Recently, when Harry Styles was asked what he would consider his most iconic fashion moment, the answer was definitive: a red loveheart jumpsuit paired with a plain white tee, worn at Wembley Stadium, London in June 2022. It was a surprisingly functional ‘fit for a man otherwise known for flamboyant looks, but his answer revealed much more than just what he likes to pick off the rails.

He continued, “During that show, that fear left my body and there was a sense of calm,” and that when the heavens opened during “Sign of the Times,” the opening song of the show’s encore, “I remember having a massive smile on my face. I thought, ‘How can I ask for any more joy?’ I felt so full in that moment. I felt like I was flying.”

That show was his first-ever headline performance as a solo artist in an outdoor stadium, a moment that proved to Styles, more than anyone else, that he was more than capable of hitting the biggest of leagues and staying there. He was no longer fighting for credibility in a post-boyband solo career, but now out on his own and dominating the most historic of stages.

It’ll come as no surprise, then, that Wembley Stadium was one of the few stadiums to be chosen as a stop on his Together, Together residency run. Following its kick-off in Amsterdam, Netherlands, on May 16, it arrives not just as a homecoming for Styles but a coronation: his 12-run show will break Wembley Stadium’s all-time record for most shows in a calendar year (Coldplay previously held the record with 10 shows in 2025).

It’s one thing to play Wembley Stadium as a headline act – a career-high for every artist – but tougher still to create an authentic, lasting connection with the stadium that extends beyond the show. The defining images of Queen’s career came during their headline gigs in 1986, while Muse’s H.A.A.R.P show in 2007 are certainly in the hall of fame. Oasis played some of the best shows of their Live ‘25 reunion tour at the stadium just last summer. It proves rarer than one would imagine.

But Styles is fast becoming Wembley’s most bankable and beloved star. He played three shows with One Direction in 2014, and during the Love On Tour run from 2021-2023, Styles played the Stadium a further six times. The latter provided Harries (and the casuals that were swept up in the madness) a moment of post-pandemic release. There were cowboy hats, pink feather boas and reconnection. Missing out on tickets felt like being robbed of some kind of fundamental human emotion: pure joy.

Together, Together is a different proposition, however. Kiss All The Time. Disco, Occasionally is knottier by design, favouring moodier electronics and oblique lyrics as opposed to the pop-powered Harry’s House (2022) soft-rock stylings of Fine Line (2019). The tour’s opening run in Amsterdam featured rave-influenced production and nods to Underworld and Orchestral Maneuvers in The Dark. Quite the switch-up.

As he returns home to his stomping ground, these were the best moments from the residency’s opening night.

As Steph Strings concluded her first headlining show in Brooklyn this March before a packed, cheering club crowd, she signed off with the declaration: “I’m 25 years old. I’m from Australia. And this is just the beginning.” 

And what a beginning it has been. 

In January, Strings’ self-released album Feel Alive debuted at No. 2 on the ARIA Australian Album Chart. In March and April, she played headlining shows in the U.S. and Europe — and on Saturday (June 13) she’ll play a midday set at the Bonnaroo Music and Arts Festival on the Which Stage. The set will be part of the Bonnaroo livestream on Disney+ and Hulu. 

Strings has been steadfastly independent to date. Starting her career as a busker on the streets of her native Melbourne, she has declined so far to sign a record or publishing deal. And, nevertheless, she has landed summer bookings not only at Bonnaroo but other high-profile festivals including Summerfest in Milwaukee on June 19 and the Sea.Hear.Now Festival in Asbury Park, N.J. on Sept. 19. She also has a support slot on Jesse Welles’ summer tour. 

“It’s been a rock star year,” says Strings. She spoke to Billboard on a Zoom call hours before a flight to Denver where she played before a crowd of some 3,000 in a free concert at the Levitt Pavilion, on a bill with Colorado-based singer-songwriter Patrick Dethlefs. 

Strings’ rise highlights the role of music festivals and booking agencies — often ahead of music publishers and record labels — in the industry’s global A&R process today, and in the discovering and development of tomorrow’s superstars. 

Strings’ growing fan base demonstrates how social media has become a promotional tool as powerful as a PR campaign or radio play. She has a combined social media reach of more than 1.5 million across platforms. 

A Bonnaroo booking for an unsigned artist is “unusual, but not unheard of,” says Josh Knight, senior vp of music at The·Team, the agency that represents Strings for North America and Europe. “I’ve built my whole career around artists that are independent and most of them have played Bonnaroo and the larger festivals,” adds Knight. “You don’t always need to be on a label to sell tickets and have people listen to your music.” 

The·Team first saw success booking Strings in Europe where her virtuosic guitar playing, engaging songs and charming personality won over fans in multiple countries. When the opportunity arose to work with Strings in the U.S., “I jumped at the chance,” says Knight, who succinctly summarizes the young artist’s draw: 

“She plays great guitar and has a great voice and a story to tell. I knew that if we just gave it a shot, that we could build [her career] the way I’ve done so many other bands, which is on the road first.” 

Here are six things to know about Steph Strings.

Thanks to its popular new mayor Zohran Mamdani and the runaway success of the New York Knicks, the vibes in New York City are astronomically high — and the 2026 Governors Ball Music Festival tried its hardest to maintain that momentum, even as severe weather threatened to upend the entire weekend (June 5-7).

Returning to Queens’ Flushing Meadows Corona Park, Gov Ball 2026 kicked off on Friday (June 5), with left-of-center pop darlings Absolutely, Audrey Hobert and King Princess playing afternoon sets across the fest’s three stages. At 4 p.m., indie sleaze revivalist The Dare graced the Snapchat stage with rapturous rave energy that paid no mind to the blazing sun beaming down on the crowd, delivering a much-needed jolt of energy ahead of Mariah the Scientist and Pierce the Veil’s early evening sets.

Before Friday night’s headliners — Lorde and Baby Keem — emerged, KATSEYE was the main event. If the average Gov Ball attendee on Friday wasn’t wearing Cowboy Carter (Beyoncé) or Grand National (Kendrick Lamar & SZA) tour merch, they were likely repping the wildly popular global girl group. Though Manon’s absence was deeply felt — particularly during the group’s awkward and stilted banter — KATSEYE obliterated the stage with precise choreography and meticulous production. KATSEYE drew one of the weekend’s largest audiences for a non-headlining act — and Cardi B and Kulture had their pinkies up alongside the rest of the festival.

And after Baby Keem closed out the Snapchat stage on Friday night came Lorde. A generational artist for younger millennials or elder Zoomers, the Grammy winner impressively recontextualized her catalog with a show that blended inventive lighting design and thoughtful movement direction in her triumphant Gov Ball return.

Saturday began with enjoyable sets from Flowerovlove, Wisp and Spacey Jane, with 2Hollis and Jane Remover keeping the alternative, experimental energy going into the late afternoon. Ravyn Lenae played several songs from her forthcoming new Blue Island album (including an exceptional one titled “Saturday Night”) in delivering one of the weekend’s strongest sets, and Wet Leg was set to be right there with her — until Mother Nature intervened and made “Mangetout” the last song many attendees heard that day. Due to flash thunderstorms that drenched New York for several hours, three acts — Blood Orange, Kali Uchis and Amyl and the Sniffers — had their sets canceled, and Saturday headliners STRAY KIDS moved to an early evening slot. In that period of frustration and confusion, Major Lazer provided an unlikely bright spot, delivering a hit-packed, genre-fusing set that offered some catharsis before attendees made the apocalyptic journey to the 7 train.

Despite pleasant early-afternoon sets from Rachel Chinouriri, Lexa Gates and Hemlocke Springs, weather continued to pose challenges early on Sunday. Slayyyter, who drew a remarkably large crowd despite a lightning delay that backed up the security gates, delivered an instant standout set that doubled as a highlight reel of her terrific new Wor$t Girl In America album. Japanese Breakfast and Between Friends followed with relatively more laid-back vibes, which Holly Humberstone continued by reimagining songs from her recent Cruel World LP.

Blood Orange returned Sunday to play his previously canceled set, offering attendees a more introspective set as Fcukers kept the Grove Stage jumping. To close out Sunday afternoon and begin the evening transition, Geese channeled chic indie-rock bands of yesteryear, Khamari saluted D’Angelo and Clipse made a stellar argument for Let God Sort Em Out being album of the year for 2025 and 2026. Finally, Dominic Fike surprised fans with the live debut of a forthcoming song titled “AI” during his set, which he closed by stripping down to his boxers.

Before A$AP Rocky brought his raucous, riotous Don’t Be Dumb to the festival’s main stage for the weekend’s final performance, Freddie Gibbs & The Alchemist closed the Grove Stage, while JENNIE drew a particularly large crowd for her penultimate performance; packed with hits including “Dracula,” “Like Jennie,” “ExtraL” and “One of the Girls,” it was the weekend’s only proper solo pop star set, complete with flashy pyrotechnics, slick choreography and multilevel production design. If anything, it felt like an audition for a future arena tour of her own.

Gov Ball 2026 was yet another jam-packed festival weekend. Check out the eight best moments of the festival below.

Chris Lake landed in Brooklyn, New York’s Under the K Bridge on Friday (June 5) and Sunday (June 7). Lake often arrives in the city towards the start of the summer, kicking off the season for many New York ravers.  

Ahead of his run of shows, Lake threw a party at PopUp Bagels in SoHo on Thursday (June 4). A fan had called Lake over to say, “Excuse me, you dropped something. The bass.” Lake, naturally, took the video to turn her vocals into his intro for both of his weekend shows.

While Lake initially planned to perform three shows, day two on Saturday (June 6) was among the numerous shows in New York forced to cancel due to severe weather with 60 m.p.h. winds, rain, thunder, and lighting. The Governor’s Ball Festival was forced to cancel performances by Blood Orange (who managed to return on Sunday), Amyl and the Sniffers and Kali Uchis, while Bright Eyes also had to cancel their show at Forest Hills Stadium in Queens. Despite the disappointment stemming from a show cancellation, fans and Lake all came back ready to groove on Sunday. Those who held Saturday tickets were transferred over to Sunday if they wanted, while refunds for those unable to attend the Sunday show are available from June 8-14 via AXS or at the original point of purchase. 

To accommodate the extra fans, Lake’s team and promoter Bowery Presents (a subsidiary of AEG Presents) opened up a second stage down by Newtown Creek, curated by pop-up promotion company Renegade, allowing them to bump up the capacity from Sunday’s expected 4,000 to just under 7,000, according to representatives for the show.

As the sun set on Sunday, Lake made a triumphant return. Below, find the five best moments from Lake’s New York City weekend.

On Saturday night (June 6) in Oakland, Calif., nearly 20,000 fans learned that good things really do come to those who wait.

The evening kicked off Ariana Grande’s long-awaited, highly-anticipated return to touring after a seven year hiatus. Grande last traveled the globe in 2019 on her Sweetener World Tour that spanned 100 shows. The trek was the biggest of her career at the time, with a gross of $146 million and 1.3 million tickets sold according to figures reported to Billboard Boxscore.

Since then, Grande has released not just one album but two — with a third on the way. (Petal arrives July 31, amid the tour.) So, naturally, when she announced her Eternal Sunshine Tour last August, excitement — and demand — was at an all-time high. Especially considering that this outing is significantly scaled back, by comparison, spanning just 41 dates across a limited number of cities.

Since 2019, Grande released Positions in 2020 and Eternal Sunshine in 2024, both of which were Grammy nominated for best pop vocal album. She famously starred in Wicked and Wicked: For Good as Glinda, a role for which she was Oscar nominated. And still to come, in addition to releasing a new album this summer, she will appear in the forthcoming Focker-In-Law and in a West End revival of Sunday in the Park with George. And those are just the things we know about.

Given Grande’s schedule and expanding stardom, seeing her back on stage felt more special than ever. And not only because, as one user on X put it, she didn’t have to tour, but because despite the outing’s namesake, this won’t last forever.

In fact, Ari even teased this could be her last tour for some time, telling Amy Poehler on the Good Hang podcast in November, “I don’t want to say anything definitive. I do know that I’m very excited to do this small tour, but I think it might not happen again for a long, long, long, long, long time. I’m going to give it my all and it’s going to be beautiful. I think that’s why I’m doing it because I’m like, ‘One last hurrah!’”

And whether that holds true, night one had the same energy as the last first day of school. Grande was equal parts composed and silly, dangerous and delicate, confident and contemplative — a vibrant spectrum of being that not only comes from experience, but from embracing that experience.

And that’s exactly what Eternal Sunshine celebrates: Ariana in all her forms. Past, present and future. So even if her tour can’t last forever, its message surely will — because in the end, what’s more eternally radiant than loving exactly where you are because you’re proud of where you’ve been? And perhaps even more excited for where you’re going.

Below, find the five best moments from Grande’s opening night of her Eternal Sunshine Tour.

The 24th edition of the Primavera Sound festival — coming a full quarter-century after a much more modest version of the festival initially debuted in 2001 — went down this week in Barcelona. While a handful of acts (including buzzy indie-rockers Wet Leg) officially kicked off the fest on Wednesday (June 3), and a few more (ending with legendary house DJ Carl Cox) will see it out on Sunday (June 7), the crux of the festival transpired over June 4-6, with three days of genre-and-globe-spanning artists adding up to one of the richest festival experiences currently available anywhere on the map.

Unfortunately, the first of those three main days got largely washed out, as the rains came in early evening and lasted till early morning. The weather resulted in messy conditions and great confusion, with poor communication between organizers, staffers and attendees, as nearly all the stages were at least temporarily suspended, and the night’s main-stage acts saw their sets suspended and ultimately canceled — including the trio of Wednesday headliners, U.K. trip-hop greats Massive Attack, U.S. pop-rap star Doja Cat and Spain rhythmic hitmaker Bad Gyal. (Several of the side stages ultimately reopened, with plenty of strong options remaining for those who stuck around.)

However, the festival rebounded with a drier and significantly less dramatic Friday and Saturday, as the second and third full days went on essentially without a hitch, bringing the stunning variety and consistently high quality of artists for which the festival has become renowned. Addison Rae, The Cure and Skirllex headlined the Estrealla Damm and Revolut main stages on Friday, while My Bloody Valentine, The xx and Gorillaz closed them out on Saturday. And the final full day also included a special treat on the Occident stage courtesy of pop superstar Olivia Rodrigo, who helped erase whatever memories still lingered of Friday’s disappointment with an exhilarating 11-song surprise set, including a returning guest from the previous night’s spate of headliners.

Below, see 10 of our favorite moments from the three (well, two and two-thirds) full days of Primavera Sound Barcelona 2026.