tour

LOLA Young has made her comeback to social media after taking a sudden break from her music career.

The performer shocked concert-goers when she plummeted to the ground on stage in September and just days later announced she was stepping away from the limelight for the “foreseeable future.”

Lola, 24, returned to Instagram with some positive news for fans and promised she was doing a lot better.

“Hey, I just wanted to express gratitude to everyone who has given me time and space to gather myself and get my head in a better place,” she wrote in the heartfelt post.

“I’ve felt so much love and support from you all and it has helped more than you will ever know.”

Lola continued: “I am hoping to gradually get back to performing and continuing pursuing my dreams. Happy holidays to you all and can’t wait to see you in 2026.

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“Life is a journey, nothing is perfect but today I am doing well. All my love always, Lola x.”

The London-born singer had just released her critically-acclaimed debut when she made the sudden decision to press pause on her career and cancelled her tour.

Announcing her departure in a heartbreaking statement shared on Instagram, Lola said she hopes her followers will give her a “second chance”.

“I’m going away for a while. It pains me to say I have to cancel everything for the foreseeable future. Thank you for all the love and support,” she wrote in a post at the time.

“I’m so sorry to let anyone down who has bought a ticket to see me, it hurts me more than you know.”

The singer had gone through a series secret struggles – from a mental health diagnosis to an ongoing nepo baby row and even legal issues.

Last year, while Lola’s biggest hit was climbing up the charts, she was checked into a rehab facility for an addiction to cocaine.

It’s thought she was admitted last November and the drug addiction swamped the singer for “a long time”, she said in an interview with The Guardian.

She also revealed she ‘hated’ her body after trolls flooded her social media accounts with cruel comments.

Meanwhile, when she was 17, she was diagnosed with schizoaffective disorder.

The condition is a mix of schizophrenia symptoms, such as hallucinations and delusions, according to the NHS.

Writing on Instagram in 2022, Lola explained: “I have struggled immensely learning to accept this part of myself, and I am still learning.”

Wawrinka, who turned pro in 2002, has won 16 tour-level trophies during his career, including a Masters 1000 title at Monte Carlo in 2014.

He also secured gold for Switzerland in doubles at the 2008 Olympic Games in Beijing partnering Roger Federer.

Known for his one-handed backhand, Wawrinka beat the world number one player in all three of his Grand Slam finals.

Wawrinka, who will turn 41 in March, has struggled with injuries in recent years and is currently ranked outside the top 150.

“I still want to push my limits and finish this journey on the best note possible,” Wawrinka added.

“I still have dreams in this sport. I’ve enjoyed every part of what tennis has given me, especially the emotions I feel playing in front of you.

“I’m looking forward to seeing you one more time, all around the world.”

Wawrinka’s first outing of 2026 will come at the United Cup team competition in Perth from 2 January.

The singer described one moment that it all went wrong during a show

The singer Taylor Swift has recalled suffering a horrific injury during her ambitious Eras Tour that left her skin ‘flapping off’.

Her admission came during the latest episode of her new doc-series releasing on Disney Plus. The End of an Era is a 6-episode documentary series chronicling the creation, influence, and behind-the-scenes workings of the mega-popular artist’s The Eras Tour.

It offers an intimate glimpse into Taylor’s world as her tour dominated headlines and delighted supporters globally. Two episodes have been releasing weekly starting with last week’s double premiere.

Fans have already been treated to plenty of behind the scenes secrets, including emotional moments. They include the singer rewarding her team with bonus payments for their efforts. Also the pop star broke her silence regarding the tragic Southport attacks for the first time.

Unsurprisingly, the series has proven to be a huge hit with fans. Taylor has even given them an early Christmas gift as it was recently revealed that the two final episodes will now release earlier than originally planned, on December 23.

The latest episodes demonstrated the physical effort needed for Taylor and her team to pull off the Eras show. She is seen rehearsing extensively with plenty of time also spent working out in a personal gym so she can perform all the dances and moves to the best of her ability.

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However, even with all this preparation, sometimes things don’t go quite as planned. Taylor reveals that she suffered a horrendous injury during a show in Texas back in April 2023.

During the show, she tripped and cut her hand open during a costume change. Explaining the incident, she says: “I remember I was running from the Evermore era, and I tripped over the hem of my dress. Bust my knee. I skid the palm of my hand off. Hobble into the quick-change room, blood’s coming down my hand.”

Somehow, she still managed to make her change, which is often timed to take as much as 39 seconds, and into the next item which happens to be her Reputation body suit. But she adds that a piece of her skin was “flapping off.”

She added: “I just pull it off. More blood. They don’t have a Band-Aid back there.” Recreating her movements, she proudly concludes: “Wasn’t late. Wasn’t late for the intro of that song.”

While the incident or injury was not publicly mentioned, it didn’t take long for Swifties to noticed. Taylor adds: “”The fans noticed it a couple of days later, they’re like, ‘Oh, her palm’s gone.’ I was like, ‘I am not acknowledging this. What? Nothing’s wrong, it’s always been like that.'”

Taylor Swift: The End of An Era is streaming on Disney Plus.

Leon Thomas recently dyed the tips of his signature locs dark green. His new hair color — a stark contrast from the vibrant red he’d been rocking for the last four years — is the first thing that stands out about him when he strolls into the Los Angeles Times building on an unusually rainy day in October.

When asked about his hair, which peeks out from underneath a black beret-style hat, a wide grin stretches across his face.

“I had a vision,” the 32-year-old singer says, leaning in. “In [this] vision, I had more tats, a six pack and I had green dreads. And I was like, ‘You know what, let’s work on it.’” He’s been working out more consistently and he has his eyes set on a couple of tattoo artists in L.A. and Europe, but the new hair kicked everything off.

“That’s how the rest of my life has worked: I’ve seen something in my head, I’ve seen a version of myself that’s not there yet and then you work hard to get there.”

This instinct has carried Thomas throughout his 20-plus-year career in the entertainment industry, and has cleared a path for him to emerge as a leading force in modern R&B music. After years of dedicating his skill to acting, writing and producing chart-topping bangers for artists like Drake, Ariana Grande and SZA (he won his first Grammy for her record “Snooze”), for the first time Thomas is up for six Grammy nominations including album of the year and best new artist for his own work.

“I feel like this is a byproduct of me finally having a machine that works,” Thomas says about his team. He signed to EZMNY, a record label co-founded by Grammy-nominated artist Ty Dolla $ign and A&R executive Shawn Barron, in 2021. He takes an audible breath before continuing, “Not to sound cocky or anything, but I just always felt in my heart of hearts that once people could finally hear what I had to offer, it would be a different story. I’m glad that God gave me the foresight to see that.”

He has good reason to be feeling himself these days. “Mutt,” his breakout 2024 single, quietly simmered for months before it was pushed into ubiquity. The track’s metaphorical meaning — comparing his own flawed behavior in relationships to a “mutt” or a dog with good intentions — along with a sensual bassline and knocking drums eventually became a sleeper hit. It also became a favorite for Tems, SZA, Keke Palmer and Issa Rae, who shouted out the song in interviews.

“That’s how the rest of my life has worked: I’ve seen something in my head, I’ve seen a version of myself that’s not there yet and then you work hard to get there,” said Leon Thomas.

(Jason Armond/Los Angeles Times)

By early this year, the song, which is the title track from his sophomore album, had cracked the Hot 100 Billboard charts, recently climbing to No. 1 on Billboard’s radio songs chart, earning double platinum status.

The success of the album and the deluxe edition that followed launched Thomas into a whirlwind of promo: radio and podcast stops, interviews galore and after-party appearances. Meanwhile, he’s still made time to make records with other artists like Wale, Disclosure, Odeal and Sasha Keable. He kicked off his “Mutts Don’t Heel” tour in October, and this year alone, he’s had more than 70 performances, including the Hollywood Bowl with Inglewood-born singer SiR, “Jimmy Kimmel Live” and the BET Awards (where he won best new artist). Earlier this year, Thomas stopped by NPR’s Tiny Desk, a live set that has more than 4 million views and has since been turned into an EP. (His Tiny Desk performance also received a Grammy nod for best R&B performance.)

“It’s been nonstop like something great happening every single week,” says Barron, co-founder of EZMNY.

Long before fans were belting out the lyrics “I’m a doggggg / I’m a mutt,” Thomas was getting his first taste of what it takes to be a musician from his family. Thomas’ late grandfather, John Anthony, was an opera singer who starred in the 1976 Broadway production of “Porgy & Bess.” His mother — a singer — and his stepfather — who played guitar for B.B. King — were part of New York’s Black Rock Coalition and “didn’t believe in babysitters,” says the Brooklyn native who now resides in L.A. He has fond memories of doing his homework while his parents were performing and hopping on stage at times to hit a dance move for a packed crowd.

At just 10 years old, Thomas booked the role of Young Simba on Broadway after a family friend encouraged him to audition. He went on to star in more productions, including “Caroline, or Change” and “The Color Purple,” before booking his first film, “August Rush” (starring late actor Robin Williams), which required him to learn to play the guitar. As a result, he began writing his own songs, one of which impressed his parents so much that they booked studio time and a session bass player to help him to lay down the track. “It definitely influenced my perspective on if I could actually make professional music or not,” recalls Thomas, who plays five instruments, including drums (his first love), guitar, bass, piano and saxophone.

“Not to sound cocky or anything, but I just always felt in my heart of hearts that once people could finally hear what I had to offer, it would be a different story. I’m glad that God gave me the foresight to see that,” said Leon Thomas.

(Jason Armond/Los Angeles Times)

By age 13, Thomas had signed a development deal with Nickelodeon that came with a Columbia Records recording contract. After appearing in various shows like “The Backyardigans” and “iCarly,” he snagged the role of André Harris, a high-school-age singer and multi-instrumentalist, on the tween sitcom “Victorious” alongside star-in-the-making Grande.

When the show ended in 2013, Thomas began working with one of modern music’s most decorated architects, Babyface, who introduced him to producer and songwriter Khris Riddick-Tynes. Together, Thomas and Riddick-Tynes formed the Rascals and began producing records like Rick Ross’ “Gold Roses” featuring Drake (which received a Grammy nomination), “I’d Rather Be Broke” by Toni Braxton and SZA’s “Snooze,” which won best R&B song at the Grammys in 2024.

Still, pivoting from wholesome Nickelodeon star to a grown R&B artist didn’t happen overnight. “The biggest thing for me was just taking time away from the artistry in order to really allow people to celebrate the brand that I had built, but give me room to build something else,” he says. “Space and time can be a tough thing because you’re gonna have to reintroduce yourself even though you did a lot of work in the beginning to build what you had before, but I think it’s beautiful to kind of build a brand from scratch.”

That’s one of the reasons why the cover of his reintroduction project, “Genesis,” features a distorted forest instead of his face. “I didn’t want them to connect with what I was saying, what I was talking about, the feelings [and] the sounds,” he says. With every release, he’s slowly revealed more of himself.

Onstage, Thomas channels the intensity of some of his musical heroes — James Brown, Prince, Jimi Hendrix and D’Angelo. His music may sit comfortably under the R&B umbrella, but he bends and flips genres with ease, especially rock and funk. In TikTok recaps from his current tour, he can be seen ripping on the bass and guitar, whipping his body into turns and effortlessly hitting vocal runs, which fans have attempted to imitate. With him, you never have to question if the mic is on.

“Sometimes I go see R&B artists live and it’s very chill,” he says, but “the school I come from is competitive.” He recalls stories that his stepfather has told him about performing at the Village Underground in New York when he was coming up. “They used to do something called cutting heads, so the first guy would go do his solo, then the guy who came out on the second set had to go even further. He’s playing with his teeth, he’s spinning, he’s on the floor, he’s wildin’,” Thomas says excitedly.

“So I’m in that school of thinking when I hit a stage and for this tour where I get to curate things and really put it together like I want to, there’s gotta be that energy of cutting heads,” he adds.

Just days before launching his 27-city tour, Thomas released a cinematic trailer featuring Rae — who played his neighbor and hookup buddy on “Insecure” — to introduce his latest project, “Pholks.” The seven-track release, created in collaboration with musicians Rob “Freaky Rob” Gueringer and David Phelps, a.k.a. “D. Phelps” (who also worked on “Mutt”), is an homage to the funk, rock and soul artists who’ve inspired him. Led by the singles “Just How You Are” and “My Muse,” which could trigger a “Soul Train” line at any moment, the project feels warm and nostalgic, yet anchored in forward-thinking production and playful storytelling that helps push it into the future.

In April, Ty Dolla $ign brought Thomas out to perform during his headlining set at Coachella, a moment that was a no-brainer for Ty, who recently called Thomas “the new king” of R&B.

“I just can’t even believe that I was the one to be able to do this,” Ty says about working with the singer.

“Sometimes I go see R&B artists live and it’s very chill,” Leon Thomas said, but “the school I come from is competitive.”

(Jason Armond/Los Angeles Times)

In the midst of this busy season, Thomas has been more intentional about maintaining his mental health. “I’m doing a lot of grounding meditations,” he says, noting that family and his tight circle of friends have been an essential support system. “I’ve been picking up the Bible a little bit more.”

He also finds steadiness in revisiting wisdom passed down from his late grandfather, who passed away last year, and reflecting on his “why:” bringing a classic, musician-centered energy back to R&B and encouraging young artists to pick up an instrument.

“When a little kid sees me playing guitar on the Grammy stage or if they see me performing on Instagram playing drums, I want them to ask their mom for a guitar or some drum lessons,” he says. With the rise of AI, he says that live musicianship may become less common. “I hope that we can inspire a revolution of intelligence, people who are intelligently making music and coming from a standpoint of history.”

Thomas will close out his whirlwind year with two shows at the Wiltern on Dec. 22 and 23 before embarking on the European leg of his tour in March and heading to Australia in June. In the meantime, he’s trying to avoid thinking about the Grammys in February — though everyone, including myself, is making it impossible for him not to.

Whether he walks away with a golden gramophone or not, Thomas has already created a body of work that has reinvigorated not only R&B but also music in general, and he plans to continue pushing himself creatively. He’s known all along what he’s capable of and the career he’s destined to have because he’s envisioned it. It’s the world that’s had to catch up.

The top of the tower had disappeared in the mist, but its bells rang clear and true, tolling beyond the abbey gates, over the slopes of frost-fringed trees, down to the town in the valley below. Final call for morning mass. I took a seat at the back of the modern church, built when the Abbey of Saint Maurice and Saint Maurus relocated to this hill in Clervaux, north Luxembourg, in 1910. Then the monks swept in – and swept away 1,000 years. Sung in Latin, their Gregorian chants filled the nave: simple, calming, timeless. I’m not religious and didn’t understand a word, but also, in a way, understood it completely.

Although mass is held here at 10am daily, year-round, the monks’ ethereal incantations seemed to perfectly suit the season. I left the church, picked up a waymarked hiking trail and walked deeper into the forest – and the mood remained. There was no one else around, no wind to dislodge the last, clinging beech leaves or sway the soaring spruce. A jay screeched, and plumes of hair ice feathered fallen logs. As in the church, all was stillness, a little magic.

I’d come to Luxembourg by train, with the notion of finding a frozen fairytale. This tiny grand duchy, about the size of Dorset, has a ridiculous number of castles – as many as 130 (depending on your definition). It’s the legacy of being sited at the heart of western Europe, suffering centuries of incursions. Some of these castles have been restored for visitors; some are places you can stay at (with lower rates off-season). Add in rimy forests, chanting monks and the fact all public transport is free – maybe the most magical thing of all – and my hopes Luxembourg would make an atmospheric winter break were being fulfilled.

My walk ended at Clervaux Castle. It dates from the 12th century, but was destroyed during the second world war’s desperate Battle of the Bulge, which played out in these cold forests in December 1944. The castle has since been rebuilt and now houses the 1950s Unesco-listed photo exhibition The Family of Man. It was almost empty as I moved between the 503 images, taken by the most prestigious photographers of the age, depicting normal people in all life stages, the ordinary rendered extraordinary. There are no captions or locations; each photograph is its own whole story, containing multitudes. It was incredibly uplifting.

You can’t spend the night at Clervaux Castle, but 10 minutes away by (free!) bus is Chateau d’Urspelt, where you can stay. When I arrived, this castle looked Disney-cute, fairy lights dripping from its white-washed turrets. Eighty years ago, it was quite different. The US 1st Battalion 110th Infantry had its HQ here in December 1944, before being overwhelmed by German forces. After the war, Urspelt fell further into ruin, until 2005, when a local entrepreneur decided to restore it and turn it into a smart hotel. I skipped the snazzy spa, and the ice rink sparkling in the courtyard, but relished a fruity Luxembourgish pinot noir in the low-lit bar, which hides like a speakeasy in the castle’s historic cellars.

One of the country’s most impressive castles is Vianden (less than an hour from Clervaux via a free bus), a beast of a bastion, lording over the River Our, on the German border. It was constructed between the 11th and 14th centuries on Roman foundations, altered multiple times, left to rot, then, from the 1970s, painstakingly restored to its medieval pomp. On a pallid winter’s day, it was crowd-free. I rattled around its vast state rooms and marvelled at the layered history visible in the visitor centre, which is built around past excavations.

It’s not just the castle that gives Vianden its fairytale feel. There’s the winding river, the tight-pressed wooded hills and the village itself, with its remnants of 13th-century walls and pretty, cobbled main street. I opted to escape reality entirely in the Ancien Cinéma cafe, a former movie theatre where you can grab a coffee, sit on a couch and watch whatever’s on the big screen, surrounded by film paraphernalia.

My final stop was a castle unlike any other. Chateau de Clémency, close to the Belgian border, is a five-room guesthouse and the 2025 winner of Luxembourg Tourism’s Best Host award. Dating back to 1635, it was only ever a small residential retreat, with no military function. When Pascal Zimmer – former judoka, self-taught tailor and architect, and restorer of historic buildings – bought it 20 years ago, it was a proper mess, in need of either demolition or renovation. He saw the property’s true value and he liked the staircase – “You could say I spent €400,000 on some stairs …” he confessed, pointing out the stone pleasingly worn by 400 years of footfall.

“When you think about castles, you think of Windsor or Versailles. But this is a Luxembourgish castle, not so expansive, not so well done; you can’t restore it in the same way.”

So, to that end, Clémency is Pascal’s own artistic vision. Each room has a different theme, from belle époque “Peggy’s” to the “Roaring 20s”. “Tribute” pays homage to the local steel industry on which Luxembourg’s wealth is built. “My father was a miner,” Pascal said. “He was a humble guy; he’d say all he wanted was a small, clean room. This is a small, clean room.” A patchwork blanket covers the bed, while the bathroom is black polished concrete, a nod to life underground. I stayed in “Sherlock”, a Holmesian fantasy suite; the lounge was a steam-punkish curiosity shop of moody portraits, scientific implements and stuffed cats.

There isn’t much to do in the town of Clémency itself, although that hardly mattered. It was only 40 minutes by public transport (did I mention: all free!) into Luxembourg City, a capital perched on a precipitous rock, like something from a storybook. It was a shorter hop to Bascharage, where I got cosy in D’Braustuff, a gemütlich brewery-brassiere serving Luxembourgish classics – I tucked into a hearty wäinzoossiss (traditional sausage). But when darkness fell, I was also content to stay in my castle with a book – the shelves were full of Agatha Christie and Conan Doyle – and enjoy an alternative winter’s tale.

The trip was provided by Luxembourg tourism board and Byway, which can arrange bespoke itineraries including Eurostar tickets, Interrail passes and accommodation. Château de Clémency has doubles from €99. Château d’Urspelt has doubles from €174

A HUGE Noughties boyband has sparked speculation of a 2026 tour after all ten members recently reunited.

The unexpected get-together has sent fans into a frenzy begging the question of whether a full-scale comeback could finally be on the cards.

Blazin’ Squad shot to fame in 2002 and are best known for their top three hits Crossroads, We Just Be Dreamin’ and Flip Reverse.

Blazin’ Squad was made up of James MacKenzie (Kenzie), Ollie Georgiou (Freek), Marcel Somerville (Rocky B), Chris McKeckney (Melo-D), Stuart Baker (Reepa), Lee Bailey (Krazy), Sam Foulkes (Spike-E), James Murray (Flava), Tom Beasley (Tommy-B), and Mustafa Omer (Strider) when they shot to fame.

The group officially split in 2005 and over the years the band members have gone in different directions.

Marcel Somerville enjoyed success on Love Island, having been on the show in 2017, before having another go in January on the All Stars spin-off.

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All ten members have since reunited for the festive season, it being the first time since Marcel’s first stint on the ITV2 dating show.

Rapper James Kenzie, who’s had his own reality stint appearing on Celebrity Big Brother in 2005, took to Instagram to share brand new snaps of the band.

The photos show the group beaming ear to ear as they came together at the bar Flight Club in London.

James uploaded a series of pics of the band alongside a nostalgic throwback from the 2000’s, showing the group decked out head-to-toe in red.

He captioned the post: “The Original Squad,” adding a number one medal emoji.

Fans flooded the comments, gushing over the pics and speculating about whether this could hint at a future tour.

One user said: “Please tell me talks of a tour was in conversation? (side eye emoji).”

Another added: “Aged like a fine wine (heart eye emoji)”

“Blazin’ squad reunion incoming plz,” penned a third, whilst a fourth commented: “Need a new Blazin’ Squad Album.”

“So good to see Blazin’ Squad as a 10 piece again now that is the Blazin’ Squad I grew up with,” chimed another.

The group’s various attempts to get all members back together have been stalled.

Marcel Somerville, Stuart Baker, Sam Foulkes and Chris McKeckney reunited in 2006, but later split again.

Three years later a slim-lined Blazin’ Squad returned as a five-piece featuring Mustafa Omer, James Murray, James McKenzie, Lee Bailey and Marcel.

And now the band consists of Sam, Marcel, Chris and Ollie Georgiou.

But, what fans really want to see is all ten members come back together on stage again.

Previously speaking to The Sun about a potential reunion and tour, Marcel said: “Obviously there are ten of us, it makes it a little bit harder, because that’s more people we have to bring back to the camp.

“Do you know what? I feel like if we could get all ten of us back together, I reckon we could definitely do the O2.

“Back in the day, before we split, we’d played Wembley, and had two nights in Manchester, two nights in Newcastle, and two nights in Birmingham.

“We were playing all the arenas, so it’s like, if we could get everyone back.

“Last year was the 22nd anniversary, so I think the 25th anniversary is probably the sweet spot. So maybe in three years’ time, 25th anniversary, I might start a whole campaign for it now, to bring the Squad back together.”

THE Rolling Stones have called off plans for a UK and European tour next summer.

It would have been their first string of live dates since their huge Hackney Diamonds tour in the US in 2024 – which sold almost one million tickets.

It’s understood the band – who’ve sold over 250 million records worldwide – were looking at plans to play huge stadiums across Europe and the UK after pulling the plug on dates in 2025.

An American music critic said Keith Richards, who turns 82 on Thursday, told his bandmates Mick Jagger, 82, and Ronnie Wood, 78, he couldn’t commit to the trek at this time.

They added: “The Rolling Stones had all the big promoters throwing loads of ideas and dates at them for next summer.

“But when they properly sat down to discuss the tour, Keith said he didn’t think he could commit and wasn’t keen on a big stadium tour for over four months.”

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A spokesperson said at the time: “The band were looking to tour earlier this year but couldn’t make it work either.

“It’s hard for their fans but The Stones will get back onstage when they’re good and ready.”

In September, Ronnie confirmed to The Sun that he was waiting on the nod on the 2026 tour dates.

He also confirmed they had been working on their next album, which was recorded at Metropolis Studios in Chiswick, west London.

Ronnie said: “You will be getting new music from the Rolling Stones with an album next year. It is almost done. ”

Their last album, Hackney Diamonds, came out in 2023 and was their first record of original material in 18 years.

The album went straight to No1 in the album charts and spawned hits including Angry, which had Sydney Sweeney in the official music video.

Cazzu made a special announcement Monday: Come 2026, she will be touring in the U.S. for the first time.

The Argentine singer will kick off her seven-show U.S. tour April 30 with a performance at the San Jose Civic in San José. Her jaunt across the country will end May 10 at the 713 Music Hall in Houston.

Along the way, the “Loca” artist will stop at the Cal Coast Credit Union Open Air Theater in San Diego on May 1 before performing at the YouTube Theater in Inglewood on May 2.

Her debut U.S. tour is an extension of her ongoing Latin American tour, which just wrapped up its most recent leg earlier this month with a concert in her native Argentina.

Before landing in the U.S., Cazzu will play a handful of shows in Argentina in January and February, and will also perform at the Isle of Light Music Festival in the Dominican Republic on March 7.

All her previous and upcoming shows are in promotion of her fifth studio album, “Latinaje,” which was released April 24. The project infused a unique blend of the sounds of South America that helped inform Cazzu’s musical tastes, including Argentine chacareras, cumbias santafesinas, tango and Brazilian funk.

Following the release of her LP, the Latin Grammy-nominated artist spoke with The Times in April about her influences and the work that went into making the project.

Inspired by Puerto Rican and Mexican musicians who have incorporated regionally specific sounds into their music, Cazzu aimed to highlight elements of Argentine folk music in her latest offering. “Perhaps there is a space where us Argentines can showcase our roots to the world,” she told The Times.

Hailing from the environmentally diverse Jujuy region of Argentina, Cazzu said her hometown of Fraile Pintado is a far cry from the metropolitan life of Buenos Aires.

“It’s a region that has a mixture of cultures,” Cazzu noted. “It’s my identity as a person but also as an artist. The folklore is alive there, [as well as] Andean folklore.”

Her homages to several traditional Indigenous and Argentine songs connect the new-age sounds that Cazzu has frequently employed to the lush history of a country with a rich musical background.

“It’s beautiful to give these songs a second life,” Cazzu said. “In 80 years, when I am no longer here, it would be beautiful if someone would revive something of mine.”

Argentina football icon Lionel Messi is on a three-day GOAT tour of India ahead of the 2026 defence of FIFA World Cup.

Lionel Messi’s much-hyped tour of India got off to a rocky start on Saturday with angry fans throwing bottles and attempting to vandalise a stadium after many of them failed to get more than just a glimpse of their hero.

The Times of India reported that many ticket holders said that they failed to see Messi at all – either in person or on the stadium’s big screens – despite waiting for hours.

West Bengal Chief Minister Mamata Banerjee apologised to the Argentinian football star for the “mismanagement” of the event.

“I am deeply disturbed and shocked by the mismanagement witnessed today at Salt Lake Stadium,” Banerjee wrote on social media, where she also apologised to fans who had expected more after paying for tickets.

Banerjee said a committee would be constituted to “conduct a detailed enquiry into the incident, fix responsibility, and recommend measures to prevent such occurrences in the future”.

Messi’s three-day “GOAT (Greatest of All Time) India Tour” was to bring the World Cup winner from Kolkata to Hyderabad and then Mumbai before concluding in New Delhi on Monday.

He was joined by longtime teammates Luis Suarez and Rodrigo De Paul.

Earlier on Saturday, Messi remotely “unveiled” a 21-metre (70-foot) statue of himself in Kolkata.

Former FIFA President Sepp Blatter once described India as a “sleeping giant” in the football arena, but the sport in the country has run into many problems in recent years.

The Indian Super League (ISL) – India’s top football competition – has been in danger of collapse over a dispute between the federation and its commercial partner.

ISL side Bengaluru FC stopped paying the salaries of its first team’s players and staff as a result of the turmoil.

In a statement in August, the 2018-19 ISL champions said they had taken the decision “in view of the uncertainty surrounding the future of the Indian Super League season”.

A large group of Dodgers fans enthusiastically answered the call during an August home game against the Arizona Diamondbacks. It was the team’s eighth annual Union Night celebration, and while cheering for the Dodgers, fans also chanted for their local.

“Who are we?” a leather-lunged fan shouted.

“Teamsters!” came the reply.

The Dodgers’ marketing strategy aimed at blue-collar fans of the boys in blue isn’t hypocritical. The franchise reached two landmark Collective Bargaining Agreements in 2023 with the Service Employees International Union United Service Workers West (SEIU-USWW).

Although raises to the 450 employees that included ushers, security officers and groundskeepers were recognized as long overdue and took organized protests and the threat of a strike for the Dodgers to agree to a contract, the result was a decisive victory for union solidarity.

More recently the franchise hasn’t stood in the way of another segment of employees attempting to unionize. It has hammered out an agreement with the International Alliance of Theatrical Stage Employees (IATSE) representing the 55 or so Dodger Stadium tour guides — mostly part-timers whose knowledge of Dodgers history and love of the team is unsurpassed.

Yet ratifying the agreement has proven difficult because roughly half of the guides don’t want to unionize. A vote in October failed to pass by a 25-24 margin with six guides abstaining. Repeated emails by The Times to several tour guides who voted against unionizing were not answered, and the Dodgers declined to comment for this story.

The guides supporting the agreement have launched a re-vote for Dec. 15-17, and both sides have spent recent weeks busily lobbying guides perceived as uncommitted. The divide has impacted morale, tour guides say, at a time when Dodger Stadium tours have never been more popular, described by the Dodgers during union negotiations as a “robust money-making operation.”

“The demand has risen tremendously the last two years,” tour guide Cary Ginell said. “It’s been great for the Dodgers. When I joined in March 2022, the cost of a tour was $25. Now no tour is less than $42.50. The team is raking in the money and none of it goes to us.”

Even if the union agreement is approved, however, the battle won’t be over because guides opposing the union have already filed a decertification petition with the National Labor Relations Board to keep IATSE from representing the tour guides.

Although both sides accuse the other of underhanded tactics in swaying voters, the key issue dividing the group is fairly straightforward.

The new agreement would increase wages by 25% from $17.87 to $24 an hour — roughly the same rate the 2023 agreement did for the SEIU-USWW members — with additional $1 an hour increases in the second and third years of the contract.

Security measures at stadium entry points also would be improved. Tour guides have complained that fans who show up for tours are able to walk into the stadium top deck without passing through security, sometimes even while carrying backpacks.

That lapse would end, according to a draft of the CBA obtained by The Times: “The Employer shall provide and properly staff security checkpoints that include a metal detector and bag search at all designated points of entry for patrons entering Dodger Stadium for purposes of participating in stadium tours.”

Unionizing, however, might end the Dodgers’ longtime practice of giving tour guides four reserve-level tickets for each of the 13 homestands in a season, a perk worth an estimated $2,600 assuming the tickets are valued at $50 each. The prospect of that is a deal-breaker for many of the guides.

Tour guides present during negotiations said the Dodgers refused to mention free tickets in the union contract because they said other part-time union employees then would demand the same perk. The Dodgers made it clear they weren’t necessarily ending the perk, just that the issue couldn’t be addressed in the agreement.

The monetary value of the tickets is greater than the raise for tour guides that work close to the minimum number of 60 four-hour shifts per year. However, the average tour guide works about 125 shifts — 500 hours — a year, and they would be taking home more pay in raises than the tickets are worth.

Some less-experienced tour guides have felt pressure from anti-union veteran guides. Semaj Perry said that during his training in March, an older, respected guide convinced him to sign a decertification petition. Perry has since attended a negotiation session and read the agreement between the Dodgers and the union.

“It’s more of a status thing than a financial decision for some of the older tour guides,” Perry said. “For some of them, this is fun to do during retirement. I took the job because I needed to pay rent. I’m voting yes to join the union.”

Dodger Stadium tours have become increasingly popular — generating more than $1 million a year in revenue — because of recent stadium renovations, two consecutive World Series championships and the signings of Japanese stars Shohei Ohtani, Yoshinobu Yamamoto and Roki Sasaki.

“The tour program has grown so much in the age of Ohtani,” said Ray Lokar, a veteran Dodgers tour guide whose full-time career was a high school coach and athletic director for nearly 40 years. “The visibility and security responsibilities have been amplified. It’s grown from a mom‐and‐pop operation of a dozen people showing folks around the stadium to a multi-million dollar asset.”

The stadium tours now fall under the management umbrella of a recently implemented revenue-producing initiative called Dodgers 365, which offers year-round rentals of everything from $50,000 for the field to $15,000 for the Centerfield Plaza to $12,500 for the Stadium Club. In September, the LA Card Show made its Dodger Stadium debut, drawing thousands of fans swapping and bartering trading cards.

While recognizing that possibly giving up free tickets is a stumbling block, several veteran tour guides who advocate joining the union are perplexed that so many of their colleagues are suspicious of organized labor. About all they agree on is that they love the Dodgers.

“The tour team amplifies the most valuable asset the Dodgers have: their brand, the 135 years of history, from the borough of Brooklyn to Dodger Stadium,” Ginell, author of 14 books on American music, said. “It’s a different function than any other employee. We make fans happy conveying that history, and it’s that history that got the Dodgers their $2 billion price tag.”

Lokar emphasized fairness as a reason tour guides should vote to approve union representation.

“We should be protected, respected and connected,” he said. “We wanted to feel safe physically and emotionally, be paid fairly, and not treated as second-class citizens.”

Taylor Swift’s Eras Tour ran from 2023 to 2024 and became a record breaking sensation

Taylor Swift’s highly anticipated new documentary, The End of an Era has finally landed on Disney Plus.

The six episode series, which will see two episodes released every week, gives an intimate look on the huge phenomenon that is the Eras Tour as it made headlines and excited fans around the world.

Disney teases: “In addition, the series features Gracie Abrams, Sabrina Carpenter, Travis Kelce, Ed Sheeran, and Florence Welch, along with her band, dancers, crew, and family members – offering never-before-seen insight into what it took to create a phenomenon.”

As well as the documentary, The Final Show also debuts today (December 12) which is the full concert film from the final show in Vancouver, featuring for the first ever time the entire set of The Tortured Poets Department.

As fans delve into the latest instalments of the brand new documentary, we have taken a look at some of the things that made the Eras Tour so huge.

Over 100 shows and 400 hours performed

The Eras tour ran from 2023 to 2024 meaning that Taylor and her crew performed a record breaking 149 shows.

Originally, the Eras Tour was announced back in 2022 with significantly less dates, but with such high demand, she added more to the diary and it quickly became a huge phenomenon.

The tour first kicked off in Arizona in March 2023 and came to an end in December 2024. In total, it is said the star spent over 480 hours on stage, which is the equivalent to just under three weeks.

As each show varied in length and was dependant on an array of things like the weather, each night was around three hours, making it a huge ambition that was successfully carried out.

According to reports, with 44 songs on her setlist, eventually increasing to 46 after her new album was released in 2024, Taylor also performed songs not on her setlist as part of a special acoustic performance.

The Eras Tour 100th show

Taylor’s 100th show was actually performed here in the UK, in Liverpool. Taking to Instagram, the star said: “So many dreamy memories from Liverpool!! We played our 100th show on The Eras Tour (which feels truly deranged to say because this show feels new to me every time we play it).”

She continued to thank everyone involved, adding the crowds were “expressive, generous and endlessly fun.”

What made the Eras Tour so popular?

The Eras Tour was a huge moment in Taylor’s career, celebrating all of the music through the decades, every era. Taylor took her music everywhere across the world, visiting over 20 countries.

It was a record breaking tour, bringing in over $2billion in sales making it the highest earning concert run. Taylor Swift Touring also confirmed over 10 billion people attended during the course of the tour.

And when it came to breaking records, reports suggest another record was broken when Ticketmaster sold the most tickets sold by an artist in a single day – many Swifties can remember the painstaking wait they endured for tickets.

There are many reasons the tour became a huge phenomenon, being timed post pandemic, but the main reason being it brought together fans of all ages, celebrating her entire career, being described as a huge cultural event.

Earthquake?

You may have seen reports at the time that Taylor Swift concerts generated seismic activity. In 2023 in Seattle, a seismologist said activity was recorded equivalent to a 2.3 magnitude earthquake.

Also in Edinburgh in 2024, reports suggest earthquake readings were again detected.

Friendship bracelets

Taylor Swift friendship bracelets are colourful, beaded bracelets that were made by fans for the Eras Tour, often traded in. Inspired by the song You’re On Your Own Kid, some fans ended up wearing dozens on their wrists, even hoping to give them to Taylor and her mum.

Food bank donations

While on tour, Taylor Swift donated to local food banks and charities when she visited a place.

According to ITV, the singer made a “generous donation” to around 1,400 food banks and community organisations in Edinburgh, Liverpool, Cardiff, and London.

Taylor Swift’s the End of an Era documentary is now available to stream on Disney Plus.

The Women’s Tennis Association has announced a long-term partnership with Mercedes-Benz which has the potential to be the largest in women’s sport.

The German car manufacturer will become the premier partner of the WTA and pour $50m (£37.5m) per year into women’s tennis for up to 10 years.

The deal has been described as the “most significant” in the WTA’s history, and could ultimately be worth up to half a billion dollars (£375m).

The National Women’s Soccer League in America signed a $240m (£180m) four-year media rights deal in November 2023, while Nike has invested $350m (£262m) across multiple women’s football leagues.

Announced on Wednesday, the WTA deal will help with the tour’s commitment to have equal prize money at events where both men and women feature by 2027 and at non-combined events by 2033.

Equal prize money was one of the key goals when the WTA was founded in 1973.

American tennis great Billie Jean King, who founded the WTA and was its first president, said the deal shows the tour “continues to lead the way in women’s sport”.

“Our mission statement when we founded the WTA was that any girl born in this world, if she was good enough, would have a place to compete, be respected and make a living playing tennis,” King told BBC Sport.

“This is a real partnership and Mercedes are in it for the long term.

“Seeing a brand like that stand with us sends a message that echoes far beyond tennis.”

Tickets for North Korea‘s 2026 Pyongyang International Marathon, set for April 5 in the country’s capital, have sold out just a few hours after sales opened, a Beijing-based tour agency said Tuesday.

Koryo Tours, which specializes in travel to North Korea, broke the news on its social media account, saying, “After less than 5 hours the Pyongyang Marathon trips sold out completely, 500 spots on the trips are now all taken.”

The agency said it is working to open additional spots for the trip and urged readers to join a waiting list.

The tour agency’s website earlier announced that next year’s Pyongyang International Marathon will be held on April 5, with departures for the trip available from Beijing, Shanghai and Shenyang.

The event offers four courses, from the full 42-kilometer run to the half marathon, 10 km and 5 km races, and is also open to runners with disabilities, including wheelchair users and those with visual impairments.

Holders of South Korean, U.S., Malaysian or Japanese passports, as well as members of the press, are prohibited, it said.

The international event, previously named the Mangyongdae Prize International Marathon, was inaugurated in 1981 to commemorate the April 15 birthday of late national founder Kim Il-sung.

Beginning in 2020, it was suspended for five consecutive years due to the COVID-19 pandemic before being resumed last year as a channel for the country to earn foreign currency.

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