Final tickets released for Stereophonics' sold-out Cardiff stadium show
The final batch of tickets is now available through MyTicket and Gigantic, but they won't last long.
The show is set to be one of the biggest musical events in the Welsh capital this summer, with fans travelling from across the UK to see the legendary band perform live on home turf.
Doors open at 5pm, and support acts are expected to take to the stage early in the evening.
If you missed out the first time, this could be your final chance to see one of Wales' most beloved bands under the lights of the Principality Stadium.
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CNN
17 minutes ago
- CNN
Painter Lucy Jones puts her life with cerebral palsy on canvas
Lucy Jones painted her first nude self-portrait at 50. She was in New York with her husband Peter Leach, she said, when he 'took a picture of my backside. I thought, 'Well I don't look too bad from the back, so maybe I'll paint it!'' Jones is sitting on a wooden chair the middle of a white-washed gallery space, surrounded by a collection of her own works spanning decades for the opening of a new self-portraiture show in London. While the piece in question, 'Being 50,' is absent from the exhibition it is striking enough to remember off by heart: an inky black canvas split in two, with Jones' tilted gait rendered nude in two separate images. The study of the artists' front is flat and naïvely painted — her right arm bent backwards at an awkward right angle. (Jones was diagnosed with cerebral palsy — a lifelong brain disorder that permanently affects body movement and muscle coordination — as a young infant.) Her back profile, however, is more elegantly shaded with her spine gently curved to the left, hips following. An image of a wooden cane pokes up from the bottom to divide the painting while a floating constellation of deviled eggs looms above her head — a nod to menopause and losing her fertility. Painting nude is not Jones' usual approach to documenting her physical form. In fact, after her 50th portrait, she didn't create another one until sixteen years later. Why? Because she was finally a pensioner. 'Lucky me!' Jones laughed, as she spoke with CNN in the gallery. 'At last, I've made it.' She was still painting herself, however — on large canvases with a fearless approach to color. These are the reflections of Jones we glimpse in the show, who despite her obvious talent 'didn't really expect anybody to ever be interested in (my) self portraits,' she said. 'But it was a way for me to keep drawing.' In 'totally, completely, and absolutely Lucy Jones,' the artists' physical disability is rendered in bright, brash Hockney-esque colors and confident, expressionist brush strokes. 'Most art historically never mentions disability,' said Jones. 'But I've been really quite interested to bring that onto the canvas. And over the years I think I have.' Her walking frame and cane are repeating motifs, as are backwards words and sentences — a nod to her invisible struggle with dyslexia, and an attempt at sharing that experience with her viewers. 'I usually do mirror writing on the painting to make it awkward for the audience to decipher it,' she explained. She often appears with stiff, distorted hands. Hands, Jones said, are the window in the soul. 'They express so much of the person,' she said. Jones' wit shows through in the titles of her artworks, which often refer to her experience as a person living with disabilities. In 'It's a Long Way to the Bottom of this Canvas' (2000), Jones is suspended in the top right corner, her glasses and cane woefully mid-flight down the painting. 'It could be a metaphor for life,' she said. 'Or for me, walking, anywhere. It's a long way.' There's a sardonic edge slicing through the work. The title of her 2018 piece 'With a Handicap like Yours…', is lifted verbatim from a conversation Jones once had with a doctor who, after Jones complained of her lack of dexterity, was reluctant to give the artist physiotherapy for her hand. In Jones' mind, the phrase also translated to 'What do you expect?' 'He was a lovely doctor, I'm not criticizing,' she conceded. 'But it was an old-fashioned expression. I wanted to poke that a little bit.' In the work, Jones is on the brink of an eye roll, her face angled towards the viewer in an exhausted stare. As a retort, she painted a third hand reaching into the painting — a surrealist quip. '(My art) gets more and more confrontational because I want to comment to the world and make them think about disability and different types of disability,' she said. The earliest work in the show dates back to 1996, when Jones could work on larger, more monumental pieces and stand for longer periods of time. 'The idea of standing doesn't appeal to me anymore,' she laughed. Now, the artist paints on her knees, which has meant downsizing her canvases to ensure she can 'still reach the top.' The discomfort from being on her feet means Jones must also now paint her self-portraits from photographs, instead of in front of the mirror. She called Matthew Flowers, the British art dealer and managing director of Flowers Gallery, 'brave' for staging her show. Not just because it centers someone like Jones so audaciously, but because Flowers rebukes the industry's perpetual appetite for novelty and constant creation. 'They're not all new paintings,' the artist said. 'Most of them go back a long time.' For Jones, creating an entire new body of work for a gallery show, when a single painting takes her three months, is unthinkable. Her newest piece, created this year, is the third in her age-based trilogy, marking the artist at 70. The work shows a self-portrait of Jones on all fours looking up at the viewer, while in the top right corner is a clipping from a leaflet attributed to The Centre for Spastic Children in Cheyne Walk. On the leaflet, a photograph of Jones shows her again on her hands and knees — this time at three years old, learning to crawl for the first time. Jones does not see the parallel as a melancholy one. Seventy is its own milestone, and many surprising, wonderful things have happened in between, she said. For Jones, reaching this point 'is a shock' because 'I didn't realize that with cerebral palsy you deteriorate. And let me tell you, you do. Which is rubbish, actually. Complete rubbish.' What age might she like to commemorate next, 99? '99!' She laughed. 'Paint myself in a coffin or something.' 'totally, completely, and absolutely Lucy Jones' runs until August at the Flowers Gallery in Mayfair, London.
Forbes
32 minutes ago
- Forbes
Signed, Sealed, Delivered: Stevie Wonder Brings BST Hyde Park To Triumphant Close With Soulful Set
BST25 Stevie Wonder @ISHASHAHPHOTOGRAPHY @ISHASHAHPHOTOGRAPHY Stevie Wonder closed the British Summer Time (BST) Hyde Park festival on Saturday night with an unforgettable night of song which spread a much-needed feeling of pure joy through the 65,000 strong crowd. Wonder's memorable performance at BST Hyde Park was part of his Love, Light and Song UK tour, and he set the tone of love and peace by telling the crowd: 'We've been through the hate; love is far bigger.' 'I want to give you some sense of why I decided to call this tour Love, Light and Song. You know I've had the pleasure of living through various discoveries, including Braille. I hope that those creators will continue to do it. Because every single person who is blind should be able to see in their own way.' Stevie Wonder BST STEVIE WONDER @BETHANMILLERCO @BETHANMILLERCO Style and Soul: Wonder's Iconic Look and Playful Wit Timelessly stylish with a Rock n'Roll edge, Wonder rocked a black beret, bejewelled sunglasses and a bespoke white tunic embroidered with portraits of iconic musicians John Lennon and Marvin Gaye. Apart from captivating the crowd with his exquisite voice, Wonder revealed his sharp wit, welcoming the crowd with a London-accented 'hello' and cracking jokes in a mock Cockney accent in the style of Dick Van Dyke in My Fair Lady . Wonder gestured at the embroidered faces on his tunic, saying the musicians' names but inadvertently pointing to the wrong face, before joking: 'Sorry y'all, I'm blind you know.' Setting the Tone: A Message of Peace and Positivity Kicking off with Love's In Need of Love Today , Wonder attributed the song to the fragility of the world today, saying: 'We've been through the hate, (but) love is far bigger. We need–in a time when this planet is too angry–light. So, I want to start off with a song off that you would by now know.' Wonder's poignant words led to an unexpected cover of John Lennon's Imagine , setting the precedent for an uplifting and emotional night celebrating music, family and joy. Wonder added: 'It's not about your religion, it's about your relationship. Love you too!' Wonder's performance–his first UK performance since playing BST in 2019–turned out to be the closing night of the three-week long American Express presents BST Hyde Park festival after ELO's Jeff Lynne announced he could not perform on Sunday evening. BST STEVIE WONDER @BETHANMILLERCO @BETHANMILLERCO A Family Affair: Children Share the Stage and the Spotlight The show was a family affair and Wonder was brought out on stage by two of his children–son Kayland and daughter Aisha (for whom Isn't She Lovely is written)–before performing an epic two-hour set full of hit songs. Stevie's son and daughter both stepped into the limelight during the set to perform stunning solos, with Wonder's son Kailand Morris performing I Can Only Be Me after lamenting the negative impact of social media on today's young generation, and daughter Aisha singing a cover of Nancy Wilson's Save Your Love for Me . Much to the delight of the crowd, Wonder sang his iconic hit Happy Birthday to his 13-year-old daughter Zaiah Morris, which prompted a mass singalong, creating a moment of pure joy in Hyde Park. One of the best-selling and most-awarded artists of all time, Wonder has sold over 100 million records and won 25 Grammy Awards (more than any other artist), including a Grammy Lifetime Achievement Award. He won an Academy Award for Best Original Song and has been inducted into the Rock and Roll Hall of Fame and Songwriters Hall of Fame. Wonder was a child prodigy and signed to Motown's Tamla label at the age of eleven, where he was given the professional name Little Stevie Wonder. He had his first number one hit single–Fingertips–at the age of 13 and went on to amass 49 Top Forty singles and 32 number one singles. The word legend is overused but is totally apt when applied to Stevie Wonder, a true musical icon whose pioneering fusion of jazz, funk, R&B, soul and pop makes him one of the most influential musicians of the 20thCentury. At the age of 75 years, Wonder shows no signs of slowing down, and his voice–projected across Hyde Park to the mesmerised crowd–was as honey-toned and powerful as ever. He delivered a heart-warming set featuring hit after hit from his six-decade archive of music, and the set was interspersed with witty one-liners from Wonder, such as 'So Just 'Chillax as they would say in America. Just chill. Lose your dollar bill.' Legends Remembered: Tribute to Sly Stone with Corinne Bailey Rae Highlights of the epic two-hour set–which kicked off Love's In Need of Love Today followed I Wish and Isn't She Lovely featuring a harmonica solo–included a cameo from British soul singer Corinne Bailey Rae who joined Wonder in a heartfelt duet of Everybody Is A Star, in tribute to the late funk legend Sly Stone who passed away in June. BST STEVIE WONDER & CORINNE BAILEY RAE @BETHANMILLERCO @BETHANMILLERCO 'Unfortunately we've lost so many great talents. And so much great music has come from those people. Tonight we want to acknowledge and remember the life of Sly Stone. So Corinne, myself and some of my people are gonna do a song tonight.' Stevie Wonder Rae performed earlier on the Great Oak stage and has been supporting Wonder on his UK tour. Against the backdrop of a beautiful sunset descending on Hyde Park during a summer heatwave, Wonder launched into Sir Duke, Isn't She Lovely and I Just Called To Say I Love You, before a rousing incredible finale of Superstition followed by Always and Another Star . Wonder introduced his penultimate song Superstition with the words 'We've got to do this one', and the funky riff was so contagious it penetrated the crowd like a Tsumani and everybody danced under the warm summer sky. Culminating with Another Star– joined by his guest singers at front of stage–the energetic 75-year-old was the ultimate Showman, not wanting the gig to stop he said: 'I know we've got to go but we're gonna keep this party going.' BST Ezra Collective @photosbychloeh Chloe Hashemi @photosbychloeh Chloe Hashemi The Perfect Warm-Up: Ezra Collective Brings the Fire Brit Award and Mercury Prize winning British band Ezra Collective set the stage for Stevie Wonder with an energy-filled, all guns blazing performance full of magical keys, sublime saxophone and dazzling drumming. The London jazz quartet delivered their unique blend of jazz and afrobeat. Ezra Collective frontman Femi Koleoso, told the crowd how special it was to open up for Wonder, and delivered a message of love and hope which set a precedent for Wonder's hope-filled set. 'In 2018 I bought tickets for Stevie Wonder. I was with all my best mates and we danced to Stevie Wonder all night, and it was the best gig I've seen — to this day — in my life. It would be an honour to contribute to the dancefloor for one of the greatest musicians of all time… And to be doing it in London.' Femi Koleoso BST EZRA COLLECTIVE @BETHANMILLERCO @BETHANMILLERCO Ezra Collective got the crowd on their feet with uplifting tunes Shaking Body , Wish I Didn't Miss You and Femi Kuti Tune culminating in their dancefloor hit God Gave Me Feet . 'Signed, Sealed, Delivered': A Soul-Stirring Close to BST 2025 Wonder's memorable performance was the perfect ending to two weeks of sellout concerts at BST Hyde Park–ranging from young pop stars Olivia Rodrigo and Sabrina Carpenter to living legends Neil Young and Yusuf Cat Stevens–proving that nothing beats live music for an experience that unites generations and crosses cultural divides. It sounds like a cliché, but Wonder really does possess an other-worldly gift from a higher being that enables him to spread so much love and joy at a time when the world is so full of pain. Music That Heals: Why Stevie Wonder Still Matters This truly felt like a once-in-a-lifetime gig and Wonder was the ultimate performer, delivering a set that took the audience through a rollercoaster of emotions ranging from soulful ballads like Isn't She Lovely , to rousing dance tracks Superstition and Master Blaster (Jammin') . A flawless performance from his band–comprised of four backing singer, four horns, two drummers, two keys players and two guitarists–added to the groove and musicianship, making this a night to remember. During more than two hours of musical magic and Wonder, Signed, Sealed and Delivered. Wonder's words summed it up: 'Are we good? Are we all having a good time? You damn well better be.'
Washington Post
an hour ago
- Washington Post
BBC says it is ‘untenable' for Gregg Wallace to host 'MasterChef' after sexual misconduct report
LONDON — The BBC said Monday it will no longer work with 'MasterChef' host Gregg Wallace after a report found that dozens of misconduct allegations made against the hit cooking show presenter were upheld. The report, led by a law firm, said 45 out of the 83 allegations made against Wallace during his time on the show between 2005 and 2018 were substantiated. It said the majority of the claims related to 'inappropriate sexual language and humor,' with one incident of unwelcome physical contact. Wallace, 60, stepped away from hosting the hit BBC reality show, which is made by an independent production company, last year while an investigation was launched into allegations made by multiple women that he made inappropriate sexual comments and behaved inappropriately over 17 years. The BBC has come under pressure over how it handles sexual misconduct allegations and how Wallace had continued to front some of its most popular shows for so long despite the complaints. The broadcaster issued a statement of apology, adding Wallace's 'return to MasterChef is untenable.' 'The BBC has informed Mr Wallace we have no plans to work with him in future,' it said. 'Although the full extent of these issues were not known at the relevant time, opportunities were missed to address this behavior, both by the production companies running MasterChef and the BBC.' The broadcaster previously said that Wallace was warned by his employers after a complaint in 2018, and an internal investigation at the time found his behavior was 'unacceptable and unprofessional.' The latest investigation found that there was little or no formal training or clear escalation procedures in place for staff — many of those working on the show were freelancers — leading to underreporting and normalization of inappropriate behaviour. Wallace has strongly denied the claims. In December, he drew an angry backlash after he alleged that complaints about his behavior came from 'a handful of middle-class women of a certain age.' In a statement posted on his Instagram account last week, he said: 'I will not go quietly. I will not be cancelled for convenience. I was tried by media and hung out to dry well before the facts were established.' 'MasterChef' is one of the BBC's most popular and long-running competition shows, and has been adapted in other countries including 'MasterChef Australia.'
