Niall Horan‘s newly released fourth studio album Dinner Party is getting a Manhattan moment, with Universal Music’s UMusic Shop NY hosting a one-day pop-up takeover on Tuesday (June 9) to mark the release.

Located at 2 Penn Plaza, the takeover will offer fans the chance to shop official limited-edition Dinner Party merchandise — including pieces that have already sold out everywhere else — plus an exclusive tee made specifically for the event. Attendees will also be able to enjoy a full playback of the new album in-store alongside interactive photo moments. Per the announcement, the featured Dinner Party assortment will remain available at UMusic Shop NY throughout the week while supplies last, giving New York-based fans an extended window to pick up the limited drop.

The pop-up arrives the same day as Dinner Party‘s official global release via Capitol Records. The 12-track album, executive produced by longtime collaborators Julian Bunetta and John Ryan, leans into a cinematic and organic sonic direction, with co-writers including Afterhrs, Amy Allen, Ian Franzino, Andrew Haas, Steph Jones, Rocky Block and Joel Little contributing across the record. Dinner Party opens with “Tastes So Good” and closes with “End of an Era,” with the title track landing second on the tracklist.

Horan’s chart pedigree gives the new release significant momentum heading into release week. The multi-platinum singer-songwriter, who first rose to prominence as part of One Direction before launching one of the group’s most commercially successful solo careers, has sold over 90 million records worldwide.

His debut solo album Flicker topped the Billboard 200 in 2017 and produced the triple-platinum hit “Slow Hands.” His subsequent albums Heartbreak Weather (2020) and The Show (2023) both reached No. 1 on Billboard’s Top Album Sales chart and the UK Official Albums Chart. His 2024 global headline tour, The Show Live on Tour, brought his music to packed arenas across multiple continents.

The UMusic Shop NY takeover is open to fans throughout the day on June 9, with the broader Dinner Party assortment available through the rest of the week while stock lasts.

Jet are heading back to regional Australia. Fresh off a run of east coast dates earlier this year, the ARIA Hall of Fame-inducted rockers have announced a second leg of their Rumblin’ Regional Revue tour, adding 11 shows across Australia this October and November.

The newly announced run kicks off in Canberra on Oct. 22 before making stops in Wollongong, Erina, Hobart, Forth, Toowoomba, Coolum Beach, the Gold Coast, Traralgon, Ballarat and Frankston.

The tour continues a busy period for the Melbourne band, which has experienced renewed momentum in recent years following its 2023 reunion touring activity and induction into the ARIA Hall of Fame.

Twenty-five years after forming in Melbourne’s southeast suburbs, Jet remain one of Australia’s most successful rock exports. Their debut album, Get Born, became a global breakthrough upon its release in 2003, selling more than 6.5 million copies worldwide and spawning enduring hits including “Are You Gonna Be My Girl,” “Look What You’ve Done” and “Rollover DJ.”

The album’s impact extended well beyond Australia. “Are You Gonna Be My Girl” reached No. 1 on Billboard’s Alternative Airplay chart and helped introduce the band to American audiences during the garage-rock revival of the early 2000s. Follow-up single “Cold Hard Bitch” also topped Alternative Airplay, making Jet one of the few Australian rock acts of the era to achieve sustained success on U.S. alternative radio.

Jet followed their debut with 2006’s Shine On, which debuted at No. 2 in Australia and produced singles including “Put Your Money Where Your Mouth Is,” “Bring It On Back” and “Rip It Up.” The album was supported by extensive international touring and a high-profile appearance on the 2007 Big Day Out festival lineup.

Since returning to the stage in 2023 to celebrate the 20th anniversary of Get Born, the band has maintained a steady touring schedule. In 2025, Jet joined Lenny Kravitz on the Australian leg of his Blue Electric Light Tour and also performed a series of U.S. dates.

Joining Jet on the newly announced regional run will be Sydney rock outfit Liquid Zoo at all mainland shows, while Tasmania dates will feature Hobart psych-blues group Spooky Eyes.

Tickets go on sale June 12, with a Live Nation presale beginning June 11.

Tour Dates:

Oct. 22 — UC Refectory, Canberra
Oct. 23 — Waves, Wollongong
Oct. 24 — Woodport Hotel, Erina
Oct. 30 — Odeon Theatre, Hobart
Oct. 31 — Forth Pub, Forth
Nov. 5 — The Powerhouse, Toowoomba
Nov. 6 — Black Flag Brewing, Coolum Beach
Nov. 7 — Miami Marketta, Gold Coast
Nov. 12 — The Deck, Traralgon
Nov. 13 — Civic Hall, Ballarat
Nov. 14 — Pier Bandroom, Frankston

The annual Farm Aid concert and food festival is headed to Virginia Beach, Va., for the first time this year. The fundraiser for American family farmers will touch down at Veterans United Home Loans Amphitheater on Sept. 26, with sets from board members Willie Nelson, Neil Young (& the Chrome Hearts band), John Mellencamp, Dave Matthews (with Tim Reynolds), Margo Price and Nathaniel Rateliff.

Joining them this year will be Turnpike Troubadours, Lukas Nelson, Mike Campbell & The Dirty Knobs, Jesse Welles, Sierra Ferrell, Mon Rovîa, I’m With Her, Amythyst Kiah, Lily Meola and Chris Pierce. Tickets will go on sale to the general public on Friday (June 12) at 10 a.m. ET via Farm Aid’s website and the box office. A limited number of tickets will be available in a presale beginning at 10 a.m. ET on Wednesday (June 10).

“Family farmers grow our food and strengthen our communities. And when farmers struggle like they are now, communities feel it too,” said Farm Aid cofounder Willie Nelson in a statement. “The challenges farmers face threaten their livelihoods and put all of us at risk. We’re bringing Farm Aid to Virginia to stand with the farmers and fishers who feed Hampton Roads and beyond — and to grow a food system that works for everyone.”

Since its founding in 1985, Farm Aid has raised more than $90 million for programs that help support family farmers and expand the Good Food Movement, which prioritizes locally grown, organic, humanely raised food. According to the press release, attendees of this year’s festival will get to see farmers’ contributions firsthand via Homegrown Concessions, which will offer a fresh menu with ingredients grown and raised by farmers using ecological practices, as well as hands-on activities in exhibits about soil, water, energy and farming.

Last year’s 40th anniversary Farm Aid took place in Minneapolis, and in addition to its founders, it featured sets from Bob Dylan, Kenny Chesney, Billy Strings, Rateliff & the Night Sweats, Lukas Nelson, Trampled by Turtles, Wynonna Judd, Steve Earle, Waxahatchee, Eric Burton of Black Pumas, Welles, Madeline Edwards and the Wisdom Indian Dancers.

Australian broadcaster Nova Entertainment has unveiled a first-of-its-kind Nova’s Red Room experience celebrating the release of Niall Horan‘s fourth studio album Dinner Party, with the broadcaster set to host an exclusive listening event in Sydney for 50 of the singer’s most passionate Australian fans.

Taking place on Wednesday, June 10 in Sydney, the invitation-only event marks a significant evolution for the long-running Nova’s Red Room brand — moving beyond the traditional intimate live performance format that has hosted everyone from Ed Sheeran and Billie Eilish to Sam Smith, Liam Gallagher and The Kid LAROI, in favor of an immersive dinner party-style listening experience centered on the album.

Created in partnership with Universal Music Australia and TEG, the event will bring together 50 of Horan’s most passionate Australian fans for an intimate listen to Dinner Party alongside premium food and beverages, bespoke merchandise and curated experiential elements.

“Nova’s Red Room has built its reputation on creating unique experiences that bring fans closer to the artists they love,” said Nova Entertainment Group Programming Director Brendan Taylor. “As audience expectations continue to evolve, we’re always looking at new ways to innovate while staying true to what makes the platform so special. Partnering with Universal Music Australia and TEG on Niall Horan’s Dinner Party allows us to extend the Nova’s Red Room experience, creating an intimate, highly curated event that celebrates one of the world’s most loved artists and his latest musical chapter.”

The event announcement comes following Horan’s revelation that he’ll be returning to Australia in early 2027 on Rolling Stone AU/NZ’s Rolling Stone Uncut podcast.

“I’ll be down early next year for sure,” Horan said. “We haven’t got to the announcement part of it yet, but there’s no doubt I’ll be down, [and] I can’t wait.”

While Horan stopped short of confirming dates, venues or ticket details, the comments are his clearest indication yet that an Australian tour announcement is on the horizon. The singer last visited the region in 2024 on The Show Live on Tour.

Dinner Party, released globally on Tuesday (June 9) via Capitol Records, marks Horan’s fourth solo studio album. Executive produced by longtime collaborators Julian Bunetta and John Ryan, the 12-track record sees Horan working with co-writers including Afterhrs, Amy Allen, Ian Franzino, Andrew Haas, Steph Jones, Rocky Block and Joel Little. The album opens with “Tastes So Good” and closes with “End of an Era,” with the title track “Dinner Party” landing in second position on the tracklist.

The multi-platinum singer-songwriter first rose to prominence as part of One Direction before launching one of the most commercially successful solo careers to emerge from the group, selling over 90 million records worldwide. His debut solo album Flicker topped the Billboard 200 in 2017 and produced the triple-platinum hit “Slow Hands.”

His subsequent records Heartbreak Weather (2020) and The Show (2023) both topped Billboard’s Top Album Sales chart and the UK Official Albums Chart, with The Show also reaching No. 1 on the ARIA Albums Chart in Australia. His 2024 global headline tour, The Show Live on Tour, played packed arenas across multiple continents.

Australian listeners hoping to attend the Nova’s Red Room Dinner Party can register via the Nova Player for the chance to win an exclusive invite.

Following Madonna’s debut of CONFESSIONS II —The Film at the 25th Tribeca Film Festival, the visual project is now available to audiences everywhere.

The 10-minute film became available on YouTube on Monday (June 8), offering a cinematic experience to accompany Madge’s anticipated album, Confessions II, dropping on July 3.

Directed by TORSO, the project has music direction by Stuart Price, who produced her 2005 album Confessions on a Dance Floor as well as its upcoming sequel. Projecting the spontaneity and confusion of a night out dancing at the club where anything can happen, CONFESSIONS II — The Film unfolds into six songs, each meant to represent a different chapter in the story. “I Feel So Free,” “Good for the Soul,” “One Step Away,” “Bring Your Love,” “Danceteria” and “Read My Lips” are all part of the project.

“I Feel So Free” became the first song release from the album in April and marked the singer’s return to four Billboard charts. The song debuted on Digital Song Sales, Hot Dance/Pop Songs and Dance/Mix Show Airplay and hit No. 1 on Dance Digital Song Sales.

The video includes two main collaborations, and familiar faces accompany Madge as she has a fever-dream-like experience. Sabrina Carpenter joins the show onscreen for a duet of “Bring Your Love,” and Colombian artist Feid takes center stage to sing in Spanish for “Read My Lips.”

Other scenes bring together a collective of some of pop culture’s most beloved faces through the years, including supermodel Kate Moss, actors Debi Mazar, Benedict Cumberbatch and DJ Honey Dijon. Julia Garner, who was tapped to play Madonna in the singer’s self-produced limited series, makes a cameo, looking like a younger version of the Queen of Pop. Lourdes Leon, Madonna’s 29-year-old daughter, also makes an appearance during the final scene, speaking a few words into the camera: “I wish a mother—- would” and “Cut b—-”

CONFESSIONS II – The Film received multiple standing ovations during the Tribeca Film Festival.

See the film here:

The lights are brightest on Broadway, and the New York Knicks tapped Cardi B to perform the halftime show for game three of the NBA Finals at Madison Square Garden.

Monday night (June 8) marks the first NBA Finals game at MSG for the Knicks since 1999, where they’ll be taking on the San Antonio Spurs in game 3. The Knicks currently sit up 2-0 in the series after taking the first two games on the road in San Antonio.

Media members and team personnel were in the building early and spotted the MSG crew testing out graphics and lighting for the halftime show, as online ticketing marketplace TickPick posted a photo revealing Cardi as the halftime entertainment for the evening.

“Halftime Entertainment Cardi B,” a graphic on the jumbotron read with a photo of the Grammy-winning rapper.

BREAKING:

Cardi B will perform at halftime for Game 3 of the NBA Finals at MSG 🔥🔥 pic.twitter.com/PXwrkpCKq2

— TickPick (@TickPick) June 8, 2026

The Bronx native has been rooting on the Knicks during this playoff run and has been spotted courtside at games in the past, like when she and Stefon Diggs went public with their relationship while pulling up to a Knicks game during the 2025 playoffs against the Boston Celtics.

The Knicks have had plenty of New York rapper perform at halftime during their postseason run, including Fat Joe, Jadakiss and Fabolous all have hit graced the mic at MSG.

President Donald Trump is expected to be in attendance for game three, while Cardi B has been critical of Trump throughout his tenure in the Oval Office.

Cardi has been in performance mode for 2026. She embarked on her first headlining North American tour in February, as the Little Miss Drama Tour grossed over $70 million, according to Billboard Box Score.

The trek came in support of Cardi’s sophomore album, Am I the Drama?, which debuted atop the Billboard 200 last September with 200,000 total album units earned.

Billboard has reached out to Cardi B’s reps for confirmation.

Jadakiss is taking 38 Spesh’s challenge seriously.

In a clip that recently surfaced, the legendary rapper told a group of people that he was on his way to the studio because every time he tries to get out of the game, someone pulls him back in.

“I’m ’bout to go in the lab, I’m ’bout to do some samurai swording,” he said, seemingly in reference to Spesh’s comments on the Bag Fuel podcast. “You know what I mean? They asked for it. I tried to be a father, a businessman, but they wanna bring me outta my element.”

38 Spesh — an underground rapper hailing from Rochester, New York — recently told Bag Fuel that he feels Jada has been “ducking” him since they collaborated on the Benny the Butcher song “Sunday School” because he had the better verse. “It’s some n—as respected that just gonna work with you because they fans of the art, and some n—as gonna hear and act like they don’t or be scared to work with you,” he claimed.

“Some people don’t wanna be outshined on the record. Like to be honest with you, I did a record with Benny and ‘Kiss, and I happened to have the best verse on the record. I smoked the record, and ‘Kiss never did a song with me again. And I don’t think he’ll ever do a song with me again.”

He added: “You got a chance to come redeem yourself, ‘Kiss. Come on, come outside, n—a. He been duckin’ me since. Y’all gonna have to reorder your top fives.”

It looks like Spesh is going to get what he’s asking for.

Friday (June 5) night at the Beacon Theatre in New York City during Tribeca Festival, Madonna debuted a nearly 14-minute visual project centered around the first six songs from her upcoming album Confessions II.

The world premiere of the Confessions II short film was followed by a Q&A with Madonna, directors David Toro and Solomon Chase (TORSO) and host Anderson Cooper. There was a lot to unpack in the wide-ranging discussion: lasers shooting out of lower-body orifices, unreleased songs, hot n’ sweaty bathroom hookups, a Benedict Cumberbatch cameo and more.

But there was one small, unusual item Billboard noticed in the film’s credits that was not explained during the Q&A (which didn’t open up for audience or media questions at any point). In the Confessions II end credits, which contain the songwriting credits for the six Confessions II songs that appear in the film, Lou Reed was listed as a songwriter on “Danceteria.”

Lou Reed and Madonna are both musical icons associated with NYC, artists who forged their creative identities in the city’s fertile but unforgiving fires. But as far as we know, they never creatively collaborated during the Velvet Underground founder’s lifetime. The closest they seem to have come to crossing paths publicly was at the 2008 Rock & Roll Hall of Fame ceremony, when Madonna was inducted into the Rock Hall alongside Leonard Cohen and Reed was there to give Cohen his flowers.

So, what gives? Well, Billboard reached out to Madonna’s reps, and the reason is about what you would imagine. Madonna’s “Danceteria” — a song inspired by the iconic, defunct dance club that Madonna frequented in the early ‘80s before taking over the globe — includes a small but famous portion of Reed’s biggest (and only Billboard Hot 100) hit, “Walk on the Wild Side.” During “Danceteria” (which includes a lyrical reference to Debi Mazar, whom pre-fame Madonna hung out with at the NYC club and even made out with), the Queen of Pop briefly sings the immortal “do-do-do, do-do, do-do-do” portion of that song. Thus Reed is duly credited alongside Madonna, Andrew Watt and Stuart Price as a cowriter on “Danceteria” for the interpolation.

Madonna is far from the first artist to interpolate this portion of Reed’s best-known song in the cultural mainstream. A Tribe Called Quest’s 1990 classic “Can I Kick It?” interpolated it in 1990, as did Marky Mark and the Funky Bunch (the pre-acting rap group of Mark Wahlberg) in 1991 on “Wildside.” Marky Mark’s version actually peaked higher on the Hot 100 than Reed’s, reaching No. 10 compared to his No. 16 pinnacle. Haim’s 2019 track “Summer Girl” interpolates the same bit of “Walk on the Wild Side,” too. And, of course, let’s not forget the clean-shaven sounds of Hooray for Everything.

A random Instagram DM changed Qendresa’s life. Born Qendresa Sopa, the Northwest London-bred R&B singer was out dancing at a beachfront party when she checked her phone and saw a message from Champagnepapi, Drake’s IG alias.

“I got the Champagnepapi DM when we were dancing,” she recalls of Drake using her “Tearz” song in an IG post last year. “I was like, ‘What the f–k? He just posted my song!’”

Drake dropped another hint at a potential collaboration when he posted the vinyl covers to Qendresa’s Midnight Request Line and Londra albums on his Instagram Story in February.

Qendresa later found out that producer Kid Masterpiece, who has worked extensively with the 6 God, put Drake onto her music. Kid Masterpiece would play the British-Kosovar singer’s music on SiriusXM’s OVO Sound channel.

With influences ranging from Sade to Frank Ocean, it’s not hard to see what drew Drake into Qendresa’s music. She blends a unique mix of ’90s R&B, funk, EDM and jazz for an atmospheric sound.

“‘Slap the City’ was the first thing he sent me,” Qendresa says of her HABIBTI collaboration with Drizzy, while speaking from her Brighton flat. “He made me laugh because he was like, ‘This one sounds like a bit of us.” I was like, “He’s f–king right.”

She continues: “[We] started sending each other unreleased stuff, stuff he was flirting [with] around ICEMAN or stuff from before. Same with me. I did a bunch of stuff and I really miss that time. I was working on my bits and I was getting Drake stuff.”

The woozy “Slap the City” debuted at No. 39 on the Billboard Hot 100 when Drake’s trifecta of albums toppled the charts following their May 15 releases. Qendresa also contributed vocals to HABIBTI‘s “Fortworth,” “Gen 5” and MAID OF HONOUR‘s “Stuck.” However, she didn’t sing the ad-libs on ICEMAN‘s “Ran to Atlanta,” which many on the internet have speculated.

The Drake stimulus boosted Qendresa from six figures to over six million monthly listeners on Spotify. She’ll look to parlay the momentum into more eyes and ears on her next project, which the singer’s currently working on.

Check out the rest of our interview with Qendresa, which touches on her Drake collaborations, early music influences and plans for the future, below.

What got you into music growing up and who did you listen to?

I grew up in the ’90s and 2000s. Around those times, there was really good music on the radio. It’s much different in the U.K. than America. You actually play hip-hop on the radio. I remember going to yoga in L.A. and they were playing Drake and Future. Here, it’s just pop. Back in the ’90s and 2000s, pop was good. There was a wide variety of different genres that were good, so you have Blink-182, Sade, Missy Elliott and I was a big Spice Girls fan. I saw a TikTok explaining that the Spice Girls debut album was West Coast inspired. At the time, I didn’t know. The beats are sick. They were a huge inspiration of mine. I love them a lot.

Growing up into my teens, I became obsessed with grime and Dizzy Rascal was a huge inspiration of mine and Wiley. In Northwest London, where I’m from, we had Flirta D. We had Channel u where local artists would post their videos and you get exposed to U.K. talent.

What led you into singing?

I always sang in school. My uncle got me into the Fugees quite young. I always loved “Killing Me Softly” and any talent show that was my go-to. I didn’t take it seriously. I didn’t have anyone in my family or around me that did it. We were working class kids. We don’t have examples of artists. Art is a rich people’s sport in a way, unless you get lucky and take the risk and invest all your s–t in that.

When I was young, I was performing in my mirror listening to Spice Girls, Britney Spears, Missy Elliott and Mariah Carey imagining I was them. I was visualizing and manifesting it, but a part of me didn’t think it was a possibility.

It’s just my manager and agent at the moment, all women. I never signed to a label. We’ve been grinding for the last two years. Before that, I was doing everything myself, from answering emails and booking gigs and uploading my s–t onto YouTube. Even the way I used Instagram before, I was such a hot mess. I got artist friends and we all kind of struggle with the Instagram thing. It’s too much pressure, we’d rather just be making music.

Fast forward to now, how did you link up with Drake for “Slap City.” I saw him post your albums on his Instagram Story. There was no contact with him before that?

No contact before that. The only thing we saw was Kid Masterpiece playing our stuff on OVO Sound. Further down the line, Drake told me that Kid Masterpiece put him onto my music. I’m still processing everything. He reached out and I was super shocked and grateful. It’s something I’ve thought about a lot in my life. Ever since he’s been dropping music, I’ve always been inspired by him and his writing and beats and artistry in general. It always gave me motivation, not even as an artist, but as a person to stay true to what I’m doing. This was about a year ago.

How did the recording process for ICEMAN start?

“Slap the City” was the first thing he sent me. He made me laugh because he was like, “This one sounds like a bit of us.” I was like, “He’s f–king right.” I did my thing on it and with these things you do your best and let it be. You want the best outcome for the project. If that means it’s going to make the album good, then that’s all I want for this whole thing and all I strive to do when collaborating.

Did he take ideas you had and mix you into “Fortworth,” “Gen 5” and “Stuck.”

I just added harmonies to those, they were already done.

Did you know he had three albums coming?

There wasn’t any talk about three albums, no. He dealt with everything himself. I was under the impression our managers would talk, so I gave his number to my manager and he dealt with my manager himself. He took things into his own hands and added a personal touch. It felt like we were part of this big thing. I just wanted to do the best I could to help somebody who’s been a huge part of our lives. I was shocked when we got the call for playback and it was four songs. I saw the livestream and it was mind-blowing, but before that we got the call for playback just the day before ICEMAN.

My first-ever producer, Hugo Mari, produced “Classic” on HABIBTI. We’ve had quite an emotional few weeks, because when we first started out we had zero followers and no money. We just had this vision, and we always wanted to work with Drake. 10 years later, for both of us to be included is crazy.

“Slap the City” debuted at No. 39 on the Billboard Hot 100. What did you think about that?

That’s blown my mind. The response in general for the ones I’m on, it’s funny because we have two different audiences. What ties us together is the stuff we make and love. That audience comes together for that. I got a good message from a fan making a reference when you meet a friend at the club and he knows the friend you’re with like, “What the hell? You guys know each other?” It’s a beautiful and unexpected thing. It’s a perfect friendship or amalgamation.

How has it been to have so many new fans? I call it the Drake stimulus. He spotlights an artist and they’re out of here to the moon.

I do feel that. My fans are usually quite like me. I’m not really posting on social media all the time. Seeing his fans come and showing support, I’m touched because things can go down all sorts of way on the internet. New artists don’t always get welcomed in nicely. Everyone’s come to my page quietly and respectfully. They took their shoes off at the door. I got great feedback from them on DMs and YouTube comments. They’re loving discovering my music. I got a message from Lil Yachty the other day, “It’s great he’s shining a light on what should’ve been discovered a long time ago.” They’re saying, “It’s about time you got your flowers.” [Yachty and I] have been meaning to link-up, he reached out to me a couple of years ago and we’ve been trying to figure something out.

What do you have coming up musically? You dropped “Rain in July/Be the One” in May. I didn’t know you were a producer as well.

I’ve got some bits coming out. I’ve got a single coming out that I wrote as a dedication to Mexico. I’ve been there three times now and I’m a bit obsessed. I was on my way to perform there and I wrote a song that’s coming. I’m working with Hugo Mari wrapping it up. I spent a lot of time in Mexico City. It’s like a 45 minute flight to this beach town. You don’t need to leave or do anything.

I’m now in my new flat and I got these crazy sea views. It’s not a fancy flat, I’m not there yet. I just needed some peace and quiet and this is perfect. That’s why I moved out of London. I’ve got loads of music. Everyday I’m doing something with music, whether it’s writing, making beats or finishing something. I’ve always got beats that are sent to me that I’ll work on. We’re fleshing out some projects.

“Rain in July” was a bit inspired by me trying to emulate an afro-swing vibe. There was a lot of Burna Boy when I made it four years ago. I was inspired by his melodies and the way he made me feel with his songs, so I tried to emulate that. “Be the One” is a burst of something that I don’t know.

Do you have plans for an album later this year?

Maybe I got three albums on the way, let’s see.