tour

ROBBIE WILLIAMS is set to make a return to touring the UK next year as he will perform ‘Life Thru A Lens’ and ‘BRITPOP’ in full.

The former ‘Take That’ star announced on October 10 that he would be touring the UK to celebrate the release of his future album ‘BRITPOP’.

On the tour, he will be performing his first solo debut Number One album ‘Life Thru A Lens’, which contains songs like ‘Angels’ and ‘Let Me Entertain You’.

Along with his old album, Robbie will also be performing his next project ‘BRITPOP’ in full. 

That album was scheduled to be released on October 10, the same day he announced the tour, but was delayed due to supposed scheduling issues.

However during his gig at the Camden’s Dingwalls last month, Robbie said: “We’re all pretending it’s not about Taylor Swift, but it f***ing is.”

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The humorous statement was said to the crowd in reference to the release of her album, ‘The Life Of A Showgirl’ that dropped on the same day Robbie’s was supposed to. 

The 51-year-old pop icon holds several records for live performances, including the Guinness World Record for his 2006 world tour- where he sold more than 1.6 million tickets in a single day.

But the question is, how do you find tickets for his next UK tour?

When are the Robbie Williams’ 2026 tour dates?

Robbie Williams has four dates set for his UK tour.

The venues are spread across Glasgow, Liverpool, London and Wolverhampton and are scheduled for early February next year.

Here is the full schedule for his UK tour:

• 4th February 2026, Barrowlands Ballroom, Glasgow
• 6th February 2026, Liverpool Olympia, Liverpool
• 8th February 2026, O2 Academy Brixton, London
• 9th February 2026, Civic Hall, Wolverhampton

How to buy tickets for Robbie Williams 2026 shows?

Tickets for Robbie Williams’ ‘Long 90s’ tour went on sale on Friday, November 28.

You can find tickets on:

“Can you just give me one of your leftover sharks?”

It was early in Jay Stein’s tenacious pursuit to turn a throwaway business into a sweet spot for Universal Studios, then owned by Lew Wasserman’s powerhouse entertainment firm MCA.

In 1975, Steven Spielberg’s “Jaws” was a cultural sensation and Stein wanted to capitalize on the movie’s success. He asked his colleagues in film production for props so his crews could re-create the fictional Amity Island coastline in the studio’s hilly back lot miles from downtown L.A.

“He convinced them: ‘Can you just give me one of the leftover sharks and I’ll put it on the studio tour, and we’ll get some promotion out of that,’ ” author Sam Gennawey told The Times, recalling Stein’s brilliance and his pioneering use of intellectual property.

Jay Stein with his wife, Connie, in Oregon.

(Connie Stein)

Stein died Nov. 5 at his home in Bend, Ore., according to his wife, Connie Stein. He was 88 and had been suffering from complications related to Parkinson’s disease and prostate cancer.

“He left a big hole — but he also left a wonderful legacy,” she said in an interview Sunday. “Not a lot of people have the opportunity to leave a legacy that touches generations. But he’s still making people smile every day.”

The tram tour’s shark attack, which terrified tourists when it debuted in 1976, has long been a staple. It was among Stein’s many theme park enhancements during his more than 30 years as a top MCA executive, which included Universal’s push into Florida to compete with Walt Disney Co.

The “Jaws” attraction helped cement Universal’s decades-long relationship with Spielberg, a span that would include such films as “E.T. the Extra-Terrestrial,” “Jurassic Park,” “Schindler’s List” and “The Fabelmans.” It also spawned other movie-themed attractions that included a “Waterworld” live show and a “King Kong” ride.

Stein insisted that the ape would spew “banana breath,” his wife said.

Within Universal, such jolts and flourishes became known as “JayBangs,” which Gennawey used as the title for his 2016 book about Stein’s contributions to the industry, “JayBangs: How Jay Stein, MCA, & Universal Invented the Modern Theme Park and Beat Disney at Its Own Game.”

“Jay wanted to put you in the movie,” Gennawey said. “He wanted to grab you by the collar and shake you a bit.”

The “Runaway Train” attraction on the Universal Studios backlot tour, one of its many exhilarating “JayBangs.”

(NBCUniversal Archives & Collections)

Stein was born in New York City on June 17, 1937, to Samuel and Sylvia “Sunny” (Goldstein) Stein.

His father was a watch salesman who moved the family to Los Angeles when Stein was young. As a teenager, he occasionally skipped school to go to Hollywood Park Racetrack to bet on horses. He had finagled some blank report cards and used them to bring home self-inserted high marks.

But the scam was revealed when the family briefly moved back to New York and Stein was nearing the end of high school. His parents were summoned for a conference, where they learned Stein lacked the credits to graduate. Summer school remedied that.

The family returned to L.A. Stein attended UC Berkeley, majoring in political science, but he left about a semester shy of graduating.

He served in the Army National Guard and, near the end of his service, in 1959, began working in MCA’s mailroom. Initially he wanted to get into film production, but by the mid-1960s, he was steered into the fledgling tour unit.

The company had launched the tram tour in 1964 to make a little money from its ample real estate. But some executives viewed the endeavor as tacky. Its prospects looked dim.

“It started out as two trams and a Quonset hut on Lankershim Boulevard,” Stein told The Times in a 2023 interview. “Quite frankly, the tram was considered something that interfered with television production.”

“I worked for the production office and was given the task of trying to coordinate how close we could come on the backlot without interfering. Everyone I worked for said it was an annoyance and disruptive and will not ever be welcomed.”

Stein was able “to convince others of the benefits of having the studio tour,” Gennawey said. “That’s what saved it.”

Early signage advertising Universal Studios as a tourist attraction.

(NBCUniversal Archives & Collections)

Gennawey considers Stein a key pioneer of U.S. theme parks.

“He was remarkably competitive. He recognized that Disney had its thing — but Universal could create something different and complimentary, particularly in the early days,” Gennawey said.

Disneyland was, of course, a top draw.

“But if you are a Los Angeles resident and had relatives coming in town, you knew they [also] wanted to see Hollywood,” Gennawey said. “But Hollywood was kind of scary, so you took them to Universal Studios.”

Stein’s contributions have only recently been appreciated, according to Gennawey. That’s largely because Stein subscribed to Wasserman’s edict that the “stars were the stars,” and executives should blend into the background. Stein also retired early, leaving Universal by the mid-1990s, after Japanese electronics giant Matsushita bought MCA.

Visitors line up for the studio tour of Universal Studios.

(Genaro Molina / Los Angeles Times)

Stein worried that Universal’s new owner (and a string of subsequent buyers) would fail to recognize the value of the theme parks, Gennawey said, an observation that proved correct.

That changed in 2011 when Comcast acquired NBCUniversal and began investing heavily.

The company opened its $7-billion theme park, Universal Epic Universe, near Orlando, Fla., to raves earlier this year.

The theme park unit — which includes destinations in Los Angeles, Florida, Japan and China — has become one of the most reliable profit engines for NBCUniversal. Last year, Universal theme parks produced $8.6 billion in revenue.

“Jay was the visionary behind Universal’s expansion from the Studio Tour in Hollywood to the creation of our world-class theme park destination at Universal Orlando and beyond,” Mark Woodbury, chairman and chief executive of Universal Destinations & Experiences, said in a statement.

“He had tremendous creative instincts and defined our style of immersive storytelling, making us the brand that brings great movies to life for generations to come,” Woodbury said.

Stein is survived by his wife, son Gary Stein, daughter Darolyn Bellemeur, and their spouses, children and grandchildren, his brother Ira Stein, a nephew, cousins as well as Connie Stein’s children and grandchildren.

TO the deafening screams of 60,000 fans in Sao Paulo, Brazil, Noel and Liam Gallagher took their final bow on the last night of their epic, 41-date Oasis reunion tour last night.

And now all us fans are talking about is what will come next for the brothers — with rumblings about possible shows at the Etihad Stadium, Manchester and Knebworth, Herts, along with ­whispers about a new greatest hits album.

Noel had previously put a record together featuring Oasis classics and B-sides from the band’s four albums released between 2000 and 2009.

But Liam put paid to his plans for the release, with Noel later admitting in 2023: “He wouldn’t have it in the end — I don’t know why.

“I gave up f***ing arguing.”

Insiders said reprising this project is among plans being floated behind the scenes.

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“This tour has gone better than anyone could have imagined,” my source tells me.

“Noel and Liam will both be taking a long break to compute the magnitude of this tour.

“Being back together on stage has been incredible for both of them, and to have guitarist ­Bonehead back with them for the last shows has been nothing short of phenomenal.

“They’re aware of what their fans want and know the demand would be there if they did decide to put out a new greatest hits album — or to play more shows.”

So far, five separate music insiders have told me about the proposed Etihad residency next summer, along with a slew of shows at Knebworth.

Offers have also been made to Oasis to play Coachella in the US and Benicassim in Spain.

My insider added: “Steven Knight’s film from behind the scenes of the tour will give fans something to look forward to while they wait for Noel and Liam to decide what is coming up next.

“The offers are theirs for the taking.”

Those close to the pair insist there are no plans on the table right now.

But given how quickly the ­initial reunion came to pass, I’d put nothing past Noel and Liam.

The latter is definitely keen to keep the momentum, posting on X last week: “We need to sit down and discuss these things.

“If it was all up to me then you know we’d be touring till the day we die as it’s the best thing in the world but unfortunately it’s not.”

Noel, you know what you have to do.

SZA AND SHABS’ SWEET MUSIC

HER two studio albums have been packed with songs about love, loss and everything in between, so I’m sure SZA will have plenty to write about on her next record, as she is dating again.

The Kill Bill singer, who headlined Glastonbury last year, is believed to be secretly seeing Shaboozey, who is best known for his No3 hit A Bar Song (Tipsy) which soared up the charts last summer.

While she previously dated rapper Drake, Shaboozey was linked to model Emily Ratajkowski last year.

And now they have grown close and are constantly liking each other’s posts on social media.

They attended a GQ Men of the Year party together in Los Angeles earlier this month, but made sure to maintain their distance, in a bid to keep their romance quiet.

However, they’ve both got eager fanbases who are over the moon about the prospect of these two becoming an item.

One thing’s for sure: if they make a song together, it will be fantastic.

KATY’S LIMB AND A STAIR

KATY PERRY prompted a few stairs from people as she fooled about on an escalator.

The singer did practically everything but stand politely to one side as she performed the splits both the right way up and upside down.

She then appeared to take a snooze on the handrail in snaps taken on the set of the video to her latest single Bandaids.

Katy, whose shoelace is seen getting stuck in the moving staircase in the promo, wrote on Instagram: “Doing all the things your mom said not to do on the escalator but also: myth-busting a childhood fear. You’re welcome.”

Myths busted or not, I think I’ll stick to using them as intended.

DENISE: I’LL SLAYYY TOP TEN

DESPITE five No1 albums, THE 1975 have never topped the singles chart.

Now frontman Matty Healy’s mum, actress Denise Welch, is aiming to rub their noses in it by trying for the Christmas No1.

Yes, you did read that right. Today she has surprised the nation with an unexpected festive hyperpop single titled Slayyy Bells.

Described as “part carol, part club classic”, the song is being released in collaboration with choccy brand Celebrations.

Loose Women star Denise, above, said: “I love Christmas, but sometimes I want to shake things up a bit.

“We don’t always have to have turkey, or do charades.

“We can celebrate this special holiday our way. This remix, apart from being cool, catchy and a sure-fire hit, is all about having fun.

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“So stay in your PJs, have your dinner at night if you like, and dance around the tree with a Celebrations box on your head.

“Once you’ve eaten them, that is.”

RAPPER Donald Glover has revealed he cancelled his tour because he suffered a stroke on stage.

The actor, 42, previously told how he needed to focus on his “physical health” when he scrapped the North American gigs in September 2024.

Glover, who performs under the stage name Childish Gambino, initially shared the unfortunate news he was cancelling to his 2.5 million followers on X.

After he then called off the UK tour leg for The New World Tour, he told fans he needed surgery – but did not reveal why.

Now he has told how he suffered a stroke – and how medics also found a hole in his heart.

He spoke out at the Camp Flog Gnaw Festival at Dodger Stadium in Los Angeles last night, after performing a set.

He told the crowds: “I had a really bad pain in my head in Louisiana, and I did the show anyway.

“I couldn’t really see well, so when we went to Houston, I went to the hospital, and the doctor was like, ‘You had a stroke.

“And the first thing I thought was like, ‘Oh, here I am still copying Jamie Foxx’ [the actor who suffered a stroke in 2023].

“That’s really like the second thing. The first thing was like, ‘I’m letting everybody down.’”

He then added how more medical woe was to come and said: “I broke my foot, they found a hole in my heart.

“So I had this surgery, and then I had to have another surgery.

“They say everybody has two lives, and the second life starts when you realise you have one.

“You should be living your life how you want. If we have to do this again, it can only get better.”

HEALTH BATTLES

After canceling his UK tour in 2024, the star released a brief statement.

He said “After my show in New Orleans, I went to the hospital in Houston to make sure of an ailment that had become apparent.

“After being assessed, it became clear I would not perform that night, and after more tests, I could not perform the rest of the US tour in the time asked.

“As of now I have surgery scheduled and need time out to heal.”

He continued: “My path to recovery is something that I need to confront seriously.

“With that said, we have made the difficult decision to cancel the remainder of the North American tour and the UK and European dates.

“Tickets will be refunded at point of purchase.

“I want nothing more than to bring this show to the fans and perform.

“Until then, thanks for love, privacy and support.”

The New World Tour started on August 11 2024 in Oklahoma and wrapped up in New Orleans on September 7th.

Childish Gambino was due to perform in Lyon, France, on October 31st.

Followed by a number of other shows in Italy, Germany, Norway, Denmark and Belgium.

RETIREMENT

The New World Tour was the sixth and final scheduled tour by Childish Gambino.

Earlier this year the singer revealed his plans to retire.

“It really was just like, ‘Oh, it’s done,’” he told The New York Times in July 2024.

“It’s not fulfilling. And I just felt like I didn’t need to build in this way anymore.”

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“I’m not 25 anymore, standing in front of a boulder like, ‘This has to move,’” Donald said.

“You give what you can, but there’s beauty everywhere in every moment. You don’t have to build it. You don’t have to search for it.”

VICTORIA Beckham is embracing her Spice Girls past more than ever – leaving many convinced she’s sewing the seeds for an announcement that will send fans into meltdown. 

For years Victoria, 51, has been The Grinch of the Spice Girls, refusing to join Mel B, Emma Bunton, Melanie C and Geri Horner on tour in 2019 and making several comments about how she’s moved on from the group. 

But the fashion designer has dropped many hints in recent months that Posh Spice is coming out of retirement. 

The biggest clue yet came when she uploaded a clip of her make-up free and singing a live acoustic version of one of their biggest hits, despite being open about insecurities surrounding her voice. 

Next year marks three decades since Spice Girls took over the world with debut single Wannabe and – with Scary, Baby, Sporty and Ginger keen to mark the occasion in a big way – here’s all the clues Victoria will finally perform with them again. 

Stadium temptation

For music fans, this summer was dominated by the historic Oasis reunion tour which saw brothers Noel and Liam Gallagher perform together for the first time in 16 years. 

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Demand for tickets was so high that thousands of people were left gutted to miss out – but Victoria wasn’t one of them.

She attended one of the Wembley Stadium gigs with husband David, 50, and their children and the iconic show clearly had her feeling nostalgic.

Victoria shared a clip of David enjoying himself at the concert and tagged all of her former bandmates, adding: “Tempting…”

During their 2019 reunion tour, Spice Girls sold out 13 stadium dates – including three nights at Wembley – which grossed an estimated £55million.

So you can’t blame Posh for wanting a slice of it this time around…

Posh residency

Since launching her eponymous luxury fashion brand in 2008, Victoria has made it clear it’s her priority professionally.

Discussing her decision not to join Mel B, 50, Emma, 49, Melanie C, 51, and 53-year-old Geri on tour in 2019, she told Vogue Germany: “It took me a lot of courage not to go on tour with the Spice Girls again.

“But to be the one who says, ‘You know, I’m not doing it because things feel different now than they used to’.”

She added: “I’d rather concentrate on my family and my company. I’m 45 now and very happy to be the woman I am…”

But, while touring all over the world may be out of the question for Victoria and her business, she recently confessed the idea of a Vegas residency is one that appeals to her.

Speaking to Andy Cohen on Sirius XM, she said: “It would be tempting.

“But could I take on a world tour? No I can’t. I have a job…

“How good would the Spice Girls be at the Sphere! I love the idea of it. I mean I don’t know if I could even still sing, I mean I was never that great!”

The 20,000-capacity concert hall features wraparound screens and has hosted residencies from U2, The Eagles and Backstreet Boys, with No Doubt set to reunite there for 12 dates next May.

Spice Girls forever

Right from the start, Victoria was labelled as the ‘Posh one who doesn’t sing’.

And it was all because – due to a prior family commitment – she missed the final recording session for Wannabe, meaning she was the only member without a solo.

Writing in her 2001 autobiography Learning To Fly, Victoria recalled trying to write the track over the phone with the girls – calling missing the session one of her biggest regrets.

She wrote at the time: “It did make a difference, because by the time it came to recording, performing and singing it, all the parts had been divided up between the rest of them.

“And every time we performed it I just felt like a gooseberry standing at the back not doing anything. 

“And I used to say to my mum, ‘God, they’ll say I’m the one who doesn’t sing’. And she’d say, ‘Don’t worry, Victoria, no one will notice’.

“But they did notice. And to this day it’s what always gets thrown at me: Posh Spice, the one who doesn’t sing.”

Victoria has always been ahead of the joke about her vocals and recently quipped: “[My voice] wasn’t off-key, but it was small. Sometimes, they just turned my mic off.”

But she almost broke the internet when she sat down for a stripped back acoustic performance of Viva Forever with son Cruz, 20.

The incredible video sent fans wild, with one writing: “My fave song ever. Goosebumps listening it on your beautiful voice!”

And another said: “This gave me goosebumps… so iconic.”

But it was Melanie C’s comment that set tongues wagging, as she wrote: “Love this. Getting a head start on rehearsals.”

Mum guilt

Despite her reservations about singing with the girls again, Victoria has always been proud of their legacy.

Speaking in her recent Netflix documentary she admitted she “wouldn’t have been who I am now if it wasn’t for the Spice Girls, 100 per cent”.

Victoria added: “People love the Spice Girls. I love the Spice Girls. I’m so proud of that.”

And the mum-of-five joked David “mum-guilted” her into joining the group for their 2007 world tour.

In the series, he said: “Our kids weren’t around to see their mum be a Spice Girl!”

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And Victoria quipped: “He mum-guilted me!”

And, given Cruz’s recent duet with his former pop star mum, there’s no doubt David and the kids will be encouraging Victoria to dust off her little Gucci dress at least one more time.

I was a bit skeptical when an emailer suggested touring Torrance as a way to appreciate this South Bay hidden gem. As a San Gabriel Valley product, I’ve enjoyed excursions to the iconic Rose Bowl or the historic San Gabriel Mission.

But Torrance? Really?

I’m a fan of the divine paradise cakes baked at two King’s Hawaiian locations in Torrance and am aware that Compton-based hip hop group N.W.A recorded “F— tha Police” in a city music studio.

Yes, that’s all fine and notable, but is this city of 140,000 actually tour worthy?

Debbie Hays, a resident and Torrance Historical Society docent, was up to the challenge of proving it certainly was when we met for a tour this week.

History meets Hollywood

We started at the Torrance Historical Society. Inside, visitors receive a quick lesson about the city’s creation, from a Spanish land grant to its founding by financial broker Jared Sidney Torrance in 1912.

A good portion of the talk centers on one of the city’s heroes, Louis Zamperini, known as the “Torrance Tornado.”

The Olympic and USC star, who competed in the famed 1936 Games, was a larger-than-life pillar captured in book and film, the latter the 2014 movie “Unbroken.”

“Louis was a bit of a misfit in his early days and his story is one of redemption and finding his purpose,” Hays said. “It started with track and of course he’s most known about his role in the war.”

“No other place in the world has more information and pieces of history tied to Louis than we do,” Hays says.

(Allen J. Schaben / Los Angeles Times)

Zamperini was a U.S. Army Air Force bombardier in 1943 when his B-24 Liberator went down in the Pacific on May 27 with 10 additional crew members.

Zamperini floated on a life raft for 47 days, battling sharks and hunger before being picked up by a Japanese patrol boat.

He was tortured for two years before he was finally freed.

Hays showed off heirlooms, trophies and files donated by the Zamperini family, including more than 60 pounds of notes and awards, used in production of the movie.

“No other place in the world has more information and pieces of history tied to Louis than we do,” Hays said.

The ‘Ramen Capital of Southern California’

One of the more surprising details about Hays’ tour was the number of excursions the city offers.

You can take one of several self-guided tours of the city’s dozen or so microbreweries and craft beer tasting sites that highlight a burgeoning craft industry.

The most delectable tour, however, may be shown on the city’s Ramen Trail map, which declares Torrance the “Ramen Capital of Southern California.”

The town boasts a population of roughly 15,000 people of Japanese descent, so I’m sure they know something about good ramen.

As for locales, the film and television map tour denotes more than 200 locations where movies like “Scarface,” “Boogie Nights” and “Horrible Bosses” and television sitcoms like “Beverly Hills 90210” and “Barry” were filmed.

“We aren’t Hollywood, but we have many spots worth visiting,” Hays said. “All they’re all relatively close together.”

The Buffy home

One of her most popular excursions is the Fall Tour of Old Torrance, held annually in October.

Hays offers architectural and historic showings of Tudor, Mission and Spanish Colonial revival homes often butting up against each other. Most homes are over 100 years old.

“It’s a very eclectic tour that you don’t see every day in every town,” Hays said. “We’re not a cookie-cutter neighborhood.”

Yet, it’s the No. 4 spot on that tour, a 1914 Craftsman-style home at 1313 Cota Ave., that draws a pilgrimage year round.

The 2,296-square-foot home is forever known as “the Buffy home,” where the popular television show “Buffy the Vampire Slayer” was filmed.

The four bedroom, two bathroom home served as the home of main character Buffy Summers, played by actress Sarah Michelle Gellar.

“I’ve led private tours to the home, with sometimes as many as 80 people,” Hays said. “Fans come to the house, they cry, they take pictures, they hug the tree. They love it.”

Paradise cakes, ramen noodles, craft beer and Zamperini memorabilia. You don’t have to love Buffy to appreciate Torrance.

The week’s biggest stories

A pedestrian braves the rain in Venice Beach.

(Allen J. Schaben / Los Angeles Times)

SoCal’s stormy weather

Olympic updates

Crime in L.A. County

UCLA vs. the Rose Bowl

Homeless services in L.A.

What else is going on

Must reads

Other meaty reads

For your downtime

Cynthia Erivo, left, and Ariana Grande in the movie “Wicked: For Good.”

(Giles Keyte / Universal Pictures)

Going out

Staying in

L.A. Timeless

A selection of the very best reads from The Times’ 143-year archive.

Have a great day, from the Essential California team

Jim Rainey, staff reporter
Hugo Martín, assistant editor
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How can we make this newsletter more useful? Send comments to [email protected]. Check our top stories, topics and the latest articles on latimes.com.

Want to hear Ariana Grande, actor, playing Ariana Grande, pop star? Make sure you have a ticket for her Eternal Sunshine Tour next summer, because after that she’s not planning to do another one any time soon.

In fact, she’s calling the tour her “one last hurrah.”

“I’m very excited to do this small tour, but I think it might not happen again for a long, long, long, long time,” she said Tuesday on the “Good Hang With Amy Poehler” podcast. “So I’m going to give it my all and it’s going to be beautiful and I think that’s why I’m doing it, because it’s like, one last hurrah.”

One. Last. Hurrah.

Grande is a mere 32 years old. That said, her last tour had 97 shows on two continents in less than a year. We would be tired of it too.

The 2026 tour, which runs from June 6 to Sept. 1, hits only 10 cities with multiple dates in each. Tickets went on sale a couple of months back, but there’s always the resale market.

Also, Ariana Grande the actor is very busy at the moment, with more going on than simply “Wicked: For Good” promotion. That obligation, though, has taken her all over the world for multiple premieres, including one in Singapore last week where she was accosted on the yellow carpet by a self-proclaimed troll looking to glom onto her fame and make it his own. (He is currently in jail.)

She has also been busy filming “Focker In-Law,” the fourth installment in the somewhat unlikely “Meet the Fockers” franchise.

“It’s just so great to sort of experience a new, new journey and learn from those around me,” one that includes Ben Stiller, Robert De Niro and Beanie Feldstein, she told Poehler.

The host said it sounded like this movie was “much less physically exhausting” than her work in “Wicked,” but Grande begged to disagree.

“I’m not sure I’m supposed to say this, but I have to say it ’cause you’re going to laugh your ass off. My character’s a triathlete,” she explained.

“Oh nooooo!” Poehler said. “So you’re always running?”

“I spent yesterday doing burpees and high knees with Robert De Niro, and he’s like, ‘Good job, Olivia. Good job,’” said the “Thank U, Next” singer, whose character is named Olivia Jones. “It’s like the craziest, most — I’m like, what is this movie? What are we doing? But I’m having a blast.”

There’s no corset, like Glinda wore, in “Focker In-Law.” No posture-altering shoes, according to Grande. But Stiller and De Niro are both big runners in their free time, which apparently starts in the neighborhood of 4:40 a.m. As for Ariana?

“There’s a lot of biking in this movie. Like a lot lot lot lot.”

No rest, apparently, for the wicked.

In that first Test of 2010 we conceded a first-innings deficit of 211 runs. 35,000 Australians were stamping their feet in the vast concrete stadium baying for English blood in a procession toward another Australian win.

Alastair Cook, Andrew Strauss and Jonathan Trott famously pushed back against the noise to amass 517-1 in our second innings. The Test was drawn, but it felt like we had won.

You could feel the rhetoric towards us change. The people who had taken great joy in telling us we were going to be annihilated were slowly starting to say how they respected the way we had fought back and that they loved seeing the competition.

Planning is important, but so is living in the moment. Too many times England teams have gone to Australia with pre-conceived ideas about the conditions they are going to face.

Being able to read the conditions and adapt is crucial. At the Melbourne Cricket Ground in 2010, David Saker, the England bowling coach, had absolute conviction bowling first was the way to win the Test.

We bowled Australia out for 98 and won by an innings. Being bold with decision-making will serve England well.

Finally, luck is also a huge part of being successful in Australia.

In 2010 Australia didn’t have a set spinner, there were question marks around the great Ricky Ponting coming towards the end of his career and uncertainty about the seam bowlers.

Australia picked a 17-man squad for the first Test, more players than we had for the entire three-month tour to the country. Catching Australia in a period of transition can be critical.

On this occasion, injuries to Pat Cummins and Josh Hazlewood have given England an opportunity to face an Australia team with the cracks maybe just starting to show for the first time since 2010.

There are many challenges that come with playing in an away Ashes series, on and off the field.

The stars may just be aligning for England to have a real crack at winning in Australia for the first time in 15 years.

As a guitarist, Brian Baker has punk rock and hardcore credentials that are unparalleled. From effectively launching “hardcore” as a genre with Minor Threat when he was a teenager to bringing in the more melodic side of the scene with Dag Nasty and then joining Bad Religion in the mid ’90s, it’s hard to argue that any guitarist has been more influential to their scene than Baker.

“I think I just have a knack for being at the right place at the right time,” Baker says when asked about his contributions to the aforementioned legendary bands. “The key is to respect that legacy and not f— it up. I understand it’s a big deal to a lot of people — much more than it is to me. I’m just the guy who’s playing guitar, but I’ve been fortunate enough to be in bands that have been foundational for a lot of people. I think about that when I get on stage every day. I want to do a great job every time. As long as I’m able to still deliver a performance that I have respect for, hopefully other people will too.”

Standing at a high-top table under a white awning backstage at Riot Fest (Chicago’s massive punk rock festival where most of the acts are either friends of Baker or inspired by one or more of his bands) after nearly a half-century of allegedly just happening upon one iconic band after another, Baker recently released a new project — one that he’s worked on for almost 20 years during his ongoing run with Bad Religion.

A shot of Baker’s guitars on a wood pallet.

(Brian Baker)

Every time the legendary Los Angeles punk band goes on the road, Baker (like most touring musicians) finds himself with entirely too much time to kill before and after their nightly performances. To fill those long hours in strange cities, the 60-year-old D.C. native often turns to the piece of technology that so many use to occupy their free time, his smartphone. But rather than mindlessly scrolling social media or watching YouTube videos, Baker discovered a new passion for photography, constantly using each and every camera lens on the iPhones that have been in his pocket since the original released in the late 2000s.

Until recently, the fruits of Baker’s photography hobby had effectively only existed on his personal Instagram. That was until things started falling into place (“Like many things in my career,” Baker says, consistent in his refusal to take credit for the majority of his successes) for him to release some of his favorite photos as a book, appropriately titled “The Road” (released Nov. 4 via Akashic Books).

A mug shot of Baker’s first band, D.C. hardcore pioneers Minor Threat.

(Brian Baker)

“My wife suggested for a long time that people might want to look at my photographs, and I was like ‘OK, that’s great,’ but never really thought about it,” Baker says, his bandmates and other longtime friends circulating through Chicago’s Douglass Park. “Eventually, a good friend of ours named Jennifer Sakai — who’s a great photographer and has made books in the past — made a mock-up from my Instagram of what a book could look like. I wasn’t looking to make a book, but she basically presented a finished product to me, so I contacted a guy I went to elementary school with, Johnny Temple — who plays [bass] in Girls Against Boys and Soulside and has a publishing company. Much like my more successful rock bands, I walked in after everyone did all the work, and now I’m just going to coattail it.”

With or without the new book, Baker says his time-killing love of photography was born out of the veteran guitarist feeling as though he was forgetting too much and missing some of his key memories from his time on tour. Once he gave up drinking, Baker realized that he needed a way to embrace the 20+ hours each day he wasn’t spending on the stage or getting ready. He started filling his days with long walks and visits to his favorite locales — old churches, interesting buildings, graveyards (“That’s not the goth in me saying this,” Baker jokes) and anywhere else where he entertain himself away from people. And rather than trying to tell the story of the last 18 years through his iPhone camera, he’s happy just documenting those certain moments and “a lot of different ways to spend your time” in “The Road.”

“I used to take a film camera on tour, and I’d shoot a couple rolls and then forget about the camera and leave it at the hotel or something,” Baker says. “I didn’t really do a good job of being a photographer, because I’m not a photographer. I’m just a guy with a cellphone, but having the phone always on me, I just kept taking pictures of stuff for no real reason. It was like ‘Hey, look at this weird thing’ or “Look what we ate tonight” or “That church is f— up” with no intention of it being a collection or anyone really seeing it beyond my friends and family. Eventually, I got an Instagram account and some of the stuff would go there, but I’m not really a social media maven either.”

Bad Religion bassist Jay Bentley playing a bass.

(Brian Baker)

Aside from his photography skills, the release of “The Road” has also allowed Baker to flex his storytelling muscles at the various bookstores, record shops and more that he’s hitting this fall (including early October dates at West Hollywood’s Book Soup and Fullerton’s Programme Skate & Sound). Although it’s a more intimate setting than he’s used to and he’s lacking his signature guitar, Baker jokes that it’s not so different from performing music, because he’s still “on a stage with a microphone and wearing black pants.”

The book tour has also been an opportunity for Baker to connect with fans and reflect on Bad Religion and his prior bands (along with various side projects like supergroup Fake Names and Beach Rats). While he maintains that his involvement in punk history mostly comes down to happenstance, he believes that Bad Religion’s multi-generational staying power stems from always being “uniquely unfashionable” and having intelligent lyrics about topics that are still relevant. Add in the fact that they’re always improving as musicians and just enjoy getting together without looking at the bigger picture, and “not having a plan has proven to be effective” for the stalwarts.

Photo of Baker’s first amp and guitar

(Brian Baker)

But more than anything, Baker’s lack of planning or direction around his photography brings him back to the DIY nature of his early days creating albums that are now viewed as the very foundation of a four-decade-old global hardcore movement.

“Anybody can do this, so it does remind me of making records when I was very young,” Baker says. “We were just making our own records ourselves and selling them in high school, and that was Minor Threat. You think about how significant that is now, 45 years later, it’s the same thing with taking pictures. I just took a bunch of pictures, and now someone’s made a book out of them. It’s something you can do yourself, and I love that about it.”

It takes a certain composure, as a teenager, to walk out onto Taylor Swift’s stage in a sold-out stadium and play an opening set to tens of thousands of fans who have never heard of you. But it takes even more conviction to use the occasion to play music almost guaranteed to leave them squirming — grimy, bloodletting noise-rock and electro about being a sexual menace and growing disillusioned with God.

The now-20-year-old singer-songwriter Sofia Isella did that last year, opening on the Australian run of Swift’s Eras tour. “Taylor was an angel for allowing me to share that stage,” L.A.-raised Isella said. “I wish I could have recorded that feeling. But the show itself is not as nerve-wracking as it is playing for 20 people. There’s something about a giant room that almost feels a little dissociative, like it’s not really happening or it’s not really there.”

“Dissociative” is a decent descriptor for Isella’s music, too — disorienting, unnerving, drawing out emotions you might not understand. But there’s so much skill in the performances and imagination in her arrangements that they may well get Isella — who plays the Fonda Theater on Nov. 16 — onto much bigger stages of her own, just as the world gets much bleaker around her.

“This next record, I’m having so much fun with s— that’s really f— dark,” Isella said. “It’s like, the only way to stop screaming about it is to have a moment laughing about it.”

Isella grew up in Los Angeles in a family with enough entertainment-biz acclaim to make being an artist feel like a viable career. Yet they still let her be feral and freewheeling in developing her craft. Her father, the Chilean American cinematographer Claudio Miranda, won an Oscar for 2012’s “Life of Pi” and shot “Top Gun: Maverick” and the recent racing hit “F1” (Her mom is the author Kelli Bean-Miranda). Looking back on her bucolic childhood in L.A., Isella recalled it filled with music and boundless encouragement, worlds away from her social media-addled peers.

“I’d been homeschooled my whole life,” Isella said. “My mom would leave little trails of poetry books for me to find, and my dad would set up GarageBand and leave me for hours with all the instruments and nothing but free time. I didn’t even have a phone until I was 16. When I first was on TikTok, I saw everyone had the same personality, because they had been watching each other for so long. Being around kids my age was so strange, because I’d grown up around adults — like, ‘Oh, these kids are so sweet and kind and adorable, but they think I’m one of them.’”

After her family temporarily moved to Australia during the pandemic and Isella began self-releasing music, it became clear that her talents set her very far apart. Drawing on her early background in classical music and a fascination with scabrous rock and electronic music, she found a sound that melded the Velvet Underground and Nico’s elegant miserablism, Chelsea Wolfe and Lingua Ignota’s doom-laden art metal and the close-miked , creepy goth-pop of Billie Eilish’s first LP.

Isella began self-releasing music during the pandemic. Since then, she’s landed opener spots on multiple high-profile tours.

(@okaynicolita)

Her early music showed a withering humor and skepticism of the culture around her (“All of Human Knowledge Made Us Dumb,” “Everybody Supports Women”), but singles came at rapid clip and translated surprisingly well on the social media platforms she loathed (she has 1.3 million followers on TikTok). It all got her onto stages with Melanie Martinez and Glass Animals and, eventually, Swift. (A Florence + The Machine arena tour opening slot is up next.)

On 2024’s writhing EP “I Can Be Your Mother,” songs like “Sex Concept” had the sensual fatalism of poets like Anne Sexton and Sylvia Plath, paired with the drippy erotic menace of Nine Inch Nails. “I’ll bend him over backwards, give him something to believe in,” she sings. “We’ll play the game, both go insane and then we’ll call it even … I’m the only god that you’ll ever believe in.”

“The first EP was this whole story of giving birth to yourself, this giant stretched-out muse,” Isella said, leaning into a stemwinder about the genesis of art. “It just doesn’t feel like it’s coming from me. It feels like it’s coming from some weird thing I somewhat worship.”

A May 2025 follow-up, “I’m Camera,” dealt with the depersonalizing effects of sudden attention. On “Josephine,” she makes tour life feel like a proverbial grippy-sock vacation to the breakdown ward — “I’m sock-footed, sick and selfish holding strangers’ hands … I lost something, I sold it, I only remember the ache.”

Isella’s wariness of institutions extends to her recording career. She’s still independent for now — surprising for an artist on Swift’s radar — and uncompromising about what a label would demand of her compared to what they can provide. “I’ve met with a lot of the big dogs, and they’re very kind people, but I just love the feeling of being independent,” Isella said. “Maybe I’ll change my mind on that, but I’m trying to fully understand a label and what its functions are, what it gives the artist in a social media day. I’m trying to fully assess that before I sign any magic papers.”

Her newest material (and her subversively eerie, Francesa Woodman-evoking music videos like “Muse”) feel perfectly timed to the apocalyptic mood in L.A. and the U.S. now, where an inexorable slide to ruin feels biblical. “Out In the Garden,” from September, hits some of the Southern gothic moods of Ethel Cain, but with a sense of acidic pity that’s all her own. “That there’s a small part of me that’s envious / That you full-heartedly believe someone is always there,” she sings. “That will always love you, and there’s a plan for you out there.”

Even at her bleakest, there’s a curdled humor underneath (her current tour is subtitled “You’ll Understand More, Dick”). But if this little sliver of young fame has taught Isella anything, it’s that even when everyone wants a piece of you, no one is actually coming to save any of us.

“There’s nothing with weight, nothing that’s meaningful, to blind faith,” Isella said. “On this next record, I’m about to go really angry because religion really pisses me off, it inflames me. But it’s the most beautiful placebo to imagine that there’s a father that loves you no matter what you do. I’m a really lucky person in that I’ve always been safe and protected, but if you’ve had a rough life, that is insanely powerful to imagine that and believe that.”

Elizabeth Berkley has been on tour with “Showgirls” to commemorate its 30th anniversary — but 30 years ago there was nothing to celebrate.

As the former “Saved by the Bell” star told the Hollywood Reporter in an interview published Monday, the reception to the 1995 film was so brutal that she was unable to land any acting jobs in the aftermath.

“For a good two years, I wasn’t allowed to audition for things,” Berkley said. “The hardest part was being literally locked out of something I loved so much.”

This meant the actor had to fight her way back into Hollywood’s good graces — and she has. One of her most recent roles is a guest spot on the star-studded (but similarly panned) campy legal drama “All’s Fair.”

Directed by Paul Verhoeven from a script by his “Basic Instinct” collaborator Joe Eszterhas, “Showgirls” was Berkley’s first starring film role as well as her first big project after her time on the teen TV breakout “Saved by the Bell.” But the movie was mired in controversy, from its NC-17 rating to the hostile reviews and cratering at the box office.

“I took a beating, guys,” Berkley reportedly said during a fan Q&A before a recent screening. “It was not fun for a little while. I’m not going to lie. It was painful. I was isolated. I felt abandoned by the very people I collaborated with.”

The Times reported in 1995 that Berkley was “unfairly” taking most of the heat for how “Showgirls” was received, noting at the time that she had been dropped by her agent and had yet to line up her next job.

The latest Hollywood Reporter interview recounts how at the time Berkley was left to fend for herself on the film’s press tour and that preparation involved publicists showing her clips of reviews that insulted her looks and acting ability.

“A lot of things went on that wouldn’t be allowed now — someone could not be pummeled to that degree,” Berkley said to the outlet. “I couldn’t understand how people could be so cruel, but I’m tough. I had to separate out what they said from what I believed to be true.”

“Showgirls,” of course, has since been reevaluated and embraced by audiences and academics, elevating it beyond even its cult status. It’s a redemption arc that Berkley especially deserves to celebrate.

“I’ve had some obstacles,” she said, “but I’ve never given up.”

Destin Conrad didn’t expect to release a jazz project so early in his career — let alone just a few months after dropping his debut album, “Love on Digital.”

The 25-year-old singer-songwriter, who first made millions of people laugh on Vine when he was a preteen, entered the music industry as a fresh-faced R&B artist, following in the footsteps of the artists he grew up listening to such as Brandy, Musiq Soulchild and Usher. His first official EP “Colorway” (2021) and the slew of bite-size projects that followed were melodic and honest meditations on love, lust, queer identity and simply having a good time.

But during the summer, Conrad found himself gravitating to jazz, the genre he was introduced to in high school when he was enrolled in jazz choir. He was inspired by all of the greats and contemporary work by artists like Vanisha Gould, and decided that it was time for a slight departure in his own sound.

“I feel like it’s always kind of been in me,” Conrad says over Zoom during an off day from his second headlining tour in support of “Love on Digital.” “It’s always been a tool that I never really got to exercise that I knew I really wanted to.”

After a two-week whirlwind in L.A. filled with studio sessions with some of his bucket list collaborators like Gould, trumpeter Keyon Harrold and beloved L.A. saxophonist Terrace Martin, Conrad unveiled “Whimsy,” an 11-track alternative jazz detour. Rich with songwriting tinged with sensual winks, live instrumentation (piano, horn section and drums) and a spoken word interlude by Bay Davis (that is reminiscent of Meshell Ndegeocello), “Whimsy” is a masterclass in following your own intuition and creating freely — a testament to his Cancer sun.

“I think it’s some of my best work actually,” Conrad says, adding that it was the most fun to make, which is evident on tracks like “Whip,” a cheeky double entendre about trading places in the bedroom and “A Lonely Detective,” which explores the life of a man living a double life. “Things that I’ve spent more time on, I don’t feel as connected to, but I really love “Whimsy.”

Conrad, who performs at the Wiltern on Nov. 14, phoned in the day before Grammy nominations were announced to talk about why he was nervous to release “Whimsy,” why he thinks jazz deserves more attention and what he’s still learning about being an artist in the digital age. Little did he know that by the next morning, he’d receive his first solo Grammy nod for progressive R&B album.

Now that your debut album, “Love on Digital,” has been in the world for a few months and you’ve experienced fans singing it back to you at shows, how does it feel to look back on the journey of releasing it?

It’s been amazing. I think it’s made me look forward to putting more music out. I feel like this tour taught me a lot. While making this album, I had touring in the back of my mind, so I’m really excited that it’s being received well. Also, it’s kind of wild that I put out another project a [few] months later but I’m glad I have such cool fans that receive me in a good way.

Speaking of that, you turned around and released “Whimsy” in August. Can you talk about how that all came together and how your single “Wash U Away” inspired it?

I made the majority of it in a two-week span. “Wash U Away” and “Whip” I had, but they weren’t jazz songs. So I had “Wash U Away” in the tuck for years — I think I made it in like 2021 — but we had it replayed by actual musicians because before, it was just a very bare beat. Then the rest of it I made within those two weeks. I also had “The W” with James Fauntleroy and Joyce Wrice already, but same thing — it wasn’t a jazz song. I knew I wanted to make a jazz album. I didn’t know I was going to do it so soon after my debut album, but I was kind of on a wild one and was like “Why not?” But I’m really glad I did it because I feel like my fans really like that album and I really like that album as well. I think it’s some of my best work actually. Things that I spent more time on, I don’t feel as connected to but it’s something that I’m really proud of.

Take me back to those two weeks in L.A. when you starting working on this project. Was it summer time?

It was summertime, yeah. I live in Brooklyn now, so I was like “I’m going to fly to L.A. and stay there for two weeks to knock this project out.” I told my managers, “Get me in with everybody. Here’s my list of people I want to work with. Let’s figure it out.” We flew out Vanisha Gould, who’s one of my favorite jazz musicians. I was so ecstatic that she was down. She’s such a jazz head. She was kind of like “What the f— am I doing? Are they going to kidnap me? I’m just flying out here to work with this random ass R&B singer.” But I’m so glad she came and we low-key became besties. Same with Terrace Martin. I’ve been a fan forever. He’s the G.O.A.T. James [Fauntleroy]. All these people who I was very adamant about working with. And eventually I want to do another jazz [project]. Maybe a “Whimsy 2” and just keep that world alive because I feel like jazz is such a special genre that gets overlooked and it’s something that I really feel passionate about. Especially because I was in jazz choir in high school and it kind of taught me more about soul music and the origins and how there’s so many synchronicities within other genres like gospel, and how R&B and all of them just tie into each other. I think it’s just really cool.

What was going on in your world when you started making “Whimsy?” Were you listening to a lot of jazz at the time?

Yeah, I was listening to a lot of jazz music. I was listening to a lot of Vanisha Gould and I was like, “I need to do this jazz album.” I thought I was just going to start it and be like “I’m not done.” But I was like “No, I’m done. This is it. This is what I have to say.” But yeah, I always listen to jazz. As I said, I was in jazz choir in high school. My jazz instructor Mr. O put me onto hella jazz. He showed me Frank Sinatra and all these jazz standards. I have videos that I’ll eventually show the world of me performing at my jazz Christmas show. I feel like it’s always been within me. It’s always been a tool that I never really got to exercise but I knew I really wanted to. But like I said, I didn’t know I’d make it in two weeks and that it’d be such a quick thing. It was so fun to make. It’s probably one of the most fun projects I’ve made.

You can definitely hear how much fun you were having on tracks like “Boredom” and “Lonely Detective.” I feel like jazz was once viewed as a genre that older people listened to, but that’s been changing within the last few years. It feels like it’s becoming more popular with younger audiences. What do you think about this?

Personally, I don’t think it’s becoming more popular. I would love to be part of some sort of push of making it more of a thing and I feel like a lot of my fans are younger. I’d like to say in my head that I’m helping push the genre forward.

It’s just not super prominent. There’s not a lot of new jazz artists. If you look at the jazz charts, a lot of what’s still charting is like Frank Sinatra [and] Miles Davis. Laufey is one of the newer faces of jazz that I feel like is pushing it aside from like Robert Glasper. But I don’t know. I feel like a lot of the jazz even that I listen to is the older stuff. There’s a very select few of newer jazz artists that I’m like “Yes.” Like Vanisha Gould, a perfect example. I’m obsessed with her. I think she’s one of the most talented musicians that I know, period.

How did you feel about dropping “Whimsy”? Were you nervous about how people would receive it?

Umm I thought about it [but] what I really thought about were the jazz heads. I thought the real, super crazy into jazz people were gonna be like, “This s— ain’t f— jazz” because I do consider it an alternative jazz album. I remember talking to Terrace [Martin] about that because he’s a jazz head and he’s also older than me and he’s been in it for longer. I was telling him [that] I feel like people are going to have s— to say about it because it’s not traditional and I’m not a trained musician. I don’t know how to read music. I just go with my [gut], and he was like, “That’s why it’s so fire. That’s what makes people feel it.” He was like, “I can tell that you’re young and when I listen to this, I hear a 25-year-old,” and I’m like, “Tight.”

You’ve essentially grown up online and in the public eye. How has that evolution shaped the way you see yourself as an artist, and what have you learned about navigating visibility over the years?”

I feel like it’s an advantage. I always talk about that especially with my artist homies. I was an internet baby so I kind of have just a slight advantage because I knew really early how it worked. I feel like I’m still learning how to promote my music because I know how to get on the internet and be an idiot all day. I can do that literally in my sleep, but being an idiot who knows how to promote his music is different. [laughs] So yeah, I’m still learning that. I used to think it harmed me because I was so scared that people wouldn’t take my music seriously. But no, I use it to my advantage for sure.

We’re at a time in music where it’s common for artists to be open and proud about their identity and sexuality without feeling like they need to use coded language. I think of artists like Frank Ocean, Steve Lacy and Durand Bernarr. Can you talk about why talking about your queerness is important to you?

I feel like I’m a pretty honest person in general. I try not to lie and I feel like all I can do really is just keep it a bean. Most of the time, I try to write about my personal experiences and I deal with men, so that’s just my truth [laughs]. I do also write from other perspectives like things that my friends or my homegirls tell me. I don’t always write from my point of view, but when I do, it’s about a man and that’s all I can really do.

WASHINGTON, Nov. 4 (UPI) — Farmers for Free Trade, a nonprofit group that advocates for lower tariffs and expanded global market access, wrapped up its “Motorcade for Trade” tour Tuesday in Washington to urge policymakers to ease trade tensions and support struggling producers.

Dozens of farmers joined at different points along the route to participate in town halls and farm stops, contributing to discussions on trade priorities, export markets and challenges.

The organization has prioritized five issues, including tariff reductions, exemptions for agricultural necessities, such as fertilizer and equipment, and a timely review of the U.S.-Mexico-Canada Agreement.

The caravan began Sept. 5 in Dorchester, Neb., with a cooperative event between farmers and Rep. Adrian Smith, R-Neb. The next three stops included sessions with Reps. Dusty Johnson, R-S.D., Zach Nunn, R-Iowa, and Jim Baird, R-Ind.

Although the Farmers for Free Trade team did not live in its RV, the group named it Ruth after driving more than 2,800 miles with it, spending many hours inside planning and being interviewed with their furry companion, a dog named Huckleberry.

“It’s really about getting information from farmers throughout the Midwest to understand what impact the administration’s trade and tariff policies have had on individuals,” said Brent Bible, an Indiana grain farmer. “It’s had an individual impact, not just on producers, but on communities throughout rural America,”

The caravan made 10 stops — in Nebraska, South Dakota, Iowa, Indiana, Michigan, Wisconsin, Minnesota, Ohio, Pennsylvania and Washington.

“We hosted events throughout the Midwest — everything from meetings with members of Congress to farmer roundtables and tariff town halls,” said Brian Kuehl, the Farmers for Free Trade executive director.

Between the fourth and fifth stop, Kuehl said, it became increasingly difficult to set a schedule.

“Our No. 1 one priority was to meet with members of Congress, and a lot of times you wouldn’t know their schedule until a few days in advance. Then, in the middle of the tour, we had the government shutdown. A bunch of members we had events with canceled because they had to be in D.C.,” Kuehl said.

His team then pivoted to hosting listening sessions and trade talks with farmers, along with visiting the Ohio Chamber of Commerce, the World Dairy Expo in Wisconsin and various farms.

Despite some adjustments, Kuehl shared his team’s optimism for the tour.

“One of the things that’s so cool about agriculture is how diverse it is throughout the United States,” he said. “In the Midwest, you’re looking at soybean and corn farms. As we moved east, we saw more dairies and hog farms. We even visited a winery in Pennsylvania. Pretty much the trade disruptions are impacting them all negatively.”

In Indiana, Bible said, “Our input costs have gone up dramatically because of tariffs on imports — fertilizer, equipment, steel, aluminum. If we need a replacement part or a new tractor, all of those things are impacted. We’re getting squeezed at both ends, and when that happens, there’s nothing left in the middle.”

In Ohio, corn, soy and cattle farmer Chris Gibbs said, he’s felt that squeeze firsthand. After more than 40 years in agriculture, he described 2025 as “a cash flow and working capital crisis,” noting that he’s paying well above production costs for major crops.

“We’re about $200 per acre under the cost of production for corn and about $100 under for soybeans,” Gibbs said.

Because of the shutdown — now the longest in history — the U.S. Department of Agriculture “is essentially not functioning,” Gibbs said. “They normally release reporting information that the market relies on, but that hasn’t been occurring. Farmers are having to make major business decisions without the data we depend on.”

Gibbs added: “I’ve been farming almost 50 years, and I’m struggling, If I’m having to move money around just to stay afloat, what happens to the young farmers who don’t have savings yet? They’re hanging on by a thread.”

Farmers strategically planned the finale of their motorcade to be in Washington this week in alignment with the Supreme Court of the United States’ schedule. The high court plans to hear oral arguments Wednesday on whether the International Emergency Economic Powers Act authorizes President Donald Trump to impose tariffs to the extent he has.

“We’re in a commodity business,” Bible said. “If we have a truly free, functioning market, we can be competitive. But that hasn’t been the case. Prices have been artificially manipulated by policy decisions and retaliation from other countries.”

LILY Allen has announced she is taking her “revenge album” West End Girl on the road.

Hitting venues across the length and breadth of the UK, here’s everything you need to know so you don’t miss out on her first tour in seven years.

Lily Allen’s latest album West End Girl levels cheating allegations against her ex-husband, Stranger Things star David Harbour.

The couple split in December 2024, with later reports claiming he’d had a three-year affair.

Details of their open marriage and break-up are seemingly laid bare in the new 14-song album.

On October 24, 2025, Lily said in a statement: “I’ve tried to document my life in a new city and the events that led me to where I am in my life now.

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“At the same time, I’ve used shared experiences as the basis for songs which try to delve into why we humans behave as we do, so the record is a mixture of fact and fiction.”

The tour – Lily Allen Performs West End Girl – will see the singer perform the album in its entirety in the order the songs feature on her record.

When is Lily Allen’s 2026 tour? 

Lily Allen’s 2026 West End Girl tour is scheduled to take place throughout March 2026.

The British singer is set to perform her acclaimed fifth studio album at venues, theatres and concert halls across the UK.

This tour marks her first headline shows since her No Shame Tour in 2018-19.

The tour dates and venues for Lily Allen Performs West End Girl UK in March 2026 are:

• March 2: Glasgow, Royal Concert Hall
• March 3: Liverpool, Philharmonic Hall
• March 5: Birmingham, Symphony Hall
• March 7: Sheffield, City Hall
• March 8: Newcastle, City Hall
• March 10: Manchester, Aviva Studios (The Hall)
• March 11: Manchester, Aviva Studios (The Hall)
• March 14: Nottingham, Royal Concert Hall
• March 15: Cambridge, Corn Exchange
• March 17: Bristol, Beacon
• March 18: Cardiff, New Theatre
• March 20: London, Palladium
• March 21: London, Palladium

How can I get tickets for Lily Allen’s 2026 tour?

Tickets go on general sale from 10am GMT Friday, November 7, 2025, via Ticketmaster and LiveNation.

For fans who want to secure tickets before the general release, thankfully there is a presale, taking place from 10am on Wednesday, November 5, 2025.

But to access this presale, you will need to register with co:brand before midnight on Tuesday, November 4, 2025.

Selected venues have already confirmed ticket prices for Lily Allen’s UK tour.

The Glasgow Royal Concert Hall said they start at roughly £40 and go up to around £85.

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Manchester’s Aviva Studios also revealed ticket prices, with the breakdown as follows: £45, £55 and £75.

As of November 3, 2025, the official ticket prices for different sections in every venue are yet to be revealed.