With her triumph in the final of The Voice, Alexia Jayy is a trailblazer, a record-setter and the hero of NBC’s Battle of Champions.
This 29th and latest season of The Voice enjoyed a makeover, with several format changes and a new-look panel of coaches, marking the talent quest’s first-ever three-coach lineup: Adam Levine, Kelly Clarkson, and John Legend.
For those armchair viewers who followed Jayy’s journey from the start, her victory should come as no surprise.
After bagging the very first “Triple Chair Turn” of the new season, joining team Adam, and earning favorable comparisons to Whitney Houston and Lauryn Hill, Jayy always looked like the goods.
On Tuesday night, April 14, she put it beyond doubt with a cover of “Lady Marmalade,” duetted with her coach on “Sunday Morning,” and smashed it clean out the park with a rendition of Adele’s “One and Only.” Donning a white gown, gold cape and necklace, Jayy sounded like someone who was sent here to win.
“That was, crazy,” Clarkson told Levine during the final. “You are so good. Wow, you’re like a vessel. Girl, that was so good, and you felt it … That was like a therapeutic release my heart needed, thank you. And, look, I love Adele, she’s one of my favorite singers, but damn!” The original American Idol quipped, “Just promise me this — never cover my songs.”
If Clarkson was crying, she wasn’t the only one. “You got us all weeping over here,” Legend remarked. “We’re just proud of you, honestly. You’ve just been remarkable every single time and you’ve just been a blessing to all of us.”
Levine had the last word. “You make people reflect on their own life. When you tap into that, you make the world feel a little bit more together and communal,” he noted. “That’s really, really, really special. I’ve never experienced the feeling we all just had together. Thank you for being the messenger, you’re unbelievable.”
Watch Jayy’s performances below.
At the nervy, pointy end of the competition, Jayy was asked about the unwavering support of her coach. “Oh, it has meant the world to me,” she enthused. I didn’t expect I’d get this far, so Adam giving me his kind words and, you know, just motiving me has really brought me so far.”
The Maroon 5 frontman, who inhabited one of the red chairs for the show’s first 16 seasons, as well as season 27, is now a four-time winner as coach, having lifted the trophy with Javier Colon (2011), Tessanne Chin (2013), Jordan Smith (2015) and now Jayy.
Hailing from the small town of Irvington, about 20 miles southwest of Mobile, Jayy, 31, a mom of two, becomes the first African-American woman to win The Voice.
As champion, she receives a $100,000 cash prize, a recording contract with Universal Music Group, and a special “Artist Launch” home recording studio kit.
For the record, Liv Ciara (Team Kelly) is the season 29 runner-up, Lucas West (Team Legend) completed the podium in third place, while Mikenley Brown (Team Kelly) came in fourth.
Check out the big reveal below.
As the band wings out a new Legendary Edition of its self-titled debut album, Joe Perry is hoping the train will still keep a-rollin’ for Aerosmith. He’s just not sure where it might lead.
“The band is still kind of definitely not in touring mode, but there are certainly other options, so we stay in touch,” the guitarist tells Billboard from his home in Florida, noting that he talks most with frontman Steven Tyler, “my brother from another mother,” with whom he remixed 1973’s Aerosmith album for the reissue. It was a vocal cord injury and a fractured larynx Tyler suffered just three shows during Aerosmith’s 2023 farewell run that led to its cancellation and the band’s announced retirement from touring.
Perry and Tyler have since recorded an Aerosmith EP with Yungblud — last November’s One More Time, which hit No. 9 on the Billboard 200 — while Tyler has made periodic singing appearances, including at the annual Grammy Awards benefits for his Janie’s Fund and at last summer’s Back to the Beginning farewell concert for Black Sabbath and the late Ozzy Osbourne. Perry, meanwhile, has been out with his Joe Perry Project and will make a summer swing in Europe with all-star Hollywood Vampires, while bassist Tom Hamilton has started another band, Close Enemies, which released its debut album last month.
“You just never know,” Perry says about future Aerosmith activities. “It’s just been in the last six months that Steven’s started to get comfortable with singing; he literally had to take a year off before he was able to start stretching his vocal cords, and you’re always worried about reinjuring it. I learned a long time ago that everything we do is fragile… so we just take it day by day. You hope for the best. You just have to have the confidence and have that vision of positive in front of you. You can’t do it unless you envision it.”
Getting Their Wings
Perry was happy to have a look in the rearview for Aerosmith (Legendary Edition), which came out March 20. He and Tyler oversaw a remix from the original tapes with project co-producers Zakk Cervini and Steve Berkowitz, creating a deluxe set that includes the original and remastered albums, plus a March 20, 1973 show at Boston’s Paul Mall that was broadcast on WBCN. A selection of outtakes that includes a pre-Get Your Wings rendition of the Yardbirds’ “Train Kept A Rollin’” and an instrumental “Joined At the Hip (Aerojam)” that features elements that would become part of “Sweet Emotion” two years later on Aerosmith’s third album, Toys in the Attic.
“I was like, ‘Do we need to do this?’,” Perry reveals, “because we’d put out remastered (versions of the album) before, and I never really noticed all that much difference. But this was different; going in and actually getting to listen to the multi-tracks… it was great to hear it on modern equipment. When everything was translated down to the vinyl (in 1973) it didn’t sound the same as when you’re standing in the room with the band. But these remixes sound like that to me. It’s the same record, the same performances, but it opens it up.”
Specifically, he adds, “We never liked the way the drums sounded on that first album. Now it’s like, ‘Holy shit, this is what it sounded like when we were first recording. So I think it’s definitely worth it. And the old one isn’t going anywhere. It’s still there.”
Perry says the immersion “brought back a lot of memories” to recording the Aerosmith album during October of 1972 with producer Adrian Barber at Intermedia studio in Boston. “We were trying to find our place… what our goals were, what our options were,” he recalls. “We were learning how to write together and play together. We were listening to all of the incredible second wave English bands; there wasn’t much going on in America at the time, for our ears. All the power was coming from the English bands, so we were drawing on that.
“Considering everything, I think that the record pretty much does what it’s supposed to do. I can remember putting the (headphones) on and listening to the first song, and I took ’em off and I shook my head. When you’re in the middle of it you do it piece-by-piece. Then when you start to hear it finished, it’s like…’Holy shit! I’m glad we did this.”
Aerosmith was, of course, the home of “Dream On,” which was released as a single in June of 1973 and reached No. 59 on the Billboard Hot 100, eventually growing into a rock radio staple that was inducted into the Grammy Hall of Fame in 2018.
Not bad for a song that wasn’t Perry’s favorite at the time.
“If it didn’t rock out I didn’t have any use for it in general,” he confesses. “I always like the ‘Train Kept A-Rollin” and the upbeat, the energy, the excitement. To me, ballads were just kind of, ‘Eh, time to take a break.’ But there’s something about it. Steven was working on it from the day I met him, and it just grew on us. Now I still love playing it, ’cause I see what it does to the fans. It really stands the test of time.”
More Where That Came From
Perry hopes to take the Legendary Edition approach to more of Aerosmith’s albums and already has his sights set on what’s next.
“I think Toys is the next one, ’cause on that one we were definitely getting our studio legs together,” he says of Aerosmith’s third album, a breakthrough that reached No. 11 on the Billboard 200, has been certified nine-times platinum and gave the band its first top 40 hit with “Sweet Emotion.” “It was definitely a state of mind and we were learning, I was learning everything I could about the recording part of it, like, ‘How come this know does that?’ and that kind of thing. I read about Jimmy Page; at 19 he was one of the most sought-after studio musicians, and he knew what he was doing when he went in to do (Led) Zeppelin. I, on the other hand, just know you put a mic in front of the amp and prayed.
“So Toys is when we started to become recording artists, I think, started to learn how to do that. We wrote some of those songs on the spot, and we were touring all the time, so the band was playing great and finding our own slot.”
The “Joined At the Hip (Aerojam)” outtake, meanwhile, gives fans a listen to both the gestation of “Sweet Emotion” as well as Aerosmith’s creative process in general. “We were pretty much on the road all the time; if we weren’t gigging we were looking for gigs,” Perry says. “When it came time for another record we would slot a month and go into the studio and we’d have maybe two or three songs finished and a batch of riffs we could play, and we would right in the studio. That riff of Tom’s we played it and we jammed on it, and it turned into ‘Sweet Emotion.’ That’s how most of those songs came out in the ’70s.”
Walking His Way
Perry acknowledges that having Aerosmith off the road has opened up space for his other musical adventures. “My solo stuff, I’ve always done it around Aerosmith,” he explains. “I’d put a record out, play one (solo) gig, then be on the road with Aerosmith for six months. So (his albums) never got the kind of push I think they could have. So it feels really good to not have to think about packing my bags tomorrow; I lived like that since I was 15.”
Perry is mulling some sort of compilation of his solo work. “I myself would like to hear 15, 18 of my favorites of my songs, all in one place,” he says. His Joe Perry Project last played dates during the fall of 2025 in conjunction whit his Sweetzerland Manifesto MK II album. Now, however, he, Alice Cooper, Johnny Depp and Tommy Henriksen are gearing up for the Hollywood Vampires tour, which kicks off Aug. 12 in London, with 19 U.K. and European shows through Sept. 12.
“It’s been awhile since we last toured (2023),” Perry says, “so I think that the set’s going to be maybe two-thirds some of the same songs we played last time, and some new ones.” The Vampires last studio album, Rise, came out during 2019. “It’s more about the vibe, and to just get a kick out of playing together. I’m just hoping we can get a run in the States after this European one.
“So that’s really what’s on the board for me. I know nothing’s going to happen between now and the Vampires tour, but I know next year is wide open, so… we’ll see.”
INXS is this year’s recipient of the Ted Albert Award for Outstanding Services to Australian Music.
The prestigious honor will be presented at the 2026 APRA Music Awards, set for Wednesday, April 29 at Sydney’s Hordern Pavilion.
With over 75 million albums sold worldwide, and a slew of international awards from their peers and fans, INXS is one of the most popular bands to emerge from the land Down Under.
They’re “not just part of Australia’s musical history,” reads a statement from APRA AMCOS, “they helped write the global playbook.”
Formed back in 1977, INXS would go on to climb rock’s highest summit, a stadium act whose posters were attached to teenagers’ walls everywhere. The sextet of Andrew (keyboards), Jon (drums), and Tim Farriss (lead guitar), along with Garry Beers, Kirk Pengilly (guitar/sax), and the late, legendary frontman Michael Hutchence, landed five top 20 albums on the Billboard 200, and a No. 1 on the Billboard Hot 100 with Kick’s “Need You Tonight.”
In the United Kingdom, the band scored six top 10 albums, including a No. 1 with Welcome To Wherever You Are from 1992, plus a BRIT Award in 1991 for best international group.
“INXS are truly one-of-a-kind,” remarks Jenny Morris, chair of APRA. “Performing with them in the 1980s, at Wembley Stadium opening for Queen to the Listen Like Thieves tour across Europe, North America and Latin America, I saw firsthand the love and adoration they generated. From their compelling and timeless songwriting to their intoxicating performances, few bands have ever left people happily gasping for more the way INXS do.”
Hutchence, who passed in 1997, aged 37, “is as much of a presence in our lives today as the day we lost him,” Morris continues, “and of course the same goes for the band. The legacy of INXS lives on. They remain as relevant as ever, continuing to inspire new generations and bring that unmistakable Aussie spirit to fans around the world.”
INXS called it a day in 2012, with a collection that includes six APRA Music Awards, six ARIA Awards, induction into the ARIA Hall of Fame in 2001, and a bank of hits, including “Don’t Change”, “Original Sin,” “Mystify” and “What You Need.”
The group’s music lives on through shrewd syncs and multi-media projects, from Super Bowl to Toy Story 5, and through tireless support from superfans. The classic 1987 song “Never Tear Us Apart” came in at No. 1 on triple j’s inaugural poll of the greatest Australian songs of all-time, counted down last July.
The Ted Albert Award is one of the Australian music industry’s highest decorations, and is decided by the APRA board of writer and publisher directors.
Previous recipients include the late Mushroom Group chairman Michael Gudinski, Paul Kelly, The Seekers, Cold Chisel, former Alberts CEO Fifa Riccobono, Colin Hay of Men at Work and last year’s recipient, Kylie Minogue.
On the night of the 2026 APRAs, guests will be treated to a series of special performances, including a tribute to INXS, a “landmark occasion” that celebrates 100 years of APRA. Confirmed performers include BARKAA, BOY SODA, Ecca Vandal, Ngulmiya, Playlunch, Rob Ruha and more.
The Ted Albert nod will be a bonus for INXS, which was nominated for the 2026 Rock And Roll Hall of Fame, but whose name wasn’t called on Tuesday. Another opportunity awaits for the Rock Hall next year, when the band turns 50.
As previously reported, Amyl And The Sniffers, Tame Impala spearhead Kevin Parker, first-time shortlisters Keli Holiday and Ninajirachi, plus Paul Kelly with his nephew and first-time nominee Dan Kelly, are in the hunt for APRA’s song of the year, the top honor at the annual APRA Music Awards.
The APRAs this year counts 52 first-time nominees, seven of whom are up for two awards.
For more information on the APRAs, visit apraamcos.com.au/apramusicawards2026,
Dua Lipa loves herself a good cocktail — and some Britney Spears. Dua turned into an expert mixologist for the day as part of Vogue‘s Toast to Cinema series, which saw the pop star pairing her favorite songs with various drinks made from scratch.
The “Levitating” artist crafted a Basil Smash inspired by Spears’ 2003 Grammy-winning anthem “Toxic,” which Dua crowned as “one of the greatest pop songs ever made.”
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“You’re very silly and giggly and fun and I need to hear ‘Toxic’ at the end of every single night when I’m feeling like that. It’s one of my favorite songs,” she gushed. “I think it’s one of the greatest pop songs ever made. It makes me feel nostalgic, but also at the same time, if it came out yesterday, it would be an absolute smash. I love it so much.”
Dua recalled the “Toxic” music video, which saw Britney dressed as a flight attendant. “The bit that stays in my mind that I remember so well is Britney in a stewardess outfit, and I don’t think anyone has been able to make a stewardess outfit look so good,” she added.
The Future Nostalgia singer continued to gush about her appreciation for Britney. “I love Britney so much,” she raved. “I love everything about her, all her songs. She’s such an icon.”
Back in December, Spears co-signed Dua with a post to Instagram of the British pop star’s “Houdini” cover art. “PRETTY NICE RIGHT,” she wrote about Dua’s Radical Optimism lead single, which topped the Hot Dance/Electronic Songs chart.
“Toxic” served as Spears’ second single from her 2003 album In the Zone. The Bloodshy & Avant-produced track reached No. 9 on the Billboard Hot 100 and earned Spears her first and only Grammy victory to date in the best dance recording category in 2005.
Dua came to Spears’ defense regarding the harsh media and paparazzi’s treatment of the pop star in the 2000s during a 2021 profile with the Los Angeles Times.
“The feeling of going down the street and they’re trying to catch you in this very awkward picture — it can be anxiety-inducing, honestly,” she said. “And Britney’s time was pre-Instagram when everything was purely about the tabloids, and there were no laws in place about what paparazzi were allowed to do. She was being harassed — that’s exactly what it was.”
More recently, earlier in April, eagle-eyed fans noticed that Dua appears to have a famed paparazzi photo of Britney Spears and Lindsay Lohan driving with Paris Hilton from the 2000s on the back of her iPhone.
Following her arrest on suspicion of DUI in March, a rep for Spears confirmed on April 12 that the 44-year-old voluntarily checked herself into a treatment facility, but did not provide any further details or reasoning.
Watch the full video of Dua Lipa with Vogue below. (Talk about Spears takes place around the nine-minute mark.)
The sun is out and she’s feeling good as hell.
It’s not technically summer just yet, but Lizzo is embracing the warm season vibes. The two-time Billboard Hot 100 chart-topper shared a new series of bikini photos to Instagram with a cute caption letting fans know what to expect of her summertime antics.
“Yall gettin the whole stomach out all summer,” Lizzo wrote.
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Lizzo has already embarked on what’s going to certainly be a summer of fun. The singer/rapper just made the most of Coachella weekend 1. On the first night of the festival, Lizzo surprised fans by joining Sexyy Red onstage with her flute. The “About Damn Time” singer performed her freestyle “Yitty On Yo Tittys” before twerking on a giant Labubu doll. In a follow-up Instagram post thanking Sexyy for having her, Lizzo called the festival “hoechella” and said that it was just getting started.
After her “hoechella” showcase, Lizzo joined Paris Hilton at her Parívie Oasis, a private event put on by Hilton’s skincare brand on Saturday. According to a series of posts to her Instagram, after Lizzo partied with the “Stars Are Blind” singer, she made sure to watch rock legends The Strokes take the Coachella main stage on Saturday night before catching Justin Bieber’s headlining performance. Following an epic Coachella day 2, Lizzo took to Instagram on Sunday to share all of her antics as well as a heartfelt message to Bieber for an incredible performance.
“I watched a popstar who grew up in front of the world fully transcend into his artistry last night,” Lizzo wrote in her caption, sharing she had no pictures or videos from Bieber’s performance because she was “fully present in the moment.”
With the festival behind her, Lizzo declared herself Queen of Coachella in another Instagram post shared on Sunday. If the upcoming months continue in this fashion for Lizzo, she may become the queen of summer too.
A new lawsuit seeks financial damages from Ye (formerly Kanye West) over a well-publicized 2024 altercation at Los Angeles’ famed Chateau Marmont, which the rapper later blamed on an alleged sexual assault of his wife, Bianca Censori.
Ye’s alleged victim, using the pseudonym John Doe, sued the rapper for battery and intentional infliction of emotional distress in a Monday (April 13) civil complaint in L.A. The man claims he hit his head on a concrete restaurant floor after Ye punched him in the face without any provocation in April 2024 and then “repeatedly punched plaintiff as he lay unconscious on the ground.”
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The allegations match contemporaneous reports of an altercation at the Chateau Marmont, which Ye and his reps later said arose because this man had grabbed and sexually assaulted Censori at the venue. However, Monday’s lawsuit claims this explanation is entirely false.
“The evidence, including video recordings from the scene, proves that plaintiff did not engage in any inappropriate or offensive conduct with a woman in defendant’s party, or anyone else,” write John Doe’s lawyers.
According to the lawsuit, Ye smeared the man’s reputation by falsely accusing him of sexual assault, including during a “widely viewed podcast appearance.” Ye spoke about the incident on an April 2024 episode of The Download, reiterating the claims that the man assaulted Censori and joking, “He had to go to bed early.”
Now, John Doe wants Ye to pay for his medical bills from the incident, as well as for the emotional distress and reputational damage he suffered because Ye exposed him to “public scorn, suspicion and ridicule,” according to the complaint.
The Chateau Marmont incident was reported to the Los Angeles Police Department at the time, an LAPD rep told Billboard. No criminal charges were brought.
Reps for Ye and Censori did not immediately return requests for comment on the matter on Tuesday (April 14), nor did a rep for the Chateau Marmont.
Ye’s reps released a statement on the alleged groping of Censori back in 2024, saying, “The assailant didn’t merely collide with her. He put his hands under her dress, directly on her body, he grabbed her waist, he spun her around and then he blew her kisses. She was battered and sexually assaulted.”
The eight artists who were voted into the Rock & Roll Hall of Fame in the performers category probably haven’t gotten much accomplished today. They’ve been too busy receiving well-wishes from friends and supporters.
The nine artists who were passed over in the voting have also likely been hearing from friends and supporters, but the conversations have been along the lines of “you were robbed” or, perhaps, “don’t worry, you’ll get in eventually.”
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As you probably know by now, this year’s inductees in the performers category are Phil Collins, Billy Idol, Iron Maiden, Joy Division/New Order, Oasis, Sade, Wu-Tang Clan and one solo artist who received the honor posthumously: Luther Vandross.
The artists who were passed over are The Black Crowes, Mariah Carey, Melissa Etheridge, Lauryn Hill, INXS, New Edition, P!nk and Shakira, and, here too, one solo artist who vied for the honor posthumously, Jeff Buckley.
The 2026 induction ceremony will take place Nov. 14 in Los Angeles, to be aired on ABC and Disney+ in December.
This was the third year in a row that Carey was passed over and the second year in a row that The Black Crowes came up short. Of course, that doesn’t mean they’ll never make it. Idol was passed over in last year’s voting before making it this time. Three of this year’s inductees – Iron Maiden, Joy Division/New Order and Oasis – had been passed over twice previously.
Carey also stands out because of her phenomenal track record, which includes 19 No. 1 songs on the Billboard Hot 100 and six No. 1 albums on the Billboard 200. P!nk has had four No. 1 hits and three No. 1 albums on those same charts. Hill has had one of each. The Black Crowes and New Edition have each had one No. 1 album; Shakira and INXS have each had one No. 1 single.
You could also consider these artists’ track records at awards shows. Hill has won eight Grammys. Carey has won five; Shakira, four; P!nk, three; and Etheridge, two. Etheridge also won an Oscar for “I Need to Wake Up” from An Inconvenient Truth, a documentary about climate change.
Or you could take into account that New Edition won the fan vote but failed to make the Class of 2026.
You can make your call based on whatever criteria you choose. But let us know what you think. Vote!
It may have taken nine nominations for Luther Vandross to finally win his first Grammy in 1991 for best male R&B vocal performance (“Here and Now”). But it only took the late singer/songwriter/producer one nomination to be selected for the Rock & Roll Hall of Fame’s Class of 2026.
So how might Vandross react upon hearing the news about his upcoming induction? David Gottlieb, manager of the Luther Vandross Estate, believes he would have responded in one of two ways.
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“The first would be very similar to when he won his first Grammy,” says Gottlieb. “You’d see Luther’s smiling face and then hear him singing a line from a song. Maybe ‘So Amazing’ or maybe he’d be riffing on ‘Bad Boy/Having a Party.’” When he accepted his Grammy at the 1991 ceremony, Vandross sang a snippet from “Here and Now” to a standing ovation.
“Or,” Gottlieb continues with a laugh, “he might just say with that same smile, ‘It’s about that time, Rock & Roll Hall of Fame.’”
Vandross — whose catalog of classics includes “Never Too Much,” “Any Love” and “If This World Were Mine,” his duet with Cheryl Lynn — initially became eligible for Rock & Roll Hall of Fame contention in 2006. When the ceremony takes place Nov. 14 at the Peacock Theater in Los Angeles, Vandross, who died in 2005, will join a diverse array of 2026 inductees including Phil Collins, Sade, Oasis, Wu-Tang Clan. Honorees in the early influence award circle are Queen Latifah, MC Lyte, Celia Cruz and Fela Kuti.
Gottlieb says the Vandross family is “beyond words” about the Hall of Fame honor. “The family was very excited seven weeks ago when he was nominated. And they’ve been on pins and needles waiting to see what the results were. They’re over the moon.”
As for his own reaction, Gottlieb notes, “It’s very easy to say this is overdue. But the reality is that sometimes it takes the audience and the gatekeepers a minute to catch up. And now it’s happened between a documentary [2024’s Luther: Never Too Much], a Grammy Museum exhibit, the Grammy Hall of Fame Award [2025] and Kendrick Lamar [the Grammy-winning “Luther” with SZA].
“It all kind of made this the moment that people reawakened to what Luther had to offer,” Gottlieb adds. “He sang about one thing, and that was love. And the world needs that right now.”
When the Rock & Roll Hall of Fame’s 2026 class was announced on Monday (April 13), few paid much attention to the fact that six women were among those honored. Sade Adu (Sade) and Gillian Gilbert (New Order) were both selected in the performers category, while Celia Cruz, Queen Latifah and MC Lyte were chosen to receive the early influence award and Linda Creed was tabbed to receive the musical excellence award.
That’s how the Rock Hall has rolled for several years now. Each of the last five induction classes has included at least four women (or groups featuring women) across the various induction categories.
It was not ever thus. When the inaugural class was inducted in 1986, all 10 performer honorees were men: Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis, Little Richard and Elvis Presley.
The Rock Hall could have brought in some gender diversity that year with its other selections, but they too were all men. The inaugural early influence (now called musical influence) honorees were Jimmie Rodgers, Jimmy Yancey and Robert Johnson. The inaugural non-performer selections (now called Ahmet Ertegun Award) were Alan Freed, John Hammond and Sam Phillips.
There were likewise no women in the induction classes of 1992, 2001, 2003, 2004 and 2016. John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, has made diversifying the roster of inductees along gender, genre and racial lines a priority. As such, it’s likely we’ll never see another all-male induction class.
In honor of this year’s gender-diverse class of nominees, here are 19 women who have made history at the Rock & Roll Hall of Fame.
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PinkPantheress just made her 2026 Coachella debut, and the Internet is abuzz about it.
The “Stateside” singer’s April 11 appearance had some majorly viral moments, including iconic performances of hit tracks like “Romeo,” “Another life,” “Illegal,” “Pain” and “Boy’s a liar Pt. 2” featuring Ice Spice, which peaked at No. 3 on the Billboard Hot 100. The set also featured a ton of special appearances from musicians and actors, namely horsegiirL, The Dare, pianist Precious Renee Tucker, Thundercat and Tyriq Whithers, who played Pink’s “Romeo.”
While her performance was the main focus, her outfits also seemed to take center stage, pun intended, capturing the audience’s attention. That London-inspired look the musician tends to go for was seen throughout every costume change, down to her footwear. Our favorite piece from the singer’s PinkChella set was her UGG shoes, which, despite the blazing desert heat, were a pretty great choice.
The $140 Quill Ballet Sneaker in Red Pepper perfectly paired with Pink’s bright blue tailored blazer, matching cobalt blue socks and baggy jeans. The style is shaped like a sneaker, but with all the qualities of a ballet flat like lace-up closures that wind around the ankles. The uppers are textural suede that transition into non-slip rubber outsoles. The top is left open to loop your laces how you please, like a dancer would. The shoe has amassed a ton of fans via social media after its release earlier this year. Many rave about the shoe’s uniqueness and how comfortable they are to wear.
Women’s Quill Ballet Sneaker in Red Pepper
This is a bright red choice that might be unconventional for some, given the silhouette is ballet-inspired and mostly open. The uppers are suede, while the closures are lace-up like ballet flats.
Unconventional footwear like this style has been a trend in the fashion industry for some time now, falling under the category of “ugly cute” shoes. The trend is all about subverting expectations, remixing your footwear game with interesting silhouettes or textures that some might find off-putting or hard to style. While it’s hard to pinpoint where this trend might have emerged from, Masion Margiela’s split-toe Tabi shoes could have been the catalyst. Sure, a plain ballet flat can do no wrong, but have you ever tried wearing one with hoof-like toes or one with sneaker-like qualities?
Ahead of her Coachella set, PinkPantheress was also tapped for a 90s pop culture-inspired campaign with UGG. The star was styled in the fan favorite Tazz II in chestnut, along with two new spring styles Quill Ballet Sneaker, this time in mustard seed, and the GoldenGlow Embossed Sandal also in mustard seed. For the campaign, the “Romeo” singer was dressed romantically like an angel or fairy, styling her UGGs with pink tights or matching knee-high socks. Teasers of the campaign were posted to UGG’s Instagram on April 8, followed by a slew of photos and videos of PinkPantheress posing in a bedroom-like setting.
Women’s GoldenGlow Embossed Sandal
These sandals feature crocodile embossing throughout and sky-high platform soles. The colorway is neutral enough that you can probably pair it with everything.
