John Summit recently sat down with Billboard‘s Kristin Robinson for an episode of her On the Record podcast to talk about life as a high-flying dance star.

While acknowledging that the dance world functions differently than many other areas of the music industry — from how dance labels work as tastemakers to how the scene is fueled largely by singles rather than albums — Summit also talked about being one of the rare dance artists to headline a major multigenre festival.

Speaking to the question of whether dance artists need to “prove themselves more than pop artists” in order to earn this headlining multigenre festival slot, Summit said, “Yes, and you still see the comments of all the pop fans being like ‘Who the f–k is John Summit?’ And I was like, ‘Damn, I thought I was doing pretty well’, but I still have a lot of heads to turn still. I’ve kind of touched the pop realm, but I still think I’m just fully in dance music though, because I still haven’t had like, a Billboard [Hot] 100 track or anything. They chart in dance music, it’s just a different world.”

Later in the interview he comments again on the befuddled reactions among pop fans when the Lolla lineup was announced, saying that “Then the dance music fans [were] like ‘What are you talking about?’ We’re just totally in our own world [in dance], which I think is pretty awesome.”

Summit will headline Lollapalooza on July 30, with Lorde, Charli xcx, Smashing Pumpkins, Olivia Dean, Jennie, Tate McRae and The xx also headlining the three-day fest. The occasion marks something of a full circle moment for Summit, who grew up in the Chicagoland area and told Billboard in 2023 that seeing deadmau5 play Lolla in 2011 was the moment he knew he wanted to work in the genre too.

“I feel like everyone always has that moment when they’re like, ‘Oh my god, this is my genre,’” Summit said. “That’s when I knew I wanted to be a part of electronic music.”

Elsewhere in the interview, Summit says that after his recently announced North American arena tour wraps, “I don’t know when I’m going to play America next at all. I’m going to take a long break,” adding that he and his team are also narrowing down the number of shows he’ll play in Las Vegas. Listen to the complete interview below.

Inside Kingsway — a historic, gorgeous New Orleans residence that legendary producer Daniel Lanois turned into an idiosyncratic recording studio in the late ‘80s and ‘90s for Bob Dylan, U2, R.E.M., Emmylou Harris and others — Afro-Caribbean rhythms are vibrating and Vodou priestesses are singing.

Although it’s loaded with instruments (and a Senegalese fertility bed for those in need), Kingsway is no longer a recording studio these days, but the sound of music still hits different in the house. Built in 1848, this French Quarter home reverberates with history, even when music isn’t filling its 12,000 square feet. (Depending on who you talk to, including a few rock stars who have refused to sleep there, it’s haunted—but then again, what historic house in New Orleans isn’t?) Thanks to Kingsway owner/hotelier Sean Cummings, a man with a deep love for the music, food and foibles of his city, Kingsway opened its wrought-iron gates on a rainy Friday night to Vodou practitioners, storytellers, priests and priestesses hailing from Haiti, Benin, Cuba, Congo, Martinique, Angola, Ghana and, of course, New Orleans. It’s the night before the third annual New Orleans International Vodou Day on Saturday (May 23), and the attendees are gathered to greet, eat, drink and mingle.

In a spacious room next to the foyer, Mami Moun — a Manbo Asogwe (high priestess) and powerful singer — and Malou Beauvoir, a Haitian-American singer-songwriter, are blending their voices for an impromptu performance. Elevating the last-minute performance is Andrew Wiseman, a nimble local drummer and an instinctive conduit to rhythm, as well as the room itself, a space with a warm, vintage acoustic personality.

Traditional Vodou songs are intended to awaken the Lwa (also spelled Ioa), spirits created by Bondye (the supreme deity) to help humans in their daily lives. But when delivered by gifted singers such as these two, the music reaches deep into the spirit of anyone within earshot, whether they’re a believer or not. The music seems to evoke centuries of power and pain, soaring with an indomitable strength despite everything the African diaspora has been subjected to.

In case you’re wondering, yes, this is Vodou — spiritual practices and beliefs in Haiti, parts of Africa and the African diaspora — not voodoo. The latter term, often associated with a Westernized caricature of the practices, is rejected by some practitioners of the Afro-Caribbean religious practices who are hoping to shed misconceptions thrust upon them by Hollywood.

For many, keeping alive (or rediscovering) these traditions is personal, spiritual, artistic and academic all at once. During Saturday’s International Vodou Day Symposium, a dozen speakers gathered at Xavier University of Louisiana to share historical knowledge and present experiences.

Ethnomusicologist Houngan Collin Edouard was one of them. Like many collegiate lectures, the word “ontology” made an appearance; unlike most academic gatherings, attendees occasionally shouted out “ayibobo!” (a Haitian Creole affirmation) while he was speaking. Edouard, a PhD student at Yale who studies music in Vodou ceremonies, explored the transtemporal idea of music as a means of connecting with ancestors and Lwa spirits. In his heartfelt, well-researched presentation, he placed the musical Vodou voice in the context of the slavery these Afro-Caribbean traditions began to codify within, noting that “the voice travels if the body cannot.” Of traditional Vodou songs that people, himself included, still sing, he wondered, “Which one of my ancestors tried to sing that song while someone silenced him?”

Outside the presentation, Malou Beauvoir, who sang at Kingsway the night before, sat next to a table of her artistic output, from caftans to a children’s book meant to destigmatize the religion (Our Vodou: A Vodou Bedtime Tale) to her 2018 album Spiritwalker, which finds her powerful, alchemic voice exploring traditional Vodou songs in contemporary musical contexts. One of the songs on her album, “Papa Damballah,” is about a powerful Lwa spirit who became linked to St. Patrick due to their shared association with snakes. Of the cross-pollination, she noted that Irish Catholics headed to America for indentured servitude were often on the same boats as enslaved Africans headed for an even worse fate. “They were all on the same boat, praying together just to survive,” Beauvoir says.

That hope for survival — as Edouard puts it, the voice can move even when the body cannot — was felt in the singing and dancing of a post-symposium Vodou ceremony the next day. After a processional through various locations in New Orleans where enslaved peoples were sold, brutalized and massacred throughout the city’s complicated history, a proper Vodou ceremony had been planned to take over Congo Square, where enslaved Africans sang, danced and traded on Sunday afternoons beginning in the 1740s. Due to the rain on that particular Sunday, however, the Vodou ceremony was moved inside the Ninth Ward’s New Orleans Healing Center lobby.

The air hung heavy with incense as 20-some practitioners, dressed in immaculate white, participated in an hours-long ceremony, dancing around food and drink offerings and battery-powered votive candles (hey, it is 2026). Men on drums teased out centuries-old rhythms and the ceremonial lead singer (called houngenikon or adjenikon) directed the oceanic rising and falling of voices, most of them female, which seemed to ebb and flow through the room.

Aside from those directly involved in the ceremony — an eclectic group that included Divine Prince Ty Emmecca, who has appeared on Big Freedia: Queen of Bounce and is the Gulf Coast Godfather of the Royal Iconic House of LaBeija (Vodou is much more accepting of LGBTQ people than many religions) — or the symposium, locals from the community stopped by to participate and observe. A family-friendly gathering, many people brought their kids, some of whom danced along joyously to the music while others retreated into their iPads (much the same as one might find at any communal religious gathering these days).

Curious onlookers who stopped by weren’t met with any preaching or recruiting efforts. The participants in International Vodou Day seemed more interested in connecting, sharing and learning from each other. To pull back the curtain a bit, yes, but not to demystify Vodou — like any religious belief system, the undefinable is inherently part of it. Rather to demonstrate that these traditions, so inextricable from the city’s past, are about hope, seeking help and finding spiritual sustenance.

The difficult-to-pin-down artistic and spiritual energy of Vodou continues to permeate New Orleans culture and the music that’s come out of it. It’s a rhythm that runs strong through the Delta blues and beyond, present in everything from Jimi Hendrix to Beyoncé to Dr. John to Big Freedia. Like gospel, the voices of Vodou express hope, pain and joy all at once, connecting the present to the past in one of America’s great music cities — a cultural hub where people still fuel the rhythms.

Billboard’s airfare was covered by New Orleans & Company.  

The Angels have released a commemorative video for “Am I Ever Gonna See Your Face Again” to mark the 50th anniversary of the song that has become one of the most recognisable recordings in Australian rock history, as the band prepares for a national anniversary tour spanning more than 25 dates.

The clip, assembled by founding guitarist Rick Brewster, features all of the vocalists who have fronted the band across its five-decade career. It arrives as the group heads out on the Am I Ever Gonna See Your Face Again… 50 Years On national tour, which opens at Coolangatta’s Cooly Rocks on June 4 and runs through to Hindley Street Music Hall in Adelaide on November 6.

Written by Doc Neeson, John Brewster and Rick Brewster, the song was originally recorded in March 1976 and released as the band’s debut single, produced by Harry Vanda and George Young of The Easybeats.

It was conceived as an acoustic ballad; Neeson later revealed its lyrics were inspired by grief following the death of the girlfriend of the band’s first manager, John Woodruff, in a motorcycle accident. The original release reached No. 58 on the Australian charts and remained on the chart for 19 weeks. A live version released in 1988 — capturing the audience chant that had by then become inseparable from the song — reached No. 11 on the Kent Music Report and introduced the phenomenon to a broader audience.

The song’s cultural reach has only grown. It ranked No. 11 in Triple M’s Ozzest 100 countdown in 2018 and placed No. 12 in triple j’s Hottest 100 Australian Songs poll in 2025, making it the oldest song in that year’s top 40.

Metallica, Keith Urban and Jelly Roll all performed it during Australian tours in 2025, and covers have come from Dune Rats, Ruby Fields and Baby Shakes.

For John Brewster, the anniversary carries personal weight. “Fifty years on, the song still has so much meaning for us,” he told Noise 11. “When we play the song, we’re thinking about all the people we’ve lost, like Doc and Chris Bailey. And all the people that we’ve played with over the years — the roadies, the tour managers, the record company people, our friends and, of course, all the fans.”

The Angels — Am I Ever Gonna See Your Face Again… 50 Years On Tour

June 4 — Coolangatta — Cooly Rocks

June 5 — Caloundra West — Norton Music Factory

June 6 — Beenleigh — Beenleigh Tavern

June 12 — Hornsby — Hornsby RSL

June 13 — Albion Park Rail — The Oaks Hotel

June 19 — Woden — Canberra Southern Cross Club

June 20 — Albury — The Bended Elbow

July 3 — Launceston — Country Club Showroom

July 4 — Hobart — Wrest Point Showroom

July 10 — Belmont — Belmont 16s

July 11 — Revesby — Revesby Workers Club

July 17 — Fremantle — Freo Social

July 18 — Perth — Rosemount Hotel

July 31 — Caringbah — Highfield

Aug. 1 — Marrickville — Factory Theatre

Aug. 7 — Shoal Bay — Shoal Bay Country Club

Aug. 8 — Prestons — Liverpool Catholic Club

Aug. 14 — Geelong — Eureka Hotel

Aug. 15 — Melbourne — Corner Hotel

Aug. 28 — Kingsford — The Juniors

Aug. 29 — Mona Vale — Pittwater RSL

Sept. 11 — Brisbane — The Triffid

Sept. 12 — Capalaba — Koala Tavern

Oct. 23 — Rozelle — Bridge Hotel

Oct. 24 — Rozelle — Bridge Hotel

Nov. 6 — Adelaide — Hindley Street Music Hall

Mick Jagger has said he “can’t wait” to take The Rolling Stones back on the road, though fans shouldn’t expect an imminent announcement.

Speaking on BBC Radio 2’s Tracks of My Years alongside Ronnie Wood, Jagger was asked whether the Stones would ever tour again. “I’d love to go on tour, I can’t wait,” he said, before tempering expectations. “I don’t think it’s going to be this year. But hopefully it’s going to be as soon as possible.”

The comments come after the band scrapped plans for a U.K. and European stadium tour in 2026 in late 2025, with reports that Keith Richards was unable to “commit” to the run. Richards has since hinted at a potential return to the road in 2027, and Jagger’s latest remarks add weight to that possibility.

The interview arrives ahead of the band’s 25th studio album Foreign Tongues, due July 10 via Polydor/Universal Music. The record was made in less than a month at Metropolis Studios in West London with producer Andrew Watt — who also helmed 2024’s Hackney Diamonds — and features guest appearances from Paul McCartney, The Cure‘s Robert Smith, Steve Winwood and the late Charlie Watts.

Jagger revealed the Robert Smith collaboration came about by chance at an industry event. “He was standing there with his back to me and this long gown on and when he turned around, he was covered in lipstick,” Jagger said. “And I said, ‘You’re Robert Smith of The Cure.’ He said, ‘Yeah, we’ve never met.’ And I said, ‘While you’re here, you better go and do something.’ That’s how collaborations work sometimes.”

Foreign Tongues includes previously released tracks “Rough and Twisted” and “In the Stars,” as well as a cover of the late Amy Winehouse‘s “You Know I’m No Good.” The full tracklist was revealed earlier this month with song titles appearing on streaming devices listed in various foreign languages.

Hackney Diamonds debuted at No. 3 on the Billboard 200 in 2024 — the band’s highest chart position in the U.S. since Voodoo Lounge reached No. 2 in 1994.

Massive Attack will return to Australia for their first headline shows since 2010, with three arena dates confirmed for August in Brisbane, Sydney and Melbourne.

The Bristol collective — led by Robert “3D” Del Naja and Grant “Daddy G” Marshall — will play Brisbane Entertainment Centre on Aug. 6, Qudos Bank Arena in Sydney on Aug. 9 and Rod Laver Arena in Melbourne on Aug. 11.

The shows are presented by Frontier Touring and mark the band’s first Australian dates in 16 years. Frontier Members presale opens Thursday, June 4 at 2 p.m. local time, with general on sale from Friday, June 5 at 3 p.m. local time via frontiertouring.com/massiveattack.

The announcement arrives alongside a newly released collaboration with Tom Waits, “Boots on the Ground,” the first new Massive Attack material in some time and a clear signal that the group remains artistically active more than three decades after forming as part of Bristol’s Wild Bunch sound system collective.

Few bands carry Massive Attack’s weight of influence. Their 1991 debut Blue Lines — frequently cited as the record that invented trip-hop — peaked at No. 13 on the UK Albums Chart and has since been named one of Rolling Stone’s 500 Greatest Albums of All Time.

Their third album Mezzanine (1998) topped the UK Albums Chart and produced “Teardrop,” which later became globally recognisable as the theme for the American television drama House, and “Angel,” both now considered landmark recordings of the era. Mezzanine peaked at No. 60 on the Billboard 200 — their strongest U.S. chart showing — and has sold more than 3.5 million copies worldwide.

Their fourth album 100th Window (2003) also topped the UK Albums Chart, giving the collective two U.K. No. 1 albums. Heligoland, their fifth and most recent studio album, followed in 2010 — the same year as their last Australian visit — and debuted at No. 2 on the U.K. Albums Chart.

Massive Attack’s live shows have long been considered some of the most visually and sonically immersive experiences in music, incorporating large-scale political messaging, bespoke audio-visual systems and collaborations with artists including Adam Curtis, United Visual Artists and Robert Del Naja’s own visual art practice.

Massive Attack — Australia 2026

Aug. 6 — Brisbane, QLD — Brisbane Entertainment Centre

Aug. 9 — Sydney, NSW — Qudos Bank Arena

Aug. 11 — Melbourne, VIC — Rod Laver Arena

“Hate That I Made You Love Me,” Ariana Grande‘s new single, tops this week’s best new music poll.

Listeners voted in a poll published Friday (May 29) on Billboard, choosing the star’s highly-anticipated return to music as their favorite release this week.

“Hate That I Made You Love Me” ascended to the top of the poll in a week that also delivered new music from Latto, aespa and more. When the poll closed on Sunday, Grande held a steady lead, bringing in more than 50% of the vote.

“Hate That I Made You Love Me” is the first taste of Grande’s eighth studio album, Petal (arriving on July 31), and her first new music release — outside of her film career — since 2024’s Eternal Sunshine, which was a No. 1 on the Billboard 200. Petal is set to be released via Grande’s BabyDoll Music imprint label, licensed to Republic Records.

“I hate that I made you love me/ Sorry if I made me your type/ Yeah, I, I hate that I made you love me/ ‘Cause I barely tried,” she sings in the chorus.

The song was released Friday, with an official music video still on the way Monday morning (June 1).

And timed just after the “Hate That I Made You Love Me” reveal is the June 8 launch of Grande’s Eternal Sunshine Tour in Oakland, Calif. (See her current list of tour dates here.)

Among the new releases trailing behind “Hate That I Made You Love Me” this week are Latto’s Big Mama album, with 26% of the vote, and aespa’s LEMONADE – The 2nd Album, with 14% of the vote.

See the final results of this week’s poll below.

Kanye West reportedly drew a crowd of 118,000 to Istanbul’s Atatürk Olympic Stadium on Saturday (May 30), with the rapper claiming that it was the largest stadium performance in history.

“I just want to tell y’all, we just broke the record, 118,000, largest stadium performance of all time,” West told the audience, according to Türkiye Today.

The show — which began at 9 p.m. local time and evolved into an all-night festival-style event featuring DJ sets, laser and light shows, pre- and after-party gatherings and performances by Turkish artists including Yener Cevik, Mavi, Sena Sener, Pera and Motive — drew fans from across Turkey and abroad, with attendees travelling from Russia, Kazakhstan, the U.K., Germany, the U.S. and Poland.

Organisers opened stadium gates at 3 p.m. to manage the anticipated influx, with crowds quickly filling metro platforms and corridors across the city as showtime neared. Travis Scott also joined West on stage during the show.

The Istanbul date marked the opening night of West’s first European tour in 11 years — and it came after a summer of closures across the continent. In April, the U.K. government denied West entry, ruling his presence “would not be conducive to the public good,” leading to the cancellation of his Wireless Festival headline slot, which had already lost major sponsors including PepsiCo and Diageo.

A Marseille show was postponed after French officials attempted to block it, and concerts in Poland and Switzerland were also cancelled. On the same day as the Istanbul concert, Italian authorities banned West and Travis Scott from performing at a July show at the 103,000-seat RCF Arena in Reggio Emilia, citing security concerns following requests from consumer group CODACONS and Jewish communities in Modena and Reggio Emilia.

West has attributed his past antisemitic statements — which included comments praising Adolf Hitler, the release of content using Nazi imagery and the release of a song titled “Heil Hitler” — to manic episodes caused by untreated bipolar disorder. He published a full-page apology in the Wall Street Journal in January 2026. Despite the European bans, several countries have permitted him to perform. His remaining confirmed tour dates include shows in the Netherlands on June 6 and 8, Tirana, Albania on July 11, and Georgia and Spain later in the summer.

West’s commercial run ahead of the tour has been significant. His latest studio album Bully debuted at No. 1 on the Top R&B/Hip-Hop Albums Chart upon its release earlier this year. His catalogue includes 24 Grammy Awards and 10 Billboard 200 No. 1 albums, making him one of the most decorated artists in chart history.

Frankie Valli & The Four Seasons will no longer be touring this year due to the singer’s health.

Valli, who turned 92 in May, canceled all remaining tour dates for 2026 in an announcement that went out heading into the weekend.

“I’m so sorry to disappoint the folks who have purchased tickets to my shows, but I have decided to take the rest of the year off from touring to focus on my health,” Valli wrote in a statement published on the group’s Instagram account on Friday (May 29).

“I’m looking forward to getting healthy and seeing you all again soon,” he added in his statement. “Thank you for all your good wishes.”

Valli did not provide further details about the unspecified health concerns.

But he has kept busy performing throughout the past few years on The Last Encores Tour, the group’s farewell run that started in 2023 and had most recently been extended through late 2026. He was expected to appear in select U.S. markets in June and July, followed by a string of dates in September through November.

In an interview with Tucson, Arizona’s 94.9 MIX FM radio station in February, he explained why he heads out on the road still, many decades into his career: “Be loyal to what you’re doing and love what you’re doing. If you’re doing it out of fame or with the hope of becoming famous. it’s really the wrong approach. You should be doing it out of the fact that you love and it and it’s the most important thing in your life. If I had not become successful I’d probably still be working in some little bar. I love music that much.”

Last year, Valli was honored with a lifetime achievement award at the Recording Academy’s Special Merit Awards, though he’d never won a Grammy — and despite charting five No. 1 hits on the Billboard Hot 100 with The Four Seasons, dating back to 1962 with “Sherry,” which launched at the top after Dick Clark introduced it on American Bandstand, and two as a solo performer, including the 1978 title track for Grease. “This has been an incredible evening,” he said at the ceremony, quipping, “I don’t know what took so long, but that’s the way it goes.”

See Valli’s announcement about his 2026 tour cancellation on Instagram.

Charlie Puth‘s night at Madison Square Garden featured a handful of big names as surprise guests, and Billboard was on the ground to capture some of those moments on video.

Puth headlined the famed New York City concert venue Friday night (May 29) as part of his Whatever’s Clever World Tour, which kicked off just over a month ago in support of his 2026 Whatever’s Clever! album. The show saw him welcome Art Garfunkel, Jimmy Fallon, Busta Rhymes and Kirk Franklin to the stage to perform with him during a 23-song set.

First surprise of the show: an appearance from Art Garfunkel for a heartfelt duet with Puth on Simon & Garfunkel’s “The Boxer,” a Hot 100 top 10 hit in 1969 that was a track on the duo’s final studio album, Bridge Over Troubled Water. “He learned how to make his records from me and Paul,” Garfunkel told the New York crowd on Friday. “You’re my student.”

Puth agreed: “I am your student. I’m not just saying that because all these wonderful people are here. The reason that I’m here right now is because of the music you’ve written with Paul. It’s amazing.”

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Midway through Puth’s set, Jimmy Fallon, wearing sunglasses, joined the singer for an ’80s hit, Toto’s “Africa” — their biggest single, a No. 1 on the chart in 1983. After sharing a quick hug, Fallon presented the night’s star with a custom New York Rangers jersey with “PUTH” and the number 26 across its back.

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Keeping the mid-show energy on the rise, the next unexpected guest on Puth’s stage was Busta Rhymes bringing a classic from the early 2000s, “Break Ya Neck,” and one from the late ’90s, “Put Your Hands Where My Eyes Could See” — plus a slightly more recent hit, “Look at Me Now,” the 2011 Chris Brown single Busta featured on alongside Lil Wayne.

The rapper closed with leading the city in a round of cheers for his host: “New York City, please make some noise for our brother, your brother, the incredible Charlie Puth.”

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Even more entertainment was to come. Kirk Franklin arrived to give spirited performances with Puth of two of his own songs, “I Smile” and “Lean On Me,” and a cover of gospel group God’s Poperty’s “Stomp.”

Puth’s tour continues Saturday night (May 30) in Atlantic City, N.J., before heading south. He’s set to perform across the U.S. through mid-June, then head overseas for a European leg.