tour

Reed, the 2018 Masters champion, started the final round two shots ahead of Jacob Skov Olesen.

The Dane shot a one-under 71 and ended in a tie for third with American Johannes Veerman.

Meanwhile, Reed carded a second consecutive two-under round of 70 to ensure victory, despite Hill hitting an impressive five-under 67 to finish second outright.

“Golf feels good at the minute,” said the 31-year-old Hill.

“I feel like I did a lot of things well and if you put me in that position again I feel like I could convert from there.”

Last month, Reed became the second high-profile American to leave LIV and return to the PGA Tour after Brooks Koepka.

American Koepka is able to play on the PGA Tour straight away after it recently introduced a new returning member programme.

It allows players who have been away from the PGA Tour for at least two years and have won The Players Championship or a major between 2022 and 2025 to play again on the series, with the avenue closing on 2 February.

However, Reed does not meet that criteria and rules dictate he will not be eligible to play on the PGA Tour again until August – a year after his last LIV appearance.

My nan had one in her downstairs loo. An LS Lowry print, that is. It showed a street scene: 100-odd people, a few dogs, some mills in the background. I remember liking the work mostly because I could see myself in it, in a way that I couldn’t when faced with paintings of fruit or water lilies. I’ve had a soft spot for the painter ever since, and to mark the 50th anniversary of his passing, I travelled up to Manchester for a Lowry-themed break.

My first stop was the Manchester Art Gallery on Mosley Street, where a number of his works hang alongside those of his mentor, the French impressionist Pierre Adolphe Valette (Lowry took evening classes with Valette while working as a rent collector).

Each of the paintings on show, whether of a street or park or lonely road, hints at a shared experience. They are more than the sum of their parts, more than mere matchsticks. Detractors bemoan Lowry’s lack of technique, but for me that’s rather like dismissing Gavin & Stacey for not containing enough big words.

With the rain falling heavily, I found refuge in Sam’s Chop House, down an alley off Cross Street. The pub-restaurant has been going since 1868, and was a bolthole for Lowry, who sits still at the bar, set in bronze. I leant on the man as I saw off a pint, then made a fool of myself by trying to get a selfie with the pair of us in it. Lowry was too large for the frame.

I crossed the River Irwell and entered Salford, which has a unique identity and is a city in its own right – not just Manchester’s bit on the side, as is routinely reported.

Alongside the Irwell, just a few yards into Salford, stands The Lowry hotel, which was initially owned by Sir Rocco Forte, whose hotelier father was a Lowry enthusiast. In the hotel’s gym, I realised that the music of the Smiths isn’t conducive to a workout. But on the treadmill I caught a Morrissey lyric about it taking “strength to be gentle”, and it made me think of Lowry, a man brave enough to stick to his everyday scenes at a time arty types in London were calling for more elevated fare.

I was collected from the hotel by John Consterdine, a local legend who does tours of the region in an electric black cab, including one focused on Lowry. We started at Lowry’s endpoint, Southern Cemetery, where the painter has lain since perishing of pneumonia in 1976, at the age of 88. His resting place is marked by a modest stone cross and adorned with paintbrushes. It is shared, fittingly, with his overbearing mother.

Next, we drove out to a part of town known as Victoria Park. Once a gated community for middle-class Victorians, it’s where Lowry grew up. The house at 14 Pine Grove offers no hint that he lived here until the age of 22, at which point the family were forced to move to Pendlebury, a deprived district of Salford. The relocation was a fall from grace, one that Lowry’s mother would never recover from.

Lowry did adapt to his new surroundings, however. Indeed, it was here that he discovered his unlikely muse – Manchester’s industrial landscape – and went to work on the down-to-earth scenes that he would become known for. Again, the house (117 Station Road) is unmarked. I’m tempted to consider this regrettable, but it’s probably what Lowry would have wanted. The artist refused a knighthood in 1968, and holds the record for most honours declined, turning down five in his lifetime.

After a brief stop at Peel Park, which Lowry painted several times, John dropped me at Salford Quays, which would have been as busy as a box of frogs back in the day, before the bottom fell out of the cotton market. Salford was affected badly by the slump and the city entered a long, deep depression, soundtracked by Joy Division. The docks were a wasteland, renewal a pipe dream.

Enter Lowry. Or rather, the Lowry: a theatre and gallery complex, conceived by Salford councillors in the late 1980s, who hoped an arts centre would rejuvenate the area. It opened in 2000 and set off a chain reaction. London’s Imperial War Museum erected a northern outpost; then the BBC moved to MediaCityUK and told Gary Lineker he’d be dipping his prawns in gravy henceforth. By the time ITV and Corrie moved in, in 2013, Salford Quays was becoming a tourist, retail, residential and leisure hub.

At the heart of it was the Lowry, whose halls had been decked with the vast collection of Lowry paintings the local council had been snapping up over the years.

I started with a new immersive experience called Lowry 360. I entered a space the size of a squash court, each side and surface alive with Lowry’s artwork – bobbies on the beat, bicycles on the move, matchsticks a go-go – the whole thing elevated by a voiceover from Sophie Willan, star of the sitcom Alma’s Not Normal. By animating Lowry in this way, the paintings grow to their subjects’ true height, becoming entire worlds. This is Lowry in the round, and it works like a dream.

I moved on to the paintings, which felt more alive off the back of the animation. Centre stage is Going to the Match (1953), one of his most famous works featuring signature “matchstick men”, which shows a crowd on their way to a Bolton Wanderers game.

The painting has been on quite the journey. When the Lowry opened, it was offered to the gallery on long-term loan by its then owners, the Professional Footballers’ Association. Twenty years later, the PFA suddenly asked for the painting back, because it wanted to flog it at auction. The Lowry was gutted, knowing its prized possession would be lost for good.

Enter Andrew Law, a state school lad from Stockport and the sitting CEO of a global hedge fund. He wrote the Lowry a blank cheque and told it to acquire the painting. It did so – for £7.8m. Someone buy that man a shandy!

I could bang on about each of the paintings on show at the Lowry, but suffice to say that the whole range is here: mills, streets, churches, parks, a girl in a corset and the deep blue sea. Despite the received wisdom, Lowry is no one-trick pony. When you’ve seen one, you haven’t seen them all.

It was time to go to the match. Manchester United were at home to Bournemouth that evening, so off I went to the “Theatre of Dreams”. I took up a position behind the East Stand, part of a thickening congregation as kick-off approached: kids on shoulders, a lady hawking scarves, coppers policing Matt Busby Way.

Not having a ticket, I withdrew to Hotel Football, within earshot of the ground. After the game I climbed to the top and looked towards the skyline of Salford and Manchester.

It was some view: the skyscrapers of New Jackson, the bright cluster of MediaCity, the dark lifted by countless northern lights. There wasn’t a chimney in sight, but I fancy Lowry would have captured the scene nicely nonetheless. He might have added a figure or two – a pair of window cleaners perhaps, harnessed and up high, braving the weather, buffing the glass, improving perspective, allowing others to see.

The trip was supported by The Lowry hotel, which has doubles from £162, room-only. Visit manchestertaxitours.co.uk to enquire about John Consterdine’s tours. Manchester Art Gallery and the Lowry have free entry

Dust off your cowboy hats, prepare your tequila shooters and saddle up: Carín León has just announced his 2026 North American tour.

The Grammy-winning Mexican singer-songwriter will kick off the tour May 20 with a performance in Hidalgo, Texas. Over the course of this summer and fall, the Sonoran crooner will visit major U.S. cities including Dallas, Houston, Atlanta and Chicago before wrapping up Oct. 9 in Portland, Ore.

In Los Angeles, the singer is expected to perform Sept. 20 at BMO Stadium, which accommodates over 20,000 fans for concerts.

The tour also includes his highly anticipated Las Vegas residency at the Sphere, which is already sold out on some dates. In September, León will make history as the first Latino artist to headline the one-of-a-kind venue, which will take place across seven nights in Sin City.

León is also doubling his stadium capacity for his singular Canada performance by moving to the TD Coliseum in Hamilton, Ontario, which holds an audience of about 18,000; the “Primera Cita” singer first performed in 2024 at the Coca-Cola Coliseum in Toronto, which holds roughly 9,000 people.

“Returning to the United States and Canada to reunite with my people fills me with excitement. I’m returning with new songs and all the history we’ve built together,” said León in a statement. “We’re preparing a very special production so we can feel closer than ever. De Sonora para el mundo… see you soon, mi gente.”

The “Que Vuelvas” singer last toured the states in 2024 following the release of his critically-acclaimed “Boca Chueca, Vol. 1,” which earned him his first Grammy for música mexicana album in 2025.

News of the upcoming North American tour follows another Grammy win for the balladeer, who on Sunday took home the golden gramophone once more in the same category as last year, this time for his 2025 album “Palabra de To’s.”

Throughout his career, León has bent the rules of música mexicana by collaborating with artists across a variety of genres, from Latin pop stars like Maluma and Camilo to U.S. country singers like Kane Brown and Kacey Musgraves.

The 36-year-old has always stood firmly on the idea that música mexicana extends beyond the regional confines of Mexico, sharing with The Times in 2023 that “Mexican music is no longer regional — it’s only become more global.”

Ticket sales for his North American tour begin Feb. 11, but resellers beware! León will be using Openstage Ticket Unlocks, which will reward real fans with personalized presale codes to limit bots.

Win-win might be overstating the outcome. But when the Dodgers emailed their roughly 55 tour guides Wednesday to say they were getting the pay raise they sought during a failed attempt to unionize, there must have been more smiles than frowns.

The Dodgers and the International Alliance of Theatrical Stage Employees reached an agreement in October, but ratification of the pact by the union failed by one vote. A second vote also narrowly failed. Then in January the tour guides voted to decertify the union, meaning the pay raise and increased stadium security on non-game days IATSE and the Dodgers had agreed upon were off the table.

Not for long. The Dodgers bumped up the guides’ pay from $17.87 to $24 an hour — the same increase they would have gotten under the scrapped union contract.

That’s hardly Kyle Tucker money: The Dodgers’ new right fielder signed a contract for $240 million over four years, an average annual value of $60 million. The Dodgers will pay the tour guides a grand total of about $650,000 in 2026 — $170,000 of that reflecting the raise of about $3,000 per person. Tucker will make 92 times the entire tour guide payroll annually.

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 as 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 multimillion-dollar asset.”

Tours now take place every day except Thanksgiving, Christmas and New Year’s Day. The burgeoning demand has caused breaches in stadium security, with guides flagging instances of tour participants entering the top deck with backpacks and even rolling suitcases going unchecked.

The union agreement included a promise by the Dodgers to beef up security. Some guides worried that the decertification would mean the team might continue to ignore their safety concerns. However, the letter to tour guides announcing the raise also addressed stadium security without offering specifics.

“I want you to know that we hear you, team, and we see you,” wrote Kayla Rodiger, Dodgers senior manager of tours. “Your concerns are valid, and I’ll be working closely with our front office colleagues to ensure we make a sincere and meaningful effort to address them.

“That being said, we are actively discussing security issues around the stadium, and I hope to have an update for you on your Top Deck concerns soon.”

Nicole Miller, president of IATSE Local B-192, led the union negotiations that fell short of a contract but likely nudged the Dodgers into addressing the pay and security issues on their own.

“Make no mistake, our IATSE Local B-192 bargaining team’s efforts were crucial in the tour guides obtaining a significant wage increase, and we hope they follow up on their promise to increase security,” Miller said.

The letter from Rodiger also said that the Dodgers’ longtime practice of offering tour guides comp tickets would continue. The perk of four reserve-level tickets for each of the 13 homestands in a season is worth $2,600 assuming the tickets are valued at $50 each. Miller said that in 2024 only three tour guides took all 52 tickets; on average, each guide took 32.

The Dodgers refused to mention free tickets in the union agreement because they said other part-time union employees would demand the same perk. Still, the uncertainty surrounding the tickets kept several guides from voting for union representation.

The contentious negotiations and near 50-50 split among the membership prompted veteran tour guide Cary Ginell to retire, sending a letter Jan. 23 to several of the Dodgers’ top executives.

“I’m writing to let you know that the tour program has become a dysfunctional battle between pro and anti-union factions with resentment and animosity on both sides,” wrote Ginell, a Grammy-nominated author of more than a dozen books on American music. “As an executive, you should be concerned about this, because it reflects on the entire Dodger organization.

“Above all, I wanted what was best for the tour guides, especially the younger ones who struggle to earn a living by working multiple jobs, but come to work afraid of who will be reporting on them and what threats might occur due to the absence of building security.”

Less than two weeks later, the Dodgers responded.

“Over the past two years, our department has thrived, earning recognition across the Dodgers organization, the league, and the City of Los Angeles,” Rodiger wrote to the tour guides. “Your ability to stay focused and uphold our standards to continue to give World Champion level tours has not gone unnoticed, and I promise you all that your contributions to this organization are not taken for granted.”

“I’ve been sniffing and knocking on the door for a couple of majors since those decisions have been made, and those moments did validate that decision.

“It’s good to see people wanting to play where it motivates them to be their best.”

Rose finished 23 under at last week’s Farmers Insurance Open, beating the tournament’s previous best winning score of 22 under by Tiger Woods in 1999 and George Burns in 1987.

Rose also became the oldest player to secure a wire-to-wire finish on tour – leading in all four rounds – since Rocco Mediate in October 2010 aged 47.

“I want to play in and among the best players in the world; that’s what keeps me motivated, keeps me hungry, keeps me pushing,” Rose continued.

“It would have been easy to potentially do other things but none of that excited me and none of that gave me access to what I wanted to achieve.

“I always felt my childhood self wouldn’t feel very good about making that decision and giving up on those dreams.”

Last month, Patrick Reed announced he was leaving LIV Golf to make a return to the PGA Tour, following American compatriot Brooks Koepka in departing the series.

Five-time major champion Koepka, 35, made his comeback at Torrey Pines under a new returning member programme.

The also opened the door to the return of other major winners Jon Rahm, Bryson DeChambeau and Cameron Smith but all three pledged their commitment to LIV before the 2 February cut-off date to apply to get on the programme.

Koepka agreed to make a $5m (£3.7m) charitable donation as part of his return, while 35-year-old Reed, who is planning to play on the DP World Tour this year, is eligible to begin competing on the PGA Tour in August, 2026 with a view to reinstating his membership for the 2027 season.

MELBOURNE — Elena Rybakina finally won her second Grand Slam title with a victory over top-ranked Aryna Sabalenka at the Australian Open on Saturday, and it was something of a testament to quiet achievers.

After some tumult at the start of 2025, including the suspension of her coach, Rybakina finished off last year with a title at the WTA Finals in November. And now she has started the new year with a major championship.

Her low-key celebration was symbolic of her understated run through the tournament: a small fist pump, a quick embrace with Sabalenka, a handshake with the chair umpire, a smile, and a few hand claps on the strings of her racket and a wave to acknowledge the crowd.

It happened quickly after Rybakina closed with an ace to cap a third-set comeback and a 6-4, 4-6, 6-4 win over a regular rival who beat her in the final here in 2023.

“The heart rate was definitely beating too fast. Even maybe [my] face didn’t show, but inside it was a lot of emotions,” the 26-year-old Rybakina, who was born in Moscow but represents Kazakhstan, said of her calm and clinical finish.

She knew she had to capitalize quickly this time, after she acknowledged getting tight and needing almost a half-hour from her first match point to her match-winning point in a semifinal win over Jessica Pegula.

Elena Rybakina plays a backhand return during the women’s singles final at the Australian Open on Saturday.

(Dita Alangkara / Associated Press)

Three years ago, Rybakina won the first set of the Australian Open final but lost the match in three.

This time, after breaking in the first game and taking the first set, she rallied after losing the second set and going down 3-0 in the third. She won five straight games to regain control.

“It gives me a kind of relief,” she said, “also, a lot of confidence for sure for the rest of the season.”

It was a second major title for fifth-seeded Rybakina, who won Wimbledon in 2022 and entered that Australian final three years ago as the only major winner in the contest.

While Sabalenka went on to win another three majors, including back-to-back triumphs in Australia and the 2024 and ’25 victories at the U.S. Open, Rybakina’s results dipped and she didn’t reach another major final until this tournament.

Career change

A win over Sabalenka at the season-ending WTA Finals has changed her career trajectory. She has the most match wins on tour since Wimbledon, and is now on a roll of 20 wins in 21 matches.

“Last year I didn’t start so well,” she said. “I qualified for the [WTA] Finals late. I just hope I can carry this momentum. Do a good job with the team and continue this way.”

Rybakina is 10-0 in her last 10 matches against top-10 players, and she’ll return to No. 3 in the rankings.

Kazakhstan’s flag was unfurled on the court at Rod Laver Arena after Rybakina had paraded the trophy around and posed for photos with her team.

Coaching team

She paid tribute to her coach, Stefano Vukov, who spent time under suspension last year by the women’s tour. Vukov received a silver plate from the tournament organizers for being the champion’s coach.

“Of course I would like to thank my team,” she said. “Without you it wouldn’t have been possible. Really. We had a lot of things going on [last year]. Thank you to all of you, and hopefully we can keep on going strong this year.

“It’s a win for all the team, all the people who support me,” she said. “I just hope that I can carry this moment throughout the whole season and keep on improving.”

She said she’d been working with Vukov since 2019 and she finds it helpful to hear the constant stream of technical and tactical advice he conveys from his seat beside the court. The more, the better, she said, because eventually she listens.

“We won many titles together,” Rybakina said. “And even last year in Ningbo, WTA Finals, and now this trophy I felt just, again, proud and thankful to my team for the work.”

Win some, lose some

Aryna Sabalenka reacts after winning a point against Elena Rybakina in the women’s singles final at the Australian Open on Saturday.

(Dita Alangkara / Associated Press)

For Sabalenka, it’s back-to-back losses in the final in Australia after going down in an upset last year to Madison Keys.

“Of course, I have regrets. When you lead 3-love and then it felt like in few seconds it was 3-4, and I was down with a break — it was very fast,” she said. “Great tennis from her. Maybe not so smart for me.

“But as I say, today I’m a loser, maybe tomorrow I’m a winner. Hopefully I’ll be more of a winner this season than a loser. Hoping right now and praying.”

Rybakina went on the attack from the start and her serve was strong, with six aces and — apart from the two breaks at the end of the second set and the start of the third — she fended off six of the breakpoint chances she faced.

While Sabalenka’s emotions intensified, Rybakina maintained a determined quietness throughout.

In the end, she let her tennis do the talking.

England’s Justin Rose shot a seven-under-par 65 to extend his lead to four shots at the Farmers Insurance Open while returning Brooks Koepka made the cut in San Diego.

The 45-year-old, who leads Ireland’s Seamus Power, sits on 17 under after breaking his own 36-hole record at the tournament.

Rose shot the round of the day on Friday at the more challenging South Course with an eagle, six birdies and just one bogey.

“I feel like in my career I’ve won on tough golf courses generally, so that’s my M.O., I would say,” said 2025 Masters runner-up Rose, who led by a shot after an opening-round 62.

“It’s the kind of a place I enjoy. It’s one of my favourite tournaments on Tour, just the whole area, the whole atmosphere, the whole vibe.”

Meanwhile, Koepka continued his return to the PGA Tour with a second-round 68 to make the cut on three under.

Five-time major winner Koepka, who agreed a release from his LIV Golf contract at the end of 2025, struggled on the South Course on Thursday, shooting a round of 73.

But on the North Course he found his form in his first PGA Tour event in four years, sinking an eagle putt on the 17th.

“I think [Thursday] I was excited to play, nervous, and kind of didn’t know what to expect, but today felt more normal, I guess,” Koepka said.

“But yeah, I mean, don’t get me wrong, I definitely still got antsy, but I guess maybe a little bit of nerves, just trying to figure it out and test – see where my game’s at too, right? I feel like I’m playing really well. It’s just been a long layoff.”

Xander Schauffele’s streak of making consecutive cuts – the longest active on tour at 72 – came to an end, while Patrick Cantlay, Gary Woodland, Will Zalatoris, JJ Spaun, Max Homa and Ludvig Aberg also all missed the cut.

Bangladesh cricket lost their place at T20 World Cup after refusal to play in India, but shooting team heads to New Delhi.

Bangladesh ‌has approved its shooting team’s tour to New Delhi for ‍next month’s Asian ‍Shooting Championships, days after the cricket team’s refusal to play in India due to safety concerns cost them a place at the Twenty20 World Cup.

Bangladesh have been replaced by Scotland in ⁠the T20 World Cup, which runs from February 7 to March 8, ​after they insisted they would not tour India, highlighting security ‍concerns following soured political relations between the neighbours.

The International Cricket Council (ICC), citing independent security assessment reports, dismissed Bangladesh’s demands to play their World Cup matches in Sri Lanka, the tournament ‍cohosts, ⁠instead, arguing the late change in schedule was “not feasible”.

However, media reports in Bangladesh said a three-member contingent comprising shooter Robiul Islam, his coach Sharmin Akhter and jury member Saima Feroze had received approval from the Ministry of Youth and Sports to compete in New Delhi.

The National Rifle Association of India (NRAI) secretary-general, Pawan Singh, confirmed the shooting team’s participation in India.

“Bangladesh’s participation was confirmed a month ‌ago. Our applications for clearances for all nations have been in process for almost three months,” Singh told the Reuters news agency.

“We have to follow ISSF norms as a ‌sport and comply with the IOC (International Olympic Committee) charter, and as NRAI, we have always received support ‌from the government,” he said, referring to the International Shooting Sport Federation.

Singh added that the Bangladesh contingent ⁠did not request any extra security measures.

“The Bangladesh team has come to our tournaments many times, so they know our strict protocols well. Maybe that’s why they are confident and ‌have not made any special requests.”

The Asian Shooting Confederation, which is organising the event, did not immediately respond to a request for comment.

The continental ‍rifle and pistol shooting championship will be held in New Delhi from February 2 to 14.

A PGA Tour statement said:, external “Given that he resigned his Tour membership prior to violating any Tour regulations, he would be eligible to return to Tour competition on August 25, 2026, as a non-member, provided that he complies with Tour regulations and does not participate in additional unauthorised events.

“At that time, Reed would be eligible to participate in FedExCup Fall events as a non-member and could accept sponsor exemptions or participate in open qualifying for those tournaments.

“Reed would then be able to reinstate his membership for the 2027 Tour season, where he would play out of the past champion category.”

It added Reed planned to play on the Europe-based DP World Tour this year, having won the Dubai Desert Classic last week.

“I will continue to compete and play as an honorary lifetime member on the DP World Tour, which is something that I am truly honored and excited to do,” said Reed.

“I’m a traditionalist at heart, and I was born to play on the PGA Tour, which is where my story began with my wife, Justine.

“I am very fortunate for the opportunities that have come my way and grateful for the life we have created.

“I am moving forward in my career, and I look forward to competing on the PGA Tour and DP World Tour. I can’t wait to get back out there and revisit some of the best places on earth.

“I want to thank everyone involved for helping me make this decision. Over the last four years, I have learned a lot about myself, about who I am and who I am not, and for that I am forever grateful.”

Reed was part of the 4Aces team in LIV Golf alongside fellow American Dustin Johnson.

“To Dustin Johnson, The Aces, and LIV Golf, I want to thank you for the memories we shared and created together,” added Reed.

“To golf fans around the world, I just want to thank you all for your continued support over the years.

“I just ask that you respect the decision we have made for our family, our children, and our future. Thank you for your continued support.”

Reed’s move comes with LIV Golf preparing for a fifth season in the first week of February in Riyadh.

“LIV has always been an advocate for player movement and recognises that when golf settles into a new normal, players will not only have the right, but the opportunity to play golf when and where they want,” added the LIV statement.

“As we look forward, our focus remains on building teams and a league that fans can believe in and players enjoy – those who compete at the highest level, play the game the right way, and understand the responsibility to grow the game around the world by engaging fans and celebrating partners.”

A TOP DJ has scrapped his upcoming tour after doctors warned him he’d need emergency surgery.

The Algerian-French music star, 39, told fans a health issue he’d been battling “finally caught up with me” and that he can’t “push or delay” further treatment.

DJ Snake, whose real name is William Sami Étienne Grigahcine, then revealed he’d “need a month to fully rest and recover”.

While the In The Dark hitmaker did not reveal the exact nature of his illness, it has prompted him to postpone tour dates in Canada and India.

The record producer, who produced Lady Gaga‘s hit Applause alongside the tracks of many other well-known stars, posted a statement on social media to reveal the worrying news.

He wrote in a post with black text on a white background: “Hey guys.

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“I’ve been battling a health issue for a while and it’s finally caught up with me.

“After talking with my doctors I need to have surgery in early February.

“It’s something I can’t push or delay anymore, and I’ll need a month to fully rest and recover after that.

“This means cancelling all my shows, including the India tour and that decision has been incredibly hard.

“But I need to get back to 100 per cent and this is the only way.”

DJ Snake, whose debut track Turn Down For What with Lil Jon was released to huge acclaim in 2013, added: “Thank you for your love and understanding.

“I will be back soon, stronger than before. William.”

He finished his upload with a white love heart Emoji icon.

Fans on X were quick to react and one wrote: “Wish you all the best. Get well soon”.

A second posted: “Hope it goes smoothly,” as a third uploaded: “Get well soon’.

One then added: “Get well soon DJ. Waiting for your great comeback”.

This isn’t the first time DJ Snake has cancelled a show.

In 2015, he was sadly injured in a car crash alongside electronic producer Tchami, and the pair were forced to miss Toronto’s Monster Mash Festival.

SNAKE SUCCESS

Previously, DJ Snake told how his stage name came about following a nickname in his youth.

It was sparked after he was known for graffiti and avoiding the police in his youth.

He said of his moniker: “When I started DJing, everyone called me Snake in my city first, I was like DJ Snake, OK let’s go for it.

“The name sucks, but it’s too late now.”

He also revealed to Rolling Stone Magazine the real reason for his sunglasses-clad look.

He told the publication: “In the clubs, people were dancing, but now they were just looking at me, like I was gonna do some magic tricks or some s**t, so I was panicking for real.

“I was petrified of making a mistake, and one of my friends told me to wear some sunglasses so that I couldn’t see the whole crowd.

“Now it helps me stay in the zone, stay focussed.”

He is a Grammy Award nominee, having scooped the nod in 2012 for Lady Gaga’s Born This Way album.

In 2016, he was also named on Forbes’ 30 Under 30 list.

Five years later, he slammed French side PSG for using one of his tracks as a walk-out song.

He was unimpressed after the Ligue 1 heavyweights dropped their traditional Phil Collins entrance track – even though they replaced it with one of the DJ’s own hits.

PSG have taken the field to the sound of Collins’ 1985 hit ‘Who Said I Would’ for almost 30 years.

But in 2021, the Paris club dropped the song in favour of DJ Snake’s ‘Intro Mixed’.

The DJ then claimed the bespoke track was initially only intended for the one-off video to announce the arrival of superstar Lionel Messi that year.