
Wynne Evans sparks fears he's split from new fiancée Liz Brookes after unfollowing her and deleting engagement Instagram post
MailOnline can also reveal Liz Brookes no longer follows the former Strictly star, who only proposed to the events company boss last month.
The Welsh opera singer, 53, got down on one knee during a romantic trip to Morocco and documented the gesture on Instagram, posting snaps of him proposing and a close-up of Liz's engagement ring.
He wrote: 'Big news… I got engaged!
'This weekend in Morocco, somewhere between the couscous, the camels, and me limping around the souks like a man with no spatial awareness, I proposed to Liz — and she said yes! (No take-backs, I've checked.)
'She's clever, she's kind, she's got excellent taste in men.
'Absolutely no idea how I pulled that off, but here we are! Feeling very lucky, very happy, and just a tiny bit smug.'
However; the picture has now mysteriously disappeared from his account, as have any precious mentions of his fiancée.
Mailonline has approached Wynne's reps for comment.
The couple met in 2024 shortly before his stint on the BBC1 dancing show.
Liz was often sat in the audience for the live shows and shared a sweet snap with him after one performance - saying she was 'proud' of him.
Wynne credited Liz for helping him lose weight before he competed on the series.
Speaking on a podcast last year, the father-of-two gushed: 'I go out running with my girlfriend and stuff and I feel much better for it.'
Liz owns an events company and it's believed the pair met at a corporate function her firm organised, as Wynne was booked as the entertainment.
Wynne also paid tribute to Liz for helping him through a tough time in his work life, after he was axed by the BBC following his controversial 'spit roast' comment made during the Strictly Come Dancing live tour in January.
Wynne - who is known for the Go Compare ads - was caught on camera seemingly suggesting a three-way sex session with presenter and Strictly professional Janette Manrara.
The comment came at a photocall to launch the Strictly live tour and swiftly earned a rebuke from BBC bosses who told him: 'We will not tolerate such behaviour.'
In May, Wynne broke his silence on his controversial comment as he claimed he was forced to apologise.
He denied it was a sexual jibe about a female presenter and insisted he used the term 'spit roast' as a nickname for fellow contestant Jamie Borthwick.
The opera singer confirmed in May the BBC will not be renewing his one-year rolling contract following a four-month investigation following the inappropriate comments made during his time on Strictly.
He has since set up his own independent radio show which streams live on his website, following the end of his breakfast show on BBC Radio Wales.
Wynne was previously married to wife seven years, Tanwen — the mum of his two kids.
He revealed the 2016 breakup left him clinically depressed and he ballooned to 22 stone.
The singer said he struggled with dating apps when he was single and many women only wanted to meet him because he was Gio Compario from the comparison site adverts.
On his mental state following his divorce, he said: 'I had very dark thoughts and very dark days where I would contemplate all sorts of terrible things.
'I think it's obvious what I'm saying, but I don't want to say it because some people find it distressing. I'm fine to talk about it now, but at that time nothing would help me.
'I wanted my life to be over and I did some stupid things.'
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The Independent
13 minutes ago
- The Independent
Excitement mounts as the Oasis reunion tour prepares to kick off in Cardiff
Oasis is due to take to the stage in Cardiff, Wales on Friday, kicking off a hotly, and somewhat anxiously, anticipated reunion tour. The return of the Britpop-era rockers after a 16-year hiatus is a major moment for fans. Will it be a storming success? Definitely maybe. Predictions are tricky when it comes to Noel and Liam Gallagher, the sparring siblings who give Oasis its charisma, and its volatile chemistry. 'That's one of the attractions about Oasis — they bring this element of risk,' said author and music journalist John Aizlewood. He said the 'alternative aura that they have cultivated with the age-old pop story of fractious brothers' is part of the band's appeal. Unless the brothers' combustible relationship derails proceedings, two nights at Cardiff's 70,000-capacity Principality Stadium on Friday and Saturday raise the curtain on a 19-date Live '25 tour in the U.K. and Ireland. Then come stops in North America, South America, Asia and Australia, ending in Sao Paulo, Brazil on Nov. 23. Founded in the working-class streets of Manchester in 1991, Oasis released its debut album, 'Definitely Maybe,' in 1994 and became one of the dominant British acts of the 1990s, releasing eight U.K. No. 1 albums and producing hits including 'Wonderwall,' 'Champagne Supernova,' 'Roll With It' and 'Don't Look Back in Anger.' The band's sound was fueled by singalong rock choruses and the combustible chemistry between guitarist-songwriter Noel Gallagher — a Beatles and glam rock-loving musician with a knack for memorable tunes — and younger brother Liam, a frontman of compelling swagger and style. Then and since, the brothers have often traded barbs — onstage, in the studio and in interviews. Liam once called Noel 'tofu boy,' while Noel branded his brother 'the angriest man you'll ever meet. He's like a man with a fork in a world of soup.' Oasis finally split in 2009, with Noel Gallagher quitting the band after a backstage dustup with Liam at a festival near Paris. The Gallagher brothers, now aged 58 and 52, haven't performed together since, though both regularly play Oasis songs at their solo gigs. They long resisted pressure to reunite, even with the promise of a multimillion-dollar payday — though Liam sounded more open to the idea. The singer told the Associated Press in 2019 that Noel 'thinks I'm desperate to get the band back together for money. But I didn't join the band to make money. I joined the band to have fun and to see the world.' Now they have agreed on a tour that will see them joined — if reports are right — by former Oasis members Paul 'Bonehead' Arthurs and Gem Archer on guitars, bassist Andy Bell and drummer Joey Waronker. The announcement of the U.K. tour in August sparked a ticket-buying frenzy, complete with error messages, hours-long online queues, dashed hopes and anger at prices that surged at the last minute. Some fans who waited online for hours at the Ticketmaster site complained that they ended up paying 355 pounds ($485) for regular standing tickets instead of the expected 148 pounds ($202). The ticketing troubles sparked questions in Britain's Parliament, where Arts Minister Chris Bryant criticized 'practices that see fans of live events blindsided by price hikes.' Britain's competition regulator has since threatened Ticketmaster — which sold some 900,000 Oasis tickets — with legal action. Tickets for the U.K. shows sold out in hours, with some soon offered on resale websites for as much as 6,000 pounds ($7,800). That suggests major pent-up demand, both from the original fans — a male-dominated cohort now well into middle age — and from a younger generation. No plans have been announced for Oasis to record any new music, and the tour is being presented as a one-off. Aizlewood said it's an opportunity for Oasis to 'tend the legacy' of the band, and remind people of the power of the Oasis brand. 'There should be a sense of huge joy and life affirmation about these shows. And I think if they can just play it right, then that can be a massive burnishing of their legacy,' he said. '(There is) this enduring love for Oasis — and love means money.'


The Guardian
36 minutes ago
- The Guardian
V&A announces details for David Bowie Centre
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Nile Rodgers, the Chic bandleader and guitarist who worked with Bowie on the hit album Let's Dance, has curated one of these areas, with items including correspondence between the two, studio images taken by Peter Gabriel during the making of Bowie's Rodgers-assisted 1993 album Black Tie White Noise, and a bespoke suit designed by Peter Hall for the Serious Moonlight tour. 'My creative life with David Bowie provided the greatest success of his incredible career, but our friendship was just as rewarding,' Rodgers said, announcing the partnership. 'Our bond was built on a love of the music that had both made and saved our lives.' Also playing guest curators are the members of chart-topping alt-pop band the Last Dinner Party, whose selections include handwritten lyrics for the Young Americans album, studio photos by Mick Rock and – rather nerdishly – the manual for Bowie's EMS synth, heard on the so-called Berlin trilogy of albums. 'David Bowie continues to inspire generations of artists like us to stand up for ourselves,' the band said in a joint statement. 'When we first started developing ideas for TLDP, we took a similar approach to Bowie developing his Station to Station album – we had a notebook and would write words we wanted to associate with the band. It was such a thrill to explore Bowie's archive, and see first-hand the process that went into his world-building and how he created a sense of community and belonging for those that felt like outcasts or alienated – something that's really important to us in our work too.' Rodgers and the band's choices will be included in an area featuring items that are rotated every six months or so, with fresh guest curators each time. There will also be eight other sections showcasing around 200 Bowie items curated by the V&A team in collaboration with young people from the neighbouring London boroughs of Hackney, Newham, Tower Hamlets and Waltham Forest, with each area refreshed every few years. These will include a look at Bowie's unrealised projects, such as film tie-ins with the Diamond Dogs and Young Americans albums, and even a mooted adaptation of George Orwell's 1984. Other areas will spotlight iconic moments such as his 1987 Glass Spider tour, his collaborations with bassist Gail Ann Dorsey and the creation of the Ziggy Stardust persona. There will also be an interactive installation tracing Bowie's impact on pop cultural figures from Issey Miyake to Lady Gaga, and a film compiling live performances across his career. What will really provoke Bowie fans' fascination, though, is seeing objects up close, 'including costumes, musical instruments, models, props and scenery' according to the V&A. 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The Guardian
38 minutes ago
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‘Their songs are rousing, trippy, witty, moronic. I've sung along to them all': Simon Armitage hails the return of Oasis
In retrospect it all seems so obvious. Form a band, plunder the Beatles' back catalogue for riffs, guitar tabs, chord changes and song structures, then bang it out in a key that a stadium crowd could put their lungs into but which suited the subway busker, too. The resulting success now looks so inevitable. In 1994, dance music flooded the UK charts but not everyone thought a rave DJ wearing oversized headphones and playing records counted as a gig. Some people – a vast number, it turned out – still yearned for meat-and-two-veg pop-rock with guitars and drums, and for songs played by groups. Throw in some Manc bluster, the death throes of a Tory government that had occupied Downing Street since for ever, and the first glimmers of a cooler Britannia, and hey presto: Oasis. Even if the dates don't quite stack up, that's how cultural theorists tend to describe the preconditions for one of the world's biggest ever acts, staring at them through the rear view mirror of musical history after their 2009 implosion. But luck must have played its part, as it always does, along with something more elemental to do with brotherhood and chemistry: the sparks that flew between the Gallaghers were the same sparks that lit their creative drive. Oasis made seven studio albums, all hugely successful. The third, 1997's Be Here Now, was released with so much fanfare and expectation that a commercial triumph was guaranteed. But it felt bloated and indulgent, and even if it wasn't quite a parody of the group's status and smugness, it had enough calculated familiarity to make them sound like their own tribute band. Upstart effrontery and spiky provocation are evidently hard to maintain when the millions are rolling in. Undeterred, Oasis pressed on, the music going through its motions with only the odd gem to be discovered here and there. The first two records, though, remain magnificent. I can't really remember (and don't care) which is which – they were two halves of the same whole, both full of pounding, adrenalised songs that sounded great on a transistor radio and unbelievable on a proper stereo system. When most bands enter the studio, start dickering with all the toys and turn it up to 11, sonic elements usually get distorted or drowned out. The audio clarity on Definitely Maybe and (What's the Story) Morning Glory is astonishing – it feels as if you're in the room with them. The lyrics are … interesting: rhyme-driven breeze block couplets for the most part, ranging from the rousing, to the mysterious, to the trippy, to the witty, to the laughable, to the moronic. And I've sung along with them all, at the top of my voice, especially in the car, where Oasis are the perfect in-vehicle karaoke. Maybe Noel and his studio engineers had figured this out; he always maintained that to be mega successful you need to appeal to the dudes and the squares, and a lot of the squares are motorists with cash to splurge. In 1995, Oasis and Blur slagged each other off and slugged it out in the singles chart for the Battle of Britpop, Blur coming out on top among accusations of retail skulduggery on both sides. It made the news headlines, because this wasn't just a popularity contest, it was a media-framed fight between rock'n'roll cats and dogs. Blur were the feline, slippery, ironic, unbiddable, enigmatic art school smart Alecs, and Oasis the muscular, barely-house-trained mutts with a bark and a bite (Suede's Brett Anderson called Oasis 'the singing plumbers'). Characterised by some as a battle for music's very soul, Blur v Oasis was also seen as a conflict between north and south, and I probably wanted Oasis to triumph for regional rather than aesthetic reasons. The Oasis back line came and went in the years that followed, with no noticeable effect. Most of its members turned out to be interchangeable and disposable, with fans not really caring who was beating the skins or twanging the bass. In essence, Oasis are the brothers Gallagher, like the twin stars of Sirius, pulsing in the firmament, forever revolving around each other in captured orbit but never able to embrace. Liam was the couldn't-give-a-toss gobshite, with not so much a potty mouth as the oral equivalent of a sewage works for a large metropolitan area, and that was OK because he had the cockiness and looks to back it up. He also had a fantastic voice: all tonsil, adenoid, teeth and tongue, loud enough to crowd-surf to the back of a stadium, sharp and sneery enough to enunciate. Noel took the role of scheming mastermind and ace guitarist. It was his idea to conquer the planet and his compositions that would do it. When he stepped into the rehearsal room of his kid brother's wannabe outfit, he found a shambles, and he gave them material, discipline and direction. That's the received wisdom, at least – he couldn't have done it without a frontman like Liam. The brothers' obscenity-ridden slander was a joint enterprise, tearing into other artists and bands with merciless and sometimes hilarious savagery, calling out banality, mediocrity and inability with a refreshing lack of caution. But for all of Liam's bladed comments and boorish behaviour there was something funny and even innocent about him. Noel, by comparison, seemed wily and defensive; the role of lovable arsehole never came as naturally to him as it did to his younger sibling. Across two decades the weird psychodrama of their fraternal dynamic has been hard to keep up with. Noel stormed off more than once, sometimes returning to the lineup when only the diehard aficionados knew he'd quit. And the barneys weren't just artistic flouncing or creative hissy fits, they were proper brawls with weaponised tambourines, guitars and cricket bats. It felt tiresome on occasions, especially as Oasis's significance waned and cultural sensibilities shifted, but undoubtedly it's one of the elements that make the planned reunion so compelling. Because the enmity can't simply have melted away, can it? There was genuine bad blood between Noel and Liam, which found expression through genuine violence. It's not impossible to imagine the upcoming tour abandoned on day one, with the brothers in separate luxury hotels, one soothing a bruised fist with a packet of frozen peas, the other with a cartoon rib-eye steak on his face taking the sting out of a shiner. But when Oasis do finally appear together after a 16-year absence, fans will be back on each other's shoulders or arm in arm, singing gnomic phrases and occasional nonsense, united by some irresistible bond. If they play Acquiesce – the verses sung by Liam, the choruses by Noel – it's interesting to wonder what silent thoughts might pass between the warring siblings when they get to the bit about needing and believing in each other. The roar of the crowd, hymning back the lyrics, will be telling them it's true.