Police say Cher’s son was arrested on Friday (Feb. 27) after acting belligerently at an elite private high school in New Hampshire, of which he has no association.

Elijah Blue Allman, 49, was booked into the Merrimack County Jail and charged with four misdemeanors: two counts of simple assault, criminal trespass and criminal threatening. Allman, whose father was the late Gregg Allman, was also charged with a violation of disorderly conduct, which is illegal in the state but not considered a crime.

At about 7 p.m. that day, Concord police responded to reports that Allman was disturbing people in the dining hall of St. Paul’s School. After charging Allman, police said he was released on bail as his case works through the court system.

Allman has no apparent connection to the school, and it remains unclear why he was there, sources tell TMZ. He primarily resides in Southern California.

Attorney information for Allman was not available in court records.

A representative for Cher was not immediately available. St. Paul’s School declined to comment.

An investigation is ongoing.

In June 2025, Allman was hospitalized following an overdose at his home after authorities responded to reports of erratic behavior. Drugs were later discovered at the residence, according to TMZ. The incident occurred roughly two months after his wife, Marieangela King, filed for divorce following 13 years of marriage.

Cher sought a conservatorship over her son in 2023, alleging he was “substantially unable to manage his own financial resources due to severe mental health and substance abuse issues.” She also claimed King had interfered with his efforts to seek treatment, TMZ reported. The case was dismissed in late 2024.

Jean-Michel Jarre is playing Ibiza for the first time this summer.

The French composer and producer has announced an exclusive live performance at Amnesia on Sunday, July 5th — his first ever show on the island.

The date falls during Amnesia’s 50th anniversary year and is billed as an Ibiza exclusive, making it one of the more unexpected and significant live announcements to come out of the island’s summer calendar in some time.

For an artist whose career has been defined by scale — past performances have taken place at the Eiffel Tower, the Great Pyramids of Egypt, Tiananmen Square, Pompeii, Masada, and the Sahara Desert, often in front of audiences numbering in the millions — the booking represents a deliberately intimate setting.

Amnesia’s legendary Terrace will host the show, putting Jarre in a room that operates on an entirely different dimension to the grand outdoor spectacles he is best known for.

“Amnesia is a trip — an escape from time. No past, no future, just the intensity of the moment,” Jarre said. “That space of freedom is where my music has always lived. I’m thrilled to do my very first Ibiza concert at Amnesia to celebrate the 50th Anniversary of the club.”

It is a striking choice of words from an artist who has spent over five decades at the frontier of electronic music. Jarre has released 22 studio albums and sold over 85 million records worldwide, and has long been a pioneer in multi-channel audio, VR, and the metaverse.

The show arrives at a meaningful moment for Amnesia, which is marking its 50th anniversary this summer with a season of programming designed to reflect the club’s place in dance music history. Securing Jarre for his island debut fits squarely into that ambition.

Support on the night comes from Berlin-based artist Joplyn, who performs live. Blending ethereal vocals with cinematic electronic production, her set will open the evening before Jarre takes the Terrace. Les Schmitz — an Amnesia resident since 2003 and a figure deeply woven into the club’s culture — will also play a DJ set, guiding the crowd into the night ahead of the headline performance.

Tickets are on sale now.

You’d be forgiven if, by the close of BRIT Awards 2026, you felt a sense of déjà vu. Olivia Dean appeared on the Co-op Live’s stage four times during the ceremony to sweep her categories in spectacular fashion, but it also continued a seemingly unstoppable trend at the BRITs in recent years: one artist totally dominating. 

In 2025, Charli xcx earned five awards in an array of categories, which toasted the Brat phenomenon. A year earlier in 2024, RAYE stormed to a record-setting six wins in a single night, a feat unlikely to be broken. Go back a year further and it was Harry Styles grabbing four trophies in 2023, and Adele scooping three prizes in 2022.

Each time, the industry quietly asked itself: are we sure this is a good thing for the U.K.’s music scene? Should it feel like such a forgone conclusion that a star will arrive at the ceremony as a runaway favorite in each category and head home (or to the after-party) with an armful of trophies? 

There are fair arguments that this could be overshadowing the broadness and depth of the U.K. music scene as a whole. At 2026’s ceremony, Dean won album of the year, artist of the year, song of the year (“Rein Me In” with Sam Fender) and pop act, all of which are heavyweight categories and saw Dean juke it out with worthy competitors. She now continues a five-year streak where the artist of the year and album of the year categories share a winner.

It meant that someone like Lily Allen went home empty-handed, despite three nominations in album, artist and pop act categories. Her 2025 LP West End Girl was a pop culture phenomenon and summed up what’s great about British music: wit, honesty and superb songcraft.

Acts like Lola Young (four nominations, one win), Wolf Alice (three nominations, one win) and Dave (three nominations, one win) had their moments, but were dwarfed in Dean’s winning presence. Jim Legaxcy, a genre-blurring newcomer, went home without a trophy despite his potential.

Unless you are the chosen winner of the night (whether it be Dean, Charli, RAYE or whoever), it can be hard to compete. British music is rich and varied, with subtleties across genres, scenes and cities; one hopes that when the world watches the BRIT Awards, they notice these differences and variances and want to dive deeper into every artist nominated, not just be satisfied by the headline names.

That said, the BRIT Awards remains one of the U.K.’s few music moments that can cut through to make stars overnight (the BBC’s coverage of Glastonbury Festival is perhaps the only rival). Dean’s memorable 2026 ceremony means she now joins the upper echelons of British music, and cements herself as a capable, cheery new leader.

This is, ultimately, what the U.K. music industry wants and needs: superstars like Dean can act as the rising tide that lifts all boats. Following her big moment on mainstream terrestrial television and on social media feeds, international fans may in turn discover Fender, the North Shields-born rocker who is growing beyond the U.K. and into international territories. They’ll perhaps see that Dean is an alumni of the BRIT School, a non-fee paying state school that puts music at the heart of education and pay attention to the next bright young thing to hit the touring circuit.

It also proves that the U.K. music industry remains a global leader. It can still identify top talent and nurture them into global superstars even if that doesn’t happen overnight. Look at Lola Young, an artist whose breakout moment, 2024’s “Messy,” came in the middle of her second album campaign. Or Wolf Alice, a beloved indie-rock band that has gigged incredibly hard over the past decade and recently signed to Sony to kickstart an ambitious new chapter of their career. Skye Newman, a nominee for breakthrough artist, will hit the road with Styles later this year and clearly has the long game in mind.

A number of artists will have left the 2026 BRIT Awards empty-handed or with fewer prizes than they expected or deserved. But perhaps they’ll be able to take solace in the fact that just by virtue of being nominated they are a part of something bigger, and a scene that still has the talent and fight to make its mark on a global stage.

As Abbey Road’s Sally Davies suggested to Billboard U.K. in 2025: “The music we make here is world-moving. It travels all over and makes people happy, and we should be shouting about that. We can be wonderfully British and too modest and humble, but maybe we need to be a bit more celebratory.”

In her final acceptance speech of the night, Dean was overwhelmed with emotion. She had triumphed in the album of the year category for The Art of Loving and was lost for words, ultimately tearing up and then resting her head on the podium for a brief moment in disbelief. It’s the kind of star-making moment that people will remember her for, much like how RAYE juggling six prizes did the same in 2024 and Harry Styles’ leap to megastardom was confirmed back at 2023’s ceremony. 

Perhaps in 2027, a different act will do the same and create the same talking points about the ultimate benefits or drawbacks for British music. The fact that the scene’s musicians are at the top of the charts globally and right in the midst of the conversation suggests that we’re at least on the right track, and more than capable of doing it over and over again.