Bob Dylan revisited a deep cut from his catalog at his Saturday night (June 6) show at the Chateau Ste Michelle Winery in Woodinville, Washington, performing The Basement Tapes track “You Ain’t Goin’ Nowhere” for the first time in 14 years.

The legendary songwriter opened the show with the 1967 song, last played live in 2012, with guitarists Doug Lancio and Bob Britt providing light backing vocals.

While the cut itself has long enjoyed a second life through cover versions — most notably by The Byrds, who took their 1968 rendition to No. 74 on the Billboard Hot 100, and Tom Petty and the Heartbreakers — Dylan himself has rarely returned to it onstage.

The performances are the latest signs of Dylan continuing to mine his vast back catalog on the Rough and Rowdy Ways Tour, which has now stretched on for more than five years since its launch in late 2021. Over the weekend, Dylan extended the tour into late 2026 with additional North American dates. He has previously surprised audiences across this run with similar excursions, including a cover of The Pogues’ “A Rainy Night in Soho” in tribute to the late Shane MacGowan during a Dublin show in November 2024, and a performance of a traditional folk ballad at an Irish show that hadn’t been heard from him in 34 years.

Dylan’s chart legacy is among the most consequential in music history. He has placed 11 albums in the top 10 of the Billboard 200, including two No. 1 entries — Together Through Life (2009) and Modern Times (2006) — while singles including “Like a Rolling Stone,” which peaked at No. 2 on the Billboard Hot 100 in 1965, and “Rainy Day Women #12 & 35,” which reached No. 2 in 1966, remain among the most influential rock recordings ever to chart.

He also recently contributed a co-written song to Willie Nelson’s new album Dream Chaser, released in May 2026, and was reported last year to be working on new music with members of his touring band in Albany, New York.

Five years after he first headlined New York City’s Governor’s Ball, A$AP Rocky returned in his full glory for a rousing finale on Sunday night (June 7). And though he spent part of his weekend cheering the Knicks onto their second consecutive 2026 NBA Finals victory, Rocky put down the jersey, picked up the microphone, and locked back into superstar rapper mode for his career-spanning set.

After Saturday night’s flash thunderstorm cut the night short — STRAY KIDS’ set was bumped two hours earlier; Blood Orange eventually rescheduled for Sunday, and Kali Uchis and Amyl and the Sniffers had sets canceled — Rocky’s finale had to make up for circumstances he had no control over.

“I came to get disrespectful,” proclaimed the Grammy-nominated rap star as he lorded over the packed festival crowd from an elevated onstage platform. Armed with a bullhorn-microphone and sporting an off-white AWGE tee, white-and-black balaclava and light wash blue jeans (which he later pulled down to reveal a “Harlem” waistband), Rocky came ready to start a riot. What exactly he was rioting against (or for?) was still unclear by the close of his set, but at least the multihyphenate reminded audiences why he has one of the strongest aesthetic eyes in his entire genre.

Originally set for an 8:45 p.m. ET start time, Rocky didn’t take the stage until a little after 9:00 p.m., closing out a festival that was notably light on hip-hop acts (just six played across the fest’s three days) and homegrown headliners. He exacerbated that delay with increasingly clunky transitions that left the crowd literally in the dark without so much as an instrumental track playing in the background — but when things clicked, Rocky harnessed some truly irresistible energy.

Serving as the de facto NYC stop for his ongoing Don’t Be Dumb Tour — which kicked off on May 27 at Chicago’s United Center — Rocky anchored his headlining performance with his latest LP, drawing on its frenetic, expansive and still-polished energy. Don’t Be Dumb, his first studio album in nearly eight years, debuted atop the Billboard 200 in January, spawning Billboard Hot 100 hits like “Stay Here 4 Life” (No. 23, with Brent Faiyaz), “Helicopter” (No. 24), “Stole Ya Flow” (No. 33) and “Punk Rocky” (No. 56).

It would take Rocky nearly nine songs to finally play something outside of the Don’t Be Dumb era, but the raucous energy of that album’s songs made for a lively first half of his set. He kicked things off with the scathing “Stole Ya Flow,” before transitioning into “Helicopter” and “Trunks” to maintain that, well, riotous energy. Clipse may have given a live rapping masterclass during the set just an hour prior, but Rocky was more concerned with using his master of ceremonies status to call for both mosh pits and for people to take off their shirts and wave them in the air “like a helicopter.”

Comprised of American flags — with his face superimposed on them, no less — and a massive Don’t Be Dumb-branded helicopter, in addition to warring “riotters” (dressed in all white) and SWAT “personnel” (dressed in all back), Rocky’s Gov Ball stage explicitly drew from U.S. military aesthetics. And Rocky’s bullhorn-microphone only emphasized those visual notes, with the Harlem MC moving more like a commanding officer than a rap superstar at the beginning of his set. That militant energy couldn’t save him from production cutting his mic as he approached the 10:00 p.m. ET curfew with seemingly no haste.

While the transitions certainly dragged, Rocky made up for it during moments like “A$AP Forever,” when the SWAT team followed him down the runway, nailing each image the choreography demanded. Other times, like during “Punk Rocky,” the staging felt a bit nonsensical. How do you play a song called “Punk Rocky” and not have your band front and center for its duration? Like any good festival headliner, however, Rocky knew that one surprise guest or song could remedy those inconsistencies. While he didn’t tap Rihanna, though she enjoyed the show in the crowd alongside JENNIE, Rocky did call up Dominican rapper Tokischa for the live performance debut of “Flackito Jodye,” their saucy, dembow-infused Don’t Be Dumb collaboration. As she ripped through her verse and popped her butt for good measure as Rocky’s sole guest (and surprise) of the night, Corona Park turned into Uptown for a split second.

After spending the bulk of his set playing Don’t Be Dumb, Rocky transitioned into “Praise the Lord,” seemingly kicking off a retrospective section that would span his generation-defining career. While he did find time to fit in “Peso,” “Fashion Killa,” “Wassup” and “Purple Swag,” Rocky’s set was ultimately cut short, with his mic’s audio getting pulled as he was gearing up to follow “Jukebox Joints.” Once it was clear that he wouldn’t be able to charm or pressure festival producers to extend his set, Rocky tossed his gloves and wave cap into the office, right before he attempted to unscrew the microphone from the bullhorn. Once that proved unfeasible, Rocky lobbed the entire contraption into the audience and walked off stage without another word.

Given the day had already been slightly delayed due to weather (Slayyyter’s set was notably postponed earlier that afternoon), Rocky should have at least gotten ten minutes extra to tear through signature hits like “1 Train,” “No Limit” and “F—kin’ Problems,” none of which he got the chance to perform. Between that debacle and the eyebrow-raising lack of hip-hop on the lineup, this year’s Gov Ball finale didn’t quite live up to the downright euphoric mood established by the Knicks’ two consecutive NBA Finals victories. Nonetheless, Rocky turned up for his city, and they beamed that energy right back to him.

Fans who weren’t able to make Rocky’s Gov Ball set can still catch him on his Don’t Be Dumb Tour. After hitting Baltimore’s CFG Bank Arena for the next stop (June 8), Rocky’s latest trek will take him to major cities across the U.S. and Canada, before concluding on July 11 at Newark’s Prudential Center. The tour’s European leg will commence on Aug. 25 at Brussels’ ING Arena, and visit iconic metropolises like Milan, Copenhagen and Paris, before coming to a close on Oct. 11 at Athens’ Telekom Center.

See A$AP Rocky’s setlist at the 2026 Governor’s Ball below.

Niall Horan has hinted that Australian fans won’t have to wait much longer for a return visit, revealing that tour dates are expected to be announced soon following the release of his latest album, Dinner Party.

Speaking on Rolling Stone AU/NZ’s Rolling Stone Uncut podcast, Niall revealed that plans are already underway for a trip Down Under in support of his newly released fourth studio album.

“I’ll be down early next year for sure,” Horan told the publication. “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.”

“I just love being there, I love playing the shows down there,” he added.

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.

The tour tease arrives as Horan releases Dinner Party, his first studio album since 2023’s The Show. The new set continues a solo career that has made him one of the most successful members of One Direction following the group’s hiatus.

Horan’s debut solo album, Flicker, debuted at No. 1 on the Billboard 200 in 2017, making him the first One Direction member to top the chart with a solo release. Follow-up albums Heartbreak Weather and The Show also reached the Billboard 200’s upper tier, while singles including “Slow Hands,” “This Town,” “Nice to Meet Ya,” “Heaven” and “Meltdown” helped establish him as a global solo star.

In a separate interview with Pedestrian, Horan discussed the personal inspiration behind several songs on Dinner Party. The album’s title track recounts how he met longtime partner Amelia Woolley.

“We literally met at a dinner party, and we’re still together,” Horan said. “It’s kind of like one of those — to me — once-in-a-lifetime things that you never expected to come in, and it hits you. You don’t realise, you’re not looking for it at the time.”

Elsewhere, Horan revealed that the song “Flowers” was inspired by a fan tweet he came across while writing the album.

“Just seeing a tweet online while we were writing the song, ‘Your eyes could grow flowers,’ I thought was a great concept,” he said. “I just love the idea of someone being so powerful that they could do something so unrealistic.”

No official Australian dates have been announced, but Horan’s comments suggest fans can expect news sooner rather than later.

After exiting the group Salty Peppers, Maurice White moved to Los Angeles from Chicago and created a new band. A strong believer in mysticism, the Sagittarian sought inspiration from his astrological chart in divining the band-to-be’s name. Three elements caught his attention: earth, fire and air.

“I changed air to wind,” late founder White says in a clip from the HBO Original documentary Earth, Wind & Fire (To Be Celestial vs. That’s the Weight of the World). “And the rest is history,” he continues. “Earth, Wind & Fire is basically the true elements of the universe.”

And what a history it’s been as director-producer Ahmir “Questlove” Thompson relays in the illuminating, two-hour documentary premiering Sunday night (June 7; 9 p.m. ET/PT). In the nearly 60 years since White’s vision took shape, the nine-time Grammy Award-winning and Rock & Roll Hall of Fame-inducted band has achieved global acclaim and legendary status.

Via spirited fusions of jazz, R&B/soul, Afro-funk, pop and disco, the band mined a deep vein of classic gold and platinum hits and fan faves like “September,” “Shining Star,” “Let’s Groove,” “After the Love Is Gone” and “Beijo” (aka Brazilian Rhyme interlude). In fact, Questlove pegged another iconic EWF hit, “That’s the Way of the World,” in crafting the title for his latest Questlove Jawn.

“I love a good pun,” said the Academy Award-winning music historian during a Zoom interview with Billboard following the documentary’s June 3 premiere at the 25^th Tribeca Film Festival. “All of my documentaries have a long title continuation that also explains what you have to consider [while watching]. Sly Stone was about the burden of Black genius. With Summer of Soul, the revolution was happening, but it couldn’t be televised. In this particular case, it’s about human beings. We’re all celestial; all light shiners. But oftentimes, we dim our light to blend in and be part of the ecosystem.”

“Maurice White is basically an orphan, given away by his mother to a neighbor,” Questlove continued, “yet he somehow gets a metaphysical belief at the age of seven in Memphis … a calling to say, ‘It’s my job to bring positivity and love into the world.’ But however well-intended the mission, you must learn not to hold within any pain. That’s what I want people to learn from this: Do not dismiss your dreams. But you also have to let things go. And Maurice never let that anger go of being given away. He was crumbling inside because he had a broken heart.”

Through strikingly candid conversations with group members, family, friends and high-profile fans — and access to a cache of treasures including the group’s recordings, outtakes and unreleased live shows plus Maurice’s diaries, affirmations and favorite books — Questlove delivers a riveting look at the hard work and joy behind the band’s ascension. But he leans into the creative tensions and personal issues that arose as well. Viewers will witness the magic tricks and psychedelic/space-age costumes that became hallmarks of EWF’s showmanship. They’ll also learn what EWF smash inspired one of Stevie Wonder’s own classic hits, among other insightful tidbits.

Above all, “Earth, Wind & Fire taught us how to dream,” says Questlove. “As we continue to search for answers in these very tense times, their music always s same conclusion: the answers are inside yourself. It’s the same metaphysical story as The Wizard of Oz. Listening to their songs during the pandemic was my eureka moment; I realized what they were doing: they tricked us into positivity. This is the story of a band that tricks you into eating your vegetables.”

Ahead of the film’s Tribeca premiere and their performance with The Roots that same evening, EWF original members Verdine White, Philip Bailey and Ralph Johnson — the doc’s co-executive producers (Maurice’s son Kahbran “KB” White is a producer) — also sat down for a Zoom interview with Billboard, printed below. Later this summer, the indefatigable Earth, Wind & Fire will launch their “Sing a Song All Night Long” tour with fellow icon Lionel Richie on June 24.

What was your immediate reaction after viewing the documentary?

Bailey: Questlove is really a music historian. Talk to him for five or 10 minutes and you recognize he has an innate gift for knowing a lot of facts about music history. He’d bring stuff up about EWF, and I’ve been there all the time [with the group]. But I’d be like “How’d you know that?” So he was the perfect person to do this because he goes deep below the surface. It’s surreal.

White: He’s an historian and a musician. That combination particularly works well when it comes to the music and the message. He captured our essence and spirits, our manhood and humanity. I’m really proud of it.

Johnson: It’s a job well done.

The documentary also doesn’t shy away from the thorny issues the group — and Maurice — encountered along the way.

Bailey: That’s the way of the world, right? You can’t live life without experiencing the highs and lows, the good and bad, the pretty and ugly. It’s part of what makes us what who we are. And it’s really a testament to the fact that we’re still here, doing music on a very high level some 50+ years later.

Johnson: Philip covered it. The ups and downs all get back to the duality of the universe.

White: When you have a long career, it’s not linear. It moves around; grows as you grow. It has its own rhythm mechanism. [The documentary] shows that we were living our truth.

What is one lesson or affirmation learned from Maurice that you still follow?

Johnson: Three things: commitment, trust and humility. If you believe in something, then you’ve got to commit to it. And you must trust that in the end it’s going to be OK. Then if things get so great for you that your ego goes out of control, then you’ve got to turn on the humility and put yourself back in check.

White: Love for your brothers, particularly Ralph and Philip. The love, the connection, the trust, the bond:  that’s what I’ve come away with.

Bailey: When we were first together, practicing and hoping to go out on the road, there were several times when on the way to the airport, we’d literally get a call that it [a gig] was canceled. I’m living with people and primarily eating oatmeal; I got a new baby. Yet every time things would happen, Maurice would always say, “There’s something better for us.” He never complained; never had a defeatist attitude or statement.

How would Maurice feel about the documentary?

Johnson: He’d feel the story has been told the right way.

Bailey: He’d be proud of it. It’s indicative of who we are.

White: Reese would be really proud that the three of us are still together — from almost teenagers to adults.

And what lasting impression do you hope fans will have after seeing the documentary?

Johnson: Vintage fans will be happy. They’ll think the story was told correctly. New fans will be very enlightened because they’ll find out some stuff about this group they just didn’t know.

Bailey: That the documentary makes the music real and gives people a deeper understanding of the music.

White: Vintage fans will remember that this journey was part of their lives too. And newer fans will learn something about being able to have a mission — as Maurice did — of rendering a service to humanity and actually bringing people together. When people mention our name, there’s a smile that comes to their faces.

Morgan Wallen is addressing criticism following the abrupt cancellation of his Pittsburgh tour stop.

On Saturday (June 6), the country star announced that his scheduled concert that evening at Acrisure Stadium would not go on due to severe weather concerns.

“After talking with local officials and my team, there is no choice but to cancel tonight’s show due to severe weather conditions expected throughout the rest of the day and night,” Wallen wrote on Instagram. “Safety for my fans and crew is the highest priority.”

Hours later, the “Last Night” singer returned to his Instagram Stories with a video message responding to some of the backlash and speculation surrounding the decision. In the clip, Wallen explained that his team advised him that morning to cancel the show after local officials warned of potentially dangerous wind conditions in the area.

“So that’s what I did. That was the information I had in the moment, and I trusted my team,” he said. “I understand that the wind and whatever else hasn’t gotten to Pittsburgh yet. I know it has touched some of Pennsylvania, so my heart goes out to all those affected by it.”

Wallen added, “But the truth of the matter is, I have a large stage that, in those conditions, could become fatal to a lot of folks around it. So I did the best I could with the information I had in that moment.”

The singer went on to address the “nonsense” about him circulating online.

“I’ve been seeing a lot of nonsense about me that is simply not true,” Wallen said, adding that he wanted to “clear the air.” He concluded, “I think my true fans know that that’s not how I operate in general, but I had to say it. Y’all, take care.”

Saturday had been designated a KDKA First Alert Weather Day, with forecasters warning of potentially strong to severe storms. The weather system was expected to move through the Pittsburgh area during the evening hours, with the greatest threat between 4 p.m. and 6 p.m., according to CBS News.

Following the cancellation, some skeptical fans voiced their frustrations on social media.

“Morgan wallen cancelling his show last night is just hilarious because i walked outside after my shift at 11pm and my car was completely dry,” one person wrote on X. “No rain in sight. that man was already on his way back to tennessee.”

KDKA Radio’s Marty Griffin claimed on X, “Acrisure stadium officials fuming. … Wallen left town on plane before they even had meeting and demanded they announce the cancellation after he was in the air.”

The cancellation came one night after Wallen’s first of two scheduled Pittsburgh performances. During Friday’s (June 5) concert at Acrisure Stadium, the country superstar was joined during his signature walkout by former WWE star and Olympic gold medalist Kurt Angle.

Bruce Springsteen, Jon Bon Jovi, Public Enemy, Little Steven Van Zandt, Sheryl Crow, Jackson Browne, David Sancious, and more performed across two nights of the Music America: The Songs That Shaped Us concerts at Monmouth University this week, with the second night on Friday (June 5) featuring a particularly notable return — Bon Jovi’s first public performance in New Jersey since 2018.

The two-night concert series serves as the cornerstone event for the opening of the new Bruce Springsteen Center for American Music at Monmouth University in West Long Branch, New Jersey, which officially opens to the public June 13.

Springsteen opened Friday’s show with a roaring rendition of Elvis Presley’s “Jailhouse Rock,” followed by Presley’s “Burning Love,” backed by the Disciples of Soul under music director Marc Ribler. Bon Jovi then took the stage for Chuck Berry’s “Johnny B. Goode” — his first public vocal performance in his home state since 2018, when he stepped back from touring due to vocal cord issues.

The performance came as Bon Jovi’s full band prepares for a nine-show residency at Madison Square Garden next month. Santelli framed the Berry selection with a pointed historical note from the stage, observing that while Berry is considered the true King of Rock ‘n’ Roll by many, “he could never get to the same point where Elvis was for the simple reason he was Black.”

The night continued through eras of American music: Jackson Browne represented the 1970s singer-songwriter era with his own “For America,” while 86-year-old Dion delivered “The Wanderer” alongside a stirring “Abraham, Martin and John.” Mavis Staples performed The Band’s “The Weight” to represent the activist sounds of the 1960s while Public Enemy closed out with “Fight the Power.”

The night closed with group performances of “Further On Down the Road,” “Raise Your Hand” and “I Don’t Want to Go Home,” before Springsteen ended with a solo rendition of “Land of Hope and Dreams.”

Thursday’s opening night, which traced American music up to World War II, featured Springsteen alongside Kenny Chesney, Rosanne Cash, Dropkick Murphys, Keb’ Mo’, Brian Fallon, Tony Trischka, Sister Sadie, Shemekia Copeland, Trombone Shorty and the New Breed Brass Band, Valerie June and more.

The 30,000-square-foot Springsteen Center for American Music at Monmouth University opens June 13, featuring multiple exhibit spaces, state-of-the-art archives, a 250-seat Dolby soundstage and over a dozen interactive experiences spotlighting both Springsteen’s career and the broader history of American music. More information is available at springsteencenter.com.

Charlie Puth has canceled Saturday’s (June 6) show in Orlando, Florida, citing an illness that’s lasted a few days and a recommendation to rest in order to recover for the remainder of his Whatever’s Clever! World Tour.

“I am so devastated to do this, but I have to cancel tonight’s show,” he wrote in an Instagram Story note Saturday afternoon. “I’ve been sick for the last few days and am now being instructed to rest or else risk canceling more dates on this tour.”

Puth’s statement continued, “Performing for you all each night means everything to me, and you all deserve the best. I’m heartbroken, but I physically am unable to perform. Without a voice, I can’t give you guys the show you all deserve.”

“I’m so sorry, this was not an easy decision to make but I hope to see you all soon when I am well again,” he wrote.

Orlando’s Addition Financial Arena shared Puth’s statement on social media and provided additional details for ticket holders: “Sorry for the delay as we here at the Arena were awaiting final decision. Charlie Puth’s Whatever’s Clever tour scheduled for tonight is canceled with no rescheduled date. Please refer to your original point of purchase for refunds.”

Puth’s schedule currently has him set to play Nashville on June 9 before heading over to Texas. The European leg of his tour is next up, once his U.S. dates wrap.

He recently graced the stage of Madison Square Garden in New York City, bringing several special guests up to the stage with him: Art Garfunkel, Jimmy Fallon, Busta Rhymes and Kirk Franklin.

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