Summary

Don't Look Back in Anger is a documentary presented by Disney+ following Oasis across their “Live '25: reunion tour, written and produced by Steven Knight and directed by Dylan Southern and Will LovelaceThe film features the first joint interviews with Liam and Noel Gallagher in over 20 years, alongside never-before-seen rehearsal, backstage and onstage footage from the world tourProduced by Magna Studios, the documentary opens in select IMAX and cinemas in September before streaming on Disney+ internationally and on Hulu and Disney+ in the US later this year

The teaser trailer for Don't Look Back in Anger, the forthcoming Oasis documentary presented by Disney+, has finally landed. Written and produced by Steven Knight and directed by Dylan Southern and Will Lovelace, the film follows Liam and Noel Gallagher across the “Live '25” reunion tour and includes the brothers' first joint interview in over 20 years. It opens in select IMAX and cinemas in September.

The documentary's central offer is access of a kind that reunion tours rarely grant. Knight, Southern and Lovelace secured rehearsal, backstage and onstage footage across the “Live '25” world tour, building a film that Knight describes as not only a ticket to the show but "a backstage pass and a seat at the table when Liam and Noel sit down together for the first time in 15 years and tell it how it is and how it was." That joint interview, the first in over 20 years, sits at the heart of the film alongside footage capturing the emotional response of fans across the world to what the press release frames as one of the most anticipated rock 'n' roll comebacks of recent memory.

The timing of the trailer release carries its own weight. The teaser arrives exactly one year after the band kicked off the “Live '25” tour in Cardiff, Wales, their first live performance together in 16 years. The film frames the reunion not merely as a concert document but as a cultural reckoning, exploring what Oasis's music means to audiences and generations worldwide and positioning the tour as a moment of global significance.

The creative team assembled around the project reflects that ambition. Knight, whose credits include Peaky Blinders and A Thousand Blows, received BAFTA and Oscar nominations for his work as a writer, producer and director. Southern and Lovelace previously directed Shut Up and Play the Hits and Meet Me in the Bathroom, two of the more critically regarded music documentaries of the past decade. Behind the camera, cinematographer Haris Zambarloukos, whose credits include Belfast and Beetlejuice Beetlejuice, shot the film alongside Oscar-winning sound mixers James Mather and Tarn Willers.

Watch the teaser above. Don't Look Back in Anger opens in select IMAX and cinemas in September, before streaming exclusively on Disney+ internationally and on Hulu and Disney+ in the US later this year.

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Summary

Global rap superstar Eminem has lost a landmark trademark dispute in Australia against a boutique Sydney-based beachwear startup called Swim Shady Crucially, the ruling noted that Eminem did not officially file to trademark his famous "Slim Shady" moniker in Australia until January 2025—one month after the beach brand had already launchedTrademark adjudicator Benjamin Goldsworthy ruled that Eminem failed to demonstrate "actual control" or active commercial use of his "Shady" apparel marks in Australia

The real Slim Shady stood up in an Australian court—but he was ultimately forced to sit back down. Rap icon Eminem (Marshall Mathers III) has officially lost a key round in an international trademark battle against Swim Shady, a small beachwear and equipment company based out of Sydney's Northern Beaches. The ruling, handed down by the Australian Registrar of Trade Marks, effectively strips the multi-platinum artist of several core merchandising protections across the continent.

The legal standoff began when entrepreneurs Jeremy Scott and Elizabeth Afrakoff launched Swim Shady in December 2024, retailing high-end beach umbrellas, swim bags, towels, and shorts across more than 50 national storefronts. Seeking to protect his intellectual property, Eminem’s legal team formally opposed the startup's trademark application, arguing that the name "Swim Shady" was "highly confusingly similar and legally identical in sight and sound" to the rapper's multi-decade alter ego, Slim Shady. They claimed the branding was a deliberate attempt to trade off the performer's global reputation and mislead consumers into assuming an official partnership existed.

However, trademark adjudicator Benjamin Goldsworthy sided with the Australian startup on a critical statutory sticking point. While Eminem has owned the defensive Australian trademark rights to the words “Shady” and “Shady Limited” since 2002, the registry found that the rapper had not genuinely used those marks on physical clothing, footwear, headwear, or leather goods within the Australian market during the required regulatory window. The evidence submitted by Eminem's legal team—which included international tour merchandise documentation and social media metrics—only proved a total of three individual merchandise sales to actual Australian consumers during the relevant period. Furthermore, the court noted that those sales were processed by Eminem's record label rather than the artist directly, showing a lack of independent brand oversight.

The financial and commercial ramifications of the "David vs. Goliath" ruling will take effect swiftly. Starting August 1, 2026, Eminem’s trademark protections for "Shady" will be officially deleted within the Australian classifications for apparel, footwear, and luggage—though he will retain the exclusive naming rights for music, entertainment, and electronics. In addition to losing the clothing shield, the chart-topping artist has been ordered to pay Swim Shady’s full legal defense costs. Eminem's legal council has until July 22, 2026, to file an official appeal, a move that could dictate the momentum of identical parallel lawsuits Eminem has filed against the beachwear brand in the United States, the United Kingdom, and Japan.

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Summary

ATEEZ has debuted at No. 1 on the Billboard 200 with 'GOLDEN HOUR : Part.5,' earning 228,000 equivalent album units in its first week, a new career-high for the actThe set marks ATEEZ's third No. 1 on the chart and their ninth consecutive top 10, with pure album sales of 223,000 also representing a career-best figureWith nine top 10s in the 2020s, ATEEZ now stands alone as the group with the most top 10s this decade, breaking a three-way tie with Stray Kids and TOMORROW X TOGETHER

ATEEZ opens this week's Billboard 200 at No. 1 with GOLDEN HOUR : Part.5. The K-pop act's latest earns 228,000 equivalent album units in its first week, driven predominantly by pure album sales of 223,000. Both figures represent career-highs for the group.

GOLDEN HOUR : Part.5 marks ATEEZ's third No. 1 on the Billboard 200, following GOLDEN HOUR : Part.2 in 2024 and THE WORLD EP.FIN : WILL in 2023. The new set also extends their run of consecutive top 10 appearances to nine, dating back to THE WORLD EP.1 : MOVEMENT's No. 3 peak in 2022. With nine top 10s in the 2020s, ATEEZ now has the most among any group this decade, breaking a three-way tie they previously shared with Stray Kids and TOMORROW X TOGETHER. Of the album's 228,000 first-week equivalent album units, streaming equivalent album units comprise 5,000, equaling 4.96 million on-demand official streams, with track equivalent album units making up a negligible sum. Album sales were aided by the set's availability across 30 CD variants and five vinyl variants, including collectible items such as photocards, posters and stickers, with some items randomized, as well as signed editions.

Making up the rest of this week's top 10: Olivia Rodrigo's you seem pretty sad for a girl so in love falls to No. 2 after two weeks at the top with 127,000 equivalent album units, followed by Ella Langley's Dandelion at No. 3 (82,000), Drake's ICEMAN at No. 4 (80,000) and Morgan Wallen's I'm the Problem at No. 5 (79,000). Noah Kahan's The Great Divide lands at No. 6 (64,000), Michael Jackson's Thriller at No. 7 (48,000), Jackson's Number Ones at No. 8 (43,000), Wallen's One Thing at a Time at No. 9 (40,000) and Olivia Dean's The Art of Loving at No. 10 (34,000).

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Summary

The second live installment documents Justin's headlining set from the second weekend of the Coachella Valley Music and Arts Festival this past AprilAlbum features include Sexyy Red, Dijon and SZA, while Weekend II's onstage cameos came courtesy of Big Sean and Billie EilishBoth Weekend I and Weekend II headlining sets are now streaming in full on YouTube, marking the first official long-form release of either performance

Justin Bieber has released SWAG LIVE FROM COACHELLA (WEEKEND II), his second live album in as many weeks and the companion piece to the surprise drop of SWAG LIVE FROM COACHELLA (WEEKEND I). Together, the two records archive one of the year's most talked-about festival runs, capturing Bieber's back-to-back headlining sets from this past April at the Coachella.

Where the Weekend I album served as an unannounced opening statement, Weekend II arrives with a fuller sense of scale. Critics who filed on the second weekend largely agreed that Bieber sharpened what was already a strong opening slot, pointing to expanded production, a longer setlist, and a more assured stage presence the second time around. Reviewers described the show as a star-studded affair, praising its polished execution and heartfelt surprise moments while noting that Bieber leveled up an already successful opening night.

The guest roster reflects that expansion. Alongside features from Sexyy Red, Dijon and SZA on the recorded album, the live set was punctuated by walk-ons from Big Sean and Billie Eilish, both of whom appear in the concert film now streaming on YouTube. The official videos are presented exactly as they streamed during the festival, with exclusive footage from the production's archival history moments folded in.

The rollout also functions as a pointed piece of narrative housekeeping. Bieberchella, as the second weekend was quickly rechristened by fans and press alike, has become the framing device for the entire SWAG era. Positioned as the definitive record of one of Bieber's most celebrated live performances, the two-part live document turns Coachella 2026 from a one-off festival slot into the live-format cornerstone of the wider SWAG rollout.

SWAG LIVE FROM COACHELLA (WEEKEND II) is out now, with the full Weekend I and Weekend II concert films streaming on YouTube.

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Summary

Beyoncé has surprised fans by dropping a long-unreleased track titled "MORNING DEW (DONK)" on streaming platformsThe single serves as a Fourth of July gift to her fanbase, launching a formal 60-day countdown to her 45th birthday and the 20th anniversary of her second solo studio album, 'B'Day'Co-written and co-produced alongside Pharrell Williams, the song arrives with a black-and-white lyric video featuring archival footage captured by director Cliff Watts

Beyoncé has given the BeyHive an unexpected reason to celebrate, dropping a long-unreleased fan-favorite track titled "MORNING DEW (DONK)" as a surprise Fourth of July release. Distributed via Parkwood Entertainment and Columbia Records, the slow-groove single acts as the official opening salvo for an expansive campaign commemorating the upcoming 20th anniversary of her landmark sophomore solo studio album, B'Day. The release officially sets off a precise 60-day countdown culminating on her birthday in September, where the full commemorative record will be given a multi-format reissue.

The track marks an intriguing archival pull for the global entertainer, marking her first official solo single delivery since she dominated the cultural landscape with March 2024’s Grammy-winning opus Act II: Cowboy Carter. Originally recorded during her studio sessions in 2013 and teased to the public in fragmented snippets over the years, "MORNING DEW (DONK)" blends smooth, late-night R&B confidence with nostalgic mid-2000s structural energy. To build the record, Beyoncé teamed up with a powerhouse lineup of familiar legacy collaborators, co-writing the track alongside R&B maestro The-Dream and Darius Dixon, while sharing primary production and writing credits with Pharrell Williams.

The song's release was paired with an intimate, black-and-white lyric video that functions as a direct tribute to the original B'Day creative era. Directed by fashion photographer and frequent visual collaborator Cliff Watts—who famously shot Beyoncé's historic Sports Illustrated Swimsuit cover around her 25th birthday—the video repurposes unreleased archival footage of the singer from that exact era. Lyrically, the sultry record opens with a direct nod to Prince's iconic 1984 film Purple Rain, instantly fueling feverish internet theories that the track's rock-and-funk-tinged undercurrents might act as a thematic bridge leading into her highly anticipated, unannounced Act III trilogy finale.

The upcoming reissue brings the industry back to a defining moment in the superstar’s solo catalog. Originally released on September 4, 2006, to align with her 25th birthday, B'Day followed her solo debut Dangerously in Love and solidified her status as an elite live performer through high-octane hits like “Ring the Alarm,” “Get Me Bodied,” “Upgrade U,” and the Billboard Hot 100 monster “Irreplaceable.” The album debuted at No. 1 on the Billboard 200, selling over 541,000 copies in its first week within the United States alone before securing the Grammy Award for Best Contemporary R&B Album. Parkwood Entertainment has hinted that the upcoming 20th-anniversary pressing will receive a comprehensive technical remastering alongside a collection of highly sought-after vaulted tracks.

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All of the biggest music headlines in one place and playlist. Updated live throughout the week.

Tate McRae Fronts New adidas 3D-Printed Climacool Campaign

What can't Tate McRae do... The pop it girl leads the latest adidas lookbook, focused on the Fall 2026 range of 3D-Printed adidas Climacool colorways. Alongside soccer star Rodrigo De Paul, WNBA sister act Nyara and Satou Sabally, McRae dons a pair of the hot pink sneakers, defined by their sculpted lattice silhouette.

Ken Carson Reveals xperiment Tracklist and Features

xperiment is shaping up to be a movie. Literally. Inspired by The Matrix, Ken Carson's forthcoming studio opus – the follow-up to More Chaos – already has an entire world built around it before the album has even landed. This week, the Opium rapper revealed the album's full tracklist and slate of featured artists, which comes with appearances from labelmates Playboi Carti (twice) and Destroy Lonely, and other rappers Lil Uzi Vert, 2hollis, Young Thug.

JAŸ-Z Adds Bonus Tracks to 444

As the latest JAŸ-Z 30 offering, the rapper is focusing on 444. In honor of the albums nine year anniversary – initially released on June 30, 2017 –  HOV added the bonus tracks previously exclusive to the album’s physical copy and Tidal to all streaming services. The three new-to-streaming songs include "Adnis," "Blue’s Freestyle/We Family" featuring Blue Ivy Carter and “MaNyfaCedGod" with James Blake.

New Glokk40spaz x Pi'erre Bourne Premiered in Sp5der Campaign

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In the landscape of modern J-pop, few forces have reshaped the global trajectory of the genre quite like YOASOBI. Operating on the singular, defining premise of "turning novels into music," the powerhouse duo - comprising producer Ayase and vocalist ikura - has spent the last seven years building a discography anchored entirely in storytelling. While traditional songwriters typically mine their own personal experiences, observations and imaginations for material, YOASOBI's approach is rooted in fiction -- they translate existing written works, including the contemporary novels, manga and short stories they love, into vibrant, multi-layered soundscapes.

This distinct methodology has yielded years of material compiled into THE BOOK series, a run of conceptual anthologies that has come to define the duo’s creative identity. Now, with the release of THE BOOK for,, YOASOBI officially closes the final chapter on this series. Spanning 12 tracks, the album’s final tracklist came together almost by accident, expanding as the duo repeatedly blew past their scheduled cut-off windows while a continuous stream of new hits poured out of the studio. For Ayase, the organic chaos of the project instantly resolved itself the moment their latest creation found its home. "When that last piece snapped perfectly into place as the first song, it really felt like the album came together beautifully," he reflects, pointing to the structural weight of their opening track, "ORION" — their newest song born from their collaboration with Overwatch. Functioning as a reverse chronological timeline, the rest of the tracklist effortlessly unfurls like a rewinding tape of their boundary-pushing discography.

“These past seven years have been a journey we’ve walked hand-in-hand with 'THE BOOK.' Seeing a series we’ve poured so much love and deep personal attachment into come to an end definitely brings a wave of nostalgia and a bit of sadness.” - Ayase

This new album officially wraps up “THE BOOK” series. Looking back at this multi-year journey, how does it feel to close this chapter?

Ayase: These past seven years have been a journey we’ve walked hand-in-hand with THE BOOK. Seeing a series we’ve poured so much love and deep personal attachment into come to an end definitely brings a wave of nostalgia and a bit of sadness. But at the same time, we made this conscious choice because we want to take on entirely new challenges from here on out. We felt it was the right moment to put a full stop on this chapter for now. In that sense, it feels like a new starting line. It really makes me look forward to the stories we’ll weave next and the kind of albums we’ll create moving forward.

I read that you originally planned for this album to only have eight or nine tracks, but it grew into 12 because you had accumulated so much music since late 2023. How did you know when this specific tracklist was finally “complete”?

Ayase: We originally intended to release THE BOOK for, with just eight or nine songs, but we missed that specific timing window, and the project naturally expanded to this size. In a way, the tracklist felt complete at various stages, but then we’d drop another single and say, "Well, let's include this one too," and then the next one, until it grew into 12 tracks. Personally, I think there’s a beautiful symmetry in placing "ORION," our newest song, as the opening track and having "Gekijou" close out the album. Even though the final track count was unexpected, once that last piece snapped perfectly into place at the very front of the album, everything came together beautifully. Since this marks the finale of the series, the larger tracklist actually lends the project a nice sense of drama.

If you had to pick one track on this album that surprised you the most during the writing or recording process, which one would it be and why?

ikura: Honestly, we pushed ourselves to try something completely unprecedented with every single track, so it's incredibly hard to choose just one. But for me, "ORION" stands out. While some of our past songs featured fast-paced, rap-adjacent sections, this was the first time I tackled a proper, full-length rap delivery entirely in English. I took extra care preparing for that segment, focusing heavily on clear English pronunciation because we are extremely particular about the flow and feel of the rap. It was a completely new frontier for me and probably the biggest personal challenge I’ve faced recently.

Ayase: If we're talking about pure surprise, I’d have to say "UNDEAD." The song is tied to a franchise and a body of work that I deeply respect and love. Getting a brand-new short story written specifically for us to adapt into a song was an incredible surprise and honor in itself. But the real shock came after "UNDEAD" dropped — Nishio Isin-sensei went ahead and wrote an entirely new short story inspired just by me and ikura. That was completely insane, and easily the biggest surprise of the entire process.

In the early days, your roles were very clear-cut: Ayase writes, ikura sings. Now that you’re releasing THE BOOK for, how has that creative boundary evolved?

Ayase: Honestly, nothing has changed. That division has always remained very clearly defined for us.

“[For the Overwatch collaboration] I wanted the players to really feel the adrenaline, so I focused on how the music could heighten the in-game experience” - Ayase

What does a typical vocal recording session look like between you two?

Ayase: I'm incredibly meticulous when it comes to direction. I tend to be very detailed and particular about the nuances.

ikura: Despite that, the atmosphere in the studio is always really fun. Whether the concept of the song is heavy or it's a quiet, emotional ballad, maintaining a positive environment is crucial for channeling the right energy into the performance, not just nailing the technical vocals. Everyone in the room helps foster that. When we hit a great take, the whole studio cheers along. Even during the challenging moments, there’s this unspoken wave of encouragement that keeps you going.

Usually, I'll start by showing everyone my own interpretation of the track during warm-ups and initial monitor checks. From there, Ayase will provide direction using imagery, conceptual ideas or suggestions like, "What if we try approaching this line this way?" As we bounce ideas back and forth, we naturally sculpt the unique nuances and ultimate direction of the song together.

Your new track “ORION” is a massive global collaboration with Overwatch. How did this team-up happen, and did the creative process differ at all from your usual way of writing?

Ayase: I have to credit our amazing team for working hard behind the scenes to make it happen. They secured the opportunity because the game was implementing a new Tokyo-themed map. Since the team at Overwatch was building something centered around Japan, they specifically requested YOASOBI as their Japanese artist collaboration. We gladly accepted the offer, and everything flowed from there.

In terms of the actual songwriting, our foundational creative process remained exactly the same: an original story was written for us first, and then we constructed the music around that narrative. However, because Overwatch is a fast-paced FPS game, the internal mechanics required a different approach. I wanted the players to really feel the adrenaline, so I focused on how the music could heighten the in-game experience. Designing a soundscape that complements active gameplay and mirrors that intense sense of speed was a unique challenge that I hadn't deeply explored before.

Between the two of you, who is actually the bigger gamer, and who would win an Overwatch 1v1 match?

[ikura gestures with both hands, pointing to Ayase]

Ayase: Let's just say ikura-san isn't exactly the most seasoned tactical gamer. Truly.

ikura: It's true! I struggle when there's intense time pressure, things chasing me, or in first-person shooters where split-second decisions dictate everything. But the game worlds look incredible, and I genuinely love being a spectator and watching others play.

From Pokémon and PlayStation’s 30th anniversary to Overwatch, you’ve built a brilliant relationship with gaming culture. What is it about video game worlds that translates so perfectly into the YOASOBI style?

Ayase: A big part of it stems from our deep cultural roots in animation, anime and manga — art forms that Japan is incredibly proud of. That creative background heavily influences everything we do. When you look at modern video games, the visuals, environments and character designs are essentially living 3D animations. These are fictional characters operating within expansive narratives, whether it's high fantasy or intense sci-fi, with rich drama unfolding around them. In that sense, gaming is deeply intertwined with the storytelling DNA of anime and manga.

Throughout our seven-year history, YOASOBI has consistently collaborated with these narrative-driven mediums. So, transitioning into gaming felt entirely natural; the affinity was already there. Plus, both ikura and I are genuinely passionate about gaming culture — we love playing them and watching them. Ultimately, that's why the connection feels so seamless: it comes from a place of genuine love.

“Moving forward, we want to thoughtfully deconstruct the legacy we've built so far to surprise our listeners.” - ikura

Now that THE BOOK series is officially wrapped, what can you tease about the next creative era of YOASOBI? Where are these “Never Ending Stories” heading next?

Ayase: Where are we heading next? That’s the big question. Closing the chapter on THE BOOK series stems from a mutual desire to step onto a path filled with things we haven’t experienced, things we don't know yet and concepts we can't even imagine right now. Truthfully, the slate is completely blank. The next major body of work will start taking shape once we’ve naturally gathered enough new musical pieces, so it's likely a bit further down the road. We don't have a rigid blueprint just yet.

That said, we have absolutely no intention of abandoning our core philosophy, which is to dive headfirst into whatever excites us in the moment. Whether it drops next year or the year after, the journey is going to evolve. I envision an album born from challenges that nobody expects — concepts that make even us sit back and think, "Wow, this is incredibly cool." I want everyone to keep guessing, because we are just as eager to see where it goes.

ikura: Exactly. Over the past seven years, whether we're in the studio tracking songs or out on stage performing live, our primary focus has always been to continuously push our boundaries and refuse to stagnate. Moving forward, we want to thoughtfully deconstruct the legacy we've built so far to surprise our listeners. We want to keep the community that loves YOASOBI on the edge of their seats, constantly wondering, "What could they possibly do next?" I really hope everyone is excited to step into this next chapter with us.

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It's an eighty-degree Thursday evening in New York City, and the Wooster Street Gucci store is surrounded. This isn't atypical, after all, it's a summer night in SoHo, but the crowd outside the doors – both the front and back entrances – strays a bit from the standard store shopper.

It's because Nettspend is inside for a Generation Gucci x early life crisis press event, and anywhere Nettspend is, a throng of fans follow. Just six hours earlier, a bunch of those fans were inside the store with Nett himself, as the rapper hosted a free meet-and-greet event open to the public. He took photos and signed copies of his recent album, early life crisis, at the front of the store, flexing a full maroon Gucci set, seated in front of three Gucci-wearing mannequins.

Each of the three mannequins donned one of Nettspend's past Gucci looks, with the exterior of the store dressed with photos of the rapper in Gucci from the fashion house's Spring Summer 2026 Milan Fashion Week runway show in September 2025, where he's seated front row at Palazzo Mezzanotte. The meet-and-greet wrapped hours ago, but many of the loitering fans have since hung around the store, awaiting the slight chance of getting another few seconds with the rapper – or merely falling in his line of sight at the right moment.

Inside the store, it's a different crowd; friends of both Nett and Gucci alike fill the room, signalling a convergence of the fashion side and the music side of the media world in one Downtown Manhattan outpost. Nettspend is directly in the mix, meeting and mingling with editors, photographers, and influencers as a soundtrack he curated himself plays in the background. The playlist includes a good amount of early life crisis tracks, as well as cuts from his fellow underground cohorts. The early life crisis details are dialed in down to the hors d'oeuvres, with passed plates including Gucci x early life crisis-branded potato chips and orange juice bottles. Guests also received a special Gucci CD of early life crisis, signed by Nett.

For this portion of his nearly full-day Gucci store takeover, the rapper reps an all-gold look and a Gucci crossbody, the snakeskin top a different colorway of what he wore during his Gucci runway debut in February of 2026, paired with the exact same gold denim pants. The middle mannequin on display dons Nettspend's full runway look lifted from the Gucci Fall/Winter 2026 show with the original purple snakeskin shirt.

Right after delaying the release of early life crisis, Nett walked the Milan show, which also marked Demna's debut runway for the high fashion house. Fellow underground force fakemink also made a runway cameo, with Feng, Fimiguerrero, EsDeeKid, and Rico Ace all sitting front row at the show. As a model, Nett made his runway debut in February 2025 in Paris, when he walked in Miu Miu's Fall/Winter 2025 show, so the striking Gucci look serves as a true early-career milestone for the musician as he begins to establish himself as more of a multihyphenate creative.

The other two mannequins wear less notable looks, the first in a blue, beachy floral set, and the final in a tight white V-neck T-shirt and black jeans. Behind the trio of mannequins is a stream of Nettspend's notable Gucci moments, the Fall/Winter 2026 runway show being one of the spotlights.

The underground ether has circled the high fashion world for a long time, but recent months have seen the two orbit more closely than ever before. Demna especially has emphasized the inspiration he draws from the current underground scene. OsamaSon just led Balenciaga's "High Summer" lookbook for Summer 2026.

With Paris Fashion Week afoot across the globe, the convergence of the rap underground and fashion zeitgeist continues. Lelo and Che were at every major show, linking with both Michéle Lamy and Rick Owens. fakemink sat FROW at Jacquemus with his wired headphones in. Pz' walked another Louis Vuitton runway with the rest of the ØWAY crew – Tezzus, diamond*, and Sk8star – popping out everywhere.

As the press event nears its end, the crowd still lingers outside. They catch a glimpse of xaviersobased and hold up messages on their phones in the window. Security lets fans file in slowly, only a few at a time. It's the most accessible something of this caliber has been. Most fans can't hop on a flight to Paris or secure a runway invite. Even concert tickets these days have far outpriced the "accessible" level. A free event at the Gucci store in the middle of Manhattan is the closest most will ever get to the musician.

We're so here for it.

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Summary

Concordia University in Montreal will offer a Fall 2026 course titled "Drake: Media, Myth & Manhood"The syllabus examines Drake's discography, the OVO brand, and the relationship between artists and the music industryRapper and Professor Yassin "Narcy" Alsalman will lead the class at his alma mater

Drake is about to become university coursework. Concordia University in Montreal will offer "Drake: Media, Myth & Manhood" during its Fall 2026 semester, a course dedicated to the Toronto rapper's catalog, cultural mythology, and the industry systems his career sits within.

Housed under the broader "Hip-Hop: Past, Present & Future" curriculum (course code FFAR 256), the syllabus is helmed by rapper and Professor Yassin "Narcy" Alsalman, a Concordia alumnus returning to his alma mater. Alsalman has previously taught university-level courses on Kanye West, positioning him to translate individual rap discographies into structured academic study. The course itself will move across Drizzy’s catalog and thematic territory, the rise and infrastructure of the OVO label, the relationship between art and capitalism, and the industry systems artists have to navigate.

A publicly shared sample week from the syllabus, dated November 12, 2026 and titled "US vs. THEM: Artist vs. Corporation," offers a look at how the class will engage those themes in practice. The framing text posits that politics and art cannot be separated when the politics are rotten, and outlines discussions of record label control over what breaks through, the mechanics of stream farms, and lawsuits from legendary artists against the industry. The week's listening assignment is Drake's ICEMAN, while its reading list pulls from Liz Kelly's Mood Machine, a Rolling Stone interview with longtime Drake collaborator 40, and Hanif Abdurraqib's They Can't Kill Us Until They Kill Us.

The course arrives at a moment when hip-hop's presence in university curricula has become less novel than accepted, with institutions increasingly treating individual rap catalogs as subjects worthy of dedicated study rather than niche electives. OVO, which Drake founded alongside Noah "40" Shebib and Oliver El-Khatib in 2012, gives the syllabus a case study that extends beyond the artist himself into questions of brand-building, geographic identity, and the transition of a rap collective into a broader cultural institution. Alsalman's dual identity as a working rapper and academic positions him to bridge those registers, moving between industry critique and cultural celebration without collapsing either.

Drake: Media, Myth & Manhood begins during Concordia University's Fall 2026 semester, starting in September.

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As previously stated: Summer 2026 belongs to JAŸ-Z. Especially in New York City.

With his hometown return to the stage going down at Yankee Stadium in just over two weeks (not that we're counting...) HOV is taking it to the streets of the city for a more accessible, all-ages homage to his historic artistry.

Over the course of the past week, Roc Nation set up two Reasonable Doubt experiential pop-ups in both Manhattan and Brooklyn, each outpost offering an immersive look into the album's legacy, as well as that of JAŸ-Z's discography at large.

Take a closer look at both boroughs' Reasonable Doubt exhibitions and peep the limited-release merchandise below.

Manhattan Reasonable Doubt Pop-Up

For just two days, Roc Nation revamped and reopened the decommissioned Bowery Station on Manhattan’s Lower East Side. The storied underground alcove transitioned into a completely unrecognizable living archive, its current state designed to resemble the Reasonable Doubt era of New York City, chronicling the significance of JAŸ-Z’s debut album, as well as his rise throughout the mid-to-late 1990s. Once you walk down the station’s mezzanine, music, visuals – performance footage, music videos, interviews, etc – and unearthed archival footage stream across all walls of five train cars, and early-career memorabilia is scattered throughout. A multicensory experience indeed, Reasonable Doubt plays as you walk through the experience, greeted by original artifacts from the album's rollout. Attendees could also cop a custom JAŸ-Z30 subway map, which highlights iconic NYC locations, milestones, and moments connected to his career and catalog.

Bowery Station
10 Kenmare, New York, NY 10012
June 25–26, 2026
11:00 a.m.–8:00 p.m.

Brooklyn Reasonable Doubt Pop-Up

Fear not, the Brooklyn pop-up is open a whole lot longer than its Manhattan counterpart. In the heart of DUMBO lands the second Reasonable Doubt exhibition, staged at a familiar location: inside a former boiler house whose exterior was featured in the music video for “Dead Presidents.” Upon entering the nostalgic space, this one spearheaded by both Roc Nation and Apple Music, a curation of apparel, accessories, music, and collectibles is on full display throughout, as well as a large-scale art installation up against the back wall. The black-hued exhibition is a recreation of two iconic late-1990s photographs of JAŸ-Z taken outside Brooklyn's Marcy Houses. Assouline's Book of HOV from last year is also on display.

Smack Mellon
92 Plymouth Street, Brooklyn, NY 11201
June 25–July 5, 2026
11:00 a.m.–7:00 p.m.

Brooklyn Public Library Cards

The second installation of HOV's partnership with the Brooklyn library has landed – and of course, the Reasonable Doubt and The Blueprint-inspired cards are absolutely free for all New York residents.

Available beginning June 25, 2026
Central Library (10 Grand Army Plaza, Brooklyn, NY 11238)
Marcy Branch (617 DeKalb Avenue, Brooklyn, NY 11216)

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EVAN has launched his solo era with the release of his debut digital single "Ride or Die," introducing new official social channels and his first profile imagery under the name alongside it. The two-track release, paired with B-side "Overflow," marks the next chapter for the artist previously known as Heeseung of ENHYPEN, built almost entirely on his own creative terms.

The rollout opened with a quiet but deliberate reset. EVAN's debut profile images dropped minimalist makeup and styling in favor of a more understated presentation, with label BELIFT LAB framing the visuals as an early, undefined look at the artist before any external image has been built around him. The name EVAN itself carries personal weight, drawn from a name he has held onto since childhood, and is meant to signal music that reflects his most honest and natural self going forward.

"I found myself gravitating toward a rawer, more instinctive form of expression."

The new name finds its clearest expression on "Ride or Die," a title pulled from the phrase used to describe standing by someone through anything. EVAN took a leading role across songwriting, composition, production, and the project's overall visual direction, and described the process as a chance to present two distinct sides of his artistry. "I wanted to present two songs with different charms," he tells Hypebeast. "With the title track, I wanted to show the new musical direction I'm pursuing, while with the B-side, I wanted to express a more emotional side of myself." The title track lands as an alternative rock cut built around longing and overwhelming emotion, while "Overflow" shifts into a softer indie pop register. Despite their contrasting sounds, both tracks rooted in introspective, vulnerable songwriting.

Diving into rock for the first time shaped more than just the songs themselves. EVAN explained that the genre pushed him to think as much about the project's visual and stage elements as the music. "As I became deeply drawn to the rock genre for the first time, I wanted to express its unique energy and emotion in different ways," he said, adding that the process pulled him toward a rawer, more instinctive form of expression running through the entire album. A similar sensibility informs the music video for "Ride or Die," which explores the idea of unwavering trust through EVAN's symbolic relationship with a weathered car that never leaves his side, pairing the song's explosive energy with a sense of catharsis.

For EVAN, that rawness doubles as something closer to a mission statement. "To me, alternative music is more than just a genre. It's the style of music that expresses who I am best," he said, framing the genre shift as a chance to put forward his own musical color and a more honest version of his emotions than he had shown before. He pointed to the album as the start of an ongoing effort to connect with listeners through new and different kinds of music going forward.

With "Ride or Die" and "Overflow," EVAN steps into his first chapter as a soloist on his own terms, swapping idol polish for the rawer instincts he says now define his sound. Stream both tracks on Spotify and Apple Music.

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The final New Music Friday of June is upon us, and it marks another big week for the hip-hop underground – as well as the pop girlies. Maxo Kream, YoungBoy NBA, Lil Got It, and Jadasea all lifted the veil on new longform projects, with Opraah, Laila!, El Cousteau and EsDeeKid all revealing singles. Phoebe Bridgers also made her anticipated return to the scene with "Lost Boys," with Charli XCX and Ravyn Lenae both continuing to roll out their respective forthcoming records.

Projects

Lil Got It – EVERYTHING OR NOTHING

Atlanta's Lil Got It has been quietly building toward his latest project, EVERYTHING OR NOTHING, which finally arrives as his most focused statement yet. Following recent singles "Goin Solo" and "Woosah," the project showcases the evolution of his melodic Atlanta sound while staying true to the signature energy that put him on the map in the first place. The YSL ties are still felt throughout, but this is Gotit stepping into his own lane, with assistance from fellow underground forces: Destroy Lonely, Nine Vicious, LUCKI, and 1300SAINT.

Maxo Kream – OYN

Maxo Kream is back. O.Y.N pairs Houston's most consistent storyteller with his most provocative collaborator yet. Produced entirely by JPEGMAFIA, the more "experimental"- leaning project is inspired by the rapper's first trip to Lagos, Nigeria. Fellow contributors include Denzel Curry and Isaiah Falls.

YoungBoy NBA – ML2

Fresh off the premiere of "Simulation" at Pharrell's Parisian Louis Vuitton Spring/Summer 2026 showcase, NBA Youngboy has dropped the second iteration of his More Leaks series. As the title suggests, YB continues to flip the "leak" narrative on its head, compiling all the cuts that didn't make the final project into one lengthy, chaotic-in-the-best-possible-way project.

Chanel Beads – Your Day Will Come

Landing as an expansion of 2024's Your Day Will Come, Chanel Beads sophomore studio project is just as vast and expansive as ever.

Jadasea – Holly Grove

10's London affiliate is asserting himself once again on yet another impressive studio project. Jadasea has been rolling out Holly Grove for a few months now, and the project, released by way of 10k records, of course, is here at last. Inspired by his UK upbringing, the autobiographical record features appearances from fellow 10k commander MIKE, and artists Anysia Kym, and duendita. Fellow local Londoner and recent Hypetrak cover star John Glacier also assists.

FearDorian – Tease, Vol. 1

On FearDorian's latest genre-blurring project, Tease, Vol. 1, the rising underground rapper/producer draws influence from across the board, ranging from traditional SoundCloud rap to Midwest emo.

Jody Fontaine – Thank You, Goodnight

AG Club rapper Jody Fontaine has gone solo for the first time, lifting the veil on his debut studio LP as an individual artist. Thank You, Goodnight clocks in at four tracks.

Brutalismus 3000 – Harmony

Another recent Hypetrak talent, Berlin electronic duo – producer Theo Zeitner and vocalist Victoria Vassiliki Daldas – has shared their latest longform endeavor, Harmony, which hears Boys Noize and Anya Taylor-Joy hop on the 13-song tracklist.

sosocamo – homesick

Arriving the week after his first headlining world tour, sososamo has dropped off the aptly entitled homesick. The EP marks the rising rapper's first release since February's Big Country.

Songs

Steve Lacy x SZA – “is it cool?”

The second single and first feature from Steve Lacy's imminent Oh Yeah? The album is also confirmed to feature Erykah Badu, with additional credits coming from Tyler, the Creator, Fousheé, and Ravyn Lenae.

Tyler, the Creator – “THAT GUY / SAG HARBOR”

Not a new release, but new to streaming. Thanks, Tyler, for the long-overdue two-pack.

WILLOW – “She’s My Religion”

WILLOW is back with another glimpse into what her return album has to offer, sharing "She's My Religion."

beabadoobee – “Sun Has Set”

Fresh off a busy run, beabadoobee returns with "Sun Has Set," which also signals the lead single from the songstress' Pylon project.

Opraah – "I cant get up

Liim collaborator Opraah keeps building momentum with “I cant get up.” The rising NYC artist presents a track that feels as vulnerable as it is self-assured. If you haven't been paying attention yet, now's a good time to start.

El Cousteau – “twiceasblue+”

One of the underground's most intriguing voices, El Cousteau continues to carve out his own lane with “twiceasblue+.” The track blurs the boundaries between rap, soul, and experimental production.

Phoebe Bridgers – “Lost Boys”

Phoebe Bridgers makes a welcome return with “Lost Boys.” Surely it will be on loop until Lost Weekend drops.

Future – “Radio”

As the lead single of Future's forthcoming The Real Me album, "Radio" arrives as another reminder of the Atlanta icon's reign and undying consistency.

Charli XCX – “Wink Wink”

Music Fashion Film is shaping up to be a fun one, with "Wink Wink" the newest cut from the Charli XCX-helmed endeavor.

Frost Children – “Satellites”

The NYC sibling duo keeps their experimental pop momentum going with "Satellites," a track that floats between euphoria and unease in their signature style. Both danceable and disorienting, in true Frost Children fashion.

Tame Impala – “Hummer” (Cover)

The Smashing Pumpkins cover we didn't know we needed may have just come from ... Tame Impala?

EsDeeKid – “RockWave”

In the middle of dominating Paris Fashion Week, EsDeeKid quietly unveiled "RockWave," which, as its title suggests, blends wavy, melodic rap with guitar-driven textures.

Ravyn Lenae – “Saturday Night”

Ravyn Lenae's Blue Island is definitely somewhere we want to be this summer. Especially on a "Saturday Night."

Sean Leon – “20,000 STEPS / 6SIDE SUMMER ’26”

A striking two-pack from the enigmatic Toronto-based Ye collaborator. Sean Leon is gearing up for his first rollout in a minute, and we're sat for it.

Laila! – "Miss Mango"

Laila! keeps her breakout run going with “Miss Mango.” Bright, playful, and undeniably infectious, the single leans into the charisma that's quickly made her one of R&B's most exciting young voices

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Summary

Hip-hop legend Lil Wayne has explicitly stated he will never participate in a Verzuz battleThe comments resurfaced via the full, official drop of DJ Drama’s Gangsta Grillz Podcast interview archiveWayne attributes his refusal to pure competitive dominance, claiming he would completely humiliate any potential opponent who stepped on stage with him

Lil Wayne has officially doubled down on his status as one of the most formidable lyrical entities in rap history, shutting the door completely on a potential appearance in the VERZUZ arena. Thanks to the highly anticipated full release of DJ Drama's Gangsta Grillz Podcast archive on Tuesday, fans finally received unedited clarity on why the Young Money founder has permanently chosen to stay on the sidelines of Swizz Beatz and Timbaland’s viral hit-for-hit exhibition platform.

The conversation around a Lil Wayne VERZUZ has been a staple of hip-hop barbershop debates ever since the platform took the world by storm in 2020. With a massive, multi-decade catalog spanning industry-shifting mixtapes, iconic guest verses, and multi-platinum studio blockbusters, the New Orleans native possesses an arsenal that could arguably stand up to any era of music. Yet, when DJ Drama directly confronted Wayne about stepping into the arena, the rap icon dismissed the competitive nature of the show with typical uncompromised swagger, revealing that he views the entire concept as a blowout waiting to happen.

Wayne's logic stems from a place of unshakeable artistic confidence: he simply does not believe there is a contemporary alive who can survivalistically match his commercial dominance and dense technical mastery in a live, 20-song showdown. He said in the podcast, "If I am competing against whoever I'm competing against, I will embarrass you." For the metrics to even make sense logistically, the platform would have to secure an apex-level mainstream superstar—a shortlist that traditionally includes giants like Eminem, Drake, Kendrick Lamar, 50 Cent, or JAY-Z. However, because those specific names are equally unlikely to subject their legacy to a public fan-voted scorecard, the logistics of setting up a balanced matchup remain virtually impossible.

While the raw interview was originally recorded during a session in 2023, the full audio launch arriving on June 30, 2026, has reignited feverish debates across social platforms. Although three years have passed since Wayne initially voiced these thoughts, his stance highlights a broader trend among rap's elite vanguard, many of whom view Verzuz more as a nostalgic retrospective for legacy acts rather than a proving ground for active, top-tier chart-toppers who still consider themselves completely untouchable.

Lil Wayne says he has no interest in facing anybody in a Verzuz battle because he believes his catalog could “embarrass” them and he will possibly end their career

the only Verzuz matchup that makes sense for Wayne is battling himself:

“If I am competing against whoever I’m… pic.twitter.com/zoMkwtVGdW

— Ahmed/The Ears/IG: BigBizTheGod 🇸🇴 (@big_business_) June 30, 2026

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Summary

JAŸ-Z IN 8 is an eight-part HBO original documentary series directed by Rick Rubin, debuting this fall on HBO and streaming on HBO Max in the USThe series follows Rubin in conversation with Hov across his music, lyrics, life experiences, and creative process, described as candid and intimateExecutive producers include the rapper himself under his given name Shawn Carter, alongside Daniel Kaluuya and Rick Rubin

HBO has released the official teaser for JAŸ-Z IN 8, an eight-part original documentary series directed by Rick Rubin and debuting this fall on HBO and HBO Max. The series places Rubin in extended conversation with Hov across music, lyrics, life experiences, and creative process, framed as a candid and intimate exchange described as years in the making.

Rubin brings a specific directorial precedent to the project. His previous long-form conversation documentary McCartney 3,2,1 placed him opposite Paul McCartney across six episodes for Apple TV+, using a similarly stripped-back format built around direct dialogue rather than archival narration or third-party testimony. JAŸ-Z IN 8 extends that format to eight parts, giving the series more room than McCartney 3,2,1 to move across a subject whose career spans decades of recorded music, cultural influence, and public life.

JAY's participation as both subject and executive producer under his given name Shawn Carter signals a level of creative control over the project consistent with how he has historically approached media access. The series carries a quote attributed to JAY-Z in the press materials: "The pain, you don't say it's necessary, you don't say you need it, but if it's there — you use it." The line frames the series' emotional register before a single episode has aired, pointing toward the kind of candour around process and experience that Rubin's format is designed to draw out.

Daniel Kaluuya's presence as executive producer adds another creative layer to the project. The actor and filmmaker has moved steadily into production in recent years, and his attachment here alongside Carter and Rubin positions JAŸ-Z IN 8 as a project with significant creative investment behind the camera as well as in front of it. Producers Leila Mattimore and David Rohde complete the production team.

Watch the trailer above. JAŸ-Z IN 8 debuts this fall on HBO and will be available to stream on HBO Max in the US.

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Summary

Justin Bieber has released 'SWAG LIVE FROM COACHELLA (WEEKEND I),' the complete live recording of his April 11 debut Coachella headlining performance, his first major live show in four yearsThe set featured special guests The Kid LAROI, Tems, Wizkid, Dijon, and Mk.gee, and incorporated an acoustic set, nostalgic visuals, and archival YouTube footage into the productionBieber's two Coachella performances have accumulated 147 million global views, the most in the festival's history, while generating 431 million global streams in a single week in the weeks that followed

Justin Bieber has released SWAG LIVE FROM COACHELLA (WEEKEND I), the complete live recording of his first Coachella headlining performance that took place on April 11. The release arrives alongside a YouTube re-broadcast of the official livestream on June 26, at 4:00 p.m. PST/7:00 p.m. EST, and documents what became one of the most-watched and most-streamed live music events in recent memory.

The performance itself was structured as a full career retrospective. Bieber played material from the SWAG era alongside fan favourites from across his catalogue, with an acoustic set, nostalgic visuals, and archival YouTube footage woven into the production. Special guests The Kid LAROI, Tems, Wizkid, Dijon, and Mk.gee each appeared during the set, broadening the performance's generational and genre reach across a single night. The production choices positioned the show less as a standard festival headline slot and more as a deliberate accounting of Bieber's musical history, with the archival footage element in particular signalling an intent to contextualise the SWAG era within his longer catalogue arc.

The streaming and viewership numbers that followed were immediate and significant. Bieber's two Coachella performances accumulated 147 million global views, making them the most viewed performances in the festival's history. On April 15, four days after Weekend I, he recorded the largest single streaming day of his career with more than 105 million Spotify streams, closing out the week at 431 million global streams — an increase of nearly 1,800% — while simultaneously placing 21 songs in Spotify's Global Top 200 and seven albums on the Billboard 200, the latter a career first.

SWAG LIVE FROM COACHELLA (WEEKEND I) follows Bieber's surprise-released albums SWAG and SWAG II, both issued last year. SWAG has since achieved Platinum certification, with lead single "Daisies" certified 2x Platinum and peaking at number one on Pop radio, and "Yukon" also certified 2x Platinum after reaching number one on R&B radio charts.

SWAG LIVE FROM COACHELLA (WEEKEND I) is available to stream on Spotify and Apple Music. The official Coachella livestream re-broadcast airs today, June 26, 2026, at 4:00 p.m. PST / 7:00 p.m. EST on YouTube.

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Summary

beabadoobee has announced her fourth studio album, ‘Pylon,’ dropping September 18 via Dirty Hit and Interscope.Lead single “Sun Has Set” arrives with a raw, diary-entry tone and an accompanying music video.The artist will embark on "The Powerlines Tour" across North America and Europe starting October 1, 2026.

Beabadoobee has officially announced her highly anticipated fourth studio album, Pylon, scheduled for release on September 18 via Dirty Hit and Interscope Records. Serving as the follow-up to her UK number-one record This Is How Tomorrow Moves, the 14-track project marks a distinct musical evolution for the singer-songwriter, introducing a harsher, more direct sonic palette inspired by classic grunge, midwest emo and '90s radio rock. Named after the electricity towers that line major global highways, the album symbolizes both the waves of distortion running through the tracklist and the intense feelings of isolation Laus experienced while on tour. The title reflects the project's themes of distance, connection and emotional instability, framing Pylon as a record shaped by both movement and solitude.

Coinciding with the album announcement, beabadoobee has shared the project's leading single, "Sun Has Set," alongside an accompanying music video. Capturing a raw, journal-entry style of songwriting, the track serves as a fierce declaration of unsaid grievances, delivering what Laus describes as a "petty tunnel vision" directed at those who wronged her. The single arrives with a striking first-person visual directed by her partner and longtime creative collaborator Jake Erland, establishing the uncompromising, high-distortion aesthetic of the upcoming era.

To support the release, beabadoobee will embark on "The Powerlines Tour", marking her first-ever headline arena run across North America, the UK and Europe this fall and winter. Kicking off on October 1, the massive trek includes milestone stops at legendary venues such as New York's Madison Square Garden, Los Angeles' Kia Forum and London's The O2, with supporting performances from Wisp and Violet Grohl on select dates.

Fans looking to secure tickets can participate in the artist presale beginning June 29 at 10 a.m. local time, with additional exclusive allocations available via Verizon and Spotify's new Premium "Reserved" program. Remaining tickets will open to the public during the general onsale on July 2 at 10 a.m. local time through the artist's official live portal.

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Summary

Erykah Badu has announced a 2026 North American "LIVE" tour with producer The Alchemist and De La Soul supporting on all dates, and Smino joining on select showsThe run spans 13 North American dates across major markets including Detroit, Toronto, New York City, Denver, and Los Angeles, kicking off September 10 at Ravinia Festival in Highland Park, Illinois

Erykah Badu has announced her 2026 "LIVE" North American tour, a fall run featuring The Alchemist and pioneering rap group De La Soul on all dates, with Smino joining on select shows. The tour opens September 10 at Ravinia Festival in Highland Park, Illinois, and closes out September 29 at the Hollywood Bowl in Los Angeles.

The full routing covers 13 North American dates, hitting major amphitheaters and outdoor venues across the Midwest, Northeast, and West Coast. After the Highland Park opener, the tour moves through Michigan Lottery Amphitheatre in Detroit on September 11, RBC Amphitheatre in Toronto on September 13, and Jacobs Pavilion in Cleveland on September 15. The Northeast leg includes Mohegan Sun Arena in Uncasville, Connecticut on September 17, followed by Forest Hills Stadium in Queens, New York on September 18, and Wolf Trap in Vienna, Virginia on September 20.

The run then pushes west, with stops at Everwise Amphitheater in Indianapolis on September 22, Fillmore Auditorium in Denver on September 24, and Cal Coast Credit Union Open Air Theatre in San Diego on September 26. The final stretch lands at the Greek Theatre in Berkeley on September 27, Yaamava Theater in Highland, California on September 28, and closes at the Hollywood Bowl on September 29. Smino and additional special guests join for the San Diego, Berkeley, and Hollywood Bowl dates.

Badu also has a run of international dates ahead of the North American leg, including Billboard Live appearances in Yokohama on July 1 and Tokyo on July 6, a Tokyo Soul Camp 2026 set on July 4, a Osaka Billboard Live date on July 8, and a Richmond Jazz and Music Festival appearance on August 9.

On the ticketing side, a Citi cardmember presale is currently underway. A Live Nation presale for select dates opened June 25 at 10:00 a.m. local time, with general on-sale following June 26 at 10:00 a.m. local time via Ticketmaster. Fans can sign up for Live Nation's free All Access membership to access the presale.

Check out the full list of dates below:

Erykah Badu 2026 Tour Dates:
07/01 – Yokohama, JP @ Billboard Live
07/04 – Tokyo, JP @ Soul Camp 2026
07/06 – Tokyo, JP @ Billboard Live
07/08 – Osaka, JP @ Billboard Live
08/09 – Richmond, VA @ Richmond Jazz and Music Festival
09/10 – Highland Park, IL @ Ravinia Festival
09/11 – Detroit, MI @ Michigan Lottery Amphitheatre
09/13 – Toronto, ON @ RBC Amphitheatre
09/15 – Cleveland, OH @ Jacobs Pavilion
09/17 – Uncasville, CT @ Mohegan Sun Arena
09/18 – Queens, NY @ Forest Hills Stadium
09/20 – Vienna, VA @ Wolf Trap
09/22 – Indianapolis, IN @ Everwise Amphitheater
09/24 – Denver, CO @ Fillmore Auditorium
09/26 – San Diego, CA @ Cal Coast Credit Union Open Air Theatre *
09/27 – Berkeley, CA @ Greek Theatre *
09/28 – Highland, CA @ Yaamava Theater
09/29 – Los Angeles, CA @ Hollywood Bowl *
* = w/ Smino and special guests

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