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Actor Kate Beckinsale is mourning the loss of her “dearest friend,” her mother British actor Judy Loe.

The “Underworld” star announced Thursday that her mother died Tuesday evening, writing in an emotional Instagram post that Loe died “in my arms after immeasurable suffering.”

Though Beckinsale in her post did not disclose a cause of death, she announced last year that her mother had been diagnosed with stage 4 cancer. Loe was 78.

The “Pearl Harbor” actor, 51, said she felt compelled to announce her mother’s death because she had to register the “Space Island One” actor’s death certificate. She shared a carousel of photos and videos of her mother from over the years, including snaps of Loe in her youth and with granddaughter Lily Mo Sheen, whom Beckinsale shares with ex Michael Sheen.

“I am paralysed,” Beckinsale wrote in her caption. “Jude was the compass of my life, the love of my life, my dearest friend.”

Loe, born March 6, 1947, in Manchester, enjoyed a versatile career that began in the 1970s and earned her dozens of credits, mostly on British TV series. She broke out on the ITV fantasy series “Ace of Wands” in 1970s and went on to appear in numerous other programs for the network including “The Chief,” “Crown Court,” “Let There Be Love” and “Goodnight and God Bless.”

Throughout her career — her most recent credit was a minor role in the TV miniseries “Fool Me Once” in 2024 — Loe took on a variety of roles ranging from a magician’s assistant in “Ace of Wands” to a much sought-after divorcée in “Singles” to a spacecraft commander in “Space Island One.”

Prior to taking on screen roles, Loe pursued a career on the stage, including repertory theater in northern England’s Crewe, where in 1968 she met fellow actor Richard Beckinsale, whom she would marry in 1977. Though they split after two years of marriage, they welcomed daughter Kate in 1973. Richard Beckinsale died at age 31 from a heart attack.

Loe remarried in 1997 to television director Roy Battersby, who died in January 2024 after a brief illness. He was 87.

In her announcement, Kate Beckinsale praised her mother for her legacy, “huge heart” and courage in the final year of her life.

Beckinsale continued: “She has been brave in so many ways, forgiving sometimes too much, believing in the ultimate good in people and the world is so dim without her that it is nearly impossible to bear.”

Loe is survived by six stepchildren in addition to her daughter, according to the Guardian.

In 2018, Paul Simon walked onto the Hollywood Bowl stage for what most in the crowd believed to be his last tour stop in Los Angeles, ever. Simon expected that too — he’d billed the event as his “Homeward Bound — Farewell Tour.” After 50 years of performing, a then-record three Grammy wins for album, a catalog of some of the most sophisticated and inquisitive American songwriting ever put to paper — he’d go out in full garlands.

So what a shock and delight when Simon, now 83, announced a few years later that he was not quite done yet. In 2023, he released a new album, “Seven Psalms,” an elliptical, gracious invocation for the arc of his life, drawing on biblical imagery and intertwined guitar fugues.

But even better, Simon would also return to the stage for a new tour, including a five-night run at Disney Concert Hall. For L.A. fans, these shows were one last chance to reconnect with Simon, who now had a profound late-career album to bookend his catalog. Those songs spanned from his years in the Greenwich Village folk scene of the ‘60s and ‘70s to a Sabrina Carpenter duet on “Saturday Night Live’s” 50th anniversary special.

Wednesday’s show — the last of the Disney hall stand — got to all of it, with Simon still in exquisite form in the last light of his performing career.

If Simon, seven years ago, had any doubts about his interest or ability to perform live at this exacting level, they must have disappeared the second he got a guitar in his hand at Disney Hall. The set opened with a full run of “Seven Psalms,” a short yet profound song cycle in which a dense, ornamental acoustic guitar figure recurs over several songs in an intimate valediction.

“Seven Pslams” belongs alongside David Bowie’s “Blackstar” or Johnny Cash’s “American Recordings” albums in the canon of wide-lens looks at the mystery of late life. Simon’s music was wise before its time even when he was a young man. But the perspective he has at this vantage, on the backside of 80 with a rejuvenated muse, was especially moving.

“I lived a life of pleasant sorrows, until the real deal came,” he sang on “Love Is Like a Braid.” “And in that time of prayer and waiting, where doubt and reason dwell / A jury sat, deliberating. All is lost or all is well.“

Simon’s band members for this stint — a dozen or so strong, spanning percussion, woodwinds and guitars — were mostly impressionists during this portion, adding distant bells and chamber flourishes to the patina of these songs.

While he kicked up his heels a bit on the bluesy “My Professional Opinion,” there was a trembling power in “Trail of Volcanoes” and, especially, “Your Forgiveness,” in which Simon took stock of his time on Earth and whatever lies next. “Two billion heart beats and out / Waving the flag in the last parade / I have my reasons to doubt,” he sang, followed by a gracious incantation: “Dip your hand in heaven’s waters, god’s imagination … All of life’s abundance in a drop of condensation.”

Paul Simon plays and sings Wednesday at Disney Concert Hall in Los Angeles.

(Gina Ferazzi / Los Angeles Times)

The hit-heavy back half of the show was a little rowdier. One fan even made a bit of history when he tossed a $20 bill onstage, which was enough for Simon to gamely oblige his request to play a verse of “Kodachrome.”

Simon and his band had looser reins here. “Graceland” and “Under African Skies” still radiated curiosity for the world’s musical bounty, with the fraught complexity of that album nonetheless paving a stone on the road for African music’s current global ascent. (He introduced his bassist, Bakithi Kumalo, as the last surviving member of the original “Graceland” band.)

An elegant “Slip Slidin’ Away” led up to a poignant “The Late Great Johnny Ace,” which took a tale of rock ‘n’ roll self-destruction and pinned it to a generational sense of cultural collapse. Simon didn’t reference any current events beyond the John F. Kennedy, Robert F. Kennedy and John Lennon assassinations, but you could feel a contemporary gravity in the song.

Veteran drummer Steve Gadd reprised his jazzy breaks for “50 Ways to Leave Your Lover,” and the fatherhood ballad “St. Judy’s Comet” was a sweet, deep-cut flourish. (That mood continued when Edie Brickell, Simon’s wife and vocalist, slipped in from the side stage to whistle the hook on “Me and Julio Down by the Schoolyard.) But the band hit full velocity on a pair of songs from “The Rhythm of the Saints.” “Spirit Voices” conjured an ayahuasca reverie with its thicket of guitars and hand percussion, while the sprawling and time-signature-bending “The Cool, Cool River” showed Simon the musician — not just the poet — still in absolute command.

Simon’s set never got to “Bridge Over Troubled Water” or “You Can Call Me Al,” but the final encore wrapped with just him and a guitar and the eternal hymn of “The Sound of Silence.” His guitar work retained all its original power in the opening instrumental runs, and Simon looked genuinely grateful that, perhaps even to his own surprise, the stage hadn’t lost its promise or potency for him just yet.

Who knows whether Wednesday was the last time Angelenos will get to see Simon perform live (this tour wraps next month in Seattle). If it was, then it was a beautiful benediction for one of America’s defining songwriters. But if it wasn’t, take any chance you get to see him again.

July 17 (UPI) — Tomorrowland music festival is still on after a fire destroyed the main stage, organizers announced on Thursday.

Tomorrowland said in an update on its website that the doors to its DreamVille campsite had opened to campers at 10 a.m. local in Belgium on Thursday ahead of the start of the music festival on Friday.

“This wasn’t just a stage. It was a living, breathing world. From the very first sketch on a blank page, to countless hours of conceptual design, artistic collaboration, engineering, crafting, and building, every single piece of Orbyz carried part of our soul,” Tomorrowland posted on its website.

The fire took place on Wednesday, no one was injured and experts are working on finding the cause. By Thursday morning, the fire had been extinguished and firefighters had left the site.

Organizers worked with the local government and safety experts throughout Wednesday night to figure out a solution for the festival.

“Cancelling the festival completely is the last thing we want to do,” Jurgen Callaerts, Mayor of Rumst said.

The campsite Dreamville has been declared safe by the local fire service as it opened for the event.

Attendees expressed disappointment in the stage not being included in this year’s festival.

“The main stage is what gives the festival its atmosphere and is what makes it so special,” said Jules Adam, a ticket holder.

“The main event is the main stage,” Stjepan Grgic said. “It’s a massive loss.”

Tomorrowland started in 2005 and it became the biggest electronic dance festival in the world.

The annual Tomorrowland festival is set to draw about 100,000 attendees, with many expected to camp on site.

A huge fire has engulfed the main stage of Belgium’s globally-renowned Tomorrowland electronic dance music festival, two days before the event was due to open to an expected audience of 100,000.

“Due to a serious incident and fire on the Tomorrowland Mainstage, our beloved Mainstage has been severely damaged,” festival organisers said in a statement on Wednesday.

“We can confirm that no one was injured during the incident,” it added.

Several hundred firefighters had fought to save the stage from the flames, and Antwerp prosecutors have opened an investigation, though they said the fire appeared accidental.

The annual Tomorrowland festival, held in the town of Boom, north of Brussels, is set to begin on Friday and approximately 100,000 participants are expected to attend, with many planning to camp on site for the duration of the event.

The 2025 edition is scheduled to run over the next two weekends.

Organisers said the festival’s campground will open as scheduled on Thursday, when attendees are expected to begin arriving, and emphasised that they are focused on finding solutions for the weekend events.

Several dozen DJs and electronic music stars, such as David Guetta, Lost Frequencies, Armin van Buuren and Charlotte de Witte, are to perform from Friday for the first weekend, with two-thirds of the events split between the now destroyed “Mainstage” and the “Freedom Stage”.

Founded 20 years ago by two Belgian brothers, Tomorrowland has become an internationally-renowned event. A winter festival is now held in the French ski resort of Alpe d’Huez and another in Brazil.

A young woman emerged from the dark into a green and bushy clearing. Under the faux moonlight, she wandered the stage, speaking to herself. “Where’s my camera? I can’t believe I lost it. All my memories were there,” she said with a pang of panic in her voice.

Moments later, a young man surfaced from the same spot. His eyes scanned the area as well, with a pained look on his face. “Have you seen my drums?” When he plays his drums his heart races, he explained; his people feel joy, and the living, the dead and even the stars dance. “It’s like all our memories are there too,” he said.

With this poignant intro, Bad Bunny kicked off the “locals only” opening night of his 30-show residency in San Juan — which, for the first three weekends, will only be accessible to those who can show proof of their residence in Puerto Rico.

Taking place each weekend at the José Miguel Agrelot Coliseum, affectionately referred to as El Choli by locals, the concert series revolves around his latest album, “Debí Tirar Más Fotos,” and was advertised with name “No me quiero ir de aquí,” which translates to “I don’t want to leave here.” It’s a refrain that’s been associated with the artist since he used it as a lyric in his 2022 ode to his homeland, “El Apagón,” and he considers it still resonant today.

A celebration of Puerto Rican identity, a fighting spirit shaped indelibly by its music and history, “Debí Tirar Más Fotos” also urges its listeners that time is not to be taken for granted, and the past, present and future are not just distinct phases but one whole, inextricably tied together.

(Lorenzo Lagares/For Los Angeles Times)

Fans that flocked to the opening weekend concerts were treated to Benito at the apex of his talents, not to mention his stamina. For three hours and over 35 songs, he danced, strutted and sang to the approving roar of over 15,000 in attendance. The show opened with rumbles of bomba y plena, and an unreleased track that got the crowd buzzing — followed by popular recent bangers like “Ketu Tecré,” “El Clúb” and “Pitorro de Coco.” He then regaled the crowd with a catwalk performance of “Kloufrens” and “Weltita,” which featured an appearance by Chuwi, the beloved tropical jazz quartet from Isabela.

The two stages were grandiose, both in size and production quality. The main stage was a reproduction of a hill, made to approximate the lush foliage found in Puerto Rico’s rainforest and central hillside towns. On one side, you could spy the two iconic Monobloc chairs from the album’s cover, and on the other, a flamboyán tree blossoming with red flowers. On the opposite end of the coliseum’s arena was a pristine pink vacation home, built to mirror the one from the short film that debuted along with the album.

That film introduced the characters of Old Man, played by acclaimed Puerto Rican filmmaker Jacobo Morales, and Concho, the sweet-natured Puerto Rican crested toad voiced by Kenneth Canales, which was brought to life by the stop-motion work of Quique Rivera. The two unlikely housemates returned in two new vignettes shown at the concert, in which they live in a cabin in the middle of snowy woods. Concho misses the Caribbean warmth, and feels very far away from home. A kind Morales reminds him: “We’re Puerto Rican no matter where we are, and even from afar we defend what’s ours.”

Remember, he says while looking straight at the camera, Puerto Rico is “the real calentón.” This cued a barrage of images that flashed across the screen, showing photos of historic protests and civil disobedience carried out over the decades by revolutionary Puerto Ricans.

(Lorenzo Lagares/For Los Angeles Times)

Benito reappeared under the flamboyán tree, where he was joined by guitarist Antonio Caraballo. Here, we got some of his lovelorn “Sad Bunny” persona as they reinterpreted acoustic versions of older hits like “Si Estuviésemos Juntos,” “Ni Bien Ni Mal” and “Amorfoda” before ending with “Turista.” All the while, Benito waxed philosophically to the audience, commiserating about matters of the heart.

From here, the action swiftly moved from the countryside to the pink house which suddenly filled with dancers in club wear — and Benito’s longtime tour DJ Orma. Those craving a rowdy perreo party got their wish, as his salsa-dembow hybrid track “Nuevayol” launched a 16-song stretch of frenzied, sweaty reggaeton and trap bops. Bouncing feverishly from “Titi Me Preguntó” and “La Jumpa” to “Yo Perreo Sola” and “Efecto,” Benito transformed the coliseum into a nightclub.

Among the guests that night were none other than basketball legend LeBron James, Golden State champion Draymond Green and UnitedMasters CEO (and one of the most influential men in Black culture and business) Steve Stoute.

James and Benito have a friendship going back several years, and it’s hard to blame the superstar for wanting to hang with his pal — even if said pal is an American — during a concert by an artist who is not really vibing with the United States right now. But then again, if the home we see on stage is supposed to represent an Airbnb owned by non-Puerto Ricans — which is what was narratively implied — Benito might as well flex and bring in some elite gringos. Chants of “MVP! MVP!” rang out at one point, provoking the four-time NBA champion to throw up a hand heart gesture to the crowd. It’s all love.

That being said: “LeBron James sat on an air conditioner and danced while Bad Bunny sang ‘Safaera’” is a ridiculous Mad Libs sentence that actually happened.

As he paced from side to side on the house’s rooftop, Benito would again touch on the topic of time. “You get so caught up in the euphoria of the moment that you forget to appreciate the present,” he said. He asked the crowd to put their phones away and focus on the next song, and on whoever is accompanying them, or even someone across the aisle who has caught their eye. “This is the moment to act,” he added, and ask them for a dance, just before the thrust of “Eoo,” made famous from his sensual Calvin Klein underwear ad, got the whole building quaking.

Puerto Rican plena ensemble Los Pleneros de la Cresta appeared to interpret “Café Con Ron,” as well as one of their own songs, “Ábreme Paso,” which gave way to a second video vignette. It showed Morales’ Old Man leaving the cabin and trudging through a snowstorm, until he ran into Benito’s musical director Julito Gastón — the young man from the opening skit — sitting behind his drum. As they lock eyes, Morales leaves him with a word of advice that’s not just about the music, but the core of his being: “Never stop playing your drums.”

(Lorenzo Lagares/For Los Angeles Times)

Bad Bunny resurfaced, looking a bit more subdued. He spoke softly, but sternly, about Puerto Rico and its struggle against gentrification and government neglect. “We have to protect this land,” he said. “We have to protect what’s ours if we want our children to make a life here.” He followed it up by crooning “Lo Que Le Pasó A Hawaii,” the solemn décima all about how the archipelago is being threatened existentially.

An animated crash course in salsa history, narrated by Néstor Galán, set the scene for Benito’s touring live band, Los Sobrinos to assemble. Dressed in a vintage ‘70s garb of a Fania bandleader, Benito led the group into the last and most rousing part of the concert: a salsa reimagining of “Callaíta,” which gave way to to “Baile Inolvidable” and “Dtmf.” The crowd leapt to their feet, twirling and stepping to the rhythms.

Before he launched into the opening freestyle of “La Mudanza” he paused to gather himself; he took off his sunglasses to reveal his eyes had welled up with tears and gratefulness. As the image of a giant Puerto Rican flag graced the ceiling, he motioned for everyone to sing and scream the final lyrics in unison: “Nobody’s taking me from here, I’m not moving anywhere, tell ‘em this is my home, where my grandfather was born, I’m from P f—in’ R!”

In the lead-up to last year’s gubernatorial elections, Bad Bunny spent hundreds of thousands of his own money buying ad space on billboards across Puerto Rico urging its citizens to not vote for the ruling party, accusing them of being the main culprits of the island’s woes. The ads consisted of a simple, white text on a black background. In the end, the same party that has led since 2017 won reelection; and since then, the current governor, Republican Party member Jenniffer González-Colón, has only continued to be mired in controversy.

When entering the concert area, the large screens over the main stage showed one message with white letters on a black background: “Yo Te Lo Dije,” or “I Told You So.” When the show was over and everyone began to trickle out, a new message appeared, recognizable to all: “No Me Quiero Ir De Aquí.”

With his residency, Bad Bunny issues a rallying cry for Puerto Ricans: Act now. Change the future, so that you don’t regret the past. And most importantly, never stop playing your drums.

Britain’s Simon Yates won stage 10 of the Tour de France on Bastille Day as Ben Healy became the first Irish rider to claim the yellow jersey for 38 years.

Yates, who triumphed in his second Grand Tour at the Giro d’Italia in June, timed his attack superbly on the final ascent of the 165.3km stage from Ennezat – Le Mont-Dore Puy de Sancy after being part of a long-range breakaway.

That group of 28 riders was whittled down significantly on a punishing day that included eight categorised climbs with the Visma-Lease a Bike rider pulling clear of Thymen Arensman, Healy, Ben O’Connor, Michael Storer and fellow Briton Joe Blackmore in the closing stages.

“It was a really hard start to be there with a lot of strong guys and that’s why I took that advantage just before the final climb because I was looking for a head start,” Yates said.

“It’s been a long time. I was not really expecting any opportunities here. We came here fully focused on Jonas and the GC.

“The stage played out in a way that I could be there and I took it with both hands. It’s not easy. I have been getting better every day since I have been here. I have been growing into the race.”

Ineos Grenadiers’ Dutch climber Arensman finished second, with Healy, who was born in the West Midlands, coming home in third and jumping to the top of the general classification, 29 seconds ahead of defending champion Tadej Pogacar.

Belgian Remco Evenepoel sits third, one minute further back, after losing six seconds in the closing kilometres when Pogacar accelerated and only Jonas Vingegaard was able to hold his wheel from a group containing several GC favourites.

The Dane is fourth in the overall standings, one minute and 46 seconds adrift of Healy, who will become the first Irishman to wear the maillot jaune since Stephen Roche won the race in 1987.

“It was insanely tough. It was a battle against myself and I had to dig in deep and my team-mates put in so much work for me that I really wanted to pay them back,” Healy said.

“How often do you get an opportunity to put yourself into yellow? I had to take that with two hands and go for it.”

There will be a rest day on Tuesday before racing resumes on Wednesday with a 156.8km route around Toulouse that is expected to end in a bunch sprint.

The first big day in the Pyrenees arrives on Thursday with a trip up to the ski resort at Hautacam.

Blackpink is back in the area.

The K-pop girl group, made up of Rosé, Lisa, Jennie and Jisoo, triumphantly kicked off the North American leg of the Deadline world tour Saturday night at SoFi Stadium in Inglewood. After taking a two-year break to focus on solo projects, the group reunited for its first U.S. concert since the Born Pink tour concluded in 2023.

Despite dropping only one group number since then — hardstyle, Diplo-produced “Jump,” released Friday — Blackpink sold out two nights at one of the Los Angeles area’s biggest venues.

“This is incredible. It is such an honor to perform at the SoFi Stadium for you guys,” Rosé said. “We are really really excited to be here.”

Sarah Hoang has been a Blackpink fan since 2019, following their Coachella debut that same year. To celebrate her first time seeing the girl group, the San Diego resident passed out commemorative tickets to other fans.

“I’ve been waiting for them for a long time,” Hoang said. “I was really excited to be finally seeing them in L.A., especially at the first tour of the U.S. leg.”

The stadium was awash in pink as fans went all-out for their idols. While many dressed according to the band’s namesake, others took inspiration from the girls’ solo projects. Concertgoer Evelyn Rios, who lives in Los Angeles, nailed Jennie’s look from the “Ruby” album cover in her all-black outfit and cherry-red wig. A fan since 2020, she attended the 2023 show at Dodger Stadium and noted she was most excited to hear “like Jennie.”

The show consisted of five acts and an encore, alternating between group and solo sections. Blackpink started off strong, firing through “Kill This Love,” “Pink Venom” and “How You Like That.”

The Saturday night set list was identical to the one in Goyang, South Korea, last weekend, save for Lisa’s solo section. While the maknae — or youngest member of the group — performed “New Woman” and “Rockstar” for the tour’s opening dates, she opted for the edgier “Thunder” and “Fxck Up the World” Saturday night.

Lisa’s two-piece Louis Vuitton set evoked Wonder Woman as she conquered the stage, lightning crackling behind her. Channeling the same spellbinding energy from her Coachella set earlier this year, where she also performed tracks from “Alter Ego,” Lisa proved why she’s among K-pop’s most magnetic performers.

All four solo projects are sonically distinct, and seeing them back-to-back highlighted just how artistically diverse the Blackpink members are. Jennie, who also performed solo at Coachella this year, leaned into her hip-hop influences as she delivered a mashup of “Mantra,” “with the IE (way up)” and “like Jennie.” Meanwhile, Jisoo pleased with the effervescent, electronic pop of “earthquake” and “Your Love.”

Rosé prompted laughs from the audience as footage of her filming a TikTok and eating French fries backstage played leading up to her solo section. When she finally appeared in front of the audience, she took a more intimate approach, sitting at the edge of the stage with guitarist Johnny “Natural” Najera.

Starting with heartbreak anthems “3am” and “toxic till the end,” Rosé concluded with the upbeat, global chart-topping single “Apt.,” during which she brought a fan on stage. Released with Bruno Mars in October, the song still sits comfortably on the Billboard Hot 100.

Blackpink debuted “Jump” before its official release last weekend in South Korea, so Los Angeles fans were prepared for the long-awaited comeback single. They jumped and danced all the way through the addictive track when Blackpink performed it not once, but twice.

“I must say the song is really addictive the more and more I hear it,” Rosé said after the first run. “I personally think it’s the most exciting one to perform during our set.

With a mix of old and new hits, Saturday night brought together both longtime fans and K-pop newcomers.

Sydney Grube and Thet Aung drove up together from San Diego just for the concert. While Aung has been a fan since the group began, Grube started listening after seeing Lisa in HBO’s “White Lotus” in February.

“I started listening to all the solo acts, and then started listening actually to the Blackpink music,” Grube said, adding that she was most excited to see the individual sections.

The concert also united fans of all ages, with plenty of families arriving in coordinating outfits. At one point, Blackpink even shouted out all the “baby blinks” in the audience — many of whom were not even born when the group debuted in 2016.

“I did want them to dance more, but they did really good,” said 9-year-old Tara Castro, who was wearing a Blackpink hat and glasses. “They’re my favorite K-pop.”

With tour dates charted through January, fans are expecting new music — perhaps even a full album — sometime soon. Hopefully this isn’t the last we see of Blackpink in our area.

The statistics are remarkable, especially when you consider his age. And they keep improving.

Since making his debut, he has won two La Liga titles, although he featured just once during Barcelona’s 2022–23 title-winning campaign. Since then, he has missed only four league games across the past two seasons. He has also lifted the Copa del Rey and Spanish Super Cup. On the international stage, he has already won the European Championship with Spain.

He wants everything: to lead, to score, to win. But there’s a calmness to his ambition. He doesn’t just dream of being better, he works at it.

Crucially, he knows he’s not there yet. That balance between confidence and humility is what allows him to play with such freedom, as if still in the schoolyard.

It all begins at home. His parents, often discussed publicly but rarely understood, play a crucial role in keeping his feet on the ground. His father is firm, tells it as it is, and is enjoying his son’s success very publicly – perhaps too exposed at the public judgement.

His mother and grandmother offer a different kind of strength – consistent, loving, and deeply rooted in values. They are the quiet force that underpins everything.

That’s how he appears not a teenager overwhelmed, but a boy enjoying the game. It’s not down to ignorance of pressure. It’s a mindset, one that believes the best is still to come, and if it doesn’t arrive, he’ll keep chasing it.

Before the Champions League final he said: “At my age, few have played as many games for a club like Barca, and that’s what I value most. Playing at this level and for a club like Barca isn’t something that anyone can do.”

When asked about the pressure or fear of failure involved with playing at the top level, he said: “I left that fear behind on the pitch in Mataro a while ago.”

He was referring to his old pitch in the district of Rocafonda, where he played as a kid with others three, four and more years older.

His celebration is a tribute to where he comes from – a densely populated, working-class neighbourhood in Mataro, known for its multicultural community, social challenges, and strong sense of local identity. The three last numbers of the postcode is the shape of his fingers when he scores, 304.

The announcement last month that Occidental Studios would be put up for sale marked a historic turning point in a studio once used by Mary Pickford and Douglas Fairbanks to make silent films.

It also underscored how dramatically the market has shifted for the owners of soundstages across Los Angeles that have been buffeted by a confluence of forces — the pandemic, strikes in 2023 and the continued flight of production to other states and countries.

As film activity has fallen to historic levels in the L.A. region — film shoot days dropped 22% in the first quarter of 2025 — the places that host film and TV crews, along with prop houses and other businesses that service the industry, have been especially hard hit.

Between 2016 and 2022, Los Angeles’ soundstages were nearly filled to capacity, boasting average occupancy rates of 90%, according to data from the nonprofit organization FilmLA, which tracks on-location shoot days in the Greater L.A. area.

That rate plummeted to 69% in 2023, as dual writers’ and actors’ strikes brought the industry to a halt.

Once the strikes were over, production never came back to what it was. In fact, last year the average occupancy rate dropped even further to 63%, according to a FilmLA report released in April.

So far this year, there is “no reason to think the occupancy numbers look better,” said Philip Sokoloski, spokesperson for FilmLA.

“It’s a trailing indicator of the loss of production,” he said. “The suddenness of the crash is what caught everybody by surprise.”

Studio owners, who have watched their soundstages go from overbooked to frequently empty, are celebrating the new state tax credits meant to boost their industry and create action on their lots.

The California Legislature’s decision to more than double the amount allocated each year to the state’s film and television tax credit program to $750 million could be a tipping point toward better times, studio owners said, but the climb out of the doldrums is still steep.

“This is definitely a defining moment and to see whether or not L.A. is going to get itself back up to the occupancy levels that it had prior to COVID,” said Shep Wainwright, managing partner of East End Studios. “Everyone’s pretty bullish about it, but it’s obviously been such a slog for the past few years.”

Sean Griffin of Sunset Studios called the tax credit boost signed into law last week “a massive stride in the right direction” while Zach Sokoloff of independent studio operator Hackman Capital Partners called the decision “an enormous win for the state.”

Sokoloff hopes to see its Southern California facilities, which include Radford Studio Center and Culver Studios, perk up the way their New York properties did when the state increased its film and TV subsidy to $800 million in May.

“We had stages that had been sitting empty, and almost 24 hours after the passage of the tax credit bill in New, York, our phones were ringing,” he said. “We had renewed interest in soundstage occupancy there.”

Community member William Meyerchak, left, Los Angeles City Councilmember Katy Yaroslavsky, center, and Zach Sokoloff, senior vice president of Hackman Capital Partners, right, celebrate after the passing of the $1-billion TVC project, which will expand and redevelop the old CBS Television City site at Beverly Boulevard and Fairfax Avenue, on Jan. 7, 2025.

(Christina House / Los Angeles Times)

Los Angeles Center Studios, where such shows as “Mad Men” and “Westworld” filmed, also has felt the effects of the production slump.

The 26-year-old facility in downtown L.A. has six 18,000-foot soundstages and three smaller stages, along with a number of practical locations on the lot for shooting. Before the pandemic, its stages were 100% full for more than 10 years, said Sam Nicassio, president of Los Angeles Center Studios.

He declined to state the studio’s current occupancy rate, though he said it was above the average for about 300 soundstages throughout the area, which his company tracked at 58%.

“It’s been a struggle,” he said. “The slowdown in overall production activity, coupled with coming out of the strikes and all of us expecting to have a jump-start again and we didn’t, was very difficult. There’s a lot of soundstages for not a lot of users right now.”

Not long ago, private equity firms saw L.A. studio stages as good business opportunities.

A billboard for a Netflix streaming show “The Diplomat,” on a building across the street from where WGA members walk a picket line around Bronson Sunset Studios, in May 2023.

(Brian van der Brug / Los Angeles Times)

WGA members walk a picket line around Bronson Sunset Studios lot, where Netflix leases space for production and offices, in May 2023.

(Brian van der Brug / Los Angeles Times)

A number of firms participated heavily in the construction of new facilities, which seemed like smart bets due to advancements in production technology, the desire of studios and streamers to cut down on unpredictable risk from on-location shoots and — especially after the pandemic — health and safety systems like air filtration and more space to prevent workers from getting sick.

“Stages are critical to being able to do, especially TV, on time and on budget,” said George Huang, a professor of screenwriting at the UCLA School of Theater, Film and Television. “They are the backbone of making movies in Hollywood.”

But after the pandemic, strikes and a cutback in spending at the studios, production slowed. Then in January, the Southern California wildfires hit, further affecting production and causing many in the industry to lose their homes — and reconsider whether they wanted to stay in the Golden State.

Working with influencers

As Hollywood production slowed, soundstage operators looked for new ways to make up revenue, including shoots for the fashion industry, music videos, DJ rehearsals, video game production and even private events like birthdays or weddings.

Hackman Capital Partners, which owns and operates Television City in Los Angeles, recently announced a partnership with Interwoven Studios to open a boutique production facility catering to social media influencers, online media brands and other creators who work in nontraditional formats such as YouTube.

Among the well-known creators who have worked lately at Television City — home to such classic shows as “All in the Family” and most recently “American Idol” — are Logan Paul and Jake Shane, actress-singer Keke Palmer, livestreamers FaZe Clan and hip-hop artist Big Sean.

“As the segment of the content-creation universe grows on the smaller end of production, we’re going to be a partner to them,” Sokoloff said. “Necessity is the mother of invention.”

Sunset Studios, which operates 59 stages in the Los Angeles area, has long made a point of working with short-form creators through its smaller Quixote division, said Griffin, who is head of studio sales. “We’ve always been involved with influencers, music videos and commercials.”

Such tenants working on smaller stages sometimes move up to TV and movie-sized stages when they land a big television commercial or music video, such as Selena Gomez’s “Younger and Hotter Than Me” music video recently shot at Sunset Las Palmas Studios.

Paul McCartney leased a studio at Sunset Glenoaks Studios to rehearse for his 2024 tour and and made a music video there.

In general, though, stages are still underused, he said.

“Once the strikes ended, we got a about a good healthy quarter” of production, he said. Then business “really quieted down, and we haven’t seen the show counts rebound very much.”

The vacancies have created a tenant-friendly market as studio owners compete for their business on rental prices, Griffin said.

“This is a very tough market,” he said. “Everyone is competing very, very hard.”

One reason for optimism about the new tax credits is that they apply to 30-minute shows for the first time, he said.

“L.A. is a television town,” Griffin added. “Opening up the tax credit to 30-minute comedies is going to be really helpful.”

And there are signs of life for longer scripted shows that take multiple stages and shoot for longer than other productions, Griffin said.

Developer David Simon is betting heavily on a turnaround. He is building a new movie studio from the ground up in Hollywood. His $450-million Echelon Studios complex is set to open late next year on Santa Monica Boulevard.

“We think content creation is here to stay in various forms,” he said, and that big soundstages will continue to be used even as the technology to make content changes.

Simon said he is close to signing leases with fashion brands that are creating content with celebrities and collaborating with influencers.

“We’re not nearly where we were prepandemic,” he acknowledged, but “California is the entertainment capital of the world, and the producers and directors and actors that want to stay in state will help bring back and retain our fair share of production.”

For now , at least, soundstage operators are still “treading water,” said Peter Marshall, managing principal at Epic Insurance Brokers & Consultants, who works in media insurance and counts some L.A.-based soundstages as clients.

“Most operators are pretty concerned,” he said.

Yet, the fact that there are still new soundstages opening and others are in development suggests a “high level of confidence” that production will eventually return to L.A., Sokoloski of FilmLA said.

“I am optimistic that we will keep more production here than we have in the last few years,” Nicassio said. The new tax credit program “puts us on a competitive level now with other states and countries.”

Others in the industry say that more is needed and have advocated for a federal tax credit that would help make California a morecompetitive location. Gov. Gavin Newsom has pushed for the idea, urging President Trump to work with him on the issue.

“When you have a governor and big private equity firms both focusing on promoting one thing, that might, who knows, get the federal government involved,” Marshall said. “That would be the game changer.”

The Essence Festival has taken responsibility for a Lauryn Hill performance that saw the hip-hop legend take the stage at 2:30 in the morning.

“Let’s be very clear — WE don’t play about Ms. Lauryn Hill. Not for clicks. Not for headlines,” organizers wrote Sunday on Instagram. “She arrived on schedule, stepped on that stage, and delivered the kind of performance only a legend can.”

The 31st annual New Orleans-based event, which ran Friday to Sunday, was peppered with issues from the beginning. According to the news site NOLA, Hill was quietly added to the already inflated lineup just two days before opening night.

“Does Lauryn know about this?” one fan quipped in comments on an Instagram post announcing the addition. Others riffed on her well-known history of tardiness.

The festival was reportedly already running behind when contemporary R&B trio Psyrin opened the first day. At the halfway point, GloRilla finished 45 minutes after the next act was supposed to start, NOLA said. So it was little surprise that headliner Hill didn’t get onstage until 2:30 a.m. Saturday. She performed to a nearly empty Caesars Superdome — hundreds of people were left instead of tens of thousands — closing with “Fu-Gee-La” more than an hour later.

Though Hill is notorious for starting her shows late, even telling a 2023 audience “Y’all lucky I make it,” Essence Festival organizers quickly took the blame for this one.

“Family is family and around here we protect our own no matter what the PEOPLE have to say,” the organizers said.

“The delay? Not hers. We will take that. The moment? One for the books. The legacy? Still unmatched. Put some respect on her name. Keep the takes, but keep her out of them. All love and deep profound admiration for Ms. Lauryn Hill,” they added.

Comments celebrated Essence’s “accountability.” The social media post even received love from Saturday headliner and legend Erykah Badu, who contributed some applause emojis.

However, not everyone was over the moon. In an open letter to the Essence Festival on Tuesday, Grammy-winning artist Stephanie Mills voiced her grievances about the event’s “overall level of professionalism.”

“While I remain grateful for the opportunity to have participated, my overall experience was unfortunately marred by significant production issues that negatively impacted both my performance and the artist experience as a whole,” wrote Mills, who performed Sunday.

“The schedule and time management were severely lacking, creating a chaotic and stressful environment backstage … the technical difficulties, specifically concerning the sound system, proved deeply problematic,” she continued.

She closed out the letter by calling for a “vastly improved experience” for artists and fans of the festival in future installments.

The 17th BRICS summit is being held in Brazil, again aiming to balance Western economic power and political dominance.

But as the meetings take place, eyes are on the US and President Donald Trump’s trade tariffs, perhaps showing America still holds the cards.

While the host nation Brazil condemns Israel’s aggression and NATO’s increased defence spending, other countries are not so outspoken.

And two important faces are not attending – Chinese President Xi Jinping and Russian leader Vladimir Putin.

So does BRICS still have a cohesive purpose?

Has the grouping made tangible achievements over the years since it launched in 2009?

And what can it realistically hope to do, in today’s world?

Presenter:

James Bays

Guests:

Gustavo Ribeiro – Founder and editor-in-chief of The Brazilian Report

Sergey Markov –  Director at the Institute of Political Studies in Moscow and former public spokesman for Russian President Vladimir Putin

Jayant Menon – Former lead economist at Asian Development Bank and visiting senior fellow at ISEAS-Yusof Ishak Institute in Singapore

For “Grease” fans in Los Angeles, recent summer nights had a surprise in store. We’ll tell you more, tell you more.

John Travolta, who brought life to bad boy heartthrob Danny Zuko in the 1978 classic, crashed the Hollywood Bowl’s sing-along event Friday. He surprised not just the audience, but also fellow “Grease” alumni as he sauntered on stage in his character’s signature pompadour and leather jacket.

“No one knew, not even the cast,” Travolta, 71, recalled of the moment in an Instagram post shared Saturday.

The “Pulp Fiction” and “Hairspray” star on Instagram shared a closer look at his Danny Zuko-inspired styling and posted a video of him reuniting with co-stars Didi Conn, Barry Pearl, Michael Tucci, Kelly Ward and “Grease” filmmaker Randal Kleiser. Video from the sing-along shows audiences cheering and celebrating Travolta with a standing ovation. His surprise appearance came before the beginning of the sing-along, according to Entertainment Weekly.

“L.A.,” he says to fans before referencing a memorable line from the movie. “I thought you were going back to Australia!”

In that scene from “Grease,” Danny excitedly greets his summer sweetheart Sandy, before quickly playing it too cool and aloof, saving face for his T-Birds greaser squad. Olivia Newton-John indelibly played the role of Sandy. She died on Aug. 8, 2022, at age 73.

During Friday’s event, Travolta and his co-stars led fans in singing “A-womp-bop-a-looma-a-womp-bam-boom,” a line from the “Grease” finale number “We Go Together,” according to video from EW. He and his cast then left the stage and the sing-along began.

“Thank you for a great evening,” Travolta added in his Instagram post.

PILTON, England — Irish-language rap group Kneecap gave an impassioned performance for tens of thousands of fans on Saturday at the Glastonbury Festival despite criticism by British politicians and a terrorism charge against one of the trio.

Liam Og O hAnnaidh, who performs under the stage name Mo Chara, has been charged under the Terrorism Act with supporting a proscribed organization for allegedly waving a Hezbollah flag at a concert in London in November. The rapper, who was charged under the anglicized version of his name, Liam O’Hanna, is on unconditional bail before a further court hearing in August.

“Glastonbury, I’m a free man!” O hAnnaidh shouted as Kneecap took the stage at Glastonbury’s West Holts field, which holds about 30,000 people. Dozens of Palestinian flags flew in the capacity crowd as the show opened with an audio montage of news clips referring to the band’s critics and legal woes.

Between high-energy numbers that had fans forming a large mosh pit, the band members led the audience in chants of “Free Palestine” and “Free Mo Chara.” They also aimed an expletive-laden chant at U.K. Prime Minister Keir Starmer, who has said he didn’t think it was “appropriate” for Kneecap to play Glastonbury.

The trio thanked festival organizers Michael and Emily Eavis for resisting pressure to cancel Kneecap’s gig and gave a shout-out to Palestine Action, a protest group that the British government plans to ban under terrorism laws after its members vandalized planes on a Royal Air Force base.

The Belfast trio is known for anarchic energy, satirical lyrics and use of symbolism associated with the Irish republican movement, which seeks to unite Northern Ireland, which is part of the U.K., with the Republic of Ireland.

More than 3,600 people were killed during three decades of violence in Northern Ireland involving Irish republican militants, pro-British Loyalist militias and the U.K. security forces. Kneecap takes its name from a brutal punishment — shooting in the leg — that was dealt out by paramilitary groups to informers and drug dealers.

The group has faced criticism for lyrics laden with expletives and drug references, and for political statements, especially since videos emerged allegedly showing the band shouting, “up Hamas, up Hezbollah,” and calling on people to kill lawmakers.

Members of the group say they don’t support Hezbollah or Hamas, nor condone violence, and O hAnnaidh says he picked up a flag that was thrown onto the stage without knowing what it represented. Kneecap has accused critics of trying to silence the band because of its support for the Palestinian cause throughout the war in the Gaza Strip.

A performance at the Coachella Valley Music and Arts Festival in April — where the band accused Israel, with U.S. support, of committing genocide against the Palestinians — sparked calls for the group members’ U.S. visas to be revoked.

Several Kneecap gigs have since been canceled as a result of the controversy.

The BBC, which airs many hours of Glastonbury performances, didn’t show Kneecap’s set live, but said it would “look to make an on-demand version of Kneecap’s performance available on our digital platforms” afterward.

About 200,000 ticket holders have gathered at Worthy Farm in southwest England for Britain’s most prestigious summer music festival, which features almost 4,000 performers on 120 stages. Headline acts performing over three days ending Sunday include Neil Young, Charli XCX, Rod Stewart, Busta Rhymes, Olivia Rodrigo and Doechii.

Glastonbury highlights Friday included a performance from U.K. rockers the 1975, an unannounced set by New Zealand singer Lorde, a raucous reception for Alanis Morissette and an emotional return for Scottish singer Lewis Capaldi, two years after he took a break from touring to adjust to the effect of the neurological condition Tourette syndrome.

Dixon writes for the Associated Press.

The once-clashing R&B songstresses Brandy and Monica are back — together.

The titans announced their first-ever co-headlining tour, “The Boy Is Mine,” on Tuesday, paying homage to their 1998 hit of the same name. Kelly Rowland, Muni Long and recent “American Idol” winner Jamal Roberts are scheduled to appear as special guests along the road.

“This really is a full-circle moment,” Brandy said in a statement to Variety. “Monica and I coming together again isn’t just about the music — it’s about honoring where we came from and how far we’ve both come. ‘The Boy Is Mine’ was a defining chapter in R&B, and to share the stage all these years later is bigger than a reunion — it’s a celebration of growth, sisterhood, and the love our fans have given us from day one.”

She added that she recognized the love “The Boy Is Mine” still received, saying that the song “means everything to me.”

Upon its release, the song spent 13 weeks at No. 1. That was 27 years ago, and though the pair have been on “different journeys” since, they’ve come back together to give “the people what they’ve been asking for.”

“God’s timing perfectly aligned us,” Brandy said.

Presale for the tour begins on June 26, with general tickets going on sale on June 27. The run currently includes one Los Angeles-area show on Nov. 9 at the Kia Forum.

Brandy and Monica had a widely publicized fallout in 1998. Monica is said to have punched Brandy in the face just before they took the stage at that year’s MTV Video Music Awards to perform their hit single.

The duo was seen as a monumental combination of ‘90s talent, with both Brandy and Monica being lauded for their debut records. Brandy had already achieved RIAA platinum status with her eponymous album released in 1994 when she was just 15. “The Boy Is Mine” was an instant hit when it was released four years later, but the VMAs incident seemed to spawn acrimony.

Though both would remain in the music industry, Brandy would also pursue an acting career. The “Vocal Bible” took off following her role as the first African American actor to play Cinderella in 1997. More recently, she starred as a rapper in the ABC drama series “Queens” in 2021.

Monica’s 1995 debut, “Miss Thang,” went platinum when she was 14, but the singer largely remained out of the spotlight following the release of “Code Red” in 2015. She teased a pivot into the country music genre in 2022 with “Open Roads,” which she says was produced entirely by 10-time Grammy winner Brandi Carlile. Though she confirmed its completion in 2023, it has yet to be released.

After the kerfuffle in 1998, it wouldn’t be until 2012 that the two collaborated again on “It All Belongs to Me” and 11 years more before they worked on a remix of “The Boy Is Mine” for Ariana Grande. In 2021, Brandy and Monica appeared on “Verzuz,” a popular webcast series made by Swizz Beatz and Timbaland where two artists pit their best hits against each other.

The affair went down smoothly until about 30 minutes in, when Monica spoke of how she had come a long way from “kicking in doors” and “smacking chicks,” a (seemingly autobiographical) line from her hit song “So Gone.”

“You sure was,” Brandy replied. “I was one of the ones.”

But Monica refuted the quip, claiming, “People think I’m abusive. That’s not what happened.”

After a little back and forth, Brandy conceded, “I’m sorry, I shouldn’t have said that … I didn’t mean no shade by that.”

“It was a misunderstanding,” Monica replied before moving on, as both singers seemed to have done with the announcement of the upcoming tour.

When Wu-Tang Clan and Run the Jewels took over the Crypto.com Arena in downtown L.A. on Sunday night, it wasn’t just a concert — it was a cultural earthquake. Crammed full of rap royalty, fans were packed together tighter than a “36” Chain” in a charged celebration of hip-hop’s powerful lasting impact.

The stop was part of the group’s Wu-Tang Forever: The Final Chamber farewell tour that began June 6 in Baltimore and concludes July 18 in Philadelphia, comprising 27 shows.

The tour features Wu-Tang’s surviving members — RZA, GZA, Raekwon, Ghostface Killah, Method Man, Inspectah Deck, U-God, Masta Killa and Cappadonna — along with Ol’ Dirty Bastard’s son, Young Dirty Bastard, and DJ Mathematics.

The night began with an fierce performance from Run the Jewels, who set the tone with their explosive energy and charisma. Killer Mike and El-P, self-described as the new PB&J, commanded the stage effortlessly as they tore through their set list, kicking off with “Legend Has It” and moving into iconic hits like “Gold,” “Lie, Cheat, Steal,” “Ooh La La” and “Close Your Eyes.” The crowd was electric, rapping every word in unison while raising hand pistols and fists in solidarity. The duo’s sharp-witted lyrics, relentless rhythm and uncontainable passion ensured that their performance would be etched in memory as one of the highlights of the evening.

RZA of Wu-Tang Clan performs Sunday at Crypto.com Arena.

(Brian Feinzimer / For The Times)

By 9 p.m., it was officially time for Wu-Tang Clan to “Bring Da Ruckus,” and it did so with the fiery conviction of a team that defined an era in hip-hop. Arguably one of the most influential groups in music history, Wu delivered a performance that was both nostalgic and invigorating. Each member’s unique style and lyrical prowess shone brightly as classics like “C.R.E.A.M.,” “Protect Ya Neck,” “Method Man,” “Can It Be All So Simple” and Triumph” reverberated through the arena, igniting waves of energy throughout the audience. The powerful bass lines and raw, unfiltered sound reminded everyone why Wu-Tang Clan remains one of the most significant outfits in hip-hop.

Inspectah Deck and U-God of Wu-Tang Clan perform Sunday at Crypto.com Arena.

(Brian Feinzimer / For The Times)

Every hit Wu performed was like a time machine, taking the crowd on a ride through decades of influence, innovation and street-born poetry. The chamber members didn’t just perform, they took victory laps in front of a crowd that knew every word. You could feel the respect and weight of history in every moment.

Young Dirty Bastard and Method Man of Wu-Tang Clan perform Sunday at Crypto.com Arena.

(Brian Feinzimer / For The Times)

Adding a poignant touch to the evening, YDB took the stage to honor his late father, Ol’ Dirty Bastard, with renditions of his hits “Shimmy Shimmy Ya” and “Got Your Money.” The crowd rapped along passionately, creating a collective moment of tribute. The show also featured an unexpected twist, with multiple interludes promoting RZA’s latest action thriller, “One Spoon of Chocolate,” as well as the “Purple Tape Files” doc produced by him and Raekwon, blending entertainment with strategic promotion. Smart? Probably — even if it did seem oddly shoehorned in the middle of the show.

Fans of Wu-Tang Clan cheer as the band performs Sunday at Crypto.com Arena.

(Brian Feinzimer / For The Times)

Sunday at Crypto.com was much more than a gathering of two legendary crews sharing a stage. It was a historic celebration that lighted up Los Angeles with the full force of hip-hop excellence. From the thundering beats to the infectious energy of the crowd, every moment served as an in-your-face reminder that music shapes, inspires, and unites. And the performances? Those were a living testament to hip-hop’s enduring role in culture, and the audience left buzzing with the echoes of greatness that had filled every corner of the arena — Wu-Tang forever.

Slovenia’s Tadej Pogacar consolidated his lead at the Criterium du Dauphine with a second consecutive stage victory in France.

The reigning Tour de France and road world champion went clear 12 kilometres from the finish on the final ascent of Saturday’s 132km ‘Queen Stage’ from Grand-Aigueblanche to Valmeinier.

Slovenia’s Pogacar eventually finished 14 seconds ahead of his closest rival, Denmark’s Jonas Vingegaard.

The UAE Team Emirates-XRG rider had taken the yellow jersey with a dominant victory in Friday’s stage six and the 26-year-old now holds a lead of one minute and one second over the Visma-Lease a Bike man going into Sunday’s final stage.

“I launched it and maintained a good pace to the top,” said Pogacar after securing his 98th career stage win, moving ahead of French sprinter Arnaud Demare for the most by an active rider.

“Today Jonas was really strong. I did not want to go too deep myself. It was a super hot and long climb. Luckily, I had enough time to ease up in the last kilometres and recovered.”

“Happy I could defend the jersey like this.”

Germany’s Florian Lipowitz was third in the stage but is two minutes and 21 seconds behind Pogacar while Remco Evenepoel lost more time and is now fourth overall, a further one minute and 50 seconds back.

The race, a traditional warm-up for the Tour de France, which begins on Saturday, 5 July, concludes with another mountainous stage covering 133.3km from Val-d’Arc to the Plateau du Mont-Cenis.

Strumming a black acoustic guitar to match his black tuxedo pants and jacket, Hugh Jackman strolled onto the stage of the Hollywood Bowl and let the audience know precisely what it was in for.

“Little bit of Neil Diamond,” he said as the Hollywood Bowl Orchestra revved up the go-go self-improvement jive of “Crunchy Granola Suite.”

A dedicated student of showbiz history, the Australian singer and actor was starting his concert Saturday night just as Diamond did half a century ago at the Greek Theatre gig famously captured on his classic “Hot August Night” LP.

Yet Diamond was just one of the flamboyant showmen Jackman aspired to emulate as he headlined the opening night of the Bowl’s 2025 season. Later in the concert, the 56-year-old sang a medley of tunes by Peter Allen, the Australian songwriter and Manhattan bon vivant whom Jackman portrayed on Broadway in 2003 in “The Boy From Oz.” And then there was P.T. Barnum, whose career as a maker of spectacle inspired the 2017 blockbuster “The Greatest Showman,” which starred Jackman as Barnum and spawned a surprise-hit soundtrack that went quadruple-platinum.

“There’s 17,000 of you, and if any of you did not see ‘The Greatest Showman,’ you might be thinking right now: This guy is super-confident,” Jackman told the crowd, panting ever so slightly after he sang the movie’s title song, which has more than 625 million streams on Spotify.

The success of “Showman” notwithstanding, Jackman’s brand of stage-and-screen razzle-dazzle feels fairly rare in pop music these days among male performers. (The theater-kid moment that helped make “Wicked” a phenomenon was almost exclusively engineered — and has almost exclusively benefited — women such as Ariana Grande, Cynthia Erivo, Chappell Roan and Laufey.) What makes Jackman’s jazz-handing even more remarkable is that to many he’s best known as the extravagantly mutton-chopped Wolverine character from the Marvel movies.

Before Jackman’s performance on Saturday, the Hollywood Bowl Orchestra, conducted by Thomas Wilkins, played a brief set of orchestral music that included selections from John Ottman’s score for “X2: X-Men United.”

The ascent of Benson Boone, with his mustache and his backflips, suggests that Jackman may yet find inheritors to carry on the tradition he himself was bequeathed by Diamond and the rest. But of course that assumes that Jackman is looking to pass the baton, which was not at all the impression you got from his spirited and athletic 90-minute show at the Bowl.

In addition to stuff from “The Greatest Showman” and a swinging tribute to Frank Sinatra, he did a second Diamond tune — “Sweet Caroline,” naturally, which he said figures into an upcoming movie in which he plays a Diamond impersonator — and a couple of Jean Valjean’s numbers from “Les Misérables,” which Jackman sang in the 2012 movie adaptation that earned him an Academy Award nomination for lead actor. (With an Emmy, a Grammy and two Tonys to his name, he’s an Oscar win away from EGOT status.)

Hugh Jackman with members of the L.A. Phil’s Youth Orchestra Los Angeles on Saturday night.

(Timothy Norris)

For “You Will Be Found,” from “Dear Evan Hansen,” he sat down behind a grand piano and accompanied himself for a bit; for the motor-mouthed “Ya Got Trouble,” from “The Music Man” — the first show he ever did as a high school kid, he pointed out — he came out into the crowd, weaving among the Bowl’s boxes and interacting with audience members as he sang.

“I just saw a lot of friends as I went through,” he said when he returned to the stage. “Hello, Melissa Etheridge and Linda. Hello, Jess Platt. Hi, Steph, hi, David, hi, Sophia, hi, Orlando — so many friends. Very difficult to say hello to friends and still do that dialogue.” He was panting again, this time more showily. “It’s like 53 degrees and I’m sweating.”

The show’s comedic centerpiece was a version of John Denver’s “Thank God I’m a Country Boy” that Jackman remade to celebrate his roots as an “Aussie boy.” There were good-natured jokes about shark attacks and koalas and Margot Robbie, as well as a few pointed political gibes, one about how “our leaders aren’t 100 years old” — “I’m moving on from that joke fast,” he added — and another that rhymed “Life down under is really quite fun” with “I never have to worry: Does that guy have a gun?”

The emotional centerpiece, meanwhile, was “Showman’s” “A Million Dreams,” for which the Hollywood Bowl Orchestra was joined by 18 members of the Los Angeles Philharmonic’s Youth Orchestra Los Angeles. The song itself is pretty cringe, with a lyric bogged down by cliches and a melody you’ve heard a zillion times before. But Jackman sold its corny idealism with a huckster’s sincerity you couldn’t help but buy.