Scheduled for April 12, 2026, at the M&S Bank Arena, this concert follows a series of cancelled performances at The Dome at Grand Central Hall in July 2025. The excitement surrounding this event is palpable, especially given that the final wave of tickets was recently released.

The IDOLS World Tour has been a remarkable success, with both the UK and USA legs selling out in record time. Yungblud, whose real name is Dominic Harrison, has captivated audiences with his energetic performances and relatable lyrics, amassing over 10 million monthly listeners on Spotify.

Ticket prices for the Liverpool show range from £36.85 to £71.95, making it accessible for a wide audience. The tour is not just a series of concerts; it is described as a homecoming for Yungblud, who has deep ties to the Liverpool music scene.

Supporting acts for the tour include The Warning and The Molotovs, adding to the excitement of the event. With more than eleven arena dates scheduled across the UK and Ireland, the tour reflects a live strategy built on scale and momentum.

Yungblud himself expressed his enthusiasm, stating, “The craziest tour of our lives – can’t wait to bring it home.” This sentiment resonates with fans eager to see him perform live once again.

As the date approaches, anticipation continues to build, and fans are left wondering what surprises Yungblud might have in store for his Liverpool audience. Details remain unconfirmed, but the energy surrounding this event is undeniable.

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Before the passing of Trevor Oakes, expectations surrounding the legacy of Showaddywaddy were firmly rooted in the band’s vibrant history and their significant contributions to the music scene of the 1970s. Formed in 1973 from the merger of two Leicester-based groups, Choise and the Golden Hammers, Showaddywaddy quickly rose to fame with their distinctive sound and energetic performances. Their hit single ‘Under The Moon Of Love’ remains a staple of the era, showcasing the band’s ability to resonate with audiences and secure their place in music history.

However, the landscape shifted dramatically on February 28, 2026, when it was confirmed that Trevor Oakes had passed away at the age of 79 after a long illness. His death was announced by former frontman Dave Bartram, who expressed profound sorrow over the loss of a close friend and collaborator. Oakes had been instrumental in shaping the band’s sound as a guitarist and principal songwriter, contributing to their success during a time when they achieved ten Top 10 singles and spent an impressive 209 weeks in the UK singles chart.

The immediate effects of Oakes’s passing are felt deeply within the music community and among his family. Dave Bartram reflected on their 57 years of shared memories, highlighting Oakes’s unique character and dedication to the band. Bartram stated, “Trevor was a unique character and a dedicated professional, without whom the band would never have quite scaled the dizzy heights we seemed destined to achieve.” This sentiment underscores the profound impact Oakes had not only on the band’s trajectory but also on the personal lives of those who knew him.

Oakes’s contributions to Showaddywaddy extended beyond music; he was also a caring family man, leaving behind two sons who pursued careers as professional footballers. Bartram’s heartfelt tribute continued, noting Oakes’s mischievous sense of humor and the affection he showed to those around him. “He was also a caring and affectionate family man, with a mischievous sense of humour, which will be sadly missed by all those dear to him,” Bartram remarked, emphasizing the multifaceted nature of Oakes’s legacy.

As the news of Oakes’s death reverberates through the music industry, experts and fans alike reflect on the significance of his contributions. Showaddywaddy’s unique blend of rock and roll, combined with their engaging performances, was a hallmark of the 1970s music scene. Oakes’s role in crafting their sound was pivotal, and his absence leaves a noticeable void in the band’s legacy. The band’s ability to connect with audiences during their peak years is a testament to the talent and creativity that Oakes brought to the group.

In the wake of this loss, the music community is reminded of the fragility of life and the enduring impact of those who shape our cultural landscape. Oakes’s final appearance with Showaddywaddy was in 2008, and he left the band in May 2009 due to health problems. His departure marked the beginning of a new chapter for the group, but his influence continued to resonate with both fans and fellow musicians.

As tributes pour in from fans and fellow artists, the legacy of Trevor Oakes will undoubtedly live on through the music he helped create and the memories shared by those who knew him. “I could write a book about the incredible memories we’ve shared over the past fifty-seven years, but most of all I thank him from the bottom of my heart for his unwavering friendship,” Bartram concluded, encapsulating the essence of their enduring bond.

Details remain unconfirmed regarding any potential tributes or memorials planned in honor of Trevor Oakes, but one thing is certain: his contributions to music and the lives he touched will not be forgotten. As fans reflect on the joy his music brought them, Oakes’s legacy as a founding member of Showaddywaddy will continue to resonate for generations to come.

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“London is like a second home, I’m excited to be coming back to play in the UK again this year for Reading,”

Scheduled to take place from August 27 to August 30, 2026, the Leeds Festival is set to be one of the most expansive editions yet, with more than 60 new artists added to the lineup. This year, the festival continues its tradition of showcasing a diverse array of musical talent, featuring both established names and emerging artists.

The festival will include performances from notable acts such as Skepta, who is set to perform at both Reading and Leeds, collaborating with Prospa and East End Dubs respectively. Other artists like Declan McKenna and Maisie Peters will perform at both venues, ensuring a rich experience for festival-goers.

In addition to the diverse lineup, a new stage named The Warehouse will be dedicated to dance music, further enhancing the festival’s appeal. This addition reflects the festival’s commitment to embracing various genres and providing a platform for different musical expressions.

As the UK music calendar marks this event, fans can expect a mix of genres and styles, from the energetic performances of Chase & Status to the unique sounds of Fontaines D.C. and RAYE. The festival is known for its eclectic mix, making it a staple in the UK music scene.

Tickets for Reading and Leeds 2026 are currently on sale, drawing attention from music enthusiasts eager to experience the festival’s vibrant atmosphere. With a lineup that includes artists like Holly Humberstone and Violet Grohl, the event promises to be a highlight of the summer.

As excitement builds, the Leeds Festival 2026 is poised to deliver unforgettable performances and memorable moments, continuing its legacy as a premier destination for music lovers.

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As the excitement builds for the Eurovision Song Contest 2026, the UK has announced that Look Mum No Computer will represent the nation with the song ‘Eins, Zwei, Drei’. This announcement comes at a time when the UK has struggled to make a significant impact in the competition, having only reached the top 10 once in the last 16 years.

On March 6, 2026, Look Mum No Computer, led by Sam Battle, will take the stage. The artist, known for his unique approach to music, has gained minor fame for creating instruments from found objects, including organs made from Furbies and flamethrowers from Henry Hoovers.

‘Eins, Zwei, Drei’ features lyrics that reflect the frustrations of being trapped in a nine-to-five job, with lines such as ‘Eins, zwei, drei / Darlin’, I need something salty / Eins, zwei, drei / with a slice of pepperoni.’ The song has been described as lacking camp or glitz, focusing instead on a straightforward, catchy hook.

The track also includes British cultural references, such as dunking a digestive biscuit into baked beans, which may resonate with local audiences. The song’s structure features a nagging shouted hook and a lengthy coda with a glam rock glitter-beat, showcasing Battle’s eclectic style.

Sam Battle, now in his late thirties, has expressed some skepticism about the voting process at Eurovision, stating, ‘There’s a lot of stuff going on with the voting, a lot of favouritism and stuff.’ This sentiment reflects a common concern among artists participating in the competition.

As the date approaches, anticipation grows for how Look Mum No Computer’s performance will be received. The artist’s unconventional style may bring a fresh perspective to the Eurovision stage, especially if it includes his signature creations.

With the UK hoping to break its recent Eurovision drought, the outcome of this performance could be significant for both the artist and the nation. Details remain unconfirmed about the specifics of the staging and any potential props that might accompany the performance.

As the contest draws near, fans and critics alike will be watching closely to see if Look Mum No Computer can capture the attention of both the audience and the judges, potentially revitalizing the UK’s standing in the competition.

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