Culture & Society

Nominated in three previous years, the rambunctious standup – one half of The Delightful Sausage – wins the prize for his show Rewilding while Marty Gleeson is named best newcomer The annual Edinburgh comedy award has been won by the standup Chris Cantrill, two years after his comedy partner Amy Gledhill – in the raucous northern double act The Delightful Sausage – won the same prize. Cantrill, 42 and from Bradford, received the so-called “Oscar of live comedy” for a show, Rewilding, about his new life in rural Northumberland, where an act of vandalism shocks the local community – and a spoof whodunnit ensues. It builds on the foundations laid in 2024 by Easily Swayed, which documented his move to the countryside and secured what was then Cantrill’s third nomination (but first as a solo act) for the award...

Working in a high-end restaurant was stressful and scarring. It took an accidental encounter with the TV show to help me heal – and change my attitude towards work Eight years ago, I was working as a waitress in a fine dining restaurant in the Cotswolds. The expertly crafted atmosphere had dim mood lighting, ambient music and a farm-to-table menu. I hated it. The other waiters could charm guests into purchasing expensive bottles, but I just gaped gormlessly when I struggled to recall the wine pairings. My brown leather brogues gave me blisters as I’d hobble to the kitchen to admit I’d forgotten an order in the middle of a busy dinner service. The chefs would shout and shake the ticket in my face...

Their un-Googlable, very online name is the antithesis of this earthy duo’s sublime art-folk. Like their emotionally ambiguous music, the pair don’t give up their mysteries easily • The best music of autumn 2026: Johnny Marr, Phoebe Bridgers, Rachel Chinouriri and more • See all of our unmissable autumn arts recommendations here Victoria Rose arrives at Philadelphia’s 30th St Station and apologises for the sticky streaks covering her car’s interior. She’s a beekeeper, and it’s just propolis, a resinous sealant for gaps in the hive. Her bandmate, Stone Filipczak, is riding shotgun, and her protective gear occupies the rear passenger seat. We’re heading to one of their favourite spots, an Ethiopian restaurant that doubles as a venue. The dining room quickly gets boisterous – a challenge for our interview given that Filipczak and Rose are relatively soft speakers, and not wildly keen to divulge specifics about the music they make as @. Like Rose’s bees, they’re a secretive and self-sustaining pair. As you might guess, @ is pronounced “at”. It’s a tough Google. The name, Filipczak explains, came from “a vision of an @ sign on a kick drum head”. Not that they have any need for one: @’s art-folk is rooted in acoustic guitar, woodwinds and vocal harmonies that furrow and frolic. Their fantastic second album, Autosmile, is their first with the venerated indie label 4AD. (The name is a reference to a meme showing a dopey sunflower: “When you and gang faded and auto smile gets turn on …”)..

Hugo Weaving leads a delightful drama about the trials and tribulations of a bunch of friends of a certain age, and the bluegrass wunderkind returns with a remarkable new album..

Summerhall, Edinburgh Angele and Malcolm Galea’s two-hander cycles through grief and sorrow as a broken-hearted hero is trapped in purgatory A fairytale plunges the reader into a dilemma then resolves it. But what if the happy ending never arrives? Will the tale just circle around into a netherworld, never finding a conclusion? That is the prospect in this two-hander by Malta’s Angele and Malcolm Galea, a couple whose experience of pregnancy loss finds expression in a thwarted fairytale – the kind of tale, perhaps, they might have read to their daughter...

Reading Festival There’s not much time to dig into her deep catalogue of future-facing pop, but she satisfies the hardcore “Time itself is a circle,” as the rock’n’roll philosopher Nietzsche once said, accurately foreshadowing Charli xcx’s only UK festival appearance this summer. Like her performance on Glastonbury’s Other Stage last year – a pyrotechnic farewell to the puke-green reign of Brat – Charli’s Reading and Leeds appearance is a not-quite-headline slot that also follows a rowdy set from grime don Skepta. As before, her sunglasses remain glued on throughout. Yet in the past 14 months, everything else in Charli’s pop factory has undergone a hard reset. She’s released two albums – a grandiose, gothic soundtrack to Emerald Fennell’s adaptation of Wuthering Heights, and last month’s high-concept Music, Fashion, Film, an album of raw, glitching micro-rock, with guitars shredded into Tetris-like pieces, and fitted with lacerating lyrics about shopping, egotism and mortality. She’s also launched an acting career, thrown a big fat celebrity wedding and, somewhere along the way, found time to rehearse her biggest, most vertiginous show to date...