Summary

Stray Kids have scored their ninth No. 1 album on the Billboard 200 chart with their latest release 'THIS & THAT'The project generated 369,000 equivalent album units in the United States marking the group's biggest sales week to dateWith nine consecutive debuts at the top spot the group ties The Rolling Stones for the second-most No. 1 albums among groups

Stray Kids have officially claimed their ninth No. 1 on the Billboard 200 chart with their latest album, THIS & THAT. The project debuts atop the chart dated August 22, 2026, after earning 369,000 equivalent album units in the United States during the week ending August 13.

The landmark debut represents the group's largest week by units earned, led by 357,000 traditional album sales. With THIS & THAT, Stray Kids extend their record for the most No. 1 albums among groups this century and tie The Rolling Stones for the second-most No. 1s on the Billboard 200 among groups, behind only The Beatles. All nine of the group’s total Billboard 200 entries have debuted at No. 1, expanding on their record as the first act to debut their first nine chart entries in the top spot.

THIS & THAT nets the sixth-largest week for an album by units earned in 2026, as well as the second-largest week in traditional album sales behind only BTS’ ARIRANG. The release's first-week sales were driven by availability across 17 CD and vinyl variants containing randomized collectible items alongside eight digital download variations.

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Summary

The Weeknd announced during a recent concert that he is no longer planning to retire his stage nameAbel Tesfaye previously considered retiring the moniker to pursue film projects and release work under his birth nameThe singer confirmed during his live performance that his brief trial with retirement changed his mind

The Weeknd has officially confirmed that he will not be retiring his iconic stage moniker after all. The Toronto artist—born Abel Tesfaye—addressed the crowd at a recent live show to clarify that he plans to keep his long-running creative persona alive.

During a recent show in Stockholm, he spoke on how he tested retirement, "I’ll never disappear. I love this too much to ever disappear. I tested retirement a little bit, and I don’t like the way it feels. Imma be here forever with you." The artist also revealed that he had a taste of retirement and that he came to the conclusion that it was not as he expected.

The announcement marks a departure from previous statements where Tesfaye teased concluding his run as The Weeknd around the Hurry Up Tomorrow era. The multi-hyphenate previously told Variety that transitioning to his real name would facilitate branching out into acting and other mediums, especially after feeling he had mastered the challenges associated with the character. The hesitation originally began after a rocky performance at SoFi Stadium, where losing his voice prompted questions about exiting the persona at its peak. However, the Canadian singer has now reaffirmed his commitment to the moniker for the foreseeable future.

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Summary

Roc Nation has officially dismissed rumors claiming that a new JAY-Z album is completedMusic executive Ray Daniels previously stated on his podcast that the follow-up to 4:44 was fully finishedThe agency responded directly via social media by calling the speculation fake news

Roc Nation has officially shut down speculation regarding an upcoming JAY-Z album, directly responding to circulating industry claims. The company addressed rumors suggesting that a new full-length studio project from the Brooklyn rap icon was finished.

The response followed comments made by music executive Ray Daniels during a recent episode of his Ray Daniels Presents podcast. Daniels claimed that Hov’s direct follow-up to 2017's 4:44 was "completely done," asserting that a source had confirmed the project's completion pending potential brand partnerships. Roc Nation swiftly quieted the conversation with a statement posted to its official Instagram Story reading, "'Album done' ... Fake news."

Talk of new solo material had gained traction among fans following JAY-Z’s return to live performances this year, including an appearance at Roots Picnic and a three-night headlining run at Yankee Stadium, alongside scheduled Reasonable Doubt 30th anniversary shows in London, Paris, and Los Angeles. Although the artist recently contributed a guest verse to Beyoncé's "Morning Dew (Donk) Remix Pack." JAY-Z previously explained in an interview that he is prioritizing authentic, fulfilling creation over external musical timelines.

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Summary

Taylor Swift has been officially announced as an inductee for the Nashville Songwriters Hall of FameAt 36 years old Swift becomes the youngest writer ever to receive the honorThe induction ceremony will take place this fall alongside fellow inductees Lyle Lovett Shawn Camp Lee Thomas Miller and Bruce Channel

The Nashville Songwriters Hall of Fame has announced that Taylor Swift will be inducted into its hall of fame, making her the youngest writer ever to receive the honor at 36 years old. The announcement was shared via livestream by Mark Ford, executive director of the Nashville Songwriters Hall of Fame.

Swift was elected in the contemporary songwriter/artist category during the 20th anniversary year of her self-titled debut album. The accolade follows her earlier induction into the Songwriters Hall of Fame in New York, where she became the youngest female writer ever to join. In a statement read during the livestream, Swift expressed her gratitude to the city of Nashville for validating and prioritizing hard work, determination, and imagination throughout her writing career. Swift said in a statement, "From the time I started writing songs as a child, I fixated on Nashville as the perfect place to be. I wanted to learn with and from the best and get to immerse myself in a community of storytellers, and thankfully Nashville turned out to be exactly what I’d dreamed of. A town that validated and prioritized hard work, determination and imagination. Where the writers show up to work every day even when the mysterious muses and the magic don’t. To be honored by this city I love so much is a beautiful thing, and I’m very grateful."

Joining Swift as part of this year's inductees are Lyle Lovett in the veteran songwriter/artist division, Shawn Camp and Lee Thomas Miller in the contemporary songwriter category, and Bruce Channel in the veteran songwriter category. Established in 1970, the hall expands its total membership beyond its previous 254 members with the addition of the new class.

The official Nashville Songwriters Hall of Fame induction ceremony will take place on a yet-to-be-specified date in Fall 2026.

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Summary

Beyoncé has surprise-released a three-track project titled the "MORNING DEW (DONK) REMIX PACK"The release marks the first music collaboration between Beyoncé and JAŸ-Z since 2021The EP features an orchestral DONK MIX an acoustic version and a remix sampling The Isley Brothers

Beyoncé has surprise-dropped her new EP, the "MORNING DEW (DONK) REMIX PACK" and now the Queen has dropped new-ish visuals for the track featuring partner in crime JAŸ-Z. The project reimagines her recent single—released in anticipation of the upcoming 20th-anniversary reissue of B’Day—with fresh arrangements and a guest appearance from JAŸ-Z.

The EP marks the first joint track between Beyoncé and JAŸ-Z in five years, following their 2021 appearance on DJ Khaled's "SORRY NOT SORRY." The lead remix transforms the original's relaxed tone with an ominous synth line sampled from Sheck Wes’ "Mo Bamba," alongside an interpolation of Goodie Mob’s 1998 track "They Don’t Dance No Mo’." A mid-song beat switch shifts into a slow jam built around The Isley Brothers’ 1983 classic "Between the Sheets"—famously sampled in The Notorious B.I.G.’s "Big Poppa"—over which JAŸ-Z delivers a rare guest verse.

Beyond the rap-assisted remix, which is presented in both explicit and clean edits, the EP explores contrasting acoustic and orchestral styles. The "DONK MIX" integrates a full orchestra to add dynamic peaks to the arrangement, while the acoustic version highlights René Toledo’s guitar performance alongside Queen Bey’s vocals. To accompany the audio release, a music video featuring behind-the-scenes footage and outtakes from the original "Upgrade U" video.

Watch above.

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Summary

Ariana Grande's petal opens atop the Billboard 200 with 295,000 equivalent album units, her strongest week by units this decadeThe debut ties Grande with Lady Gaga and Janet Jackson for the fifth-most No. 1 albums among solo women in chart historyPhysical formats powered the launch, with vinyl alone moving 96,000 copies for her best week ever on the format

petal debuts at No. 1 on the Billboard 200, handing Ariana Grande the seventh chart-topper of her career and her biggest week by units in the 2020s. The album enters the August 15-dated chart with 295,000 equivalent album units earned in the United States during the tracking week ending August 6, according to Luminate, and it also marks her strongest showing by pure album sales in over a decade.

Album sales made up 168,000 of that total, the second-largest sales week of Grande's career and enough to open at No. 1 on Top Album Sales, with only My Everything's 169,000 in 2014 ranking higher. Streaming equivalent album units contributed 126,000, translating to 128.83 million on-demand official streams and a No. 1 debut on Top Streaming Albums, while track equivalent albums added a negligible 1,000. The rollout leaned heavily into collectible formats, spanning more than 10 digital and streaming variants (six loaded with bonus material such as live cuts, voice notes, a cappellas and instrumentals), 10 vinyl variants including a signed edition, five CD editions with a signed pressing among them, and two cassettes. Vinyl carried 96,000 of the week's sales on its own, Grande's best vinyl week to date and the fifth-largest of 2026.

The chart placement puts Grande in rarefied company. Her seven career leaders tie her with Lady Gaga and Janet Jackson for the fifth-most No. 1 albums among solo women since the chart began as a regularly published ranking in 1956, trailing only Taylor Swift (15), Barbra Streisand (11), Madonna (10) and Beyoncé (eight). petal follows her previous No. 1s in Eternal Sunshine, Positions, Thank U, Next, Sweetener, My Everything and Yours Truly, and it stands as her 10th top 10 on the tally overall. The set was announced April 28 and set up by "Hate That I Made You Love Me," her ninth Hot 100 No. 1, which debuted atop the June 13-dated list. Grande is currently on her The Eternal Sunshine Tour, which launched June 6 and runs through September 1.

Behind Grande, the entire stretch from No. 2 through No. 7 is made up of former chart-toppers. Morgan Wallen's I'm the Problem slips 1-2 with 75,000 units, down six percent, and Olivia Rodrigo's you seem pretty sad for a girl so in love dips 2-3 with 74,000, down seven percent. The next four are non-movers: Ella Langley's Dandelion holds at No. 4 with 72,000, Noah Kahan's The Great Divide sits at No. 5 with 59,000, Drake's ICEMAN stays at No. 6 with 48,000, and Wallen's One Thing at a Time remains at No. 7 with 38,000.

Rounding out the tier, Olivia Dean's The Art of Loving climbs a spot to No. 8 with 37,000 units, Michael Jackson's Thriller falls 8-9 with 36,000, and Kahan's Stick Season holds steady at No. 10 with 35,000.

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Summary

Compact belt-drive turntable designed specifically for four-inch 33.3 RPM recordsFeatures integrated stereo speakers, Bluetooth output and a 3.5mm headphone jackCompletes a collectible music ecosystem with matching storage crates and display frames

Tiny Vinyl launched a dedicated miniature turntable engineered specifically for its proprietary four-inch record format. Priced at $49.99 USD, the new tabletop machine pairs the palm-sized discs with hardware scaled to match. The device features a black leatherette suitcase design and utilizes a belt-driven platter rotating at 33.3 RPM. While the miniature records remain fully compatible with standard manual turntables, the dedicated player provides a specialized hardware solution for casual collectors. This drop establishes a comprehensive physical ecosystem for a novelty format that has already surpassed one million global pressings.

Measuring just over 10 inches wide, the unit opts for straightforward accessibility over high-end audiophile specs. The player operates via AC power and bypasses battery operation entirely. Listeners can push audio out through built-in stereo speakers or utilize Bluetooth connectivity for external sound systems. A standard 3.5mm headphone jack offers a hardwired alternative for personal listening. The machine specifically spins the brand's growing catalog of sequentially numbered releases from major artists like BTS, Rihanna, Ariana Grande and The Rolling Stones. Each pressing relies on 15 grams of 100 percent bio-attributed vinyl instead of the standard 140 grams required for a conventional LP.

Beyond the core hardware, the company expanded the collectible footprint with two new organizational accessories. A $19.99 miniature storage crate features a wood frame covered in black leatherette with a velveteen interior designed to house up to 32 individual releases. Fans looking to highlight the physical artwork can grab a $14.99 square display frame equipped with a shatter-resistant window and magnetic closures. The frame holds four record jackets and mounts easily on a wall or flat surface. Together these add-ons replicate the familiar rituals of digging, shelving and exhibiting wax with considerably less furniture involved.

The dedicated player transforms a novelty merchandise item into a legitimate consumer audio category. Providing a turnkey playback system removes the uncertainty of tonearm geometry or automatic stop mechanisms interfering with the tightly packed inner grooves on standard decks. Furthermore, these miniature releases actively contribute to recognized music sales figures. This administrative validation lends the tiny records serious industry weight. Bridging the gap between a souvenir collectible and a functional physical medium allows fans to interact with their favorite singles in an entirely new tactile format.

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Summary

Stray Kids released their 8-track mini-album 'THIS&THAT' alongside a new music video for its title track, "This & That".Produced by 3RACHA (Bang Chan, Changbin and Han), "This & That" merges experimental production with slick, ambitious rap flows, compete with sharp synchronized dance choreography.

Stray Kids have made a triumphant return with their "This & That" music video, signaling the rollout for their 8-track mini-album of the same name, THIS&THAT.

Driven by an infectious, rhythmic hook that repeats "I got this and that / We could take a cool break," the song blends slick rap cadences with dynamic vocal melodies. The recurring refrain, "Everything I do multiply by two," reinforces themes of relentless ambition and unstoppable momentum, serving as an anthem of growth and self-assurance. The overall sound is both powerful and playful, showcasing Stray Kids’ ability to merge experimental production with catchy hooks that resonate globally.

The music video builds on these themes with striking visual contrasts. Dark, industrial backdrops are juxtaposed against bright neon lighting and surreal digital effects, creating a cinematic narrative of duality. Members move through gritty warehouses, futuristic corridors and dreamlike landscapes, underscoring the lyrical motif of “this and that.” The title track is entirely written and produced by their in-house production team 3RACHA, formed by Bang Chan, Changbin and Han. Choreography is sharp and synchronized, amplifying the track’s energy while spotlighting the group’s performance power.

Watch the music video of Stray Kids' "This & That" above. Their THIS&THAT is also now out and available on major music streaming platforms such as Spotify and Apple Music.

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Summary

Phoebe Bridgers has announced a global series of immersive planetarium listening events for her upcoming album 'Lost Weekend'Produced in partnership with Spotify and Dead Oceans the five-day experience features custom laser and night-sky visual presentationsThe album officially releases on August 13 alongside midnight listening parties in more than 300 cities worldwide

Phoebe Bridgers has officially announced a global series of planetarium listening sessions to preview her upcoming album, Lost Weekend. The five-day rollout is produced in partnership with Spotify and her record label, Dead Oceans, offering fans an immersive audiovisual premiere ahead of the project's official arrival.

Taking place across 25 North American cities and nine international locations from August 10 through August 15, the experience will feature two distinct visual presentations. One version showcases a custom light show designed by Laser Fantasy, while the other offers a non-CGI night-sky visual program created by photographer Babak Tafreshi, filmed across nearly 20 countries. To prevent leaks prior to the album's release, all attending fans will be required to secure their mobile devices in Yondr pouches during the showings.

The upcoming LP marks Bridgers' first solo album since 2020, following her joint work and tour with Boygenius. In addition to the planetarium screenings, fans can attend local midnight listening parties taking place in more than 300 cities on August 13.

Lost Weekend officially releases on August 13, with planetarium listening experiences taking place from August 10 through August 15.

USA & Canada:

Boston, MA – Museum of Science
Bozeman, MT- Museum of the Rockies – Taylor Planetarium
Bridgeport, CT – SHU Discovery Science Center and Planetarium
Chicago, IL – Adler Planetarium
Columbus, OH – COSI Planetarium
Costa Mesa, CA – Orange Coast College Planetarium
Dayton, OH – Boonshoft Museum of Discovery
Des Moines, IA – Science Center of Iowa – Star Theater Planetarium
Detroit, MI – Michigan Science Center
Eugene, OR – Eugene Science Center
Fort Worth, Texas – Jane & John Justin Foundation Omni Theater
Grand Rapids, MI – Chaffe Planetarium
Jersey City, NJ – Liberty Science Center
Kansas City, MO – Union Station
Laramie, WY – UW Physics & Astronomy
Las Vegas, Nevada – CSN Planetarium
Miami, Florida – Phillip & Patricia Frost Museum of Science
Nashville, TN – Sudekum Planetarium
Newport News VA – Virginia Living Museum
Orono, Maine – Versant Power Astronomy Center & Jordan Planetarium
Peoria IL – Peoria Riverfront Museum – Dome Planetarium
Phoenix, AZ – Arizona Science Center – Dorrance DOME
Pleasant Grove, UT – Christa McAuliffe Space Center
Richmond, VA – Science Museum of Virginia – The Dome
Rochester, NY – RMSC
Rowan NJ -Edelman Planetarium
Sacramento, CA – Museum of Science and Curiosity
Salt Lake City, Utah – Clark Planetarium
San Francisco, CA – Morrison Planetarium
Seattle WA – PacSci
Spruce Pine, NC – Earth to Sky Park
Tallahassee FL – Challenger Learning Center of Tallahassee FL
Tucson AZ – Flandrau Science Center
Vancouver, Canada – The H.R. MacMillan Space Centre
Wichita KS – Exploration Place

Europe:

Luzern, Switzerland – Verkehrshaus der Schweiz
Paris, France – Planétarium de la Cité des sciences et de l’industrie

UK & Ireland:

Armagh, N. Ireland- Armagh Observatory and Planetarium
Glasgow, Scotland – Glasgow Science Center
Australia & New Zealand:
Auckland, New Zealand – Te Whatu Stardome
Dunedin, NZ – Tūhura Planetarium
Melbourne, AUS – Scienceworks – Melbourne Planetarium
Wellington, NZ – Space Place
Wollongong, NSW – UOW Space Space

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For Little Simz, a festival performance is light work. Especially after the summer she's been having. In the past four months alone, the UK rapper has taken the stage at a total of nine (!!) music festivals across the globe.

First came two weekends in Indio, California for Coachella – where she famously debuted a whole lot of Sugar Girl's then-unreleased tracks at a surprise DJ set alongside JT – followed by a hometown headlining set at Cross The Tracks in London, and then We Love Green in Paris.

Barcelona's Primavera Sound marked a particular high point, Simz packing out a coveted 9:00 pm set time for one of the hottest European festivals of the summer. Denmark's Roskilde closed out her June run of shows, before heading out to The Netherlands for Down the Rabbit Hole in July, and then graced us stateside in Chi-town for Lollapalooza.

But Simz isn't here for long, as just 48 hours after her Thursday afternoon Lolla set, she jetted off again for a Friday set at the esteemed Newport Jazz Festival in Rhode Island, and then a Saturday set at Montreal's Osheaga.

In her less than 24 hours in Chicago – and even lesser time spent in Grant Park – the rapper surely kept busy. Going into Lolla, Simz was scheduled for a standard set on one of the main stages, and to no one's surprise, she killed it, delivering one of the most captivating performances of the festival's first day.

To everyone's surprise, however, Simz landed a second set that same day. As the gates opened on Thursday morning for the first of the four-day fest, Simz revealed she'd be hosting another performance later in the evening – and not just any additional set, an intimate DJ set at Patrón's immersive Hacienda PATRÓN activation. Before both sets, Simz sat down with Hypebeast to share more about her festival rituals, styling tips, and most-anticipated sets of the weekend.

What do you do before every performance, no matter what?

Little Simz: My pre-performance ritual... I always need to go to the toilet. [laughs] And sometimes I don't even really need to go; it's just nerves, but it's always—as soon as I'm about to go on stage, I'm like, "I need to go to the toilet." [laughs] But other than that, I take it easy, just listen to some songs, kind of zen out my space a bit, and just go and do the thing.

What are you wearing today, and how do you sort of approach dressing for a festival?

Yeah. Today, I'm wearing this, um ... I don't even know ... what would you call this? Anyway, I got it from Muji. Which, I never really go in there to look for clothing, I guess. But I went in there, and I was like, "Actually, this is all right." And so, I just copped it. But yeah, I just try to go for things that I feel comfortable wearing that make me feel like, "Yeah, I feel good in this, I feel good in my skin, I feel like myself," and that's about it.

You've been on a big festival run recently, what's your favorite festival memory of yours performing?

Man, yeah, it's been a whirlwind of performances, but Primavera Sound was definitely a highlight for sure. Even just the site it was on, like, the water right next to it, it was so beautiful. I'm really looking forward to Lollapalooza. This is our first American festival of this run, so it's nice to break it up – do Europe, UK, and then come over here and get different energy, you know? I'm really looking forward to it.

Who on the Lollapalooza lineup are you excited to see?

If I wasn't like wedged in between these acts, I would have been gassed to see Blood Orange and Empire of the Sun. But I'm like slap bang in the middle, so I don't know (laughs) if like I'm gonna make it. But yeah, it's a sick lineup, though. It's really cool, and even just as we were going around in like the buggy, the golf cart, just seeing the festivities, people are—genuinely feels like people are here to have a good time, you know? So, I very much look forward to being a part of it.

You're performing two sets within just two hours. What are you most excited about?

Today's a packed one, full of activities. First up, I've got my set, and then I get to spin some tunes at Hacienda PATRÓN. The set-up is beautiful; the architecture, how they've designed the space, really feels thought-out. It feels like they've considered the people spinning, the people coming to dance, the people pouring the drinks, the people just around the festival. I love it when architecture and design spaces do that and cater to everyone to make everyone feel like they're important and part of the experience. I think it's gonna be a vibe, man. Hopefully, the sun goes down nicely, it sets, and it's just a big party.

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SB19 is the first Filipino and Southeast Asian act ever booked on a Lollapalooza bill, and for a lot of the American crowd, their set will be a first brush with Pinoy pop (P-pop) entirely. The group knows what that means. "First, it's an honor to represent the Philippines and Southeast Asia on a stage like Lollapalooza. At the same time, there's pressure because we're introducing P-pop to people who may be hearing it for the first time," they tell Hypebeast.

Rather than shying away from the pressure, the group instead chose to lean on the work. "We approached the set with excellence and confidence, believing we were chosen because we have a story to tell through our music and who we are as artists," they shared. More than the performance itself, they want the crowd to clock who they are and where they come from. "We hope people walk away seeing us as artists first. We write our music, perform it live, and most importantly, we hope they see the Philippines through us as a country full of talent, great stories, and world-class artistry. Being the first is a statement that Filipino music belongs on the global stage."

The festival caps a run that's come together quickly — a GRAMMY Museum moment, a Billboard Music Awards nomination, a Philippine Arena sellout — but none of those milestones have changed how they see the group. "For us, we're always focused on becoming better and preparing for what's next. These milestones remind us to keep training, keep improving, and stay true to who we are throughout the journey," they revealed. The point, for them, is to stay level. "It's important for us to stay grounded and present while continuing to push ourselves toward the level of excellence and caliber we want to achieve as a group."

Meanwhile, their latest single "LAWLESS" lands at the peak of this breakout stretch. The track runs heavy on outlaw energy and deliberately moves between English and Tagalog without slowing down. "For us, it's important to introduce who we are as Filipinos and share our story with the world. Incorporating our own language creates a connection point that allows people to experience where we come from, while the energy of 'LAWLESS' represents our readiness for the global stage," they proudly say. "The song carries the message that nothing can stop us from pursuing what we believe in. We chose 'LAWLESS' because this moment represents who we are now: braver, more mature, and more confident in our sound. It reflects the journey, challenges, and growth that brought us here, and we're ready to share that with the world one step at a time."

Stream SB19's "LAWLESS" on Spotify and Apple Music.

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Summary

Red Bull Symphonic makes its Japan debut with Awich, Tokyo Secret Orchestra, and conductor Mika Takayama.The four-city tour hits halls in Osaka, Fukuoka, Sendai, and Yokohama in November 2026.Awich’s hip-hop catalog will be reimagined into cinematic orchestral arrangements.

Red Bull’s globally acclaimed concert series, Red Bull Symphonic, is making its official Japan debut in November 2026, headlined by Japanese hip-hop queen Awich, alongside the Tokyo Secret Orchestra. Conducting duties will be helmed by Mika Takayama across a four-city tour featuring dates in Osaka, Fukuoka, Sendai and Yokohama.

The performance concept goes beyond simply adding orchestral accompaniment. Each song is rebuilt from the ground up, with melodies, rhythms, and harmonies re‑scored to create a cinematic experience that feels both familiar and entirely new. The Tokyo Secret Orchestra, celebrated for its versatility and “Japan quality” sound, will act as a co‑creator rather than a backing ensemble, ensuring the synergy between hip‑hop and classical traditions. Staged in Japan’s most prestigious concert halls, the shows promise to deliver a sweeping, cinematic atmosphere where Awich’s lyrical storytelling meets orchestral grandeur, offering audiences a rare chance to witness her music transformed into a symphonic spectacle.

For more information, visit the dedicated webpage for Red Bull Symphonic.

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Summary

Busta Rhymes has locked in an August 25 launch date for his forthcoming studio effort 'Dillagence 2'Constructed entirely around unvaulted instrumental tracks from J Dilla the project follows their classic 2007 mixtapeA preview event in New York City previously teased upcoming guest appearances including a feature from Lil Wayne

Hip-hop icon Busta Rhymes has formally slated his next studio album, Dillagence 2, for an official launch on August 25, 2026. The forthcoming effort serves as a dedicated tribute project crafted around archival, unreleased instrumental production from the late, influential beatmaker J Dilla.

The announcement arrived alongside social media footage featuring J Dilla's mother, Maureen "Ma Dukes" Yancey, listening to preview tracks from the record. Serving as a direct continuation of the duo's 2007 mixtape Dillagence, the new album stems from a massive collection of more than 300 unissued beats that the producer personally gifted to the Brooklyn-raised artist prior to his passing in 2006.

Early previews of the project surfaced during an exclusive New York gathering earlier in the year, hinting at high-profile collaborative tracks alongside artists such as Lil Wayne. The project deepens a decades-long creative relationship between both figures, who previously joined forces on celebrated tracks including "Still Shining" and "Show Me What You Got." In a past 2020 interview, Busta revealed, "J Dilla left me with over 300 beats before he passed. 've always tried to represent and uphold the legacy of the late, great J Dilla... I think Dilla is probably top three best producers in the world."

Dillagence 2 officially drops on August 25, 2026.

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Festival season is coming to a close, with Lollapalooza one of the seasonal indicators of the final drag of the dog days. The four-day Chicago fest goes down in late-July/early-August every year, taking over Grant Park for one of North America's most anticipated annual music events. Right in line with April's Coachella and June's Bonnaroo, Lolla stands out in that it's one of the only festivals to still stretch four full days. However, Lollapalooza's 2026 iteration saw the Chi-town fest offer up one of its most impressive years, giving Coachella a real run for its money.

For starters, this year's curation of talent was a four-day force to be reckoned with. Headlined by the Mount Rushmore of Pop Girlies – Lorde, Charli XCX, Olivia Dean, JENNIE, and Tate McRae – the leaders of the lineup all graced Grant Park at particularly important times.

Fresh off her first post-brat release, Charli XCX arrived in Chi-town ready to live debut new album Music Fashion Film. For Lorde, this marks her first-ever time headlining the coveted festival, after her set got cancelled due to weather after four songs when she first played Lolla 12 years ago. On the heels of one of the most impressive banner years, Olivia Dean's Lolla headlining set signals her first-ever headlining slot at a US festival. JENNIE and Tate McRae are both deep in album rollout mode, with all eyes on the K-pop star as she made history on the stage as the first solo K-POP headlining act, and Canada's pop princess as she continues to not-so-subtly tease her new project. Other notable pop names included Slayyyter, MUNA, Zara Larsson, ADÉLA, and beabadoobee.

Lil Uzi Vert – before their set was canned – was a good get, too, the rapper gearing up for some sort of longform release. Little Simz was another we were especially excited about, the UK rapper actually ending up running a last-minute surprise DJ set at Hacienda PATRÓN; the rare, intimate set in the middle of Grant Park is closest many will ever get to Simz. Dev Hynes made a stop in Chi for Lolla amid his busy summer run of shows, while Leon Thomas slid through on his birthday (and brought Babychiefdoit).

Along with the A-listers, emerging talent from across the globe are also platformed both on and off the official lineup. New York five-man-unit WHATMORE brought its undeniable NYC ethos to the Midwest, while Love Spells, Wolf Alice, Ecca Vandal all nabbed spots on the calendar. At Hacienda PATRÓN, a selection of local Chicago DJs took the decks to spin vinyl all weekend.

It goes beyond the music, of course, with a slew of brands, activations, and local eateries popping up throughout the festival grounds – which, truly unlike any other festival, goes down smack dab in the middle of the city. What that means, though, is arguably the best part of the entire affair: everything you see is backed by the full Chicago skyline.

At Lollapalooza, every single artist brought their A-game, making the 2026 festival a strong contender in the running for the best of the year. From the custom high-fashion looks to the on-stage collaborations and standout sets, we've rounded up everything we loved about Lollapalooza 2026 below.

Little Simz Goes B2B: Stage Performance to DJ Set

Destin Conrad Dons Custom Advisry

One thing about Destin Conrad? He (with the help of his trusted stylist X) is guaranteed to flex on the entire audience with his on-stage fit. Conrad is a known supporter of Keith Herron's Advisry, most recently wearing a full custom look by the brand to the BET Awards. Conrad ran it back with Advisry once again in another custom outfit. The all-red look included a flowy red button-down shirt and gingham shorts, which he paired with a black and red loafer and red sock. Conrad told Live Nation that Jamaican styling has been a point of creative inspiration for X as of late, also lifting from Conrad's current genre-bending as he gears up to release his reggae album later this month.

Blood Orange's New Visuals: "Grief, Love, England, Youth and Music"

For Dev Hynes, even at a 4:45 pm festival set, a live performance is always one-of-one. Like his close friend Simz, Hynes finds himself on a big festival run this summer, with stops at Coachella, Governor's Ball and Primavera before Lolla, and each of these sets has been completely different from the last. At Lolla, Hynes debuted a new slate of visuals rooted in two themes of "Grief, England, Youth and Music" and "Love, England, Youth and Music." In the nostalgic new visual suite, Hynes intermingles archival soccer footage with film clips, music videos, and news segments as he played "Champagne Coast" and covered Björk.

Geese Follows Up Its Performance With Basketcase Merch Drop

"Thank you to United Airlines for losing our guitar," Cameron Winter said at the opening of Geese's Saturday set after playing a rendition of "2122" mixed with some of Chicago’s "25 or 6 to 4." "The buck stops at United tonight. The quality of the show is up in the air, so to speak." The 11-song set was a highlight of Saturday, with drummer Max Bassin donning a yellow "Who the Fuck is Cameron Winter" shirt, designed by Basketcase for the band's festival performance. The day after the festival, Basketcase released a full slate of Geese merch, including Bassin's shirt.

Leon Thomas Brings Out Babychiefdoit During His Birthday Set

The definition of a duo we didn't see on our bingo card. On Leon Thomas' birthday, he graced us with a hypnotic, seven-song Lollapalooza set complete with a very unexpected special guest. South Side Chicago native Babychiefdoit pulled up for a surprise performance of his current hit "Ghetto Love Story." Never thought we'd hear that song in the same ten-minute span as "MUTT."

At Hacienda PATRÓN, If You Want to Spin, You Have to Spin Vinyl

Patron's Hacienda PATRÓN is also on a crazy festival run this summer. After appearances at Bottlerock and Austin City Limits, the immersive two-story space touched down at Lollapalooza. Inspired by the brand’s iconic distillery in Jalisco, Mexico, and includes multiple bars (Headliner Margaritas, Lolla Lemonades, and Palomapaloozas on tap) and a full DJ deck and stage area, where the only rule is that in order to spin, you've gotta spin vinyl. A lineup of local Chicago DJs slid in and out of the Hacienda all four days, with standout sets coming from Tommaso Conforti, Blesstonio, Jake Hopes, and Successful Twan. Local pop duo Haute and Freddy also delivered a live performance, and Little Simz pulled up for a surprise DJ set after her main performance.

beabadoobee’s Many Guitars (and Meme-y Merch)

With her fourth studio album Pylon on the horizon, beabadoobee is in full rockstar mode. As a prelude performance to her August-through-December headlining world tour, beabadoobee took the Lollapalooza main stage on Sunday before her first show of the run on August 4. For a setlist of both her early-career classics and new Pylon singles, beabadoobee alternated between a slew of different guitars, both electric and acoustic. She played on both bright pink and pastel blue electric guitars, as well as a dented deep red one. On the drumset, an edited image of beabadoobee and "I Love Pylon" are stamped on the bass drum, and beabadoobee herself donned a black tank top that read "Pylons Rule." Masterful, memed-out self-promotion.

JENNIE Debuts Four New Songs During Her Headlining Set – in Custom Ann Demeulemeester

JENNIE made history the only way she knows how during her Lollapalooza Saturday night performance. The star took the stage as the first-ever Korean female solo artist to headline the festival, dripping head-to-toe in custom Ann Demeulemeester styled by Sam Woolf. After opening with the classics – "ZEN," her "Dracula" remix, and "Mantra" included – and her most recent release, "Less Than a Lover," JENNIE pivoted to a four-track run of unreleased cuts. First, she played the long-teased "Sweet Tooth," followed by "Fallen Angel," "Lock it Down," and "Heaven."

Lil Uzi Vert Makes Up For His Cancelled Performance With New EP, Surprise Appearance at Major Lazer

One of the only downsides of the festival came mid-day Friday, when the rain cancelled Lil Uzi Vert's set. Vert instead popped out for a few songs during Major Lazer's 9:00 p.m set, but unfortunately, we were at Charli so we missed it. The rapper continued their birthday tradition and dropped off new studio offering, Maverick: "Almost Forever" EP.

Slayyyter's Homemade Fish-Filled Outfit

Drawing one of the biggest crowds for a non-headlining performance of the entire four-day run was our favorite WORST GIRL IN AMERICA, the pop anti-princess (?), Slayyyter. Just hours off her surprise new single "brand new chanel$," Slayyyter showed out in a fisherman-inspired look, styled by Hunter Clem. The musician made the tackle-belt skirt herself, which she and Clem paired with a DSQUARED2 flannel corsetted top, Hunter rain boots, and a bedazzled fish clutch (and, at one point, a fishing rod, too).

Worlds Collide: Sombr Brings Out 5SOS for "She Looks So Perfect"

On Thursday night, Sombr's sunset set was the place to be. Continuing his series of standout live performances, the Grammy-nominated Best New Artist looked the part in an all-black look, spanning a feather-trimmed band jacket custom-made by Yarden Dachut and flare-leg pants by Haitch. Mid-set, Sombr brought out 5 Seconds of Summer right after the band's set wrapped for a collaborative performance of "She Looks So Perfect." The edgy pop-boy combination we didn't know we needed.

Kwn Rocks Hometown Label House of Errors

Hailing from East London, kwn came a long way for her debut Lollapalooza set, and she did not disappoint – nor did she forget to pay tribute to where she came from. For her outfit of choice, kwn chose to rep London's very own House of Errors, flexing one of our favorite sets from the brand: the Embroidered Moss Denim Jacket and Pants. The light-wash denim jacket and matching jeans are defined by all-over moss-like detailing throughout.

Clipse's Comeback Tour Never Ends

Lorde, in Issey Miyake, and Charli XCX Work It Out on the Main Stage

We got a true Eras Tour from Lorde on a Thursday night in Chicago, who stepped onto the Lollapalooza stage as the first headliner of the festival – also marking her first time headlining the festival after first performing back in 2014. Her set got cut short back then, so in a true full-circle moment, Lorde ran through all of the 2014 classics in addition to our Virgin favorites, and, of course, Charli XCX's "Girl, so confusing" remix with Charli herself. Lorde donned a bright pink Issey Miyake hoodie, atop a bright pink bikini top. "The future looks a little bit different than I imagined," she said to the crowd as the show started to wind down. "It’s harder and darker. I dream about fire all the time now, and I’m scared. But us meeting up and dancing and crying and singing to each other, that is one of the best ways I have to feel alive. I’m sorry to say it’s going to get harder and darker, but we can stay awake, we can stay alive . . . I want you to ask yourself every day, am I acting trapped or do I wish I could be acting free? ... We gotta stay awake in this moment . . . it’s ours, and it’s beautiful."

The TURNSTILE Pit

One of the festival's final acts was TURNSTILE, on Sunday at 7:00 p.m. It took two songs before Brendan Yates jumped into the crowd, performing the third track, "ENDLESS," from the audience. One of the only sets of the entire fest to have an encore, the official set ran 11 songs, with three more added at the end. Confidently, we can say this was the best pit of Lollapalooza, and we think Yates would agree.

Frost Children Bringing Out Lucy Bedroque After Their Set Was Cancelled

When the rain hit on Saturday, the original day's lineup went out the window. While most of the acts got rescheduled, a handful of the early sets were canned altogether. While Frost Children was lucky enough to get rescheduled to a later set time, Lucy Bedroque was not, their set unfortunately getting cancelled. Luckily, after the duo wrapped its expansive, era-spannig 12-track set, they brought out Bedroque for a performance of "2010 Justin Bieber" to close the show. The night prior to their originally scheduled set, Bedroque performed an official Lollapalooza aftershow. Completely sold out, the intimate performance included a surprise appearance from Jane Remover.

Inji’s Bright Pink Bronco

Inji's Lolla debut saw the Turkish, Philadelphia-based artist leave it all out on the stage – literally. Wearing a pink ruffled dress and a "Miss Bright Ideas" sash, the musician brought a full-size bed to the stage, as well as a bright pink mini Ford Bronco car.

Charli XCX’s Spectacle of a Music Fashion Film Live Debut

After a series of intimate pre-release shows and a one-off Nashville performance, Charli XCX's Friday night Lollapalooza set marked the first time Music Fashion Film would be played live on a proper stage. Needless to say, all eyes were on Charli Friday night, who hit the stage just a week after releasing the post-brat opus. A perfectly crafted setlist included an assembling of the brat classics, early favorites ("Track 10"), the Wuthering Heights soundtrack, and Music Fashion Film in full. The rain kicked in at the perfect time, during House, as Charli set off fireworks from the stage. Something was definitely in the air, as the show – which many are saying is Charli's best of her career – went down the night before her birthday. Music Fashion Film's formal introduction to the world showcased the record's aesthetic down to the styling, with Charli swerving between a stripped-down series of leather sets, tattered tees, and vintage YSL. Despite rumblings, there weren't any cameos. They weren't needed anyway. Just Charli in her prime, fresh off her post-apocalyptic album, during Leo season. She closed out with David Cronenberg feature "No One Lasts Forever," with the "Oblivion is freedom" lyric acting as the closing monochromatic visual. Now that is how you headline a festival.

Olivia Dean Draws a Crowd of Almost 100,000 For Her First Time Ever Headlining a US Festival

Pure joy was palpable on Saturday night as Olivia Dean closed out the third day of the festival with her debut headlining gig at a US festival. Sam Fender made an appearance for the pair's chart-topping track, "Rein Me In." The entire time, Dean was visibly floored, in tears of joy as she looked out into the sea of 97,000 attendees in her gold custom Versace gown. As she should.

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Summary

Charli XCX's eighth studio album Music, Fashion, Film debuts at No. 3 on the Billboard 200, the largest opening week of her careerThe set marks her fourth career top 10 and second of 2026, making her the only woman to log two top-10 debuts this yearMorgan Wallen's I'm the Problem returns to No. 1 for a 14th nonconsecutive week atop the same chart

Charli XCX's Music, Fashion, Film debuts at No. 3 on the Billboard 200, handing the pop star the largest opening week of her career and her fourth top 10 among all-genre album charts. The set arrives on the August 8-dated chart with 78,000 equivalent album units earned in the United States in the tracking week ending July 30, according to Luminate.

Physical demand drove the debut. Album sales accounted for 57,000 of that 78,000 total, the best sales week of Charli XCX's career and enough to open at No. 1 on Top Album Sales, her first leader on that list. Streaming equivalent album units contributed 21,000, translating to 21.74 million on-demand official streams and a No. 23 debut on Top Streaming Albums, with track equivalent albums adding a negligible amount. The project was released across a wide spread of formats, including 15 vinyl variants (three of them signed), four CD editions (two signed), four digital downloads (one carrying three extra B-sides), and a single cassette.

The debut also carries a record. With Music, Fashion, Film, Charli XCX becomes the only woman, and just the third act overall, to notch at least two top-10 debuts in 2026, joining Drake, who logged three simultaneous entries in May with ICEMAN, HABIBTI and MAID OF HONOUR, and ATEEZ, who scored two with GOLDEN HOUR: Part.4 and Part.5. It is her second top 10 of the year, following the Wuthering Heights soundtrack that debuted and peaked at No. 8 in February. Announced on June 1, the album landed July 24 on the back of its Hot 100-charting single "Rock Music."

Atop the chart, Morgan Wallen's I'm the Problem returns to No. 1 for a 14th nonconsecutive week, stepping 3-1 with 80,000 equivalent album units, its first week on top since January. The album, which has never left the top 10 since debuting more than a year ago, is likely benefiting from attention around Wallen's standalone single "Been by Now" and his Still the Problem stadium tour, which wrapped August 1 in Philadelphia. Olivia Rodrigo's former leader you seem pretty sad for a girl so in love is a non-mover at No. 2 with just under 80,000 units.

Elsewhere on the latest Billboard 200, the next five titles behind Charli XCX are all former No. 1 albums: Ella Langley's Dandelion holds at No. 4 with 74,000 units, Noah Kahan's The Great Divide sits at No. 5 with 62,000, Drake's ICEMAN is stationary at No. 6 with 53,000, Wallen's One Thing at a Time rises 10-7 with 40,000, and Michael Jackson's Thriller holds at No. 8 with 39,000. Olivia Dean's The Art of Loving climbs 11-9 with 37,000 units, and Noah Kahan's Stick Season rounds out the top tier, moving 12-10 with 35,000.

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Ariana Grande will take a break from public-facing work following the conclusion of her 'Eternal Sunshine' tour on September 1The pop star has also stepped down from her role in the West End revival of 'Sunday in the Park with George'Grande recently released her new album 'Petal' on July 31 and will appear in the upcoming film 'Focker-in-Law' on November 25

Ariana Grande is stepping back from the public eye following the conclusion of her Eternal Sunshine tour on September 1. First reported by People via an exclusive statement from her representative, the decision comes as public scrutiny surrounding her health and appearance continues to intensify.

According to her representative, Grande looks forward to ending her tour on a high note before taking a much-deserved break from public-facing work and appearances. A source close to the singer emphasized that Grande performs a highly physical show at an elite athletic level night after night despite ongoing public commentary regarding her body. Grande's official statement regarding her choice to step back reads, "Ariana will be taking a step back from visibility after she completes the Eternal Sunshine Tour. She looks forward to finishing the tour and ending it on a high note, both healthily and happily, and then taking a much-deserved break from public-facing work and appearances, which has led to endless, ongoing public scrutiny. This tour has been a beautiful experience for her. She loves her fans and has loved every minute of this tour so much."

As part of her step back, Grande will no longer appear in London’s West End revival of Stephen Sondheim’s Sunday in the Park with George, which was slated to open at the Barbican Centre next summer alongside Jonathan Bailey. The news follows the July 31 release of her latest album, Petal, which an insider described as an anthem addressing the toxicity of public discourse. While stepping away from live performances, Grande is scheduled to appear in the upcoming feature comedy Focker-in-Law, slated for theatrical release on November 25.

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CORTIS reconnect with Juicy J on "MOTION" after first working with him on an unreleased pre-debut song called "The League"The members describe blending Juicy J's hook and melody ideas with their own production style to build something newMartin and Juhoon contributed to writing the second verse, folding their own experiences into a track about new beginnings

CORTIS have opened up about "MOTION," their new collaboration with Juicy J, revealing that the partnership was years in the making. Long before the track came together, the group crossed paths with the Memphis artist during pre-debut song sessions, and the relationship that formed then set the tone for everything that followed.

The story does not begin with "MOTION" at all. It begins with a song that never came out. James traces the origin back to the group's earliest days in the studio, when a Juicy J cut called "The League" quietly laid the groundwork for a friendship that would outlast the session itself. "Our connection actually started before this collaboration, when we worked together during song sessions before our debut. We worked on a song called 'The League' that Juicy J brought in, and he helped guide Martin and me through the rap process," he recalled. "He gave us a lot of advice and was really supportive of our style, which helped us lean into what felt natural for us. Even though those songs didn't make it onto the album, we stayed in touch, so finally getting to create 'MOTION' together made this collaboration come full circle."

For Martin, the bond was rooted in something more personal: a genuine fluency in the history Juicy J helped write. That knowledge, unusual in someone so young and so far from Memphis, is what first got the rapper's attention. "We've always looked up to Juicy J, even since we were really young. I've especially been really interested in hip-hop and his music, especially his journey and impact on Memphis rap and Southern hip-hop," he said. "I had a chance to talk about that with him on a phone call before our debut, and I think he was surprised and happy that someone from Korea knew his story and music so well, especially because I was so young back then. That led to him visiting our studio before our debut, and that's how we first started getting to know each other. So being able to work on a song together as artists now feels really special and honestly a little surreal."

Bridging two very different approaches to production became the central creative challenge, and Seonghyeon frames those differences as the track's greatest asset rather than an obstacle. "Juicy J had a lot of ideas for the hook and melody, and we built on those ideas with our own style. Our ways of making music were so different at first, so we had to find a good middle ground when it came to production," he explained. "What impressed me most was how naturally ideas kept flowing between us. Even though we approached music differently, those differences ended up making the song stronger. Watching his creative process firsthand also gave us a different perspective on making music. It was a great experience."

That instinct to build outward rather than converge is what Keonho points to as the turning point, the moment the group stopped trying to sound like anyone but themselves. "I think we had really good chemistry. When we worked on 'The League,' we got to see Juicy J's vision of CORTIS, but we also wanted to create something that felt more like us," he said. "At one point, we realized the best approach wasn't trying to fit into one another's sound, but building something new together. That process naturally brought Juicy J's style together with our own energy, and I think that's what makes 'MOTION' feel so unique."

The result carries a clear thesis, one that Juhoon and Martin wrote directly into the second verse. For Juhoon, the title itself is the message, and the hope is that listeners hear their own uncertainty reflected back. "For us, 'MOTION' represents a new beginning and the feeling of moving forward. It's about taking on new challenges, trying new things, and continuing to grow," he said. "Martin and I also participated in writing the second verse, so we were able to bring some of our own experiences into the song. I think everyone reaches a point where they wonder what's next, and I hope people can find a little bit of themselves while listening to it."

Stream CORTIS and Juicy J's "MOTION" on Spotify.

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Travis Scott has released the self-directed 'The Odyssey' music video for "When I'm Home" featuring James Blake and Ludwig GöranssonThe track is featured in Christopher Nolan’s epic film The Odyssey in which Scott also appears as an ancient BardIn recent interviews Scott recalled his eighth-grade connection to Homer's original poem prior to joining the movie

Travis Scott has officially released the self-directed music video for "When I'm Home," his featured track from director Christopher Nolan’s new film The Odyssey. Created alongside James Blake and composer Ludwig Göransson, the visual arrives one week after the movie's global theatrical premiere.

In the film, Scott makes an on-screen appearance as a Bard reciting ancient oral epics. Speaking on the casting choice, Nolan explained that rap serves as a contemporary analogue to ancient oral poetry. During an appearance on The Tonight Show Starring Jimmy Fallon, Scott expressed his immediate enthusiasm for joining the project alongside a cast that includes Matt Damon, Tom Holland, Anne Hathaway, and Lupita Nyong'o.

In a separate interview with Variety, the Houston rapper reflected on his initial exposure to Homer's epic as an eighth-grader, recalling how his teacher Bernice Webster assigned it for summer reading. "She made me do an essay on the book, and I did some CliffsNotes bullshit," Scott revealed. "I got a whoopin’ because I lied about reading it... She's like, 'See? That's why I made you read that book; now you're in this movie. It's actually crazy.'"

Watch the official music video for "When I'm Home" above, and catch Christopher Nolan's The Odyssey in theaters now.

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All seven BTS members announced they will not submit music for consideration at the 69th GRAMMY AwardsThe decision follows the Recording Academy's rollout of a new Best Asian Pop Music Performance category that requires meaningful use of an Asian languageGRAMMY CEO Harvey Mason Jr. responded that he respects the group's choice while defending the category's intent

BTS is officially sitting out the 2027 GRAMMY Awards. In a coordinated statement shared across all seven members' personal Instagram accounts, the group announced they will not submit their comeback album ARIRANG for consideration. The boycott arrives just a month after the Recording Academy announced the creation of a new Best Asian Pop Music Performance category.

Rather than capping their reunion with a push for the golden gramophones, the septet is taking a principled stance against the Academy's categorization. In their shared announcement, BTS was direct about their reasoning. "We decided not to participate in the GRAMMYs this year," the message read. "We hope our music can be heard and loved for what it is, rather than being divided by region or language. We thank Army and everyone who has always stood by us."

Following the announcement, Recording Academy CEO Harvey Mason Jr. took to social media to clarify the Academy's intent and address the fallout. "I am saddened to hear that BTS has chosen not to participate in the GRAMMY Awards process this year, but as a music creator, I understand and respect their decision," Mason Jr. stated. "I do want to clarify something that seems to be getting lost in the conversation. The Asian Pop category was created to celebrate the depth, diversity and extraordinary growth of pop artistry coming out of Asia. The spirit of this new category is to shine a dedicated spotlight on these important artists. More categories mean more artists' work is recognized. It's never to divide, but to expand who is recognized by our 15,000 GRAMMY voters."

Mason Jr. also emphasized that the new category does not restrict artists from top tier nominations. "I also want to be very clear: submitting music in a genre category such as Asian Pop, or Jazz or Country does not exclude an artist from also submitting and being considered in the General Field categories, including Record of the Year, Album of the Year and Song of the Year," he added. "Those categories remain open to any eligible recording, regardless of genre. Recognition in a genre category and recognition in the General Field are not mutually exclusive. An artist can absolutely pursue both. The GRAMMY organization is here to serve music and all the people who make it. As we continue to expand the reach, our membership and our awards, regardless of geography or language, I want to emphasize that we will continue to listen to the global music community and work to honor and celebrate all the artists whose music moves the world."

The timing gives the move its weight. The announcement lands just over a month after the Recording Academy unveiled a new Best Asian Pop Music Performance category, one of five additions introduced in June. Per the Academy's rulebook, eligible recordings must feature meaningful use of one or more Asian languages, a stipulation that has drawn criticism from those who argue it risks corralling Asian artists into a separate lane rather than opening the main categories to them. BTS never named the category directly, but the subtext of their statement, and the reaction from fans reading it as a rebuke, has been hard to miss.

Complicating the picture is the group's own catalog. BTS returned from hiatus in March with their fifth studio album, which topped Billboard's main charts on the strength of lead single "Swim," a track performed largely in English. Under the new rules, "Swim" might not have qualified for the Asian pop award at all, underscoring the awkward fit between the category's framing and the music BTS is actually releasing. Expectations for a first win, potentially in a top field like Album of the Year, had been building ahead of next year's show.

That history is the other half of the story. Across five previous nominations, spanning three nods for Best Pop Duo/Group Performance, an Album of the Year mention tied to their work on Coldplay's Music of the Spheres, and a Best Music Video nomination for "Yet to Come," BTS has never taken home a GRAMMY. All seven members have been voting members of the Recording Academy since 2019, which makes their decision to step back from the process read as a deliberate statement rather than a scheduling footnote.

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