Immigration was the first thing on the government’s agenda to kick off the first week back from recess, and they wanted you to know it.

The home secretary gave an update to the House, announcing a shakeup of family reunion rules for asylum seekers, even before some backbenchers had made it back to parliament from their break.

Facing criticism for being on the back foot after a summer of protest outside asylum hotels, they were keen to defend their record and get back on track – but is it too late?

It’s a clear nod to the political void Reform UK has seized on while the prime minister has been on holiday.

Last week, Nigel Farage unveiled his party’s mass deportation policy – though the issue of women and children still seems to be worked out.

But perhaps none of that matters as voters overwhelmingly believe Reform cares about this issue – and as Chris Philp, the shadow home secretary, pointed out on Monday, voters have lost confidence in the government somewhat to solve what many see as an immigration crisis on their doorstep.

So it’s clear the strategy has changed from the government.

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Gone are the bold slogans of “smashing the gangs” and instead, detail and policy was given on Monday. It was nothing new, but more substance on what the government has done and where they want to move to. Even controversially, reassessing their relationship with the European Convention on Human Rights (ECHR).

The biggest update though, was on their one-in-one-out policy agreement with France, which will now set to start returns later this month.

It’s finally hit home for the government that the public want proof not just rhetoric, and they want to know crucially when they will start to see change.

But the fightback, the reset, whatever the government wants to call it, will only make a difference once that finally starts to work.

The transfer window was a show of strength in a record-breaking summer across the Premier League.

The totaliser crept over £3bn in spending, with more than half of it flowing among the 20 clubs rather than having a redistributing effect across Europe.

The start of new Premier League TV deals – the biggest individual source of income being from Sky News’ parent company Comcast – provides certainty for the next four years, while rival leagues can struggle to sell rights.

And the feared threat from Saudi Arabia has not materialised. It is an attractive and lucrative destination for some players, but not yet the ultimate destination.

But the kingdom has still influenced this transfer window.

Let’s start with Newcastle, four years into their ownership by the Saudi sovereign wealth fund.

Having secured a return to the Champions League, bringing UEFA riches, this was the summer to grow rather than lose talent to rivals.

But the Premier League’s pecking order became clear when Alexander Isak pushed for a move to Liverpool and rejected bids that did not deter his ambitions.

Player power won out.

The 25-year-old striker was able to withdraw himself from the squad, miss the opening three matches of the season, and put out a statement claiming promises had been broken by the Magpies.

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Liverpool ‘loading up on talent’

And so he held on until deadline day, biding his time, sitting it out, and standing firm. Newcastle folded, accepting £125m – £20m lower than their apparent valuation.

Breaking the British record fee was Liverpool’s American ownership flexing financial muscle like never before.

The Premier League champions allowed manager Arne Slot to build from a position of strength.

This was the second time they broke the record in this window after bringing in another forward, Florian Wirtz, in a £116m deal.

More than £400m in reinforcements arrived at Anfield in a matter of weeks.

Former Liverpool managing director Christian Purslow told Sky Sports: “Liverpool are making hay while the sun shines, going for it. Really loading up on talent.

“Other clubs should be fearful and respectful of the way [Fenway Sports Group] are running their club.”

The Isak deal weakened their Champions League rivals from the North East after banking £57m from another club owned by the Public Investment Fund when Darwin Nunez was offloaded to Saudi.

And PIF funded Chelsea’s summer spending spree in less obvious ways.

The Blues did negotiate a £44m package with PIF-backed Al Nassr deal for Joao Felix, recouping the fee paid just a year earlier.

But then there was the £90m prize money collected for winning the new FIFA Club World Cup – a competition bankrolled by PIF subsidiaries.

Where does this leave Newcastle? Still spending around £250m.

Players and Liverpool couldn’t get all their way this summer, with Marc Guehi forced to stay at Crystal Palace after the FA Cup winners failed to secure a replacement for the England centre-back.

The late drama was just the latest of the summer transfer window’s twists and turns.

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Both Arsenal and Manchester United also spent more than £200m each. The Gunners spent big in pursuit of a title that’s eluded them since 2004, while the Red Devils are just trying to get back into the Champions League.

It added up to a new record total outlay that comfortably eclipsed the previous Premier League record of £2.46bn from 2023.

The £3bn is more than the rest of Europe combined, showing both where the power is in world football and why the Premier League is the one the world wants to watch.

“AI has changed my life, absolutely,” Lucas Horne tells Sky News. “When I play my music, I’m happy because the words I know mean a lot to me can now be heard by everyone else.”

Lucas was 17 when, in December 2016, with no warning, he suffered a large, traumatic bleed across his brain.

He didn’t wake up until almost four months later.

Unknowingly, he had been living with a defect in the blood vessels known as an AVM (arteriovenous malformation), a ticking time bomb which had ruptured, and the next three years of his life were spent in recovery in a care home.

He couldn’t walk and struggled to talk. Writing down his thoughts, almost like a diary, was something he says he wanted to do from very early on.

“During my care home days when I couldn’t really express myself very well – I still can’t – but I could write about it, it was an outlet for me,” he says. “Since I woke up, I’ve been writing… but for a long time I couldn’t record anything.”

Lucas, now 26, has spent years working on his physical recovery and speech. But when he was eventually physically able to record the songs he had been writing himself, he became frustrated by the way his voice had changed.

“It never sounded how I had [it in] my head,” he says. “I’m very monotone in how I speak, I struggle to really display emotion.”

And so he turned to AI (artificial intelligence). Now, Lucas is also known as The BTO Kid, and is one of 15 creators from around the world, shortlisted from more than 500 entries, for the inaugural Future Sound Awards – celebrating artificial intelligence in music.

While some artists such as will.i.am, David Guetta, Grimes, Timbaland and even Sir Paul McCartney have embraced certain aspects of AI, it can be a controversial subject in the creative industries – with concerns raised by many in the about issues including copyright, human replacement, fakes, and regulation.

It was one of the issues behind the Hollywood actors’ and writers’ strikes in 2023 – and the more recent video game actor strike, which ended in June after nearly a year of industrial action.

Despite the criticism, AI isn’t going away. Last year was a “breakout” year for the technology in music, according to the International Music Summit’s latest annual business report, with 60m users using AI software.

Lucas says he is a perfect example of how the technology can be used for good.

“I’ve been able to use AI to express how I’m feeling,” he says. “It’s been big for me to create [music] that I’m proud of. I can see the arguments [against it], but from my view I know AI helped me create something I couldn’t before. I’m not Adele, but I have been able to make something that I’m proud of and that expresses my view point of what’s happened to me.”

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‘AI is lowering the barriers’

BTO stands for Beat The Odds and his shortlisted track is titled AI Gave Me A Voice. “I pinch myself every day because this just can’t be true,” is the opening line – which he says reflects how far he has come from the moment he woke up and discovered what had happened.

“That comes from reality. I do have moments where I think so much has happened that it must not be true… every line means something to me.”

Lucas, who lives in Nottingham, used the AI-powered music production platform TwoShot to create the track, using prompts on what he wanted for the sound alongside his lyrics, inspired by melodic rap.

“I think we’re gonna get quite a lot more people like me that can’t record music and have been given a voice through AI,” he says. “AI is lowering the barriers to entry for a lot of things.” Which can be a negative as well as a positive, he acknowledges. “We’ll have to see where it goes.”

Launched by the Fanvue World AI Creator Awards, The Future Sound Awards aim to highlight the ethical use of AI in music, organisers say. Fanvue is a subscription creator platform with more than 180,000 users.

Some 15 artists from the US, Europe, Australia and Asia, as well as the UK, have been shortlisted for prizes, and the winners will be announced later in September.

Lucas is one of two British creators on the list, alongside Gallis, from Essex. The 31-year-old first dipped his toe into the waters of the music industry about 10 years ago, after joining the urban-pop boy band Mr Meanor, but says the industry was hard and “it all got a bit too much”.

He is now a tattoo artist and fine painter, but continued his songwriting and started to try out AI music production tools about 18 months ago.

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AI has ‘made me more creative’

As an artist, he says he had his own concerns about AI before he started using it himself, particularly after image generators started becoming prominent online.

“It was stealing the work that I was doing,” is how he describes his initial feelings. “But I ended up jumping on board with it and for me personally, it’s inspired me so much. It’s made me quicker at what I’m doing, it’s made me more creative. And I think it’s the same with music. I think it’s gonna, if anything, grow the industry.”

However, he says he agrees with criticism about the ethics of how some AI models are trained – following controversy about work by human music artists and authors being used without consent. “And trying to impersonate exactly someone else and using someone else’s voice, I don’t agree with that at all,” he adds.

Gallis’s shortlisted song, Chiropractor emerged from “friendly competition” with a community of creators he came across when he moved into AI, trading feedback and ratings. The genre is Trinibad, which he says there isn’t enough of “in the AI world”, and the track is designed to get people dancing.

“I mainly stick to urban music, but I like writing in a lot of different styles,” he says. “I’ve done house songs, I’ve done UK drill songs, Afrobeats, amapiano. I’m a bit of a vibes man so if it makes me dance and move and smile that’s when I really enjoy it.”

Narcis Marincat, head of AI at Fanvue, says the stories behind the selected songs show a “richness and human emotion” that appealed to him and other judges.

“The impact of AI in music continues to divide opinion,” he says. “But for the first time, via the Future Sound Awards, we’re able to show a different perspective on the positive impact of AI in music – uncovering the real people behind the technology and sharing their stories and music.”