Reading and Leeds Festival unveils major overhaul, but will it draw in a new crowd?

The film Practical Magic 2 is having its UK premiere in London. It re-unites actors Sandra Bullock and Nicole Kidman in some of their best-known roles.

Pleasance Courtyard, Edinburgh Even one of her own bugs takes the mic as the wild card comedian delivers these disconnected bits There’s an excellent joke about art school in Marty Gleeson’s show, but even without it, we might guess that the Irish comic comes from an art school background. In Dog Ear, convention is for the birds, with one leftfield idea following the next in a disorienting array. A visit to the future accompanied by fluttering beats on the bodhrán? A standup set performed by one of the thousands of bugs on Gleeson’s body? A funeral for her 187-year-old alter ego, at which she must solemnly shake the hand of every single audience member? Throughout her fringe debut, Gleeson delights in ensuring we’ve never the slightest idea what’s about to happen next. That makes it an offbeat delight to encounter, and at its best, this Limerick exile’s material is captivatingly unexpected. Even before its droll punchline, her routine about asking Santa, increasingly ardently, for a “big juicy booty” is quite the gambit. Another, extending the closing credits of a news bulletin ad absurdum, is similarly strange – and, like much of her material, tests the limits of how long something uneasy can happen before a punchline arrives to redeem it...

McCarthy/Waarts/National Symphony Orchestra Ireland/McAdams (Nonesuch) Dennehy’s Limina, based on areas of the body, is firmly grounded in the harmonic series, and sparklingly executed here, while Stephen Waarts gives a bravura performance of the Violin Concerto These two concertos, beautifully paired, again find Donnacha Dennehy writing music that is both firmly grounded – both rhythmically and in his fascination with the harmonic series – and, to the ear at least, joyously unfettered. Limina was written in 2023 for the pianist Eliza McCarthy, who is a powerhouse soloist here with the National Symphony Orchestra Ireland and conductor Ryan McAdams. It’s a serious piece born of a slightly playful idea. Its three movements are each named for a part of the body, staking out one area before moving to the threshold, or limina, of the next. Head starts with synapses firing high up the keyboard in sparks and glitter; it travels downwards, frenetic energy dissipating, towards Chest, which evokes breathing – not with regular rhythms but with gentle palindromic phrases that swell in and out and sigh back towards the same bass pitch. Nervous System begins deep in the gut, with coarser sounds – low piano vamping, and slapped bowing from the strings – but eventually escapes its tether and disperses around the keyboard. The Violin Concerto, written in 2020, is just as propulsive, and the outer movements especially are a workout for Stephen Waarts, who gives a bravura performance. In the middle movement his violin soars, pushing off from the orchestral support to trace slow, weightless somersaults in the air. The finale has a thrilling sense of motion creating its own gravity: as with so much of Dennehy’s writing, it’s as if the music is held together by centrifugal force...