For three days, the city of Lecco, in northern Italy, became one of the epicenters of live music in Europe. By the end of Nameless Festival 2026, one thing was clear: the event had achieved something many festivals struggle to pull off – growing larger while staying true to the identity that made it successful in the first place.

After years of expansion and increasingly ambitious editions, organizers made a bold decision this year by bringing the festival back to its original home at Lecco’s Centro Sportivo Bione, the venue where Nameless first began its journey in 2013. The move proved to be a winning one. Thousands of attendees, mostly aged 18-35, from across Italy and around the world, descended on the city, transforming the shores of Lake Como into a vibrant hub of music, culture, and community. International participation was particularly strong, with 25% of attendees traveling from abroad and a remarkable 10% coming from the United States alone, according to the organizers.

Billboard Italy attended the festival since the inaugural date of Saturday, May 30, and from the moment the gates opened, the excitement surrounding the return to Bione was impossible to miss. Long lines formed at the entrances, several areas quickly reached capacity, and a steady stream of festivalgoers moved between the event’s five stages. The atmosphere felt less like a regional event and more like one of Europe’s established major festivals.

What stood out most was the diversity of the crowd. While Nameless continues to attract an increasingly international audience, it has managed to preserve the sense of identity and community that longtime attendees have come to associate with the festival.

Friday’s opening day drew massive crowds, thanks in large part to the return of Calvin Harris, arguably the most anticipated artist of the entire weekend.

The Scottish DJ and producer made his long-awaited return to Italy after more than a decade, choosing Nameless as the stage for his comeback. As the lights dimmed on the Ploom Stage and the first notes of his set rang out, a sea of fans packed the festival grounds.

Harris crafted a performance that spanned more than fifteen years of chart-topping hits, seamlessly blending recent releases with the tracks that helped define modern dance music. Songs like “Summer,” “Feel So Close,” “Sweet Nothing,” and “We Found Love” sparked a wave of collective nostalgia among millennial fans, many of whom grew up with those records as the soundtrack to their teenage years.

But nostalgia alone doesn’t explain Harris’ appeal. The younger generation was equally engaged, singing along to every lyric and anticipating every drop. The performance became more than a greatest-hits-set – it was a celebration of electronic music’s enduring ability to connect audiences across generations.

Reducing Nameless’ success to its biggest names would miss the bigger picture. One of the most impressive aspects of the 2026 edition was how effectively the festival spread attention across its entire site. Whether attendees were exploring the house-driven sounds of the Red Bull Energy Zone, the bass-heavy programming inside the Nameless Tent, or the urban and pop performances at the Garnier Fructis Arena, there was a clear sense of variety and intentional curation throughout the weekend.

The “Less Names” concept, featuring surprise guests whose appearances were kept secret until showtime, also played a significant role in maintaining excitement. The unpredictability has become part of Nameless’ DNA, giving fans a reason to stay curious and engaged throughout the event.

If day one delivered the biggest headlines, day two offered perhaps the clearest demonstration of how far Nameless has evolved. As the day unfolded, it became increasingly evident that the festival no longer depends solely on its headliners, which included John Summit, Halō and Pendulum. Attendees moved organically between stages, discovering both established international acts and emerging artists. The energy never dipped, regardless of who was performing – a subtle but important sign of a festival that has reached maturity.

By now, Nameless feels fully aware of its place within the European festival landscape. It is no longer an up-and-coming event trying to prove itself. It has become a destination in its own right. The festival’s final day maintained the momentum, delivering another packed schedule (that included headliners Fisher, Chris Lorenzo and Svdden Death) and reinforcing the consistency of the entire weekend.

As the closing performances unfolded and attendees prepared to say goodbye to another edition, the atmosphere became increasingly celebratory. Beyond the excitement of the music itself, there was a palpable sense of appreciation for the people who have spent years building Nameless into what it is today.

One of the most memorable moments came after the final sets had ended, when festival staff gathered to applaud CEO Alberto Fumagalli. The spontaneous tribute served as a reminder that behind the impressive attendance figures, sold-out stages, and international reputation stands a long-term vision that has transformed Nameless from an independent passion project into one of Europe’s most respected music festivals.

Ultimately, the success of Nameless 2026 cannot be measured solely by attendance numbers, major artists, or economic impact. The festival’s most meaningful achievement may have been its decision to return home. Bringing the event back to Lecco represented both a risk and a statement of identity. The overwhelming response from attendees confirmed that the choice resonated.

Judging by what unfolded on the shores of Lake Como this past weekend, this homecoming feels less like a return to the past and more like the beginning of a new chapter – one that will continue to unfold when Nameless Festival returns on June 4, 5, and 6, 2027.

Joe Budden has apologized to Latto in a clip from a Patreon episode of the Joe Budden Podcast that recently surfaced.

Earlier this week, Latto tweeted out a picture of her handwritten lyrics to “Hostage” from her new album Big Mama, and @’d the podcaster after Budden said that her flow reminded him of Drake‘s cadence on ICEMAN’s “Shabang.” So, of course, his co-hosts brought it up and he tried to explain his reasoning.

“I ain’t tryna be funny — somebody not writing they sh– is a heavy accusation,” he said after jokingly saying he’s never seen someone write raps on a white board before. “So I wasn’t really trying to say that about her. She’s been on the show, she won the Netflix show, she says she writes all her sh–.”

He then added that being influenced by other rappers that you like is something that could happen when you sit down to write your own songs. “But there’s also such a thing as listening to somebody so much that they influence … they kinda rub off on you when you write. That’s a thing,” he continued. “She could really listen to Drake 24/7 and love that flow so much that now when she writes that’s what’s happening. I wasn’t tryna she don’t write her sh–. When I used to write, I would try my best to not listen to the radio or other rappers because whether you like it or not, whoever you like, it’s gonna happen.”

Joe then apologized for the misunderstanding, saying, “Latto, I’m sorry. I wasn’t tryna play with your pen like that. I get how it sounded like that, so my bad.”

Latto has been busy since her fourth album, Big Mama, last week, including dissing Cardi B on “Gimme Dat” in response to a leaked phone call in 2025. Cardi has since apologized.

The Electric Daisy Carnival in Las Vegas brings together the top DJs in the dance world every year for an estimated 500,000 attendees to enjoy over 3 days. For many EDM artists, playing the festival is a marker for truly “making it.” This year, Toronto-native, HNTR made his EDC debut. Although he didn’t have a set on the lineup in 2025, his presence was definitely felt. His remix of Cloonee and InntRaw’s “Stephanie” which samples Young M.A’s “OOOUUU” could be heard at practically every stage.

Fast forward one year and HNTR’s dropped his new track “Holla At A Player” featuring Academy Award Winner, Juicy J. We caught up with the DJ and producer to find out how the song came together, see what his life looks like after the success of a viral remix and get to know the man behind the stagename.

At last year’s EDC, I asked a bunch of DJs what the most played track of the festival would be and Tiësto, Alison Wonderland, Alok, Morten, and Tape B all said your remix of Cloonee’s “Stephanie” would be the most played song of the year. A year later, what was it like watching that song blow up?

It was honestly unreal. When I made that remix, there was no strategy behind it. It was just something I made that purely for fun cuz I thought it would be cool to put my spin on it.

To see it go from a bootleg in my sets to a record being played by pretty much everyone was crazy. It changed my career, but more than anything it gave me confidence that there was a real audience for the sound I was building. Gotta shout out Dom Dolla. That one video changed everything

From having the most played song last year, to making your EDC debut this year, was playing Stereo Bloom everything you expected? What were you thinking going into that set?

EDC has always been a bucket list festival for me, so just being on the lineup was a huge moment. I have probably never put more effort into a set, I had my laptop in the trailer working on music till the last few minutes before I went on stage. I wanted to play as much of my own (new) music as possible.

Once I stepped on stage and saw the crowd I had a bit of a moment to myself. It was one of those times where you realize where all the hard work has taken you.

For fans who just discovered you from that track, who is HNTR? Can you tell us about your background, your influences, and what it’s taken to reach this point in your career?

I’m a producer and DJ from Toronto. It’s a city with a huge hip hop culture and a really deep dance music scene, so those influences naturally came together in the music I was making.

A lot of people told me that blending hip hop and dance music the way I wanted to wouldn’t work. But I always believed there could be an audience for it. People discovered me through Stephanie, but before that there were years of learning, experimenting, putting music out, playing clubs, throwing parties, and figuring out what HNTR actually sounded like. If you go back to the very first HNTR release you can hear that I had been trying the formula for years before it actually hit.

A lot can change in such a short period of time. What are some of your top achievements within the last year?

Obviously Stephanie was a huge moment, but making my EDC debut, touring internationally, and seeing my music supported by artists I’ve looked up to for years have all been major milestones.

What I’m most proud of is that we’ve continued building momentum beyond a single record. 8 beatport No.1s in a year was pretty dope, and entering the top 101 producers list at #46 and winning the remix of the year at the beatport awards.

 The goal has always been to build something bigger than one song, and I feel like we’re doing that. Landing in Asia and meeting someone who’s influenced by my music was proof that what we’re doing it working.

A lot of artists I talk to after “over-night success” tell me it comes with some unexpected difficulties or emotions. Have you experienced that at all with the rapid changes in your life and career?

Definitely. The funny thing is people call it overnight success, but it was an overnight success 15 years in the making.

The biggest adjustment is probably the expectations. More people are paying attention and every move feels a little more magnified. But it’s also what I’ve worked toward my whole career, so I’m grateful for it and focused on keeping the same mindset that got me here.

Shifting to your new track, how did “Holla At A Player” come about and how did Juicy J get involved?

I’ve always been a huge fan of Juicy J. He’s not just one of the most influential artists to me personally but all of modern hip hop imo. The record started like any other, a loop with a simple drop idea, no real expectations.

We have a great creative relationship with Kinetica Records, who loved the idea and said “make a list in order of who you’d want to work with. I put Juicy J at the top just for a laugh, like ya sure. They got it to him within a day and he connected with the vision, and was really into it. Once his vocals came back, it felt like the record immediately jumped to another level.

He even made a surprise appearance during your set at Billboard’s The Arrival party in the Coachella Valley back in April. What was it like getting that instant feedback to your track?

Yo bro I really brought Juicy J out to preform “Slob On My Knob”, “Bandz that Make Her Dance”, and MY OWN ORIGINAL SONG… Crazy moment I’ll never forget. It’s one thing hearing a record in the studio, but it’s another seeing people react to it live and then having Juicy J perform it with you.

Those are the moments you dream about as a producer. The reaction was incredible and it made me even more excited to finally release the record.

Not to be greedy when you’ve just released a track, but what else is in the pipeline? Anything you can hint at?

There’s a lot coming. We’ve been working hard behind the scenes and I feel like we’re only scratching the surface of what the HNTR project can become.

There are more records on the way, some exciting collaborations, and some big shows and festivals coming up. The focus now is continuing to push

Who’s on your bucket list of collaborators? Rappers, vocalists, DJs, and producers, all included.

Honestly I usually just remix the people I want to hear over my sound but short list of some artists I think I could make some cool music with is: Denzel Curry, Ty Dolla, Don Toliver, Project Pat.. man I could go on for days.

On the dance side, I’m lucky to be working with a lot of them but in general I love to work with artists who are carving out their own lane. For me, it’s less about how famous someone is and more about whether they’re bringing something unique to the table.

Kanya King CBE, founder and CEO of the MOBOs, has died at 57, the organization has confirmed.

In a press statement, the MOBOs (Music of Black Origin) said that King “passed away peacefully after a courageous and characteristically determined battle with colon cancer” on Wednesday (June 3). They add that she was “surrounded by her family, close friends and love.”

King was the cofounder of the MOBO Awards which celebrated a landmark 30th anniversary in 2026. The event, which celebrates music of Black origin both domestically and around the world, was held annually with 2026’s edition seeing performances from Olivia Dean and FLO.

Throughout the years, Stormzy, Amy Winehouse, 50 Cent, Sade, Central Cee and more all received prizes from the MOBOs, with Rihanna (2006), Lauryn Hill (2005), and Destiny’s Child (1999) all performing at the event over the years.

“What Kanya created was never simply an awards ceremony,” the statement adds. “It was an act of cultural justice. MOBO did not just celebrate Black music; it legitimised it, amplified it, and demonstrated its commercial and creative power to a world that had too often chosen not to see it.”

In 2024, King announced her diagnosis of stage four colon cancer. At the MOBOs in February 2025, King said that “I never allowed someone to define my limits. Not in life. Not in business. And I’m certainly not going to have that happen now.”

King was born to a Ghanaian father and Irish mother in Kilburn, north London in 1969. She was working as a TV researcher when she founded the MOBO Awards in 1996 alongside Andy Ruffell.

Speaking to Billboard U.K. in March, she said that at the time “there was no real infrastructure or clear pathways for Black music here. Institutional recognition was virtually nonexistent.” King remortgaged her house to fund the awards which were attended by Tony Blair, who would later be elected as the U.K.’s prime minister.

Over the years, the MOBOs spearheaded and reacted to growing U.K. scenes including garage music and grime. “We’ve helped artists move from underground to mainstream and from local to global,” King told Billboard U.K. “We’ve validated some of the genres that were sometimes often dismissed. Whether that was early U.K. R&B, garage and grime to Afrobeats. In many cases, the MOBOs gave artists their first national platform at a time when others wouldn’t.”

The MOBOs also hosted a number of social initiatives to empower Black creatives. The House of MOBOs, for example, was established earlier this year as a place “where people can come together to celebrate, collaborate and build.”

King was awarded an MBE (Member of the Order of the British Empire) in 1999 and elevated to a CBE (Commander of the Order of the British Empire) in 2018.

“The world was a profoundly better place with Kanya King in it,” the statement adds. “The MOBO family is heartbroken, but also endlessly grateful, proud and inspired by everything she gave to music, culture and the generations who will follow in her footsteps.”

King is survived by her son, Jem.

Nearly sixty years ago, all the Beatles needed was some help from their friends for a run-through of their then-new song “All You Need Is Love” on the “Our World” global satellite broadcast. The first live multisatellite production, which reached more than 400 million people around the planet, ended with the Beatles performing the uplifting song along with the Rolling Stones, Eric Clapton, Marianne Faithfull, Who dummer Keith Moon and Graham Nash.

The special moment will be officially commemorated on June 25 as part of the long-running fan-led initiative — backed by the group’s label, Apple Corps. Ltd. — to celebrate the song’s message by officially dubbing it “Global Beatles Day.”

The idea to celebrate the band with a special day was hatched by lifelong fan Faith Cohen in 2009, turning into an unofficial vehicle for fans around the world to honor the band every year. In the years since, the commemoration has included tribute concerts, sing-alongs and fan gatherings from New York to Tokyo, Buenos Aires and the Fab Four’s hometown of Liverpool.

With more details to be revealed soon, an announcement from the group revealed that along with online and in-person events around the world celebrating John Lennon, Paul McCartney, George Harrison and Ringo Starr, the Beatles will release a colorized version of their BBC Our World performance of “All You Need Is Love” free on YouTube. It will be the first time the performance will be available online, with fans able to weigh in and share their reactions in a live chat.

Writing to superfan Cohen this week, Apple Corps CEO Tom Greene said, “More than ever, the message of The Beatles, and of ‘All You Need Is Love’ speaks to something vital for community, connection, and the power of bringing people together. That is what makes Global Beatles Day so special. It asks nothing more than for people, wherever they are, to stop, listen, and share a little joy.”

Evanescence was brought to life back the early 2000s. Now the alternative rock outfit is six albums deep, with the release of Sanctuary.

The new collection dropped at the stroke of midnight, and houses “Who Will You Follow,” which last month hit No. 1 on Billboard’s Hot Hard Rock Songs ranking, the rockers’ first leader on the chart since its inception in 2020.

To celebrate the new release, Evanescence extends their world tour with a lap down under in the early stages of 2027. Produced by Live Nation, Evanescence’s arena tour of Australia and New Zealand gets going Friday, March 5 at Perth’s RAC Arena, then heads east for dates in Adelaide, Melbourne, Sydney, Brisbane and wraps up March 20 at Auckland’s Spark Arena. The general onsale starts next Friday, June 12.

Evanescence last toured Australia in late 2025 as special guests on Metallica’s M72 World Tour. Aside from those stadium shows, Amy Lee and Co. played several intimate sideshows. Before that, they celebrated 20 years of their breakthrough debut album Fallen with a tour in August 2023. 

As previously reported, the band’s world tour is slated to kick off on June 11 at the iTHINK Financial Amphitheatre in West Palm Beach, Fla., before moving on to Georgia, Tennessee, North Carolina, Massachusetts, New York, New Jersey, Ontario, Quebec, Indiana, Missouri, Arizona, California, Utah, Ohio and Michigan. The trek will then leap over to the United Kingdom and Europe for summertime gigs in Leeds, Manchester, Birmingham and London, as well as shows in Germany, Italy, Spain and Portugal. Later, in 2027, the group will rock audiences across Southeast Asia, Japan, Australia, New Zealand, Central and South America.

Since they burst onto the airwaves more than two decades ago, Evanescence has landed two leaders on the Billboard 200: 2006’s The Open Door and 2011’s Evanescence. Also, they’ve placed five titles on the Billboard Hot 100, including three top 10 appearances, led by their signature song from 2003, “Bring Me To Life,” which peaked at No. 5.

Stream Sanctuary and check out Evanescence’s ANZ dates below.

Evanescence 2027 Tour of Australia and New Zealand:

March 5 — RAC Arena, Perth

March 7 — AEC Arena, Adelaide

March 9 — Rod Laver Arena, Melbourne

March 12 — Qudos Bank Arena, Sydney

March 16 — Brisbane Entertainment Centre

March 20 — Spark Arena, Auckland

For complete tour and ticket information visit livenation.com.au and livenation.co.nz and evanescence.com.

PRODUCE 101 JAPAN SHINSEKAI is the fourth season of the survival audition show that brought the world JO1, INI, and ME:I. It will culminate in the debut of a 12-person global boy band with members chosen through voting by Japanese viewers (Kokumin Producers) and, for the first time on the show, global viewers (SEKAI Producers) as well. The announcement of the group’s final members is drawing near, so audiences are watching closely to see how the auditions will turn out.

One area that is drawing even more attention, as the audition excitement ramps up, is the choice of music. Episode 4, which aired on April 9, and Episode 5, which aired on April 16, were a GROUP BATTLE. The 101 trainees were broken up into 16 groups, and each group was assigned one of eight songs, with the two teams assigned the same song competing against each other. Not only were the teams judged on their comprehensive abilities (like their vocals, dance, and rap), but the victors were decided by voting by the audience at the battle site. Tensions were high from the very start, as the trainees found who would be in their groups and what song they’d compete with. Unlike past seasons of PRODUCE 101 JAPAN, the addition of the new FREE Part rules meant that the trainees were able to produce parts of the songs, making their own choreography, performance, and structure decisions. This oft-talked about change meant that their self-production abilities would also be subject to closer scrutiny. Of the songs used in the GROUP BATTLE, JO1’s “Love seeker,” Wanna One’s “Energetic,” and Stray Kids’ “CASE 143” were especially noteworthy because of what happened to their streaming numbers.

JO1’s “Love seeker” saw its streaming numbers rise by 197% in Japan between the week before when PRODUCE 101 JAPAN SHINSEKAI aired and the week when it aired. It also had a 197% increase throughout Asia (based on figures from Japan, Korea, Taiwan, Hong Kong, India, Indonesia, Malaysia, Philippines, Singapore, Thailand, and Vietnam). Another likely factor was JO1’s solo dome tour JO1DER SHOW 2026 ‘EIEN,’ which had the group performing at Tokyo Dome on April 8 and 9 and Kyocera Dome Osaka on April 22 and 23.

Streaming numbers for Wanna One’s “Energetic” rose by 468% in Japan between the week before the show and the week of the show, and rose by 219% across Asia as a whole. On April 6, Wanna One had its first fan meeting in seven years in Seoul, Korea, and the official reformation of the group is believed to have further boosted these numbers. Stray Kids’ “CASE 143” saw streaming plays go up by 145% in Japan and 124% across Asia, both significant increases. These upswings in streaming figures are likely the outcomes of numerous viewers re-listening to the music used in the show and recalling the passionate, dramatic scenes involving the trainees.

Episode 6, which aired on April 30, and Episode 7, which aired on May 7, were a “POSITION BATTLE: OPEN ROUND.” In dance and vocal groups, the lines between vocal, dance, and rap positions have disappeared. We’ve entered an age of all-rounders, where people aren’t confined by the limits of fixed positions. Because of this, during the OPEN ROUND, the trainees were judged for their self-production abilities, including the arrangements and structures they chose for their songs. All nine teams competed with different songs, and the top two trainees from the first round ranking and the top person for each song of the GROUP BATTLE were selected as leaders.

Of the nine songs used for this round, streaming figure growth was especially prominent for Imagine Dragons’ “Natural,” INI’s “DOMINANCE,” and ZEROBASEONE’s “Doctor! Doctor!” When the show aired, “Natural” saw its streaming plays rise by 199% in Japan vs. the previous week, and by 104% for Asia as a whole. For “DOMINANCE,” streaming plays rose by 167% in Japan and 166% across Asia, and for “Doctor! Doctor!” the figures rose by 218% in Japan and 173% across Asia. All were significant increases. The fact that INI and ZEROBASEONE were headliners at KCON JAPAN 2026, which was held from May 8 to 10 at Makuhari Messe, is likely another reason for the climbing streaming figures.

Imagine Dragons’ “Natural” was chosen by the “Nature Self” team, led by CHISATO (Chisato Kobayashi). YURA (Yura Abe) was chosen as main dancer by unanimous agreement, but he was struggling with his defeat in the previous GROUP BATTLE. Dance trainer Rino Nakasone advised him of the importance of reflecting the song’s message in his performance, saying “The song ’Natural’ is all about not bowing under pressure. Don’t keep it all pent up inside.” This drew a lot of attention to how much the song “Natural” had to say. “Nature Self” was chosen as the standout team, which is likely another reason for the rise in streaming numbers.

The “PUNCH LINERS” team, led by RYUJI (Ryuji Sugiyama), chose INI’s “DOMINANCE.” INI members Rihito Ikezaki, Hiroto Nishi, and Jin Matsuda made surprise appearances 101 SPECIAL BUDDIES, cheering on the trainees and providing valuable advice, which resonated with viewers. O.YUSEI (Yusei Obayashi), who was selected as main rapper, asked to be replaced, but with the encouragement of his team members, took to the stage with a bold performance. In a dramatic turn of events, he was chosen as the top member of the team in field voting.

The “LOVE MANUAL” team, led by K.DAIKI (Daiki Kato), selected ZEROBASEONE’s “Doctor! Doctor!” The team was made up of some of the most popular and skilled members, but vocal trainer Kevin Woo expressed disappointment, saying “You were like the Avengers of the teams, so I was expecting a lot from you, but I’m not seeing teamwork.” The team had hit a wall. INI members Takumi Ozaki, Hiromu Takatsuka, and Kyosuke Fujimaki listened attentively to the team’s concerns and helped them take them on, strengthening and uniting the team. K.DAIKI and main vocalist SHINHAENG (Oh Shinhaeng) led their team with a highly polished performance of “Doctor! Doctor!”

Now audiences cast their minds back, recalling the drama behind the songs used in the show and waiting with bated breath to see who will debut as PRODUCE 101 JAPAN SHINSEKAI approaches its conclusion.

—This article by Kaori Komatsu first appeared on Billboard Japan

No challenge, it would seem, is too great for Taylor Swift. By recording “I Knew It, I Knew You” for Toy Story 5, her latest project was a love story a lifetime in the making. No pressure, right?

In recent days, Swift dotted a trail with Toy Story 5 easter eggs, and confirmed what super-fans knew all along with the release at midnight of the original song “I Knew It, I Knew You.”

The track will appear in the latest addition of the beloved animated franchise, and is something of a dream come true. If proof were needed, Swift shared an adorable video of herself as a youngster, dressed as cowgirl Jessie, who lassoed us all in at the start of her journey back in Toy Story 2.

“Writing this song felt like a musical departure and coming home at the same time,” Swift writes in a social post. “Creating something for Jessie was a new challenge and also felt like second nature all at once. And being a Toy Story kid from the age of 5 til now… is an adventure I plan to be on, to infinity and beyond.”

Swift gave a shout out to the “brilliant” Toy Story 5 director and screenwriter Andrew Stanton “for imagining me for this, all those years ago when you wrote this newest film.” And gave a thank-you to “the incomparable” Randy Newman for “the gorgeous sonic tapestry of songs and scores you’ve meticulously woven over the years.” Newman, she continued, “created the Toy Story musical world, and we are lucky to get to live in it.”

The “we” includes Swift and her frequent collaborator, producer and “pal” Jack Antonoff, who worked on the single, which she previously revealed was “inspired by the rootin’ tootin’” Jessie.

Writing this song felt like a musical departure and coming home at the same time. Creating something for Jessie was a new challenge and also felt like second nature all at once. And being a @toystory kid from the age of 5 til now… is an adventure I plan to be on, to infinity and… pic.twitter.com/gewjzSS0qg

— Taylor Swift (@taylorswift13) June 5, 2026

“We wrote this with so much adoration for these characters that made us laugh and helped us learn lessons and think outside the backyard all throughout our childhoods,” she says of her latest work.

“I Knew It, I Knew You” is Swift’s first release since her hit 2025 album The Life of a Showgirl, and arrives ahead of the movie’s June 19 release, through Disney and Pixar.

Starring Tom Hanks (Sheriff Woody) Tim Allen (Buzz Lightyear), as well as Joan Cusack returning to voice Jessie, Toy Story 5 will show how Andy’s old toys come to grips with a new electronic tablet taking over the attention of their current owner, Bonnie.