Warning to 1,000s of Oasis fans as ‘serious' crash shuts busy motorway in BOTH directions
Authorities have been forced to close the busy road in both directions, following the major incident.
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The accident occurred at Junction 20 and has led to the closure of the road between Junction 19 for Middleton and Junction 22 for Chadderton.
Heavy traffic has been steadily building on the road after the accident and emergency services are on the scene.
A spokesperson from the Bee Network - the company which runs Manchester's trams and buses - has released a statement following the closure.
The statement read: "Due to a serious road traffic collision on the M60 J20, part of the motor way is currently closed causing significant delays on roads in the area.
"This may impact your journey to Heaton Park for the Oasis concert."
The M60 is a major route for getting to Manchester and the collision is expected to cause carnage for fans attending Oasis' concert at Heaton Park.
Heaton Park has a capacity of 50,000 though crowd sizes on weekends can be as high as 80,000 people.
The Gallagher brothers' tour has been a major success with the pair selling out venues in their home city of Manchester, as well as Wembley Stadium in London.
Their 41-show reunion tour sold out in minutes, after Liam and Noel finally put years of fighting behind them.
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The Guardian
29 minutes ago
- The Guardian
The god of small things: celebrating Arvo Pärt at 90
In many ways Arvo Pärt and John Williams's music couldn't be further apart. One celebrates simplicity, purity, and draws much of its inspiration from sacred texts; the other captures strong emotions in sweeping orchestral scores. And yet the two men are today's most performed contemporary composers. Bachtrack's annual survey of classical music performed across the world placed Pärt second (John Williams is in the top spot) in 2023 and 2024. In 2022, Pärt was first, Williams second. This year, Pärt might return to No 1 as concert halls and festivals worldwide celebrate his 90th birthday, on 11 September. Unlike many of his contemporaries, Pärt has found a way to speak across boundaries of culture, creed and generation. In the world of contemporary classical music, where complexity and empty virtuosity often dominate, Pärt stands apart. His music eschews spectacle in favour of silence, simplicity and spiritual depth. Pärt has outlasted political regimes, artistic fashions and shifting trends in composition, yet his work remains strikingly relevant. In a cultural moment saturated with information and spectacle, Pärt offers something almost universally appealing. As the commentator Alex Ross observed in a 2002 New Yorker article, Pärt has 'put his finger on something almost impossible to put into words, something to do with the power of music to obliterate the rigidities of space and time [and] silence the noise of self, binding the mind to an eternal present.' Pärt's early career unfolded under Soviet rule, which shaped much of his emerging artistic trajectory. Trained at Tallinn Conservatory in Estonia, he began composing in a modernist idiom, experimenting with serialism and collage techniques in the 1960s – often to the dismay of Soviet authorities who sought artistic control over the creative process. Works such as Nekrolog (1960), the first 12-tone piece written in Estonia, and the avant garde Credo (1968), which juxtaposed Bach with a compendium of avant-garde techniques and incorporated overt Christian themes, drew the ire of censors. The banning of Credo marked a pivotal moment: Pärt fell into a period of near-total withdrawal from composition during which he immersed himself in Gregorian chant, Renaissance polyphony and early Orthodox music. And, out of this silence emerged a new voice – a radically simplified and spiritually charged idiom he calls tintinnabuli, derived from the Latin for 'little bells'. This technique, first heard in the three-minute piano piece Für Alina (1976), pairs a melodic voice (often stepwise and chant-like) with a harmonic voice that is limited to the notes of a tonic triad (the first, third and fifth notes of a major or minor scale). Pärt considers the two lines to be a single sound, as in the formula suggested by his wife, Nora: 1+1=1. The effect is ethereal and introspective, at once ancient and modern. Pärt's tintinnabuli is not so much a system, but more of an attitude: a way of stripping music down to its essence in order to open a space for contemplation. In 1980, Pärt left Estonia with his family, first settling in Vienna and later in Berlin. Freed from the strictures of Soviet censorship, he began to compose larger and more overtly sacred works, often using Latin or Church Slavonic texts. Major compositions such as Tabula Rasa (1977), Passio (1982), Te Deum (1984), and Miserere (1989) established him as a unique voice in late 20th-century music. These works exemplify how Pärt fused early sacred music traditions with his minimalist aesthetic to create a form of modern devotional music that speaks to both religious and secular audiences. For Pärt, faith is not a subject – it is the wellspring of his art. 'Some 30 years ago,' he said in a 2007 speech as he accepted an honorary doctorate in theology from the University of Freiburg, 'I was in my great desperation ready to ask anyone how a composer ought to write music. I met a street-sweeper who gave me a remarkable reply. 'Oh,' he said, 'the composer would probably need to love each and every sound.' This was a turning point. This self-evident truth completely surprised my soul, which was thirsting for God. From then on, my musical thoughts began to move in an entirely new direction. Nothing was the same any more.' Though often described as a 'holy minimalist' (a term Pärt does not like since he considers it meaningless), his work resists easy categorisation. Unlike the pulsating energy of American minimalists such as Steve Reich or Philip Glass, Pärt's music seeks a state of prayerfulness. 'I have discovered,' he once said, 'that it is enough when a single note is beautifully played. This one note, or a moment of silence, comforts me.' There are also secular works inspired by art and architecture. Silhouette (2009), for example, is a short dance-like piece for string orchestra and percussion based on the elegant structural design of the Eiffel Tower, and his quasi-piano concerto, Lamentate (2002) was commissioned by London's Tate Modern and was inspired by the enormous sculpture Marsyas by Anish Kapoor. His influence extends far beyond classical music. Artists such as Björk and Radiohead have cited him as an inspiration. Film-makers such as Paul Thomas Anderson (There Will Be Blood, 2007) and Joss Whedon (Avengers: Age of Ultron, 2015) have used his music to underscore moments of existential weight and grace. And, in recent years, cover versions of his music abound. The little piano piece Für Alina, for example, has spawned hundreds of covers from artists as diverse as jazz guitarist Pat Metheny, US ambient musician Rafael Anton Irisarri, and a YouTuber known as 'euwbah' who improvises on the piece using a cross-platform microtonal seaboard patcher (a computer program that allows the use of a keyboard to generate microtonal pitches). Pärt has not composed much in the past decade or so because of his advanced age, but a late-night Prom on 31 July – billed as a birthday tribute – is an opportunity to catch the UK premiere of his most recent work, Für Jan van Eyck (commissioned in 2020 by the city of Ghent to celebrate the restoration of the famous Van Eyck altarpiece) for mixed choir and organ. The programme – performed by acclaimed Pärt interpreters Tõnu Kaljuste and the Estonian Philharmonic Chamber Choir – also complements his music with short choral works by composers he loves: Bach, Rachmaninov, fellow Estonian composer Veljo Tormis and the Ukrainian composer Galina Grigorjeva. The celebrations continue into the autumn where a series at the Barbican in London includes an interesting take on Pärt's music in a concert on 26 November which is 'refracted' (their term) through the lens of DJ Koreless and composers Sasha Scott and Oilver Coates, pointing again to the esteem for this music felt by other creators. Pärt's popularity has not diluted the intensity of his vision. If anything, it underscores the hunger many feel for what his music offers: a refuge from noise, a space for reflection, a sonic form of grace. 'The author John Updike once said that he tries to work with the same calmness like the craftsmen of the middle ages who decorated the hidden sides of the pews with their carvings, although no one would be able to see them. I try, as much as I can, to live by the same principle,' he said in a rare interview he gave in 2020. In an age of distraction and crisis, Pärt's work invites listeners into an intimate encounter with stillness. It is not escapism, but focused attention – music that opens the soul to something beyond itself. In an age increasingly defined by noise, he offers us silence not as absence, but as invitation. At 90, his music still speaks – softly, clearly, and with unwavering grace, and is always worth a listen. Arvo Pärt at 90 is at the late-night Prom on 31 July; Tabula Rasa is part of the Proms@Bristol Beacon concert on 23 August. The Barbican London's Arvo Pärt at 90 series runs from 3 October to 26 November. Andrew Shenton is a cultural critic and musician based in Boston, MA. He is the editor of The Cambridge Companion to Arvo Pärt.
Scottish Sun
44 minutes ago
- Scottish Sun
The world's best karaoke songs officially revealed by scientist – with surprise throwback topping list
AN Oxford university boffin has come up with a mathematical formula to determine the best endorphin-boosting karaoke songs of all-time. Dr Tom Crawford uses V for number of verses, C as repetition of chorus, Y for when the track was released, combined with BPM beats per minute to scientifically grade songs out of 100. 5 The ultimate karaoke songs of all time have been revealed 5 Dr Tom Crawford and his unique formula. His formula says that the 2,000 folk who took part in the Three Mobile survey prefer fast-paced songs with an average of 126 BPM and three repeated choruses for every two verses. Chief Features Writer MATT BENDORIS asks Dr Crawford to apply his calculations to some classic Scots karaoke favourites to see how our chart stars compare THE Proclaimers I'm Gonna Be (500 Miles) almost walked away with being crowned kings of the karaoke charts, according to Dr Crawford's formula. It ticked all the right boxes with 132 Beats Per Minute - just over the perfect rate of 126 BPM - but was let down slightly by having four choruses instead of the ideal three. Instead Craig and Charlie Reid slipped to No5 in the overall rankings with Shania Twain, Oasis, Whitney Houston and the winner Bon Jovi all ahead of them. 5 Bon Jovi rocked their way to the top of the karaoke charts. 5 The Proclaimers 500 Miles is the best Scots karaoke song However had 'foot stomping' being part of the doc's unique formula, he is certain the twins from Leith would have come out on top. He said: 'What I really liked about some songs, especially 500 miles, is that it just makes you want to get up, stamp your feet and join in. 'It kind of has that euphoric, mood-lifting ability, so it's not just songs people like to sing, but how they make you feel.' Dr Crawford believes that was the whole point of the survey which has launched the 'Kathartic Karaoke' initiative as part of Three and the Samaritans' ongoing commitment to mental health support and wellbeing. A special karaoke booth will be erected from August 15 to 16 on The Mound at the Edinburgh Fringe to help festival goers boost their mood with music and singing. TOP 10 KARAOKE SONGS 1) Livin' On a Prayer – Bon Jovi (91%) 2) I Wanna Dance with Somebody – Whitney Houston (90%) 3) Don't Look Back in Anger – Oasis (89%) 4) Man! I Feel Like a Woman – Shania Twain (88%) 5) I'm Gonna Be (500 Miles) – The Proclaimers (88%) 6) Gimme! Gimme! Gimme! (A Man After Midnight) – ABBA (85%) 7) Unwritten – Natasha Bedingfield (84%) 8) Someone Like You – Adele (84%) 9) Wannabe – Spice Girls (84%) 10) Let Me Love You – Mario (83%) That's after Dr Crawford's research found that nine out of ten (90 per cent) people felt that singing gave them an emotional uplift, made them feel empowered (81 per cent) while 70 per cent found it cathartic. There is also evidence to suggest music can improve happiness and help sustain a healthy immune system, by reducing stress and boosting the production of endorphins and immunity antibodies – whilst singing can specifically improve breathing, posture and muscle tension. Dr Crawford, 35, who also has 225,000 subscribers on YouTube under the handle @TomRocksMaths, said: 'I've been trying to make maths fun for years now on YouTube and through my teaching at university and this is why I was so excited to be involved in this project. 'I think the whole idea of talking about karaoke and mood boosting and linking it back to mental health and working with the Samaritans is a fantastic thing, especially as young men in particular are pretty bad about discussing these topics. 'So talking more about mental health and using karaoke singing as a way to boost that and also bringing in the maths and the fun are things that I am passionate about.' During his study Dr Crawford discovered that age of a song was also a big defining factor where it finished in the karaoke charts too. TOP 10 SCOTTISH KARAOKE SONGS 1) 500 Miles - The Proclaimers (88%) 2) Why Does it Always Rain on Me - Travis (87%) 3) It's Got to be Perfect - Fairground Attraction (80%) 4) Someone You Loved - Lewis Capaldi (78%) 5) Dignity - Deacon Blue (77%) 6) Vienna - Ultravox (76%) 7) Maggie May - Rod Stewart (73%) 8) Caledonia - Dougie Maclean (65%) 9) Shout - Lulu (65%) 10) Leave a Light On - Tom Walker (61%) He explained: 'Older songs didn't do so well, with the 70s doing really badly, with the exception to the rule being ABBA who were the most popular individual artists. 'Adele did well, although many of her tracks were from the 2010s, which were actually a bit too modern for the best performing songs in this formula. 'Lewis Capaldi also scored well with Someone You Loved as he's a kind of Scottish Adele really, isn't he? 'But the best performing tracks were roughly from the 90s with Britpop, Oasis, Spice Girls, all that kind of thing.' And even being a terracing favourite was no guarantee of doing well under the doctor's figures. He said: 'Neil Diamond's Sweet Caroline did quite badly, even though it's hugely popular with the likes of women's football fans right now. 'Similarly Caledonia is a favourite on the rugby terraces in Scotland but it didn't do well either.' However, Dr Crawford insists he also wanted to create a debate with the exercise. He says: 'People can look at our top 10 and think it's nonsense, as everyone has their own personal opinion. 'But this was all about trying to determine how a song makes you feel when singing it and even if you wouldn't score these tracks exactly as we have, you can also have a lot of fun discussing them and what songs you say lift your mood best. 'At the end of the day it's all part of the fun.'
Daily Mail
an hour ago
- Daily Mail
Justin Timberlake fans demand a refund after 'embarrassing' show in Romania where star arrived late, lacklustre dance moves and 'hardly sang' - a year after he feared DWI arrest would derail shows
Justin Timberlake fans have demanded a refund after he put on an 'embarrassing' show in . The popstar, 44, embarked on his Forget Tomorrow World Tour last year, his first in half a decade, before announcing a further string of dates taking place this summer titled JT Live 2025. A year prior, Justin's 'golden boy' image had been tarnished when he was charged with a DWI, later admitting to Driving While Ability Impaired instead to avoid a drunk driving charge. During the arrest, Justin predicted in a viral moment: 'This is going to ruin the tour.' Yet while the tour pressed on, it seemed to be Justin himself who was accused of 'ruining' the shows, with many supporters left furious with the star seemingly giving the 'bare minimum' and 'hardly singing'. In particular, fan-taken footage of Justin's set at Romania's Electric Castle, his first ever performance in the country, went viral on social media with supporters dubbing the show an 'absolute disappointment.' After reportedly arriving more than 30 minutes late, concert-goers complained about Justin singing 'less than a quarter of each song' and covering his face from the rain in glasses, a cap and a hood. One video of the star protecting his face from the weather showed him telling the crowd: 'I'm trying to stay warm,' while holding onto his coat. 'Is the rain always like this in the summer? No? So y'all cooked this up for me? Thanks.' While a later clip of Justin performing his 2002 single Cry Me A River was dubbed 'more like a karaoke than a show' as the singer hardly sang a word. Disgruntled concert-goers took to TikTok to express their disappointment, writing: 'Looks like a rehearsal not a real show. Where is his energy?', 'bro doesn't want to be there... like at all', 'I want a refund and I wasn't even there', 'He wasn't just off key. The key was nowhere to be found', 'OHHHH MYYYYY THIS IS WORSE THAN SHE DESCRIBED!!! He owes people their money! How embarrassing', After reportedly arriving more than 30 minutes late, concert-goers complained about Justin singing 'less than a quarter of each song' and covering his face from the rain in glasses, a cap and a hood 'I swear I put more efforts into my kitchen concerts for my neighbours'. Such was one Timberlake-fan's fury that she took to the app to rant about the performance. User @amelissaofficial complained in a video posted on her account: 'Mister Justin Timberlake, an absolute disappointment. 'I liked you and everything, I thought you were cool, I know your songs. This is the first time I got to see you at the Electric Castle in Romania but to be fair, you were an absolute disappointment. 'You come to my country, I pay a lot of money, it's raining like s*** and I've been waiting all day for you to come up on stage. 'You were late first of all, you sing like five words on each song. I get that you have a lot of concerts but you cannot be singing less than a quarter of the song. 'And also you came with glasses and a hat, we came here to see you and we couldn't see your face. That shows no respect whatsoever for your audience. 'So I left and so did many other people too.' Just days before Justin took to the stage in Romania, a video surfaced of him berating the stage crew during his performance at the Lytham Festival in northern England. The viral clip showed him initially trying to keep his cool after sound issues disrupted his performance of Cry Me a River, before launching into a furious tirade at the staff members. The JT Live 25 tour has two remaining dates, one at Azerbaijan's Olympic Stadium before concluding in Istanbul, Turkey, next week. The response to the tour and his new album 'made him realise what needs to be next, and that's an NSYNC reunion.' The reunion news comes as NSYNC's biggest rivals from the early aughts, the Backstreet Boys, announced a massive takeover of the Las Vegas Sphere this summer, including multiple sold out tour dates. The dad-of-two, who's married to Jessica Biel, is going to 'monitor' their shows 'because when NSYNC comes back, there is a big decision on whether or not they should tour or have a residency,' the source confirmed. NSYNC fans are desperate for a reunion and embraced the songs Justin did with his former bandmates for the Trolls soundtrack. Following the completion of this tour, the Rock Your Body hitmaker is going to spend time with his family, consider doing a film, and then potentially 'reunite with his boys.' JC Chasez, 48, Joey Fatone, 48, Chris Kirkpatrick, 53, and Lance Bass, 45, made up NSYNC alongside Justin. Lance previously told that he 'hopes' to reunite with his bandmates after nearly 30 years and that his 'f ingers [are] crossed.' It looks like Justin now feels the same way, with the insider claiming he knows a reunion will 'get him back on track and in the good graces with fans that he may have lost.' 'It will reinvigorate his career, and he is ready for a reset,' the source said. MailOnline contacted Justin Timberlake's representatives for comment. Justin has indeed had quite the torrid year or two after the star was arrested last summer when he ran a stop sign behind the wheel of his BMW X7 in the Hamptons, America. At the time, police described him as having 'bloodshot and glassy' eyes, smelling strongly of alcohol, and having slowed speech while being unable to maintain his attention. During his arrest, he told the officer: 'This is going to ruin the tour'. After performing a field sobriety test, police asked him to take a breathalyser test, which he refused. Justin was later spotted emerging from the Hamptons police station in handcuffs. He was released without bail and banned from driving for a year in the state of New York because he refused the breathalyser test. Sources close to the singer told that they hoped the arrest would serve as a 'wake-up call' to Justin, who had reportedly been using alcohol to cope with the stresses of his career. Before this, Justin's treatment of ex-girlfriend Britney Spears was put under a microscope during her conservatorship battle. Spears made explosive claims about their tumultuous romance in her 2023 memoir, The Woman In Me. She claimed that Justin urged her to have an abortion when she fell pregnant and accused him of making her look like a 'harlot who'd broken the heart of America's golden boy' when they split. Timberlake's treatment of Janet Jackson following a wardrobe mishap at the 2004 Super Bowl halftime show has also come under scrutiny. The backlash had a striking effect on Janet's career in the years that followed, and the controversy has long overshadowed the rest of her performance on the night. While Jackson was essentially blacklisted in the years that followed, Timberlake's own career was allowed continue unscathed - although he has since faced a reckoning. The difference in how they were treated has lead to backlash from the public who felt Jackson had been unfairly treated, prompting Timberlake to release a belated apology in 2021 to both Spears and Jackson. He stated that he was 'deeply sorry for the times in my life where my actions contributed to the problem, where I spoke out of turn, or did not speak up for what was right.' The Cry Me A River hitmaker added that he understood that he 'fell short in these moments and in many others and benefited from a system that condones misogyny and racism.'
