After sharing a glimpse of Ariana Grande taking the infamous Meet the Parents lie detector test, Universal Pictures dropped the first trailer for Focker-in-Law, the fourth film in the franchise, late Wednesday (April 15).

The trailer introduces Grande’s character Olivia Jones, a lovable former FBI negotiator who’s meeting her boyfriend Henry Focker’s (Skylar Gisondo) family for the first time. The video opens with the same scene as Tuesday’s teaser, with Grande in the hot seat and hooked up to a polygraph test administered by none other than Jack Byrnes (Robert De Niro), the tough-to-impress, untrusting patriarch from the original 2000 Meet the Parents film. As Byrnes’ questions begin to heat up, Olivia’s potential future father-in-law, Greg Focker (Ben Stiller), walks into the room.

“Would you like to ask me some questions, Greg?” Olivia asks her boyfriend’s dad.

“Do you think I hold Henry emotionally hostage?” Greg quickly retorts.

“I mean, yeah. You call him ‘Wee Wee,’” Olivia replies truthfully. “What is that? Like a joke about his wee wee?”

The trailer continues with Grande’s character fitting in easily with the Focker family as she charms them with her impressive career, ability to win over their scary German shepherd, and hostage negotiation skills.

“I pull the strings of the hostage takers, like strategic emotional puppetry,” Olivia explains to Henry’s family during one dinner scene. “That’s how I’m gonna free Henry from you, Greg.”

While the rest of the family is immediately taken with Olivia, Greg is not convinced. The two spend the rest of the trailer embroiled in a hilarious back-and-forth as Greg does everything in his power to one-up Olivia and expose her emotionally manipulative ways that only he sees.

Focker-in-Law is Grande’s first film since the two-part 2024 and 2025 Wicked movies, the first of which earned the pop star her first Academy Award nomination. The Grammy winner’s other acting credits include the 2021 Netflix film Don’t Look Up, the Ryan Murphy series Scream Queens and Nickelodeon’s Victorious and the spin-off Sam & Cat.

Focker-in-Law hits theaters Nov. 25. Watch the trailer below.

Adam Levine wants to keep his winning streak going. On Tuesday night (April 14) the Maroon 5 frontman confirmed to People magazine that he will be back for season 30 of The Voice after notching his fourth win that night with the crowning of his Team Adam contestant Alexia Jayy as the season 29 champion.

Levine, 47, has coached on 18 of the show’s 29 seasons, beginning with the first 16 seasons before taking a break in 2019 to work with his band and then returning for season 27 in 2025; he then stepped away again for season 28 before returning for the just-concluded season. “I will be back. I’m having so much fun doing it,” Levine told the magazine. “Since I came back a few seasons ago it’s just been a blast and I’m super happy to keep it going as long as they’ll have me.”

At press time the rest of the season 30 cast had not yet been revealed following season 29’s “Battle of the Champions” format that featured just three judges — Levine, Kelly Clarkson and John Legend — instead of the traditional quartet. Following Jayy’s win on Tuesday night, Levine now has a total of four winning seasons, including season one (Javier Colon), season 5 (Tessanne Chin) and season 9 (Jordan Smith), tying him with Clarkson, but placing him well behind his frenemy and on-screen rival, former coach Blake Shelton, who managed to rack up nine wins in his 23 seasons on the show.

Levine looks to keep his streak running on the upcoming season — whose airdate has not yet been announced — following the win by Jayy, who drew comparisons to everyone from Whitney Houston to Lauryn Hill during her scorching run on the show. She cemented her win on Tuesday with a killer cover of “Lady Marmalade” and a duet with Levine on “Sunday Morning,” before nailing it down with her soaring take on Adele’s “One and Only.”

“You make people reflect on their own life. When you tap into that, you make the world feel a little bit more together and communal,” Levine told Jayy following her final performance. “That’s really, really, really special. I’ve never experienced the feeling we all just had together. Thank you for being the messenger, you’re unbelievable.”

With her triumph in the final of The Voice, Alexia Jayy is a trailblazer, a record-setter and the hero of NBC’s Battle of Champions.

This 29th and latest season of The Voice enjoyed a makeover, with several format changes and a new-look panel of coaches, marking the talent quest’s first-ever three-coach lineup: Adam Levine, Kelly Clarkson, and John Legend.

For those armchair viewers who followed Jayy’s journey from the start, her victory should come as no surprise.

After bagging the very first “Triple Chair Turn” of the new season, joining team Adam, and earning favorable comparisons to Whitney Houston and Lauryn Hill, Jayy always looked like the goods.

On Tuesday night, April 14, she put it beyond doubt with a cover of “Lady Marmalade,” duetted with her coach on “Sunday Morning,” and smashed it clean out the park with a rendition of Adele’s “One and Only.” Donning a white gown, gold cape and necklace, Jayy sounded like someone who was sent here to win.

“That was, crazy,” Clarkson told Levine during the final. “You are so good. Wow, you’re like a vessel. Girl, that was so good, and you felt it … That was like a therapeutic release my heart needed, thank you. And, look, I love Adele, she’s one of my favorite singers, but damn!” The original American Idol quipped, “Just promise me this — never cover my songs.”

If Clarkson was crying, she wasn’t the only one. “You got us all weeping over here,” Legend remarked. “We’re just proud of you, honestly. You’ve just been remarkable every single time and you’ve just been a blessing to all of us.”

Levine had the last word. “You make people reflect on their own life. When you tap into that, you make the world feel a little bit more together and communal,” he noted. “That’s really, really, really special. I’ve never experienced the feeling we all just had together. Thank you for being the messenger, you’re unbelievable.”

Watch Jayy’s performances below.

At the nervy, pointy end of the competition, Jayy was asked about the unwavering support of her coach. “Oh, it has meant the world to me,” she enthused. I didn’t expect I’d get this far, so Adam giving me his kind words and, you know, just motiving me has really brought me so far.”

The Maroon 5 frontman, who inhabited one of the red chairs for the show’s first 16 seasons, as well as season 27, is now a four-time winner as coach, having lifted the trophy with Javier Colon (2011), Tessanne Chin (2013), Jordan Smith (2015) and now Jayy.

Hailing from the small town of Irvington, about 20 miles southwest of Mobile, Jayy, 31, a mom of two, becomes the first African-American woman to win The Voice.

As champion, she receives a $100,000 cash prize, a recording contract with Universal Music Group, and a special “Artist Launch” home recording studio kit.

For the record, Liv Ciara (Team Kelly) is the season 29 runner-up, Lucas West (Team Legend) completed the podium in third place, while Mikenley Brown (Team Kelly) came in fourth.

Check out the big reveal below.

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PinkPantheress just made her 2026 Coachella debut, and the Internet is abuzz about it.

The “Stateside” singer’s April 11 appearance had some majorly viral moments, including iconic performances of hit tracks like “Romeo,” “Another life,” “Illegal,” “Pain” and “Boy’s a liar Pt. 2” featuring Ice Spice, which peaked at No. 3 on the Billboard Hot 100. The set also featured a ton of special appearances from musicians and actors, namely horsegiirL, The Dare, pianist Precious Renee Tucker, Thundercat and Tyriq Whithers, who played Pink’s “Romeo.”

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While her performance was the main focus, her outfits also seemed to take center stage, pun intended, capturing the audience’s attention. That London-inspired look the musician tends to go for was seen throughout every costume change, down to her footwear. Our favorite piece from the singer’s PinkChella set was her UGG shoes, which, despite the blazing desert heat, were a pretty great choice.

The $140 Quill Ballet Sneaker in Red Pepper perfectly paired with Pink’s bright blue tailored blazer, matching cobalt blue socks and baggy jeans. The style is shaped like a sneaker, but with all the qualities of a ballet flat like lace-up closures that wind around the ankles. The uppers are textural suede that transition into non-slip rubber outsoles. The top is left open to loop your laces how you please, like a dancer would. The shoe has amassed a ton of fans via social media after its release earlier this year. Many rave about the shoe’s uniqueness and how comfortable they are to wear.

Unconventional footwear like this style has been a trend in the fashion industry for some time now, falling under the category of “ugly cute” shoes. The trend is all about subverting expectations, remixing your footwear game with interesting silhouettes or textures that some might find off-putting or hard to style. While it’s hard to pinpoint where this trend might have emerged from, Masion Margiela’s split-toe Tabi shoes could have been the catalyst. Sure, a plain ballet flat can do no wrong, but have you ever tried wearing one with hoof-like toes or one with sneaker-like qualities?

Ahead of her Coachella set, PinkPantheress was also tapped for a 90s pop culture-inspired campaign with UGG. The star was styled in the fan favorite Tazz II in chestnut, along with two new spring styles Quill Ballet Sneaker, this time in mustard seed, and the GoldenGlow Embossed Sandal also in mustard seed. For the campaign, the “Romeo” singer was dressed romantically like an angel or fairy, styling her UGGs with pink tights or matching knee-high socks. Teasers of the campaign were posted to UGG’s Instagram on April 8, followed by a slew of photos and videos of PinkPantheress posing in a bedroom-like setting.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

The road to WrestleMania has finally hit its end destination. After a year of surprises, upsets and championship title changes, the WWE is gearing up for an epic conclusion to the 2026 season at WrestleMania 42. Taking place at Allegiant Stadium in Las Vegas on April 18 and 19, wrestling fans will be eating good with thirteen matches scheduled for the weekend including world title matches finally set.

After the results of Elimination Chamber, Raw superstars CM Punk and Stephanie Vaquer will defend their belts against Romans Reigns and Liv Morgan, who’s looking for “trouble” in her latest music video, while SmackDown stars Cody Rhodes and Jade Cargill will face “Legend Killer” Randy Orton and Rhea Ripley.

If you’re a wrestling fan who want’s to experience WWE’s tentpole event live, last-minute tickets to WrestleMania 42 are still available online.

How to Buy WrestleMania 42 Tickets, At a Glance

From CM Punk and Roman Reigns running back their WrestleMania 41 main event, this time without Seth Rollins, to an unstoppable force (Oba Femi) meeting an immovable object (Brock Lesnar) in the ring, to women heavyweights Rhea and Jade going toe-to-toe, there so many grand moments taking place in Vegas.

One aspect fans love about WrestleMania are the surprise cameos. After Travis Scott’s viral moments last year, could we see another musical guest step into the ring? Will Bad Bunny make an epic return? iShowSpeed is the latest influencer to hop in the ring alongside colleague Logan Paul to take on LA Knight and the Usos. KSI is famously known to cameo in Pauls PPV fights, so we won’t be surprise if more content creators make their way on the WrestleMania stage this year.

If you want to experience WrestleMania 42 live, we’ve compiled a ticketing guide to shop the best seats, affordable prices and discounts for WWE’s tentpole event. Take a look below at all the confirmed matches for WrestleMania 42 as well.

Where to Buy WrestleMania 42 Tickets Online

Looking for cheap seats to see WrestleMania 42 live? Here’s where to find last-minute tickets still available and on sale online for both two day passes as well as separate day one (April 18) and day two (April 19) tickets.

StubHub has WrestleMania 42 tickets available. Stubhub’s Fan Protect Guarantee ensures valid tickets or your money back.

You can find WrestleMania 42 tickets online at Vivid Seats, which lets you search by price, location and “Super Sellers,” which denotes reputable sellers with the best deals on tickets. Vivid Seats is great for group tickets: The site has a rewards program that gives you your 11th ticket free (in the form of a credit) after you buy 10 tickets online.

One of the lowest prices we’re seeing for WrestleMania 42 tickets is at SeatGeek, which has stubs from $226 and up.

Gametime promises to be the go-to destination for the cheapest last-minute tickets to the WrestleMania 42 and more live events. Right now, you can find options for as low as $242, and score an extra $20 off purchases of $150+ when you enter the code SAVE20 at checkout. Found cheaper options on another site? The Gametime Price Guarantee will give you 110% of the difference back when you show proof to the resale site.

You can find cheap WrestleMania 42 tickets on Ticketnetwork starting at $405 for a two-day pass. You can also get $150 off purchases of $500+ when you use the code BILLBOARD150 at checkout or $300 off orders of $1,000+ when you use the promo code BILLBOARD300. To help find the best options, the site provides an interactive map that lets you see how many tickets are left in each section in addition to being able to pick exactly where you want to sit and sort options based on price per ticket.

WWE WrestleMania 42 Match Lineup

Here’s a list of all confirmed matches for WWE WrestleMania 42 so far.

Night One (April 18):

Night Two (April 19)

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

In spring and summer 2026, country singer Willie Nelson goes on tour throughout the United States, with dates going until Wednesday, April 22, at Avondale Brewing Company in Birmingham, Alabama. Meanwhile, throughout the tour, recording artist Drayton Farley is supporting as the opener.

Tickets to the tour first went on sale through Live Nation and Ticketmaster, as the retailer’s Face Value Exchange program is an option for fans to resell tickets.

However, many of the dates have either sold out, or are very close to selling out, so one of the best ways to find Willie Nelson tickets online is through third-party sites, including StubHub, Vivid Seats, SeatGeek, Event Tickets Center, Gametime and others. All online retailers guarantee authentic tickets in time for your concert.

In addition, Billboard likes that tickets are all delivered digitally, so you can get them sent instantly to your smartphone or email. Prices may also be above or below face value at times.

Where to Find Willie Nelson Tour Tickets Online

Looking for cheap seats to see Willie Nelson live? Here’s where to find tickets still available and on sale online.

StubHub has Willie Nelson tickets available. Stubhub’s Fan Protect Guarantee ensures valid tickets or your money back.

You can find Willie Nelson tickets online at Vivid Seats, which lets you search by price, location and “Super Sellers,” which denotes reputable sellers with the best deals on tickets. Vivid Seats is great for group tickets: the site has a rewards program that gives you your eleventh ticket free (in the form of a credit) after you buy 10 tickets online.

One of the lowest prices we’re seeing for Willie Nelson tickets is at SeatGeek, which has stubs from $50 and up.

TicketNetwork has tickets to Willie Nelson’s concerts with all-in pricing that lets you see exactly what you’ll pay up front (fees included).

Willie Nelson Tour 2026 Dates

Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

Entertainment legend, global philanthropist and friend of Maya Angelou, Oprah Winfrey has achieved every dream she ever had — except for one.

In a Tuesday appearance on The Late Show With Stephen Colbert, Winfrey spoke about how she’s been fortunate to have every one of her wildest wishes come true. The only one that never came to fruition was ending up with her teenage crush.

“Everything I ever wanted or dreamed came true,” Winfrey said. “Except, I did not marry Paul McCartney.“

The media mogul goes on to share that, growing up, she was the only girl she knew who loved The Beatles as much as she did. She even collected Beatles trading cards. And of course, like every fangirl she had a favorite member of the band.

“Of course Paul was my favorite Beatle. And I used to try to make him think of me,” Winfrey says, clutching her fists and remembering. “I used to wake in the morning and I’d stand on the stairs and say, ‘Think of me, think of me, think of me.’”

Unlike most other fangirls, however, Winfrey actually got to know her childhood crush one day. She shares that, years later, when she got the chance to interview the rock legend, she took the opportunity to ask him the question that’s been burning in the back of her mind since childhood.

“My first question to him was, ‘All those years, I was 14, and I was thinking of you. Did you ever once think of me?’” she recounts. McCartney’s reply is one that every fan hopes to hear one day: “Every day, babe, every day.”

Though Winfrey never got the chance to marry her favorite Beatle, the two of them did participate in a very special ceremony together one day. In 2010, both entertainers were awarded with Kennedy Center Honors. One of Winfrey’s favorite memories of that big night occurred not when she received her honor, but when The Beatles’ Billboard Hot 100 No. 1 “Hey Jude” began playing.

“[McCartney] took my hand,” she said. “And that was the dream I had all those years!”

Fifteen years after making Winfrey’s dreams come true, McCartney is continuing to make the dreams of all of his fans realities by releasing new music. Last month, the legend announced the release date of his 19th studio album The Boys of Dungeon Lane. The new record, set to drop on May 29, is McCartney’s first solo album in five years. The lead single, “Days We Left Behind,” is out now.

Fans can presave Paul McCartney’s The Boys of Dungeon Lane here and, while they wait for the album to come out, can watch Winfrey’s full Colbert interview below.

Who doesn’t live for The Drama? Acclaimed distributor A24 has yet another theatrical hit on its hands with Kristoffer Borgli’s latest conversation-sparking film, The Drama, which grossed $28 million worldwide in its opening weekend. Led by Zendaya and Robert Pattinson, the psychological romantic black comedy follows a couple gearing up for a wedding weekend that dramatically unravels after the revelation of controversial, lifelong secrets.

Anchored by a shocking reveal, Borgli’s incisive yet hilarious screenplay and top-tier performances from both leads, The Drama has quickly dominated social media with infinite interlocked discourses. Each of the film’s individual elements reinforces its testy themes of redemption, morality and forgiveness — particularly its immersive, folk-driven soundtrack, curated by music supervisor Jemma Burns. Built around recently unearthed ‘70s cuts like Shira Small’s “I Want to Lay With You” and wistful ‘50s numbers like Nolan Strong & The Diablo’s “The Wind,” Burns’ most rewarding Drama synchs lean into the juxtaposition between the selected compositions and the actions unfolding on screen. And it all began with one playlist.

“I’d read the script and seen his other work, so I was excited to meet him, but I had no idea about who was in [The Drama] or anything,” says Burns, who got connected with Borgli through Square Peg producer Tyler Campellone. “But we just straight away got each other; there’s a type of humor and lens we see the world through that really aligned. I got to work looking for a song for their wedding dance lesson [‘Lay With You’], which came from my very first playlist of ideas. The song at the top of that playlist, ‘Inside Out,’ was the second song they danced to. I think I’d gotten the job from that very first playlist I sent.”

As a romcom that trades on the genre’s typical tropes while incorporating chilling pieces of uniquely American culture, The Drama relies on its music not just to emphasize its most uncomfortable moments but also to provide levity and release in a narrative infused with tension. From the delightfully startling Alicia Keys needle drop to the fortifying Moondog song that plays over the end credits, music is effectively the fifth character in The Drama’s primary ensemble.

Below, Burns speaks with Billboard about clearing Keys’ “Try Sleeping With a Broken Heart,” working with Zendaya and building a dynamic partnership with Borgli.

What did you think when you finished reading the script?

After I’ve read the script, I like to hear the director’s approach. If you haven’t worked with someone before, you want to make sure that you’ve understood their sensibility and where they’re coming from. I just really got what Kris was after, and we really clicked from that first playlist.

What’s your process like generally? How did you know when you found the right fit for a song and a scene?

I like to get as many reference tracks as possible from the writer and/or director, [which] are clues to this person’s sensibility and their take on this particular story. Some of those songs might not necessarily even end up in the film. There’s a bit of guesswork involved.

Obviously, things change throughout the process because once everything comes together and you’re in the edit suite, you might find there’s a bit of a lull at one point in the story. There are many different reasons why things can shift, and we did switch around a few songs throughout the process. But many of the songs from my original playlist ended up in the film, so that was very satisfying.

The Drama has several ‘70s-era and folk music synchs. What about the film’s narrative and the actors’ performances drew you to that era and genre?

I think Kris was really going for an aesthetic that was influenced by sweet ‘60s European films and some early ‘70s American romcoms. I really wanted it to feel somewhat timeless and from another era — maybe a more golden, bygone era — so that when the gears shift, it’s a lot more jarring. We’re also still in a very modern world, and they’re very switched-on, worldly characters. That all comes crashing into the modern world when the big secret is revealed, so we’re trying to set up this contrast.

All the way through [The Drama], there’s a sort of old-fashioned whimsy. Even the final song [Moondog’s “Do Your Thing”] feels like it should be an American classic. It’s not that widely known, but it has this warm, whimsical feel; it fluctuates between the light and the dark, and the cuteness [of the romance] and the brutality of what they’re actually talking about.

How did you land on Alicia Keys’ “Try Sleeping With a Broken Heart?” Was it easy to clear this song for a film of this nature?

It needed to be something that those women would realistically put on. We’re not trying to suggest that they’re into really nerdy internet radio stations or anything like that. But at the same time, I think Kris was quite keen to give the film a somewhat unique feel by not using super obvious tracks. Even though Alicia Keys is such a beloved artist, [“Try Sleeping With a Broken Heart”] is a relatively deep cut [for general audiences]. It’s not exactly a household name song, but it should be a classic. Kris was very adamant that we didn’t use music that felt like it was part of the culture at large at this moment in time to build a singular aesthetic.

We always give a synopsis of the film. With a film like this, where they were intentionally trying to keep the plot under wraps as much as possible, it was a fairly minimal summary. We also always describe what’s going on in the specific scene that we used to track over. If the artists or songwriters are curious to know more, they can certainly ask. Sometimes, when it’s a particularly difficult song to clear, we might send them the actual scene. In the instance of Mariah Carey’s “Always Be My Baby” for Beau Is Afraid. I actually got Ari [Aster] to write a letter to Mariah, because sometimes it’s best to cut out the middlemen and get them to speak artist to artist. But we didn’t have too much trouble on this one. Alicia Keys’ people seemed very up for it. It’s always hard to guess what an artist’s film tastes are as well, isn’t it? You can’t assume they like satirical or controversial films, so you do have to tread gently.

What was the most pivotal note Borgli gave you? Did you pull any inspiration from Zendaya and Robert Pattinson or their performances?

Whimsy came with the very first song we were looking at, which was Shira Small’s “I Want to Lay With You.” Kris really wanted something with a sweet earnestness about it, but slightly old-fashioned. So, when Zendaya’s character says, “Maybe we should just dance how we normally dance,” the next song is their in-joke as a couple. Jesse Rae, [who sings] “Inside Out,” is such a character. He’s a Scottish man who was really good friends with the Troutman Brothers and Parliament-Funkadelic. They all adore him and went back to Scotland with him to record these amazing tracks that are sung in a thick Scottish accent, but with all that African-American funk. It’s a beautiful, very singular combination of sounds that’s just so joyful. And even some of my most nerdy music nerd friends had never heard of this guy! We’re actually going to do a little seven-inch [vinyl] release of that one.

I didn’t hear much direct feedback from [the stars], but working on scenes with Zendaya was interesting because she’s such a cultural phenomenon. She’s been in so many scenes, whether it’s Euphoria or Challengers, that have iconic music moments. I had to dig even deeper to figure out what songs would work with her because different combinations of songs over her image convey different things. Oftentimes, we were like, “No, this is giving Euphoria” or another project she’s heavily associated with. That extra layer of nuance was definitely there.

There are also flashes of the ’50s with songs like “The Wind” and “Sans vous aimer.” What about those songs and that era spoke to the story The Drama is trying to tell?

Oftentimes, you just don’t know what’s going to work until you actually try them together. They both fit in with this bygone golden feel we’ve set up, but they also work well because they’re surprising combinations. You have a gorgeous, old song like “The Wind” playing over an [angsty] teenage girl running around the house with her dad’s gun — not a combination you would instantly think of. It’s an intentional contrast of the slightly more innocent bygone era against the complexities of life for a teenager in this century, and what’s going on with schoolchildren as well.

Where are you listening to music these days?

Everywhere. “I Want to Lay With You” came to me because of Numero, a quite beloved reissue label that digs up old private pressings and gives them a new life. This Shara Small song was particularly lovely because she essentially recorded the album as a school project, and I don’t think she ever thought anything of it since the early ’70s. It was reissued [in 2022] and got some attention, but certainly not known by the wider public. Now she’s having a little revival thanks to her inclusion in the film.

I think that the characters would probably also listen to NTS [Radio]! It’s funny that something like NTS, which showcases either underground artists or oddball forgotten hits from previous eras, has become such a phenomenon that it’s [now synonymous] with quirky music. Even the weird underground alternative stuff has a mass audience platform these days. And we specifically did want to steer clear of artists that maybe have had an NTS special. It’s almost unavoidable at this point. Not that every amazing old song has already been discovered, but a lot of them are pretty readily accessible these days.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

If you’re hitting up any music festivals this year, a great bag is an absolute necessity, and few brands make a better festival carry-all than Lululemon.

The brand’s All Night Festival Bag has been a bestseller since it arrived a few years ago, with reviewers praising its roomy (but still compact) size, its weather-resistant material and a zipper around the top that keeps everything safe and secure.

Now, Lululemon has released the latest version of its Festival Bag, in a sleek and minimalist black colorway with gold zipper detailing.

Another quality that makes this bag ideal for any outdoor events is that it’s made of durable, water-repellent fabric. It has an adjustable strap that makes it easy to wear over the shoulder or as a crossbody bag, which is great if you want to switch up the way you wear it throughout the day. It also has an easily accessible front pocket that has a covered zipper.

The fold-over design keeps things chic and compact but you can also expand the bag say, if you’re hoping to carry a water bottle, sunscreen or any larger items for the long days of shows. The 5L capacity offers plenty of space and the material will stretch a little bit to cram everything in. If you decide to fold the bag in half, the bag features magnets to hold the folded-over flap firmly in place.

If you are looking for a great summer music festival option, make sure you go ahead and add this to your cart as Lululemon’s bags are popular and known to sell out. At only $78 — and available now in this classic black color — this Festival Bag is sure to sell quickly too. See more details here.

One thing to note: this is great for outdoor festivals where bag rules are a little more relaxed. For outdoor concerts or sporting events, you’ll still want to check the venue’s website for a list of stadium-approved bags.

This bag is a see-through take on the brand’s bestselling Everywhere Belt Bag, and an easy way to get your phone, keys and accessories through concert security with ease.