wartime

A gold mine collapse in northern Sudan has killed at least 10 people and injured 21, according to survivors, bringing renewed attention to the dangers facing workers in one of the country’s most important and least regulated industries.

The collapse took place on Sunday at the Awny mining area near Sudan’s border with Egypt. Miners told the AFP news agency they had recovered 10 bodies and pulled 21 injured workers from the site, while the search continued for people believed to be trapped beneath the rubble. It is unclear how many people are trapped in the collapsed mine.

The disaster comes just days after another deadly accident at a gold mine in West Kordofan State. A collapse at the al-Zaraa mine near en-Nahud, a town in central Sudan, left at least 82 people dead.

Sudan is one of Africa’s top gold producers, recording 70 tonnes of production last year, according to the Sudanese government.

Since fighting broke out in April 2023 between Sudan’s army and the paramilitary Rapid Support Forces (RSF), businesses have been devastated, agriculture has been disrupted, millions of people have been displaced, and Sudan’s formal economy has weakened. In that environment, gold has remained one of the country’s most valuable sources of income.

In July 2025, it was reported by local agencies that Sudan’s gold production rose sharply despite the ongoing conflict, reaching 64 tonnes in 2024, 53 percent higher than the 41.8 tonnes recorded in 2022, and generating $1.57bn in legal export revenues.

However, the gold trade has also become a point of international scrutiny. Most of the gold exports end up in the UAE. In March 2025, Sudan went to the International Court of Justice (ICJ), accusing the UAE of supporting and funding the RSF using gold. The UAE has denied accusations that it supplies weapons to the RSF.

Sudan’s gold deposits are spread across the country, with the majority in the northeast. Port Sudan, the country’s main port, is home to most of the deposits and has been largely controlled by the Sudanese Army since the war began. However, areas controlled by the RSF are also populated by gold deposits.

At the moment, “much of Sudan’s gold is taken out of the country through smuggling or illicit networks instead of passing through government channels that could directly contribute to public revenue,” said Joseph Tucker, senior analyst on the Horn of Africa at the International Crisis Group.

But amid that diplomatic battle and the accusations surrounding gold, the mining deaths in northern Sudan have also raised larger questions over how the country manages the sector, analysts say.

“This disaster is yet another example of the deadly hazards facing those working in Sudan’s gold mines,” Tucker told Al Jazeera. “Most of these (gold mines) are informal, artisanal mines in remote areas that are unregulated and lack modern mining technology, adequate infrastructure, and specialised safety equipment.”

This year, Sudanese Prime Minister Kamil Idris met with the minister of minerals and spoke on the policies for regulating traditional mining and the management and control of various mineral markets. According to French-based Sudanese media, Sudanese authorities called for swift action to address the environmental damage and public health hazards caused by mining activities across the country.

Yet, despite the dangers, Tucker said the state of the Sudanese economy made gold mining appear lucrative to many Sudanese.

During the war, the Sudanese currency’s value has crashed. Before the outbreak of fighting in 2023, about 570 Sudanese pounds could buy a US dollar. By April 2026, the currency had slid to a sixth of that value: It cost 3,500 pounds or more to afford a dollar. That has led to sharp food inflation and a surge in the costs of transport and fuel.

According to estimates by the United Nations Development Programme, Sudan lost $6.4bn of its gross domestic product (GDP) in 2023 alone: That’s a quarter of the country’s $26bn GDP that year. In August, the UN agency reported that 90 percent of the agrarian nation’s farmers had seen yields drop over the previous year.

That economic crisis, Tucker said, “fuels the demand for gold and willingness of miners to work in poor conditions” – even if it proves deadly.

Russian President Vladimir Putin has cast the vote as a test of support for his ongoing war in Ukraine.

Polls have closed in Russia’s first wartime parliamentary elections, with the ruling United Russia party on course to win the tightly controlled vote.

The Kremlin wants the elections, the first parliamentary vote since the start of the full-scale invasion of Ukraine in 2022, to showcase popular support for the war and legitimise its action.

Russian government officials accused Ukraine of trying to disrupt voting after Kyiv launched hundreds of drones at Moscow and other regions in what the TASS state news agency said was the biggest attack of its kind since the war began.

The drone strikes on Sunday killed at least three people in the Moscow region and two more in the Russian-held part of Ukraine’s Kherson region, including an election official, according to the region’s governor and the election commission.

Russian authorities also reported attacks on the country’s electronic voting systems and communication lines during the polls, but said the electoral process was mostly smooth.

Initial results showed the United Russia party comfortably ahead, and Russia’s Central Election Commission said turnout at the close of polls stood at 56.66 percent.

The first official results and turnout are expected on Monday morning.

Voting in Russian-held Ukrainian areas

The vote, which began on Friday for 111 million eligible voters, included residents of four Ukrainian regions that Moscow illegally annexed after the war began, but still doesn’t fully control, as well as those in Crimea, the Black Sea peninsula that was illegally annexed by Russia in 2014.

Authorities in Kyiv denounced the voting in the Russian-held areas as illegal and urged foreign governments not to recognise the result. The European Union on Friday called the action a “blatant violation of international law”.

Voters cast two separate ballots, filling half of the lower house’s 450 seats by selecting political parties listed on the ballot. The rest are contested in single-seat constituencies, with voters choosing individual candidates.

The main Kremlin party, United Russia, is widely expected to retain its overwhelming control of the State Duma. Several smaller parties of the “systemic opposition” that vote in sync with Putin’s views on all key issues are also expected to maintain their presence.

A massive state media campaign and tight control over the elections in the absence of genuine opposition all but assure the Kremlin will keep tight control of Russian politics amid mounting economic costs and increasing Ukrainian drone attacks deep inside the country.

The liberal Yabloko party, the only registered political entity that dared to publicly criticise the war, was removed from the ballot last month by Russia’s Supreme Court. It only has a few dozen candidates in the single-constituency races.

Additionally, some anti-war politicians were imprisoned or forced to flee abroad ahead of the campaign.

Russia didn’t invite election observers from the Organization for Security and Cooperation in Europe. The Russian Foreign Ministry has accused the body of “double standards” for its criticism of Russia.

BERKELEY — Twelve hours after walking offstage at the Greek Theatre on Tuesday night, David Byrne sits down with a cup of coffee on the patio of a tony hillside hotel and admits that he’s starting to get a little misty.

Last night’s concert on the campus of UC Berkeley was one of the remaining few on Byrne’s yearlong world tour after 2025’s “Who Is The Sky?” album. About an hour from now, a bus will pull up to ferry the 74-year-old musician and the dozen or so members of his touring company to the airport for a quick flight to Los Angeles, where they’re set to perform Friday and Saturday nights at the Hollywood Bowl.

“There’s a firepit over there,” Byrne says, pointing across the patio, “so after the show we all sat around and told stories. Everyone’s such a joy to work with — we’re all having a really good time.” He sighs. “That’s kind of rare, actually.”

“Who Is The Sky?,” which Byrne made with the producer Kid Harpoon, contrasts deep lyrics about art, home and enlightenment with bright pop arrangements filled with crisp grooves and singalong melodies. (Kid Harpoon, whose real name is Tom Hull, is known for the hits he’s created with Harry Styles and Miley Cyrus.) In the show, Byrne blends whimsical new tunes like “My Apartment Is My Friend” and “I Met the Buddha at a Downtown Party” with jittery oldies by Talking Heads, the hugely influential art-rock band he formed in 1975 with Jerry Harrison, Chris Frantz and Tina Weymouth.

Yet even when the songs get dark — as in “Life During Wartime,” which comes with images of police violence on the enormous digital screens behind the players — the mood is euphoric: Like Byrne’s previous tour behind 2018’s “American Utopia,” this one has the musicians holding their instruments as they execute choreographed moves on a bare stage; the result is more or less a nonstop dance party. (Also like “American Utopia,” which Spike Lee adapted into an acclaimed concert film, this tour will make its way to movie screens courtesy of “The Brutalist” director Brady Corbet.)

So you can see why Byrne would be sad to see it come to an end, not least because he’s been using his days off to tool around a given town and take pictures of cool local color. At the top of the gig in Berkeley, he showed photos from a hike he’d taken and of a car he’d come across with a tricked-out sound system.

“Any ideas of things to see in L.A.?” he asks me, dressed in a violet-colored chore jacket only a few shades removed from the blue one he wore onstage. “That hike was a workout. Even some of the dancers said those hills were steep.”

“Life During Wartime” was maybe 15% faster last night than the original record.
Could’ve been, yes. You’ll have to ask the drummers — they set the tempo, and they get excited and it kind of ramps up. It’s sometimes hard for me to keep up — I’ve got a lot of words to get out.

I was fortunate to be at Van Halen’s next-to-last show at the Hollywood Bowl, and I remember every song felt insanely fast.
Wonder if that was drugs?

You ever see Van Halen?
Never saw them live. David Lee Roth was a Talking Heads fan — came to visit our rehearsal loft once. I was kind of surprised: “How did you…?”

David Byrne performs at the Coachella festival in April.

(Christina House / Los Angeles Times)

Would you say things turned out better or worse than the future you predicted in “Life During Wartime”?
Well, we’re not having a total civil war. There’s maybe still a chance that could happen, but it seems there’s more resistance now than there was before — a sense that we don’t have to just roll over and take all the stuff that’s going on. The footage we got kind of hits home.

You show the video of the guy on the bike pedaling away from ICE agents in Chicago.
That often gets a cheer.

I wondered if it ever doesn’t.
In the United States, no. Seeing the underdog get away — that’s a pretty timeworn story. We didn’t have that video at the beginning of the tour — it didn’t exist. I saw it on some news service, and I thought, oh, this has to lead the whole sequence. When we were first putting the show together, we had more video stuff. But screens are really seductive, so you start looking at that. We said, no, you have to connect with real live people, then you can put it up.

Have you been to the Sphere in Las Vegas?
A bunch of the band and I went to see “Wizard of Oz.” I haven’t seen a band in there. But it was really a lot of fun — quite a spectacle with the video all around you.

Don Henley compares the Eagles’ role there to the organist at a silent movie.
The pit band, yeah. That’s a thing to do — works especially well, I would imagine, for bands like the Eagles and other groups that don’t do a whole lot of song and dance.

At 74, can your body do all the dancing you want to do?
Oh, no. With more physical training, I’d probably be able to do a little more than I can now. But I’m never gonna be able to do what some of the dancers can do.

How about what you used to be able to do?
Like in “Stop Making Sense”? There’s some stuff in there where I go, nope, can’t do that. But I can do other things. I don’t have a feeling that I’m barely getting by.

Are you an exerciser?
I have a person I see in New York. It hasn’t happened so much lately because we’ve been moving around so much. But Sasha [Rivero, from the touring company] leads us through these warm-up exercises before shows — kind of a cross between strength training and yoga.

Beyond the value of staying agile, how do you think about maintaining your looks?
I’m aware it’s a thing. If I came across as old and decrepit, it might be less exciting for some of the audience. Not great for business.

When did your hair go gray?
In the ’90s, I want to say. I dyed it for a while when I started seeing a fair amount of gray coming in. Then at one point I was on holiday with my then-wife and just said, “Let’s cut it off and see what’s under there.” By that point it was pretty much all gray. I was OK with it.

Who’s a performer you admire who’s still out there doing it late in life?
Caetano Veloso — he’s served as a role model for me. He’s someone who’s reinvented himself over and over and over again — done records that are very different than the record before. Even on the same record, he can be really experimental and then do something incredibly romantic.

Can you envision a time when you’d stop performing?
I don’t think so. I can see there might be a point where I don’t do as much dancing around.

I’ve seen Willie Nelson probably half a dozen times in the last 10 years. He sits there and plays, and it’s great.
“My Apartment Is My Friend,” that was inspired by a Willie Nelson song: “Hello Walls.” There’s also a George Jones song, “The Grand Tour,” where he takes you into his place: “This is where she sat, that’s where she put out her cigarette,” all this kind of stuff. I loved that you can make an apartment into a character. So I started putting down ideas, and I realized: Should I reveal that it’s about an apartment right off the bat, or should I wait till the last line of the chorus? Before that, you don’t know — it sounds like a love song. The title gives it away. But Tom, when I said “should I change the title?” he said, “The title’s what got me to listen to the demo.”

If I say that the songs from the new album didn’t come alive for me until the show, how does that strike you?
Good and bad. I wish the record had the same impact that the songs have live. But then I also think to myself: Well, the reason you go to see a live show is because you’re getting something more than you get by just putting a record on.

(Josh Edelson / For The Times)

You’ve been playing for years now with this mobile handheld setup.
I wasn’t sure an audience was gonna go for it. I don’t know why, but I thought it was kind of a big step for an audience to take in.

To not have the traditional rock band stage set.
“Here’s the drummer — we know what he does.” There were people on the last tour who would say, “It’s got to be playback — you’re not really playing it.” So I added an introduction to a song where one by one we introduced the musicians at the beginning of the song, and you could hear how we put it together. An unexpected consequence is that it democratized the whole stage experience for the band members. There’s parts where the drummers come to the front and I go to the back, which you would never have in a regular kind of show where the drummer’s stuck on a riser. Everyone gets to be a star — everyone gets to be recognized as an individual.

Would you say your eagerness to share the spotlight could only have come after years of being the focal point?
I have no idea.

Most of the musicians are pretty young.
Younger than me, anyway.

Why is that important to you?
I learn from them — musically but also personally. I learn about what music they’re listening to, what their experiences have been, what their take on things is. They’re not living in the past — they don’t have nostalgia for the good old days.

In 2023, you spent a fair chunk of time looking back with the rest of Talking Heads for a rerelease of “Stop Making Sense.” Did you enjoy that or grit your teeth through it?
It was fine — it was really nice. As we said over and over, we’re very proud of that show and the music that we did and the film that Jonathan [Demme] made. And that it was going to connect with a completely new generation. Jerry came to the show last night. He lives in Marin.

You guys hang out?
Afterwards, yeah. I mean, he had to drive back. He said he enjoyed it — said it was a good show. I connected him with our keyboard player because the keyboard player came up with these interesting technical things I thought Jerry might be interested in. He has an accelerometer attached to his arm — you don’t see it because his sleeve covers it — where he raises his arm and it increases the volume like a foot pedal on a keyboard.

Tell me about Brady Corbet’s concert movie. He shot it in 70mm.
To be honest, I wasn’t sure why. But Brady made the case, and it wasn’t about bringing people into the theater. He said when you go to 70mm it’s a little bit closer to what your eye experiences.

Talking Heads in Italy in 1982: Tina Weymouth, from left, Jerry Harrison, Chris Frantz and David Byrne.

(Luciano Viti / Getty Images)

This is kind of a cutesy formulation, but I wonder if it’s pushing back on the dominance of vertical video.
Biologically and evolutionary-wise, we experience the world horizontally. We don’t go walking around looking up at the sky — the stuff that’s gonna come get us is somewhere on our eye level.

Jimmy Iovine gave an interview to the New York Times the other day where he said one of the last things he asked AI was about your set list.
He could’ve just asked me.

Iovine was extremely pro-AI in this interview. What’s your vibe?
My vibe is positive and negative. On the positive side, we’ve all heard the hype from Silicon Valley that we’re gonna have medical breakthroughs. The negatives — how could there not be massive job loss? What concerns me is the environmental stuff. The last thing the planet needs is a massive increase in energy usage. We’re talking about the survival of species — of everything that lives on Earth. To ramp up that part of what humans do just seems like the worst possible thing you could do.

The other thing that worries me is that machines aren’t really thinking — they’re probabilistic. This stuff has been designed intentionally to mimic human beings, and we are very, very easily fooled. I think that’s dangerous because we give it agency. We assume all these things about it — we trust it. I mean, people will listen to a political argument from a chatbot more than they will from another person.

Seems bad.
Right?

Any worthwhile creative application you can identify?
I used it a little bit to animate my drawings in one of the sequences from the show. They’re my drawings — I wasn’t taking from anybody else. In that case I feel like it’s a tool that’s very efficient. Might put some animators out of work, but if I had to pay the rate for animators on something like that, it would take a year to do and cost me a fortune.

What if the producer on your next record says, “Hey, here’s a little shortcut we can use”?
We already use little shortcuts — Auto-Tune is one. That’s not AI, but we’ve been using those kinds of tools, and there’s always the danger of overusing them. When people use Auto-Tune a tiny bit, it’s pretty much invisible. But on a lot of records — I’m not talking about the Cher record — it’s a little too perfect, and you start to lose the human connection. So it’s not a clear-cut choice of: Do I use this or not? It’s: Do I get seduced and use it too much?