturday night in stark relief.
Byrne’s set started 25 minutes late and he arrived on stage wearing an orange jumpsuit and holding an acoustic guitar. He was soon followed by a dozen or so instrumentalists and backing singers in matching garb for “Everybody Laughs,” a track off his 2025 album “Who Is the Sky?” (V.F.)
Nine Inch Noize performs at the Sahara Stage.
(Christina House / Los Angeles Times)
Nine Inch Noize revamps industrial rock for a ghoulish rave
Performing in a cutout in the middle of a huge elevated ramp, Reznor, his Nails bandmate Atticus Ross and Boys Noize hovered atop a dense rack of synths and samplers. They built on the ethos of their arena show, stripping the NIN catalog — including “Closer,” “Heresy,” “The Warning” and “Copy of A” — for parts, and then rebuilding the songs for this strobe-licked club setting.
One surprise for Coachella fans driving out was a billboard announcing Nine Inch Noize had a whole album of collaborative material en route, and the segments they played revealed how crucial Boys Noize is to this new setup. His bone-snapping breakdowns and vicious, detuned clangs wouldn’t be possible without Reznor’s ‘90s industrial vision, but here he returned the favor to ensure this combo translated on a dedicated rave stage. (A.B.)
The Strokes perform at the Coachella Stage.
(Kayla Bartkowski / Los Angeles Times)
It’s kind of a joke that the Strokes are still this good
Ninety minutes or so later, JB was indeed due to take over the space. But while Casablancas and his bandmates had control of it, it was theirs: This was an almost laughably strong showing by a band of rascally garage-rock veterans who somehow might sound better now — tighter, punchier, more effortlessly tuneful — than they did a quarter-century ago.
With an upcoming album to hype, the Strokes did their new single “Going Shopping,” a characteristically droll critique of late-capitalist apathy. (“Solidarity can be difficult when you got cool stuff to lose,” Casablancas sings.) But for the most part they stuck to the indelible hits, each as ingeniously structured — and as bitterly romantic — as the last: “Hard to Explain,” “Someday,” “Last Nite,” “New York City Cops.”
“You guys excited about the draft?” Casablancas asked at one point. “I hope to lead one of the Coachella units — the sexiest unit in our proud military.” (M.W.)
Justin Bieber performs at the Coachella Stage.
(Kevin Mazur / Getty Images)
Justin Bieber (and his laptop) headlining Coachella Night 2
This is how we found out Justin Bieber is a YouTube Premium subscriber.
The 32-year-old teen-pop survivor headlined Coachella on Saturday night, and for roughly half an hour in the middle of his set, what Bieber did was sit behind a laptop and sing along to his old music videos — often an octave down from where he recorded them — as he searched up the songs on YouTube and played them over the festival’s state-of-the-art sound system.
YouTube Premium, that is, given that he (and we) faced no ads during the performance. (M.W.)
SUNDAY
Clockwise from top left, Los Angeles Times staffers David Viramontes, Kayla Bartkowski, Rebecca Castillo, Danielle Dorsey, Mark Potts, Kailyn Brown and Christina House gather inside the Party in My Living Room activation at Coachella.
(Courtesy of Kailyn Brown)
Times staffer takes the stage at Coachella
For most artists, landing a gig at the most prestigious music festival happens at the zenith of their career. For reporter Kailyn Brown, playing Coachella is a side gig. But after seeing her set at the festival, at least one reporter anticipates that, sooner or later, being a Times journalist might become the real side gig.
On Sunday afternoon, Brown, a.k.a. KailynHype, played a DJ set at Party in my Living Room. The activation is a collab with GV Black, “a commitment and opportunity for Black, Indigenous, and People of Color (BIPOC) to be seen at the festival,” according to the Coachella website. “We actively promote diversity to change the narrative of what it means to be at Coachella.” (D.V.)
Wet Leg performs on the Coachella Stage.
(Kayla Bartkowski / Los Angeles Times)
Rock still isn’t dead at Coachella: Wet Leg edition
Even without rock headliners at Coachella, the genre is alive and thriving with a new generation. This afternoon’s evidence? A blistering set from British rockers Wet Leg.
Opening with “Catch These Fists,” the set seemed to wake up Coachella’s typically sleepy Sunday with a jolt of rock. Other early highlights included “Wet Dream” and “Liquidize.” (V.F.)
Less Than Jake performs at Coachella’s Heineken House on Sunday.
(Vanessa Franko / Los Angeles Times)
Less Than Jake transports us from Coachella to the Warped Tour
Less Than Jake at the Heineken House was definitely one of the most unexpected moments in my years of covering the festival — especially considering that Sean Paul had the venue, an open-air beer hangout that includes a modest stage without a metal barricade near the Indio Central Market, so overflowing Saturday night that the Coachella app sent an alert to people that it was at capacity.
But for us Xennials and millennials in the crowd who remember the OG Warped Tour, the ska punk band’s set was a fun break from the more traditional Coachella fare.
Singer and guitarist Chris DeMakes made some jokes about how out of place the band was compared to the likes of Saturday night headliner Justin Bieber, but even on a small stage, Less Than Jake brought out its production tricks of toilet paper guns, inflatable dancing wind socks and a gaggle of balloons. (V.F.)
Iggy Pop performs at the Mojave Tent.
(Christina House / Los Angeles Times)
At 78, Iggy Pop still has a lust for life
I was worried that Iggy Pop would have suffered the fate of Devo and David Byrne on Friday and Saturday, respectively, of not having nearly enough fans watching these legends. I shouldn’t have.
On Sunday evening, a respectable crowd showed up in the Mojave Tent to pay their respects to the Godfather of Punk, who first played Coachella in a reunion with the Stooges in 2003.
Not only did Pop have a full band that included the Yeah Yeah Yeahs’ Nick Zinner on guitar, but and also a full horn section.
The set kicked off with “T.V. Eye” before “Raw Power” (a song I never knew could be so enhanced by the aforementioned horn section), but the early highlights also included “Gimme Danger,” “The Passenger” and “Lust for Life” in a 1-2-3 punch of perfect Pop. (V.F.)
Karol G performs on the Coachella Stage.
(Christina House / Los Angeles Times)
Karol G’s historic headlining set was lusty, powerful and overdue
On Sunday night, Karol G became the first Latina to headline Coachella. Along with all her pride in that achievement, she seemed a little angry at that fact too.
“It feels late,” the Colombian superstar said onstage, in a brief English-language address to the audience in a set otherwise fully in Spanish. “ It’s been 27 years of this festival going on. … Before me, there were so many great Latino artists that gave me the opportunity.”
“Latinos have been struggling in this country lately,” she continued. “We stand for them. I’m proud this brings out the best of us — unity, resilience, a strong spirit. We want everyone to feel welcome to our culture, our roots, our music, I want everyone to feel proud of where you come from.”
Karol let those lines here serve as her brief indictment of the present, jackbooted environment around immigration and repression in the United States. Making belated history by headlining Coachella would seem far removed from those concerns.
Yet as this sweeping, heady, spectacularly ambitious and relentlessly lusty set showed over its hour and half, the body is the first site of liberation. If you can’t move like you want, where you want, you’re not free. Karol G finally commanding this stage was living proof it’s possible to kick that door in. (A.B.)
Jesse Kardon has come a long way from his days as a teenager messing around with Ableton in his bedroom. The 33-year-old DJ and producer better known as Subtronics is now an established EDM star. Over the last 15 years, he has built a career that has taken him from playing small clubs in his hometown of Philadelphia to a fall headlining set at the Sphere in Las Vegas and then a landmark run of six sold-out shows at L.A.’s Shrine Auditorium in December.
Back in 2022, he performed a surprise set at Coachella’s intimate electronic-focused Do Lab stage, but this year marks his proper Indio, Calif., debut where he is the highest-billed dubstep-rooted artist, playing the massive Sahara Tent on Sunday and April 19. He will also perform two Southland shows between his Coachella sets at the Fox Theater in Pomona on Tuesday and at the GV Surf Club in Palm Springs on April 18.
While EDM has emerged over the years as a dominant force, comprising nearly 45% of this year’s lineup, artists from the sometimes polarizing dubstep/riddim scene are rarely given such a prominent platform.
Subtronics’ sound has expanded in recent years. His remix of John Summit’s “Crystallized feat. Inéz” has garnered praise, while “Fibonacci Pt. 2,” his latest in a set of math-inspired releases, interweaves the melodic with the heavy. “Infinity,” featuring fellow EDM DJ Grabbitz, and “Contour,” featuring vocalist Lyrah, stand out.
Although his work has evolved to include more melodic soundscapes, Subtronics remains committed to bringing more people to a better understanding of the genre that first brought his life into focus. He will never forget how playing drums for years as a kid taught him the foundations of rhythm, and he carries the gritty sounds of Philadelphia hip-hop and trap that shaped that sound into his work today.
Dubstep has affected his life in deeply personal ways. As a kid, a shared love of the scene brought him closer to his sister. Later on, he met Sonya Broner, the dubstep artist known as Level Up. Broner is now his wife, and they often collaborate.
In a remote conversation from his new home in Laurel Canyon, Subtronics talks about his milestone Coachella run and shares thoughts on everything from what to expect from his set to his legacy in dubstep and beyond.
This interview is lightly edited and condensed for clarity.
I’m really hopeful to introduce bass music to a lot of new people, because I believe the rising tide raises all ships,” Subtronics said.
(Jason Fenmore)
What is your mindset? How are you feeling going into this weekend?
“I’ve been really super hyper focused on Coachella for about, pretty much the moment we finished the tour, which was about two, three weeks ago. It’s been really all hands on deck, nonstop working on that.”
Take me back to when you first got the news that you booked Coachella. Was that something you and your team had been working specifically toward?
“It was honestly, an almost several year plan where that really was the goal, and we were kind of thinking of the different opportunities we’ve had over the years, and the things we were going to have going forward, and how could we strategize in a way where we can work our way towards Coachella, and that’s kind of what the Shrine was. The hope was like, if we can sell out three [nights at Shrine], we’ve got a pretty good chance of getting a booking, and then we sold out a ton of them. It’s such a good time slot on such a great stage…both me and my inner child are completely freaking out.”
Did you take a moment to celebrate?
“Absolutely, yes. And you know what? It always comes in the form of, like, little moments. Because I do get so… I do have these “pause” moments where it’s like, ‘Stop and appreciate how far you’ve come.’ ‘Stop and realize the gravity of this. You’re really doing these things; all of this hard work has manifested and paid off. This Coachella slot, and even just playing at all, is ammunition to fight back against the imposter syndrome. It’s beyond my wildest dreams and expectations. I never expected any of this to get this far, and I was just trying to learn how to make cool sounds.”
Do you think about historical context, where you fit in in the history of electronic music and in Coachella’s history?
“Oh, man, I love that question so much, because it’s my No. 1 thing. When I first started, aside from wanting to learn and get good at it… my goal was to contribute to the culture and leave a mark that’s remembered, because I’m really passionate about the history of both dubstep and dance music. So many historic moments happened at Coachella. And it really is such an honor, because I just think of ‘Oh my God, dude.’ Like, Daft Punk, you know? I can’t even wrap my head around it, but it is the thing that matters most to me: being remembered years from now and doing things that really feel like they contributed to the culture.
I’m really hopeful to introduce bass music to a lot of new people, because I believe the rising tide raises all ships. There’s a lot of us dubstep and bass music makers. And I think anytime one of us gets an opportunity, it really kind of raises the ceiling for the whole scene, and we are all in it together… there’s so many talented producers that deserve to be able to make a living off of it. And the bigger the scene gets, the more people can fit under the umbrella, and pay their rent and live a successful life doing what they love.”
The highest-billed dubstep-rooted artist on this year’s festival lineup, Subtronics views his performances as a chance to introduce bass music to mainstream audiences.
(Jason Fenmore)
Have you been feeling any pressure? And if so, how have you been handling it?
“Yeah, definitely, because I think I feel pressure from multiple angles. I’ll feel pressure from the very core fan base to stick to a certain style. And then I’ll feel pressure as both a DJ and a music producer. And whenever I get these opportunities, they’re so far outside of, you know, the core of dubstep, I feel the opposite end of pressure where it’s like, you should read the room, be a DJ, you know, like, figure out what their energy is. So it’s kind of pulling me in two different directions, and my answer to that has been to have faith in my own taste — to ignore both of them, to just completely ignore everybody, and to trust what I like and have faith that my taste is what got me here in the first place.”
What is your overarching goal for these shows?
“I make a bunch of stuff, but I do mostly identify as a dubstep and bass music artist. So, to be able to represent that on such a gigantic platform to a whole ton of people who might not necessarily be 100% EDM festival attendees… to play for them is really exciting. And then the livestream as well, it’s like there’s a crazy amount of viewers who might be completely new to bass music or new to dubstep, you know, tuning in. I take it as a responsibility to introduce people to bass music and contextualize it in the best way I can. And also expressing myself as honestly and authentically as I can — having that moment of individuality and uniqueness.
What do you think mainstream audiences might not understand about dubstep?
“Something that I do think is interesting is the original wave of dubstep, the original U.K., 2004 through 2008, it was on the radio. It was melodic, it was musical. It wasn’t nearly as polarizing. Obviously, it got more aggressive and became more of a huge, showy, crazy, overstimulating thing as it, as it moved its way over to the States. But I seek to strike a middle ground. Something I experienced a lot when I first started touring was being in a sub-genre incorrectly labeled [as riddim].
The issue is that riddim is already a genre: dancehall. It already exists…I think that’s not a very well-known thing. It should have been called swamp or something like that…trench. A few names were being thrown around. I called it “wonky step” at the time because it was just really wonky and repetitive. I guess riddim is what stuck for whatever reason. I was playing for a group that was much more melodic, much more theatrical, and everyone who came up to me after the shows told me, ‘I don’t like riddim. I’ve never liked riddim before, but hearing it in your set…it makes sense to me now. So I hope to be almost like a translator. My goal is to express myself authentically and honestly, playing all original music in a way that makes sense to both groups of people [mainstream and insiders].”
Do you remember your very first performance as Subtronics? And is there something from that time you carry with you going into this weekend?
The first time I was ever actually on stage, like at a dance music venue with my name on the screen, like playing my own songs. I was opening at SoundGarden Hall, which is now known as the Ave. One of the things that early on that blew my mind the most, I was playing an after party in one of the worst neighborhoods in Philadelphia, one of the most dangerous places I’ve ever been to, maybe in my whole life, and I was standing by the front door where they’re dealing drugs and selling nitrous and some a stranger walks in the door, someone who I didn’t know, and I heard them say, ‘I heard Subtronics is playing tonight. Is that true?’ And it exploded my brain. It was the first time I had a fan that I didn’t know personally, and I will never forget that. I will never, ever, ever, ever forget as long as I live.”
The defending Masters champion was sprinting away from the field Friday, building a six-shot lead heading into the weekend and putting himself in prime position to become the first repeat winner since Tiger Woods in 2002.
McIlroy atoned for two bogeys with nine birdies, shooting a seven-under-par 65 to improve on his stellar 67 in the opening round.
At 12 under, he now holds the largest 36-hole lead in Masters history.
“When I was standing on the 12th tee, I didn’t imagine that I would be six ahead going into the weekend,” said McIlroy, who birdied six of the final seven holes despite hitting into the trees on holes 13, 15 and 17.
“I’ve always had the ability to go on these runs … but it’s staying aggressive. My little mantra today was keep swinging, and keep swinging hard at it.”
And he completed that masterpiece in the afternoon, when the legendary course was even firmer and more slippery than it was in the morning. The warm weather and cloudless skies set the stage for a test of surgical precision in the final two rounds.
“These greens are going to be concrete,” said Wyndham Clark, who followed an even-par round with a four-under 68. “Obviously getting really fast without the wind, so it’s going to really matter hitting it in the fairway and the angles, and being patient.”
Rory McIlroy walks across Nelson Bridge with his caddy during the second round at the Masters.
(Eric Gay / Associated Press)
Fifty-four competitors from 15 different countries made the cut from a starting field of 91.
Of his jaw-dropping finishing scramble, McIlroy said: “The only way I can describe it is everything that you see or any situation that you come across, you can find a positive in it. And then you see birdies and you can see ways to make birdies. Hit it in the trees at 13, fine, I can make a birdie doing it this way. Hit it in the trees at 15, same thing.”
Whereas McIlroy created separation, Tyrrell Hatton made a case for inclusion. He was two over after Thursday but played himself back into contention with a 66 on Friday, hitting all 18 greens in regulation and becoming just the third player in 30 years to do that at the Masters. He is tied for seventh with Clark.
Patrick Reed, who shot a 69 in the first round, matched that in the second to claim a share of second place with Sam Burns.
Reed, who left for LIV Golf but announced in January he plans to return to the PGA Tour, played golf locally at Augusta State University and won this tournament in 2018. He said that Masters experience helps in a big way now.
Of winning a green jacket, he said, “Until you do, you always have that little voice of doubt in the back of your mind.”
Patrick Reed hits off the 18th tee during the second round of the Masters on Friday.
(Jared C. Tilton / Getty Images)
Asked if his near-miss in 2025 serves as extra motivation this year, Rose said: “Not really, if I’m honest. I don’t really need to try any harder, know what I mean? Trying harder ain’t going to help me.”
It was a rough day for Scottie Scheffler, ranked No. 1 in the world, as his 74 put him 12 shots back of McIlroy.
Bryson DeChambeau was on the bubble all day before a triple-bogey seven on the 18th hole. He missed the cut six over.
Two-time Masters winner Bubba Watson missed the cut, as did 66-year-old Fred Couples, who was playing well Thursday until taking a quadruple-bogey nine on the 15th hole.
McIlroy played with 18-year-old amateur Mason Howell, who was sufficiently impressed as the defending champion birdied each of the final four holes.
“You’ve got to stay in your own lane, but it’s hard not to watch that,” Howell said. “That chip-in on 17 was unreal. That was one of the coolest things I’ve seen in sports, and I got to witness it in person, so that was awesome.”
The Venezuelanalysis Podcast is back. In our new season premiere, we tackle the fallout of the January 3rd military escalation against Caracas, an event that marks a volatile new chapter in the long history of US intervention in the region.
Join Venezuelanalysis Lead Editor Ricardo Vaz, Associate Editor Lucas Koerner, and VA Founder Greg Wilpert as they break down the geopolitical shift from “maximum pressure” to direct confrontation. This episode goes beyond the headlines to analyze the underlying causes and the global consequences of Washington’s renewed focus on “its” hemisphere.
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.”
“The US government has deported more than 500,000 people from the USA in 2025, more than six times as many people than will watch the World Cup final in the MetLife Stadium”, said Amnesty’s head of economic and social justice Steve Cockburn.
“…It’s a deeply troubling time in the US, which will certainly extend to fans who want to take part in World Cup celebrations.”
Last month, the acting head of US Immigration and Customs Enforcement (ICE) said that the agency is “a key part of the overall security apparatus for the World Cup”, vowing it was “dedicated to ensuring that everyone that visits the facilities will have a safe and secure event”.
Earlier this year, ICE agents shot and killed two American citizens as part of US president Donald Trump’s immigration crackdown in Minneapolis.
Trump has sent federal agents, as well as the National Guard, to major US cities over the past year to make good on his campaign promise to crack down on illegal immigration. They have been met with protests and legal challenges in Democrat-led cities like Portland, Los Angeles and Chicago.
“Despite the astounding numbers of arrests and deportations, neither Fifa nor the US authorities have provided any guarantees that fans and local communities will be safe from ethnic and racial profiling, indiscriminate raids, or unlawful detention and deportation,” said Cockburn.
“Only four of the 16 host cities have so far published their human rights plans, and none of those that have done so to date say anything about protection from abusive immigration enforcement.
“This World Cup is no longer the ‘medium risk’ tournament that Fifa once judged it to be – whether it is to protect people from ICE, guarantee the right to protest or prevent homelessness, urgent action is needed to make sure the reality of this World Cup matches its original promise.”
Amnesty says that ICE and other agencies “pose a chilling threat to people living in the US, those traveling to see a game, and players themselves”.
It added: “Fans face intrusive surveillance, with proposals to force visitors to make their social media accounts available for vetting, and screening for “anti-Americanism”.
In January, fan group Football Supporters Europe (FSE) told BBC Sport it was “extremely concerned by the ongoing militarisation of police forces in the US” before the World Cup”.
At the time, Fifa said the safety and security of fans and participants was its “top priority”, adding it works closely with local authorities “to plan, co-ordinate and deliver comprehensive security measures for the tournament”.
The White House’s World Cup Task Force said that the tournament will be “the largest, safest, and most welcoming sporting event in history” and that it was working to deliver an event “that highlights America’s hospitality, commitment to security, and spirit of excellence”. It promised that fans “can look forward to a smooth, secure, and truly unforgettable tournament”.
And the campaign group also claims that in Canada, a growing housing crisis has “raised fears that people experiencing homelessness will again be displaced and pushed further to the margins”.
Céline Dion is officially coming back to the stage.
The singer announced on Instagram that she will return to the stage this fall, performing 10 shows at the Paris La Défense Arena. In 2022, Dion canceled her North America tour due to muscle spasms. She was later diagnosed with stiff-person syndrome, an autoimmune neurological disorder, which prevented her from performing.
The concert announcement comes after speculation last week by fans in Paris who spotted posters around the city referencing Dion’s songs, including “Power of Love” and “Pour Que tu M’aimes Encore.”
Dion, who turned 58 on Monday, called this news “the best gift” of her life.
“I’m so happy. I’m so ready to do this. I’m feeling good. I’m strong,” Dion said. “I’m feeling excited, obviously. Of course, a little nervous, but most of all, I am grateful to all of you. I can’t wait to see you again.”
While Dion performed at the opening ceremony of the 2024 Olympics in Paris and at an Elie Saab fashion show in Saudi Arabia, she has not headlined her own concert since her Courage World Tour in 2020. In her video, Dion thanked her fans, who supported her in the “most difficult times.”
“Over these last few years, every day that’s gone by, I felt your prayers and support, your kindness and love,” Dion said. “You’ve helped me in ways that I can’t even describe, and I’m truly so fortunate to have your support. I’ve missed you so much.”
Dion will perform twice a week — on Wednesdays and Saturdays — from Sept. 12 to Oct. 14. In a press statement, Frédéric Longuépée, president of La Défense Arena, called Dion’s residency a major milestone for the venue, which opened in 2017.
Fans can register for presale tickets until April 2, and general ticket sales will go on sale April 10.
Dion discussed her battle with stiff-person syndrome in her 2024 documentary, “I Am: Celine Dion.” In the film, the singer explained how SPS causes a vocal strain that makes it difficult for her to perform. Before her 2022 diagnosis, she had already experienced symptoms for 17 years.
While SPS has no known cure, Dion did not lose motivation to continue performing.
“If I can’t run, I’ll walk. If I can’t walk, I’ll crawl, but I won’t stop,” Dion said.
OLIVIA DEAN proved she’s unstoppable after sweeping the MOBO Awards – just weeks after dominating the Brits.
The singer scooped Best Female Act, Album Of The Year for The Art Of Loving and Song Of The Year for Man I Need, cementing her reign at the top.
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Singer Olivia Dean swept the MOBO AwardsCredit: GettyOlivia with her Best Female Act, Album Of The Year and Song Of The Year gongsCredit: PA
It means Olivia has now cleaned up at two of the biggest nights in British music in a matter of weeks – a seriously impressive streak.
Fresh from her chart-topping success, she also wowed with a stunning performance of A Couple Minutes, marking the song’s first televised outing.
There was another huge moment when Alesha Dixon made a surprise appearance to present Album of the Year to Olivia.
Elsewhere, Jim Legxacy took Best Male Act, Central Cee won Best Hip Hop Act and Raye picked up Video Of The Year, while Flo continued their rise with Best R&B/Soul Act.
Special honours went to Pharrell Williams and Slick Rick, with the latter also taking to the stage.
Performances were just as big, with Flo debuting new music, Aitch bringing out schoolkids to join him on stage, and a huge Grime 25 medley featuring Chip and Wiley.
Earlier in the day, I caught up with some of them on the VIP train from London, where DJ Davda had kicked the party off.
In an exclusive chat, Keisha Buchanan – who later presented an award alongside Little Mix‘s Leigh Anne – told me: “It’s always a vibe – they have the best parties.”
Teasing new Sugababes music, she added: “We have new music coming this year, sooner than people think.”
Indiyah and Ella were dancing through the aisles, with Ella even bringing her dog along for the ride as the carriage turned into a rave.
Meanwhile, Tobi Brown kept it real, saying: “I don’t function this early.”
The bash airs on BBC One at 11.25pm tomorrow night
Alesha Dixon and Bashy present the Song of the Year award onstageCredit: Getty
Kiki Shepard, the actor and entertainer best known for co-hosting the syndicated variety show “Showtime at the Apollo,” has died. She was 74.
LaShirl Smith, a representative for Shepard, confirmed her client’s death, writing in an Instagram post Tuesday that the loss “hurts an awful lot.” Shepard died Monday in Los Angeles after a heart attack, Smith confirmed to TMZ. On Tuesday, Smith honored Shepard with a video collage of their shared moments over the years, lamenting she will no longer be able to speak with her friend “three/four times a day everyday at least for an hour or two.”
“Rest easy cousin, heaven got a good one,” Smith said in her post.
The Texas native, born in July 1951, co-hosted “Showtime at the Apollo” from 1987 to 2002. During her tenure, she shared the stage with a variety of co-hosts including Steve Harvey, Sinbad and Mo’Nique, introducing a range of musical acts at the historic theater in Harlem. The Apollo honored Shepard on its marquee Tuesday, remembering her as a “true Apollo legend.”
“Together, [the hosts] carried the electrifying spirit of our legendary stage into living rooms across the nation, introducing rising stars, celebrating icons, and making millions feel Harlem from wherever they were,” the theater said on Instagram, “reminding the world that we have always been a place where Black excellence takes center stage.”
More than a host, Shepard had an entertainment career that included TV appearances — among them “Baywatch,” “A Different World,” “NYPD Blue” and “Grey’s Anatomy” — and a handful of stints as a choreographer. An alumna of what was then called North Texas State University and Howard University, Shepard also had a minor role in “The Wiz.”
Her television credits include “Thunder in Paradise,” “Baywatch Nights,” “Family Law,” “Everybody Hates Chris” and the 2025 series “Highly Favored.” Shepard also pursued a career on stage, appearing in Broadway productions of “Bubbling Brown Sugar,” “Reggae” and “Porgy and Bess.”
Beyond entertainment, Shepard devoted herself to raising awareness for sickle cell anemia after a friend died of the affliction. In 2006, she founded the Kis Foundation, an organization that seeks to support sickle cell disease patients and their families, following years of other advocacy efforts.
“KiKi believed that compassion, community, and education could change lives. Her voice uplifted countless individuals who often felt unseen, and her work created lasting pathways for hope, resources, and understanding for those living with this disease,” Shepard’s family said in a statement to ABC7.
To daytime talk show host Sherri Shepherd, the beloved “Showtime at the Apollo” personality “was the life of every party” who had a welcoming and warm presence.
“Kiki I am devastated that you are gone, but I am rejoicing because you LIVED and you lived boldly and joyfully,” the “Sherri” host wrote in an Instagram tribute.
“Your love of God was evident and I know you are having a ball up there,” she added.
Mo’Nique and Jackée Harry also honored Shepard’s life and legacy on Instagram. “Rest easy, my dear sweet friend,” comedian Harry said, “I’ll carry you with me always.”
Thursday’s protest ended at the National Assembly in Caracas. (Archive)
Caracas, March 14, 2026 (venezuelanalysis.com) – Venezuelan workers, activists, and trade union organizers held marches in several cities on Thursday to demand wage increases and respect for labor rights.
A coalition of labor organizations staged protests in Caracas and over 25 other cities across the country. In the Venezuelan capital, around 1,000 demonstrators marched from Plaza Morelos and broke through a police cordon to reach the National Assembly in the city center.
“Mobilizations like the one we had today will continue and grow until the government changes its salary policies,” José Gregorio Afonso, president of the Central University of Venezuela (UCV) professors’ association, stated. “We believe the economic conditions allow for the establishment of a minimum wage as determined by the Constitution and the Labor Law.”
Afonso added that the Constitution mandates the government adjust the minimum wage at least once a year to keep up with inflation, but the last increase was in 2022. He likewise pointed to recent official figures of economic growth and prospects of increased oil revenues.
Thursday’s rally consisted largely of education sector trade unions, as well as public sector retirees. A commission met with a group of legislators at the end of the march to deliver a list of 17 demands signed by over 200 trade unions.
A similar document was delivered to the Labor Ministry following prior nationwide rallies on February 26. The labor organizations’ demands include raising the minimum wage in accordance with the Constitution and labor legislation, the release of workers and trade unionists allegedly arrested for defending labor rights, and the repeal of statutes such as the 2792 Memorandum that suspended several collective bargaining rights.
Activists have also voiced opposition to plans to implement a pro-business reform of the country’s Organic Law of Labor and Workers (LOTTT) that would cut benefits, social security contributions, and other employer responsibilities.
The historic 2012 law, approved by former President Hugo Chávez, prohibits unfair dismissal and outsourcing, enshrines the world’s third-longest maternity leave, guarantees the right to work for both women and people with disabilities, and extends retirement pensions to all workers, including full-time mothers and the self-employed.
Later on Thursday, the ruling Socialist Party (PSUV) held its own march in Caracas along the same route, with spokespeople urging the defense of the country’s peace and sovereignty, as well as calling for the release of kidnapped President Nicolás Maduro and First Lady Cilia Flores.
Labor Minister Eduardo Piñate told reporters that the rally was in “firm backing” of the Maduro and Rodríguez government’s labor policies.
Gov’t increases bonus amid salary debates
On Friday, unofficial channels reported that the acting Rodríguez administration had raised the monthly “economic war bonus” by 25 percent, from US $120 to $150. Coupled with a $40 food bonus, the move brings the monthly income floor for public sector workers to $190. The amount is paid in bolívars at the official exchange rate.
Venezuelan government officials have not commented on the increase. It is not presently known whether public sector retirees and pensioners, who receive $70 and $50 economic war bonuses, respectively, will benefit from similar hikes.
Venezuela’s monthly minimum wage was set at 130 bolívars (BsD) in March 2022 and has not been adjusted since. At the time, 130 BsD amounted to around US $30, but with the Venezuelan currency’s devaluation, it is now equivalent to $0.29. With the Venezuelan economy heavily battered by US sanctions, the Nicolás Maduro government prioritized non-wage bonuses as the main income source for workers and pensioners.
Trade unions and leftist organizations have criticized the policy for violating the country’s labor laws and favoring business sector interests by reducing labor costs and making dismissals more flexible.
In recent weeks, trade union coalitions have put forward proposals for a minimum wage adjustment. Center-right and right-wing alliances such as the Independent Union Alliance (ASI) and the Confederation of Venezuelan Workers (CTV) have urged authorities to set the monthly minimum salary at $200 before pegging it to a cost-of-living index.
For its part, the government-aligned Bolivarian Socialist Union of Workers (CBST) proposed that the minimum wage be raised by $50 each quarter, though it did not specify a time frame. The CBST added that, should the government deem the salary increase unfeasible, it should implement a similar increase in non-wage bonuses.
Liberal economists, including Asdrúbal Oliveros and José Guerra, have argued that minimum wage increases beyond $100 and $150 a month, respectively, might place too high a burden on the state’s budget. At the same time, business sector representatives have called for a flexibilization of labor protections and benefits.
Leftist economists, including former PSUV congressman Tony Boza, Pasqualina Curcio, and Juan Carlos Valdez, have proposed raising wages and pegging them to inflation as is currently done by private banks with interest rates.
It is the second time in three years organisers have been forced to abandon plans for a summit finish in the so-called ‘queen stage’ of the race, which concludes in Nice on Sunday.
Vingegaard goes into the final stage with a commanding lead of three minutes 22 seconds over Colombia’s Dani Martinez in the general classification.
“I think it is very important that we race. This is one of the biggest races in the world, but it was pretty slippery towards the end,” Vingegaard said.
“We were, and still are, very much in favour of racing. You have to understand that Paris-Nice is one of the biggest races in the world, there are many sponsors involved, and they want to stage their finish – so we were keen to race.
“But when the finish line is here, maybe it is no longer possible. It would have been better to place the finish line 10 kilometres earlier. For us as riders, rain is part of the job, but when there is snow it is different.
“There were a few crashes at the end, probably because it was very slippery. In that situation it would have been better to say, ‘Let’s move the finish line a little earlier’. That was what we actually wanted.”
If David Nihill was a philosopher, his credo might be “I digress, therefore I am.”
Instead, Nihill is a comedian. Kind of. “I don’t know if I think of myself in those terms,” says Nihill, whose “Cultural Appreciation” special has 2.5 million views on YouTube. “I wouldn’t even call mine comedy specials.”
Nihill is a conversational storyteller who rarely even moves on stage. “I don’t know how to do performance,” he says, “but I do know how to talk.”
His current show, “Taking Tangents,” which takes him to Irvine, Pasadena and Los Angeles from March 13 to 17, is a wide-ranging collection of tales, with some material shifting from show to show. We’ll come back to it, but first, a few tangents.
Growing up in Ireland, Nihill, 47, struggled to learn, hampered by dyslexia — “I came in the lowest five percentile in the whole country of Ireland for spelling, and I didn’t even spell my name right on the test” — and an aversion to math. He was made to feel inferior because of his difficulties. “I was 100% in the ‘I am a moron’ category,” he says.
Nihill was shoved into a vocational program and most of his friends dropped out of school. He stayed in, but even when his father offered to buy him a Super Nintendo for certain math scores, Nihill fell short. His father bought it for him anyway, he says, “but I sold it and bought myself a motorcycle even though I was 15 and not legally old enough to drive.”
He finished high school and became a poorly paid, overworked apprentice electrician. That was enough to motivate him to go to college; there, he figured out how his brain worked and how to learn. He even developed a passion for reading: His last show, “Shelf Life,” wove in dozens of book recommendations.
During our conversation via video after a New York show, I’d ask one question, then follow Nihill as he ambled through his personal history. He started with a story about jumping off a cliff in Greece and shattering his leg — a part of “Tangents” — then going to Australia, before he stumbled into a master’s degree studying business back in Ireland (despite botching his application). A new friend there took him to his first-ever comedy show in Glasgow — there are even tangents within his digressions — before getting him a job with Enterprise Ireland, the government’s investment fund to boost Irish business overseas. That landed him in San Francisco, part of the “Cultural Appreciation” special. He left to pursue business opportunities in Mexico but, due to a hurricane, somehow ended up in Chile, spent a year wandering north toward America, and then scored an internship in Colombia.
Nihill is a conversational storyteller who rarely even moves on stage. “I don’t know how to do performance,” he says, “but I do know how to talk.”
(Jim McCambridge)
Eventually, Nihill’s story works its way to his current career, which began by accident. “It was never a dream or a goal,” he says. A friend in San Francisco had suffered a spinal cord injury and Nihill wanted to run a fundraiser, but dreaded public speaking.
That leads to a minor diversion, back to a college public speaking course in which Nihill was so terrified that he got drunk before his presentation and introduced himself “as an exchange student from Southern Yemen.”
In San Francisco, he started doing live comedy to overcome that fear. Meanwhile, his business background led him to see an opportunity and he created FunnyBizz, a company and conference where comedians help teach business leaders, like Kevin Harrington of “As Seen on TV,” how to use humor to communicate. The business bankrolled Nihill’s early days in comedy.
While Nihill has lived in America for years, most recently in Los Angeles, he remains passionately Irish, which shapes his shows in several ways.
In Ireland, “your nature is to just default to funny stories.”
He says American stand-up is about taking a topic and making it funny, aspiring for a five-minute joke-filled late night TV spot. Irish comedians say, “This thing happened to me and I think that’s funny. Let me just repeat it.”
The new show is named after “tangents” so that Nihill can go down different rabbit holes each night if he wants. “My head is always doing 60 different things,” he says, and he loves keeping his storytelling “free form and unfiltered,” whether he’s in a pub or on stage (or, apparently, in an interview).
The new show’s subjects will be familiar to Nihill’s fans: his parents, his foolish behavior (there are drunken college-age antics in a story that somehow eventually weaves in White House press secretary Karoline Leavitt) and Irish culture. “There are few countries that punch above their weight in social justice and social impact,” he says, and he always looks to draw connections with other cultures around the world. But the observations and connections he draws are new.
In New York, he added a bit about how 35% of Jamaicans have some Irish roots, quipping “imagine how fast they’d be without that” (in a nod to legendary sprinters like Usain Bolt). But for Nihill, that joke only works if it’s couched within the larger context of the cross-cultural connections, including the fact that Jamaican-born political activist Marcus Garvey drew upon the Irish independence movement for inspiration.
“There has to be some social value to doing it,” he says, although he’s quick to add his comedy isn’t overtly political. “My dad’s a teacher and that lives inside of me. Humor can be the ultimate tool for social activism. I am deliberately getting people to expand their minds in understanding these connections. I want comedy that makes everyone feel good and maybe learn something.”
Nihill on stage at Hollywood Improv.
(Jim McCambridge)
That “feel good” part is central: While he discusses his mother’s death from cancer last year, he leaves out a beautiful but poignant part of their final days together. “I’m deliberately avoiding that,” he says, because he wants to maintain an upbeat mood.
He digresses to tell me the story, however, and it’s literally longer than this entire article’s word count. “A very long answer to a very short question,” he admits, before swerving into a tale about back when his father had overstayed his visa in New York — it involves his dad being interviewed on CNN, getting into a bar fight and avoiding deportation because the immigration officer hailed from County Cork and Nihill’s dad burst into a song from there, earning him a six-month visa extension. The humanity of that scene “in contrast to a 5-year-old being dragged off to a detention center” may end up in a future Nihill show.
Nihill loves sharing the stories that come from observing and listening to people but says he doesn’t love the spotlight, which, he admits, makes comedy an odd career choice. He says he prefers telling stories to just a few people.
“With comedy, the best part for me is that before a show I eat half a chocolate bar and I leave the other half in the hotel room,” he says. “After the show, I get to finish it. That’s true happiness.”
