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.

Police are asking for help with an unsolved case, 52 years after the murder of a schoolboy in Belfast.

Brian McDermott was 10 when he disappeared from Ormeau Park on Sunday 2 September 1973. His remains were recovered from the River Lagan almost a week later.

Detectives from the Police Service of Northern Ireland’s Legacy Investigation Branch have given a timeline of events as part of their appeal.

Brian left his home on Well Street in the lower Woodstock Road area of east Belfast at around 12.30pm and failed to return for his Sunday dinner.

Detectives said he was last seen playing alone in the playground between 1pm and 3pm that afternoon.

His remains were recovered in the water, close to the Belfast Boat Club.

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A PSNI spokesperson said: “We are acutely aware of the pain and suffering that Brian’s family continue to feel, and our thoughts very much remain with the family at this time.

“Despite the passage of time, this murder case has never been closed and I am hopeful that someone may be able to provide information, no matter how small, which may open a new line of inquiry, or add a new dimension to information already available.

“It is also possible that someone who did not volunteer information at the time may be willing to speak with police now. Legacy Investigation Branch Detectives will consider all investigative opportunities as part of the review into Brian’s murder.”

“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.”