Swindon Town say they will take the strictest possible action against supporters found guilty of “unacceptable” behaviour during their 2-1 defeat at Walsall.
A supporter from the away end threw an object at Walsall goalkeeper Myles Roberts following Connor Barrett’s 91st-minute winner on Saturday.
Swindon manager Ian Holloway described the incident at Bescot Stadium as “disgusting” and urged the guilty party to “get out of the game”.
The Robins say they are aware of a “number of serious incidents” at the League Two match, including “the use of pyrotechnics, objects being thrown, abuse directed at stewards, staff, players and match officials, as well as damage caused to property within the stadium”.
“This behaviour has absolutely no place at our football club or in the wider game,” Swindon added.
“Let us be clear: any individuals found to have engaged in such actions will face the strictest possible sanctions, including banning orders and legal action where appropriate.”
Swindon said they will work with Walsall to conduct an investigation into the incidents.
Arsenal Under-21s coach Max Porter provided an assessment of his team’s display after the 2-0 defeat to National League South side Chelmsford City.
A goal in each half made the difference at the Melbourne Stadium, and after the match, Porter identified areas that required improvement before looking ahead to our final pre-season game against Monaco II.
On the match…
“Well, first thing, the slow starts. We’ve got to learn quickly, and we, as staff, have got to reflect on something that maybe we’re doing, the players are doing, but we keep giving away these cheap goals.
“I know we work in development, but the development is to learn to win, so that can’t happen because you’re always playing catch-up. I think we were finding the spaces between the lines, but I didn’t think we were progressing the ball well enough, so I felt putting Charles [Sagoe-Jr] in those spaces between helped us get through the pitch with his dribbling ability.
“There was also another change to the system, we swapped Demian [Agustien] and Harrison [Dudziak] so that they were on the opposite sides, so they would be coming in on their inverted foot, so it would open the play up.
“So there were two little changes there, it helped us, but to no avail in terms of the scoreline, but our performance was definitely better.”
On the difference between today and Enfield Town…
“First thing, I’m not sure it’s unlucky when you don’t make the right pass back to your keeper. That’s a real bad error; we’ve got to be better than that. We can’t be giving the goals away like that, so I think that’s us shooting ourselves in the foot.
“In terms of what we improved upon from the game against Enfield, definitely the direct play for the whole game, I think we dealt with it very well.
“Credit to the boys with that. I think in terms of whether we had more of an impetus in the second half, it looked like we had more threat, it looked like we created more chances. I still think we need to be taking more shots.
“If we don’t shoot, we’re not going to score. So there were a few moments where I felt that we could have got shots off sooner. So yes, I think there were some positives and developments, but still a lot of work to go.”
On the final pre-season match…
“I think we’re hoping that we might have a few of the boys back who’ve been fortunate enough to be with our first team. They’ve had a brilliant experience going to Asia.
“This game just came a bit too soon, so if they’re not involved with the first team, it would be brilliant to get them some more minutes in the build-up to the season. I think that would be good for the group. I think we need to keep working on our attacking play, particularly against the final third.
“Can we create some more chances, some better types of chances? I think Monaco will be a different test. We’ve had a lot of games against non-league opposition, and that brings certain things that we have to deal with, direct play and the physicality. I think Monaco will be more the type of game that suits us, a tactical, technical game.
“So yes, really looking forward to it. We had a tough game against them in the UEFA Youth League last year. We were fortunate to win that game in terms of we played well, but they were a very, very good team.
“We’re looking forward to it. Hopefully, that will put us in a good place for when we play Fulham the week after.”
Copyright 2025 The Arsenal Football Club Limited. Permission to use quotations from this article is granted subject to appropriate credit being given to www.arsenal.com as the source.
Back in June, Google introduced three new voices for the upcoming Gemini-Assistant revamp for the Nest Mini and Audio. Ahead of launch, Google has renamed most of them, but they otherwise appear to be the same.
These are the name changes to Gemini-Google Assistant voices if you’re in the Public Preview program:
Old
New
Description
Aloe
Bloom
Calm • Mid-range voice
Oxalis
Bright • Mid-range voice
Fern
Bright Warm • Higher voice
Verbena
Magnolia
Calm • Deeper voice
Ivy
Violet
British accent • Mid-range voice
Jade
Pothos
Engaging • Mid-range voice
Eucalyptus
Calathea
Australian Accent • Higher voice
Yarrow
Warm • Deeper voice
Croton
Smooth • Deeper voice
Pilea
Amaryllis
Bright • Higher voice
Six of the 10 voices have been renamed. They remain botanically themed, with “Violet” having a better connotation than (poison) “Ivy.”
New
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Similarly, people are probably more familiar with “Magnolia” than “Verbena. That said, I’d think “Eucalyptus” has higher awareness than “Calathea.”
There is one change to the description with “Fern” now offering a “Warm” voice instead of “Bright.” To my ear, all the voices sound the same, and you can listen to both sets.
Last week, Google teased “major improvements” for Google Assistant in light of reliability complaints. This is most likely in reference to Gemini replacing Google Assistant. Beyond the switch to an LLM approach, it seems increasingly likely that the Assistant branding will go away entirely. For a moment, it seemed that Google was keeping around that brand for Home devices, but that changed now that “Gemini” is coming to Google TV instead of a Google Assistant upgraded with the Gemini models.
These upgrades are said to be coming “in the fall” after public-facing testing began last year.
Old
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In the cold darkness deep beneath the waves of the Arctic Ocean, a hidden barrier appears to separate the haves from the have-nots.
There, in the midnight zone more than 1,000 meters (3,280 feet) below the surface, the gossamer jellyfish of the subspecies Botrynema brucei ellinorae drifting in the water column have two distinct shapes. Some have hoods topped by a distinctive knob-shaped structure; others are smooth and unknobbed.
A new survey of the distributions of these two morphotypes has revealed something very strange at a latitude of 47 degrees north.
“Both types occur in the Arctic and sub-Arctic regions,” explains marine biologist Javier Montenegro of the University of Western Australia, “but specimens without a knob have never been found south of the North Atlantic Drift region, which extends from the Grand Banks off Newfoundland eastwards to north-western Europe.”
Related: There’s an Invisible Line That Animals Don’t Cross. Here’s Why.
Jellyfish with a knob can be found distributed in deep oceans across the world. (Dhugal Lindsay)
At some places in the world, even in the absence of a hard physical barrier, there are lines that separate how animals are distributed. The Wallace Line in the Indonesian archipelago is one; so too are the Lydekker Line and the Weber Line separating the islands of southeast Asia from Australia and Papua New Guinea.
On either side of these lines, the types of animals found in comparable niches are quite distinct. Such lines are known as faunal boundaries, and they can be drawn by environmental differences between two regions, physical barriers that have since disappeared over eons as the world changed, ocean currents, and other factors.
Because they are not clearly demarcated, faunal barriers like this are hard to spot. This difficulty increases exponentially for the deep ocean, a part of the world that is extremely hostile to the human body. Between crushing pressures, freezing temperatures, and the absence of light, the only way we can explore down there is by remote-controlled robots.
Not a single knob-less jellyfish has been found lower than 47 degrees. (Montenegro et al., Deep-Sea Res. I: Oceanogr. Res. Pap., 2025)
Montenegro and his colleagues conducted their survey of jellyfish distribution by the collection of specimens, both from research vessels using nets, and remotely-operated underwater vehicles. They also studied historical observations and photographic records.
To their surprise, genetic analysis revealed that the jellyfish with a knob and the jellyfish without a knob belonged to the same genetic lineage. But, while the knobbed jellyfish can be found all over the world, jellyfish without a knob can only be found north of 47 degrees, suggesting a semi-permeable faunal boundary in the North Atlantic Drift region.
The species mostly lives in deep waters. (Dhugal Lindsay)
“The differences in shape, despite strong genetic similarities across specimens, above and below 47 degrees north hint at the existence of an unknown deep-sea bio-geographic barrier in the Atlantic Ocean,” Montenegro says.
“It could keep specimens without a knob confined to the north while allowing the free transit of specimens with a knob further south, with the knob possibly giving a selective advantage against predators outside the Arctic and sub-Arctic regions.”
Northern waters are dominated by knob-less jellyfish. (Dhugal Lindsay)
Further research is necessary to determine what creates this invisible barrier keeping the knob-less jellyfish confined to Arctic and sub-Arctic waters, although previous research describes the North Atlantic Drift region as a “transition ecotone with admixture of boreal and subtropical species.” This suggests a dividing line between environmental conditions.
The finding underscores just how little we know about the deep ocean, and suggests that other such barriers may be scattered throughout the globe. It also suggests that a comprehensive understanding of the life that teems the ocean yet eludes us.
“The presence of two specimens with distinctive shapes within a single genetic lineage highlights the need to study more about the biodiversity of gelatinous marine animals,” Montenegro says.
The research has been published in Deep Sea Research Part I: Oceanographic Research Papers.
Scientists have uncovered a breakthrough in our understanding of black holes by using a powerful mathematical tool known as the exact Wentzel-Kramers-Brillouin (WKB) method. The study, published in Physical Review Letters, reveals previously hidden patterns in the “ringing” of black holes—vibrations known as quasinormal modes—that could sharpen future gravitational wave observations and transform our knowledge of the universe.
Unlocking the Hidden Symphony of Black Holes
Black holes are often portrayed as silent cosmic voids, but this research shows they are far from mute. When disturbed—such as during a merger—black holes emit a distinctive “ringing” pattern, like a celestial bell struck by an unseen hammer. These quasinormal modes ripple through space-time, generating gravitational waves detectable from Earth.
For decades, the challenge has been decoding the faintest of these vibrations, especially those that fade quickly. Traditional methods often failed to capture their full complexity, leaving gaps in our understanding. By applying the exact WKB analysis, the Kyoto University research team mapped the intricate behavior of these waves, uncovering patterns that had been missed for decades.
The Mathematical Key: Exact WKB Analysis
At the heart of this discovery lies an advanced mathematical approach. The exact WKB method, long known in mathematics but rarely applied in astrophysics, allowed researchers to probe deep into the geometry of black holes.
This method extends the problem into the complex number domain, where previously unseen features—such as infinitely spiraling Stokes curves—emerge. These curves reveal points where the nature of a wave suddenly changes, shedding light on the hidden structure of black hole vibrations.
“We found spiraling patterns that had been overlooked before, and they turned out to be essential for understanding quasinormal modes,” said Taiga Miyachi, the study’s lead author.
Why This Discovery Matters for Gravitational Waves
The implications of this breakthrough are profound. Gravitational wave detectors such as LIGO, Virgo, and the upcoming Einstein Telescope depend on highly accurate theoretical models to interpret the signals they capture.
By revealing the full frequency structure of black hole vibrations—including the most rapidly weakening ones—this research lays the groundwork for more precise measurements of black hole mass, spin, and shape. It could even help researchers detect subtle deviations that point toward new physics, including possible evidence for quantum gravity effects.
The Next Frontier: Rotating Black Holes and Quantum Gravity
The Kyoto University team is not stopping here. Their next step will be to extend this analysis to rotating black holes, which are far more common in the universe. These objects add a new layer of complexity, with their spinning nature twisting space-time itself.
Furthermore, the researchers plan to explore how the exact WKB method might shed light on quantum gravity, one of the most elusive frontiers in modern physics. If successful, it could provide a bridge between Einstein’s theory of general relativity and the quantum realm.
By “listening” to their hidden vibrations with unprecedented precision, scientists are beginning to turn mathematical abstraction into a tool for cosmic discovery.
The Outlaw Music Festival began nine years back as a single event in Scranton, Pennsylvania, featuring Willie Nelson, Neil Young, Sheryl Crow, Chris Robinson, and Lee Ann Womack. It’s slowly morphed into a traveling fest that brings Nelson and a rotating cast of top-grade support acts to amphitheaters across America every summer, and they leveled up significantly last year by placing Bob Dylan in the penultimate slot every night of the run.
They repeated the successful Bob/Willie formula this summer for an extensive, 36-show trek, and sprinkled on acts like Wilco, Sheryl Crow, Billy Strings, Waxahatchee, Lucinda Williams, Nathaniel Rateliff & The Night Sweats, and Bruce Hornsby & The Night Sweats at various stops along the way. Some nights have slightly stronger bills than others, but it’s undoubtedly the most exciting/eclectic multi-artist show of the summer amphitheater season by a wide margin.
That was very clear August 1 when Lucinda Williams, and Wilco played truncated sets at Long Island’s Jones Beach Amphitheater before handing the evening over to Dylan and Nelson. These are four totally unique acts with fairly different approaches to live performances, and their own massive followings, but they all have a deep love and respect for American roots music that permeated through the entire night.
Due to tremendous good fortune, it was an unseasonably cool night at Jones Beach following two weeks of scorching, record-high temperatures, and a massive thunderstorm the prior evening that generated flood warnings all across the region. This placed everyone in a cheerful mood as Lucinda Williams took the stage in the very late afternoon. (Unfortunately, I arrived too late to see opening act Waylon Payne, but I caught him later when he played with Willie Nelson. Jones Beach is a beautiful amphitheater directly on the water, but the mass transit options from New York City are less than ideal.)
Williams no longer plays guitar due to a stroke she suffered in 2020, but she made the excellent decision to bring former Black Crowes guitarist Marc Ford into her band to compensate, and her singing voice retains much of its power. The set began with back-to-back songs from her 2023 LP Stories from a Rock n Roll Heart, “Let’s Get the Band Back Together” and “Stolen Moments,” before dipping back to Car Wheels on a Gravel Road for “Drunken Angel.”
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Midway through her set, Williams broke out Memphis Minnie’s “You Can’t Rule Me,” dedicating it to the “so-called king of the United States.” She didn’t speak Donald Trump’s name once, but it wasn’t necessary. Prior to that, she unveiled her excellent new ballad “Lowlife” (“Play Slim Harpo on the jukebox/Let me go with no shoes or socks”) that will hopefully appear on the next LP.
She closed out the set with the Beatles’ “While My Guitar Gently Weeps,” giving Ford and guitarist Doug Pettibone the chance to show off their chops, “Joy,” “Righteously,” and a fierce take on Neil Young’s “Rockin’ In The Free World” that brought the capacity crowd to their feet.
A decent percent of the Outlaw crowd is on the elderly side, and it’s unclear how many of them were familiar with Wilco when they took the stage, but it didn’t take long for Jeff Tweedy and company to win them over with a set packed with staples like “I Am Trying to Break Your Heart,” “Jesus, Etc.,” “Handshake Drugs” and “Walken.” None of these songs are “hits” in the traditional sense since Wilco never had anything resembling a Top 40 song, but they’ve been perfected across hundreds and hundreds of concerts by one of the greatest live bands of the past quarter century.
Nels Cline delivered an epic, mind-bending guitar solo on “Impossible Germany,” proving once again that he’s one of the single greatest guitarists of his generation. And Willie Nelson’s harmonica player Mickey Raphael came out to join them on “California Stars,” wearing a Flaco Jimenez t-shirt to honor the legendary Tejano accordionist, who died this week.
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They closed out with a cover of the Grateful Dead’s “U.S. Blues” that caused the place to absolutely erupt with joy. (It’s always a good time to cover the Dead, but this was also Jerry Garcia’s birthday, and the first day of the Dead’s 60th anniversary celebration at San Francisco’s Golden Gate Park.)
As the sun began to set, the crew removed Wilco’s gear and set the stage for Bob Dylan and his band. On most Outlaw dates last year, Dylan compromised on his usual stance and allowed venues to display a single, distant shot of his set on the screens, giving people in the upper seats at least a vague sense of what was happening on stage. This year, the screens remained completely dark, meaning the vast majority of the audience saw nothing more than a distant, blurry figure in a white hat perched behind a piano. And if you were in the nosebleeds, it’s unlikely the figure was anything more than a tiny dot.
If nearly any other artist pulled this move at a large amphitheater, a rebellion would likely brew. (Back in 2012, Peter Gabriel kept the screens off for his first few songs at Jones Beach, and fans howled in frustration until they were illuminated.) But Bob Dylan fans are a different breed, and they simply leaned forward and focused on the music.
Unlike his indoor theater shows of the past few years, which focus heavily on material from 2020’s Rough and Rowdy Ways, this was Dylan’s version of a crowd-pleasing set that drew from all eras of his career. That doesn’t mean he played any actual hits besides a radically re-worked “All Along The Watchtower” that stripped out every bit of Jimi Hendrix’s influence, but it did mean we heard “To Ramona,” “Desolation Row,” “Gotta Serve Somebody,” and “Love Sick” from his back catalog.
More importantly, he was once again in remarkably clear voice, even if he occasionally slurred lines in wordy tunes like “Desolation Row.” Many people were forever turned off to Dylan shows after witnessing “wolfman” era gigs about a decade back, but they need to give him another chance. Somehow or another, at age 84, his voice has been rejuvenated. It’s a minor miracle.
If you’re only seen Dylan at a theater these past few years, the atmosphere of the Outlaw Festival will be quite jarring. At the theaters, phones are taken away, the houses are completely dark and silent, and ushers roam the aisles with flashlights to pounce on anyone violating the rules. At the Outlaw shows, people are eating chicken fingers, spilling ketchup on themselves, chugging beers, loudly talking with their friends, scrolling through their phones, and taking selfies with Bob in the background. It’s the opposite vibe in nearly every imaginable way.
As always, practically every song in Dylan’s set was rearranged not just from its original version, but the live rendition we heard as recently as last summer. “‘Til I Fell In Love With You” is now practically a spoken-word track with sparse instrumentation, “Gotta Serve Somebody” has a rollicking groove, and “Blind Willie McTell” has rarely sounded so loose and playful.
There are some grumblings in the fan community that nearly 30% of the set is devoted to obscure covers like “Charlie Rich’s “I’ll Make It All Up To You,” Bobby “Blue” Bland’s “Share Your Love With Me,” and George “Wild Child” Butler’s “Axe and the Wind,” but Dylan delivers them with real passion and tenderness. And if they cause anyone to seek out the originals, he’s done them a favor.
The set wrapped with a revved-up “Highway 61 Revisited,” Roy Acuff’s World War II-era folk song “Searching For a Soldier’s Grave,” which Dylan regularly played live at the turn of the century and only recently resurrected, and “Don’t Think Twice, It’s All Right.” Casual fans perked up at the latter one, and some surely recognized it from A Complete Unknown. He delivered it like a torch ballad, and it was easily the most moving moment of the evening.
There’s virtually no figure on the planet with the song catalog and the gravitas to follow that besides Willie Nelson. He missed several shows last summer due to health matters, and he looks every day of his 92 years, but every ounce of his essential Willie-ness remains.
Smartly, he’s stripped his band way down to the essential players, centering the focus on his voice and guitar. His lean band includes Waylon Payne, who doubles many of the vocals, and takes over on lead for a handful of songs, including “Me and Bobby McGee,” “Help Me Make It Through The Night,” ‘ and “Workin Man Blues.” This gives Willie a chance to catch his breath, and prep for the next song.
Willie standards like “Angel Flying Too Close to the Ground” and “You Were Always On My Mind” sounded absolutely majestic, and were reminders that this man wrote a decent chunk of the Great American Songbook. It’s impossible to cram all into one set, so he combined “Funny How Time Slips Away,” “Crazy” and “Night Life” into a medley.
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Wilco came back out near the end of the set for “Will The Circle Be Unbroken?,” but there was no sign of Dylan. Oddly enough, despite their close friendship and long history of onstage collaborations, they haven’t appeared together at a single Outlaw Festival. It’s a tremendous missed opportunity because a duet on “Poncho and Lefty,” “You Win Again,” or “Heartland” would set any venue ablaze.
The tour continues Saturday night in Saratoga Springs, New York, and wraps up September 19 in East Troy, Wisconsin. Let’s hope they’re back next summer for another round. It’s only been two years of Bob and Willie leading this tour as a combo act, but it already feels like a summer tradition.
New leaks are building hype around the upcoming Vivo X300’s camera capabilities. The base model is rumored to feature a powerful 200MP main sensor that will get a big boost not only in resolution but also in size.
If you’re a fan of camera-focused phones, you’ve probably heard of the Vivo X family. Every year, the Chinese company delivers some of the best mobile photography devices you can buy. The Vivo X200 lineup is a clear example of this, and its next generation is already in development. Now, a fresh leak offers details about a potential camera upgrade for the vanilla Vivo X300 with a 200MP main sensor.
One of the areas where the current Vivo X200 base model could see improvement is its main camera sensor size. The latest data bits point directly to a welcome change here.
Vivo X300 tipped to get a nice main camera sensor boost
According to tipster @nakajimegame, the Vivo X300 will feature a new 200MP main under the “HPB” brand with a generous 1/1.4-inch size.
To give you some perspective, the current Vivo X200 uses a 50MP main camera sensor with a smaller 1/1.56-inch size. If the latest leak is true, we will see a good jump not just in megapixel count, but even in the physical size of the sensor.
A July leak from DCS already suggested the possibility of a 200MP main camera for the device. Now, the latest report offers more details. What’s new is that this new “HPB” sensor is thought to be a derivative of the Samsung HP9. This is interesting, since if you’re not aware, the HP9 is a sensor originally designed for telephoto cameras (like the one on the Vivo X200 Pro). So, its “HPB” version could be a model adapted to be a main lens.
The leak includes more details about the Vivo X300. According to the post, the handset will include a 50MP periscope telephoto sensor with a 1/1.95-inch size—possibly a Sony IMX882 or LYT600.
While official details about the Vivo X300 series launch are still under wraps, an October launch is a strong possibility. The base Vivo X300 might debut alongside a Pro variant. And for those seeking the absolute best, an even more premium “Vivo X300 Ultra” with potentially even more powerful cameras could arrive in 2026.
Jean Leon – Tech Writer – 22 articles published on Notebookcheck since 2025
Jean, from Venezuela, has been a mobile-tech enthusiast since forever. He likes to always be up-to-date on the latest news in the industry and write about it. He specializes in Android, smartphones, tablets, wearables, apps, and some gaming.
Photo: Blake Lively, Youtuber legal drama takes new turn
Blake Lively is reportedly under the fire once again for her legal drama.
Though the Gossip Girl alum, recently backed down from efforts to obtain private information from several journalists and online creators, one YouTuber is still fighting back, per Daily Mail.
Reportedly, Lauren Neidigh, known online as LethalLauren904, has now asked a judge for a protective order against Blake even though the actress formally withdrew her subpoena over the weekend.
According to a letter obtained by the publication, Lauren Neidigh claimed that she still feared the It Ends With Us producer could refile the subpoena in the future as part of her ongoing legal dispute with actor-director Justin Baldoni.
“[Lively’s] Subpoena targeted creators who have expressed unfavorable opinions about her online,” she wrote and added, “It served to intimidate, harass, chill constitutionally protected free speech, and threaten the safety and privacy of non-parties who are not involved in this litigation.”
The letter further argued that the subpoena was “not supported by any evidence.”
Her allegation continued to mentioner that Blake’s legal team has been “largely unresponsive” and unable to explain how her personal data could be relevant to the actress’ case.
Though Lively has rescinded subpoenas targeting Lauren Neidigh and two other independent creators, she still insisted that the threat hasn’t passed.
“There is still an ongoing threat of further abusive discovery requests,” she wrote, adding that such legal tactics could be used to “intimidate” her for exercising her First Amendment rights.
Singer Dua Lipa has said she is “feeling grateful” after being awarded citizenship of Kosovo by the country’s president.
The 29-year-old was born in London to Kosovan-Albanian parents, Anesa and Dukagjin Lipa, and moved to the country’s capital of Pristina aged 11, when her family returned after Kosovo gained its independence in 2008, before moving back to London aged 15.
In a post on Instagram, Lipa said: “Feeling so grateful to have been awarded my Kosovan citizenship by our president vjosaosmani.”
Kosovo’s president, Vjosa Osmani, posted a picture of herself presenting a certificate of citizenship to the singer with a caption saying: “Welcome home Dua.”
She added: “Special honour that today, by presidential decree, to grant citizenship of the Republic of Kosovo to Dua Lipa, one of the most important cultural and artistic personalities in the history of our country.
“Dua and Kosovo have always been inseparable. She has been and continues to be one of the most powerful voices on the world’s biggest stages, making history with her achievements and becoming an inspiration to millions of people around the globe.
“Our gratitude is endless for all that Dua has done and continues to do for Kosovo, for our youth, for our art and for the international image of our country. Dua, Kosovo is always proud of you.”
At her initiation ceremony, Lipa was welcomed by a group of children dressed in white singing her 2020 UK hit single Levitating.
It comes after the singer appeared at the country’s Sunny Hill festival, which she created in 2018, on Friday, where she performed the song Era, with her father, in Albanian.
She said of the performance in a post on X: “Sharing this night with you all, in the city that shaped me, surrounded by so much energy, joy, and pride … it’s hard to put into words what it means.
“Performing for you, and sharing the stage with my dad dukagjinlipa was a moment I’ll never forget.
“I feel so incredibly lucky and grateful, and we still have two more nights to celebrate together.”
In November 2022, the singer was granted Albanian citizenship by its president Bajram Begaj.
Since beginning her career in 2013, Lipa has had four UK No 1 singles and two UK No 1 albums. She is best known for songs such as Training Season, New Rules and One Kiss, which she recorded with DJ Calvin Harris.
