Wimbledon has been cancelled for the first time since World War Two because of the coronavirus pandemic.
The tournament was due to be played between 29 June and 12 July.
The entire grass-court season has been abandoned, and there will be no professional tennis anywhere in the world until at least 13 July.
Wimbledon is the latest major summer sporting event to be called off, with Euro 2020 and the Tokyo Olympics postponed for 12 months.
It follows the postponement of the French Open, which was due to begin in May but has been rescheduled to 20 September-4 October.
“This is a decision that we have not taken lightly, and we have done so with the highest regard for public health and the wellbeing of all those who come together to make Wimbledon happen,” said Ian Hewitt, All England Lawn Tennis Club chairman.
“It has weighed heavily on our minds that the staging of the Championships has only been interrupted previously by World Wars but, following thorough and extensive consideration of all scenarios, we believe it is ultimately the right decision to cancel this year’s Championships, and instead concentrate on how we can use the breadth of Wimbledon’s resources to help those in our local communities and beyond.
“Our thoughts are with all those who have been and continue to be affected by these unprecedented times.”
Why decide now?
The All England Club did not need to make a decision before the end of April, but the writing has been on the wall for some time.
That is when on-site preparations would have had to begin in earnest: a forlorn hope given the current restrictions in place in the UK.
As was the thought that by the end of June, 40,000 people would be able to take their seats in packed stands, and jostle for the best vantage point in the narrow walkways bordering the outside courts.
The government’s advice that large gatherings should not take place is aimed, in no small part, at relieving the pressure on the emergency services, which would otherwise be in attendance. It is undeniably optimistic to assume the demands on the health service will have returned to normal levels by mid-summer.
Swift cancellation should help reduce any losses that Wimbledon, and the LTA’s series of grass-court events, might incur – but there is also the issue of perception.
The All England Club would not want to be seen to be pushing ahead with a sporting event as the death toll continues to rise and the country remains in the grip of the pandemic.
Sticking resolutely to a place on the calendar, only to cancel abruptly, or postponing by a few weeks before having to concede defeat, is messy. It is not the way Wimbledon does things. Better, instead, to face facts and plan to return with a flourish in 2021.
Devastated https://t.co/Fg2c1EuTQY pic.twitter.com/cm1wE2VwIp
— Roger Federer (@rogerfederer) April 1, 2020
I’m Shooked https://t.co/dS0cNcCdm0
— Serena Williams (@serenawilliams) April 1, 2020
What about refunds and impact on finances?
The All England Club had the foresight to take out insurance policies which will shield them from eye-watering losses. They will therefore be able to refund ticket holders, broadcast partners and sponsors – a bill which, even according to conservative estimates, will top £200m.
The Lawn Tennis Association will also receive its ‘annual surplus’ of profits. The payment, which effectively funds British tennis’ governing body for the year ahead, was more than £40m in 2018.
It is likely to fall, but should not leave an irreparable hole at the heart of the LTA’s finances, especially as they have tens of millions of pounds in reserve.
But the LTA has lost over £12m in the past two years, and will also be hit by the loss of all of the summer grass-court events. Of those, only the Fever Tree Championships at Queen’s Club actually returns a profit, but as they are not insured against cancellation, this year’s losses will inevitably be greater.
But the biggest blow for British tennis is the loss of the best shop window of the year. No Queen’s, Eastbourne or Wimbledon means no BBC TV exposure for the sport, and even if we are allowed to return to the courts, there is very unlikely to be the dramatic spike in participation usually seen in the months of June and July.
Will there be any tennis at all in 2020?
No-one is holding their breath for a resumption of the tour in Hamburg, Bastad, Bucharest and Lausanne on 13 July.
The Olympic tournament is already on hold; the prestigious events in Toronto and Montreal in the middle of August are said to be under threat; and the USTA has publicly floated the possibility of pushing back the US Open start date of 31 August.
There has even been talk behind the scenes of staging the US Open in Indian Wells, California, in December. But if you take the US Open out of New York and push it back three months, it won’t be the US Open.
If professional tennis is able to resume, then the WTA in particular seems keen to make up for lost time and continue beyond the WTA Championships scheduled for the first week in November.
But the global nature of the sport, which requires players to cross continents with so much regularity, may yet make this debate an academic one as far as 2020 is concerned.
As the 2006 Wimbledon champion Amelie Mauresmo said on Twitter earlier this week: “I think we are going to have to draw a line under the 2020 tennis season.
“An international circuit = players of all nationalities, as well as coaches, spectators and those coming from all four corners of the world to bring these events to life.
“No vaccine = no tennis.”
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Druppythekid Set to release New Two-Track Pack

Nigerian emerging artist Druppythekid is set to release his new two-track pack, No Love and LA LA LA (Serenade), on November 13, 2026, delivering a message of ambition, self-belief, and defiance in the face of criticism.
Originally from Kwara State and based in Lagos, Druppythekid developed a love for rap, hip-hop, and pop music as a teenager. Introduced to poetry in high school, he found a natural connection between words and rap, eventually joining a rap group before exploring music production at university. After graduation, he began rapping over his own beats, turning his passion into a growing musical pursuit.
On “No Love,” Druppythekid speaks to the determination required to chase dreams despite doubt and opposition. “LA LA LA (Serenade)” takes a more unapologetic approach, dismissing the opinions of those who never believed in him.
Together, the two records reflect one central message: keep pursuing your vision and never let the opinions of others define your journey.
No Love and LA LA LA (Serenade) arrive on major digital streaming platforms on November 13, 2026.
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Chinwe Zoe, a Nigerian gospel singer and songwriter, began recording music in December 2025 after years of singing in church and at home. Less than a year later, she has released three singles, including “Chinwendum”, featuring gospel singer Frank Edwards, “Undeniable” and “Jesus Don Win”, her October 2026 release produced by Masterkraft.
For Zoe, the decision to record was connected to a personal experience that changed how she viewed her life and faith. She has described it as a near-death experience that left her with a renewed sense of gratitude. “In that moment, when I thought it was over, God showed me mercy,” she said. “He gave me victory. And that victory was too loud to keep inside.”
Her debut, “Chinwendum”, was released in December 2025 with Frank Edwards featured on the record. She followed it with “Undeniable” on May 7, 2026. The song’s official video has recorded more than 460,000 views on YouTube. In October, she released “Jesus Don Win”, produced by Masterkraft, with a video directed by Avalon Okpe.
Zoe’s approach to songwriting draws on personal experiences and scripture. She has said that she does not begin the process by searching for a melody, but by waiting for a message that she can develop into a song. She describes a process in which an experience or scripture stays with her until it takes musical form. The melody follows, and she hums it before committing anything to writing.
Her guiding principle is that a gospel song should be accessible to listeners while remaining suitable for congregational worship. “It should be simple enough for a child to sing and strong enough for a choir to carry,” she said.
Zoe has identified CeCe Winans, Nathaniel Bassey and Dunsin Oyekan among the musicians whose work has influenced her. She sings in English and Igbo, and occasionally in Pidgin, drawing on the worship tradition in her musical expression.
“Every song I sing comes from a place I have lived,” she said. “My pain taught me how to worship, my joy taught me how to praise.”
Her music has also begun attracting an online audience. Her YouTube channel has recorded more than 627,000 views across nine videos, while her Spotify monthly listeners have been reported at approximately 6,500. Her Audiomack profile is verified. Zoe records under her own imprint, H2 Records, with distribution through ONErpm. She made her first public performance at the 2026 Annual Virtuous Women Network conference in Enugu, where she performed “Undeniable”.
Outside music, she has spoken about her interest in soul winning and described it as connected to her musical work. She has also said that she wants her songs to encourage listeners facing difficult circumstances. “I want my songs to shift mindsets from worry to worship,” she said. “Whenever anxiety comes, whenever life tries to make you feel small, I want you to hear my sound in your spirit and declare victory over your life.”
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Built around themes of struggle, resilience, ambition, survival, and triumph, UPRISING captures the realities of an artist determined to turn adversity into momentum. The project reflects N8TAN’s experiences, the challenges that shaped him, and the relentless drive that continues to push him forward.
More than a collection of songs, UPRISING is presented as a story of transformation—from navigating the streets and confronting uncertainty to finding purpose, embracing growth, and rising toward the top.
With its blend of raw storytelling, infectious energy, and personal perspective, the EP offers listeners an intimate look into N8TAN’s world while reinforcing his determination to carve out his own place in the music industry.
‘UPRISING EP’ is a statement of elevation: a reminder that where you start does not have to determine where you finish.
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