The White House has gone on the offensive after Noah Kahan criticized president Donald Trump for using his music in social media propaganda.

The brewing beef stems from the administration’s videos and photos posted to TikTok and Instagram cued to Kahan’s song “American Cars” from his fourth studio album, the Billboard 200 No. 1 LP The Great Divide, all part of an exercise to celebrate Trump’s visit to a Michigan auto plant this week where the POTUS touted cars made in America.

The 29-year-old Vermont-bred singer and songwriter wasn’t thrilled by the situation. “Would never approve of my music being used in support of you or this administration,” the “Stick Season” artist wrote write in comments on Instagram, where the sound appears to have been disabled. Kahan’s comment on Monday’s (July 27) post has more than 53,500 likes, and upwards of 840 comments. 

Kahan’s frequent cowriter and the co-author of “American Cars,” guitarist Noah Levine, vented with his own comment on the Instagram post, writing, “You fat f— this song isn’t for you.” Levine’s comment has since been wiped, an action that was spotted my numerous users.

The song, however, continues to accompany the White House TikTok from the event, where it plays as Trump is signing a white Corvette while visiting the General Motors proving grounds in Milford, Mich.

Trump’s team isn’t holding back. Kaelan Dorr, who holds several titles with the Trump administration, including principal deputy communications director, retweeted Variety’s post on Kahan’s comments, and offering some of his own. “Symptoms of TDS,” a reference to Trump Derangement Syndrome, “apparently include having a northern attitude.”

It’s worth pointing out that Kahan’s recordings are available for use as part of the public Instagram library following a 2024 pact between the Universal Music Group and Meta (parent company of Facebook, Instagram, Messenger, Horizon, Threads and WhatsApp).

Kahan is a member of a large, and growing roster of acts who have spoken out against Trump using their music in campaign and administration hype videos, a list that includes Beyoncé, Adele, Bruce Springsteen, Katy Perry, Ariana Grande, Celine Dion, Foo Fighters, Guns N’ Roses, Jack White/White Stripes, Kenny Loggins, Neil Young, Olivia Rodrigo, and Rihanna.

Surprise! Karol G has a new album ready to go, and it’s dropping next week.

The Latin superstar used the platform of her record-setting concert tonight July 29 at Rogers Stadium in Toronto to announce No Me Arrepiento de Sentir Tanto (“I don’t regret feeling so much”), the followup to 2025’s Tropicoqueta.

The wait should be bearable; No Me Arrepiento de Sentir Tanto will arrive next Friday, Aug, 7 at 12am ET, reps confirm to Billboard.

With her performance at Rogers Stadium, the Colombian singer became the first female solo artist to headline the venue. During the show, she surprised fans by revealing the album’s title and release date, and shared the official cover artwork for the first time on the stadium’s screens. See the cover art below.

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“I have an announcement to share, Toronto, and after this, I have a gift for you, too. I’ve been working on a project for a couple of months,” she told onlookers. “I’ve been locked in for months making new music. For months, I’ve been preparing a segment that will form part of this tour. I want to announce that on August 7, my new album will come out. It’s an album that I can’t wait to sing with all of you. It’s called No Me Arrepiento de Sentir Tanto.” 

The new collection was hiding in plain sight. Karol G released a new single, “Matadora,” on the opening night of her tour, July 24 at Soldier Field in Chicago. Although the tracklist hasn’t been announced, expect “Matadora” to appear on the new collection.

Produced by Live Nation, Karol is joined by Becky G, Greeicy, and Elena Rose on select dates of Viajando Por El Mundo Tropitour, which comes in support of Tropicoqueta, which debuted at No. 1 on Top Latin Albums Chart and No. 3 on the all-genre Billboard 200. Also, all 20 songs from the set debuted on the Hot Latin Songs chart, becoming a first for the artist. 

Next stop: Northwest Stadium this Sunday night (Aug. 2) in Washington, D.C.

There’s no stopping Queen on YouTube.

The British rock juggernaut enters the streaming platform’s Billion Views Club for a second time, as “Don’t Stop Me Now” crosses the threshold this week.

Housed on the 1978 album Jazz, “Don’t Stop Me Now” was a minor U.S. hit on its release as a single the following year, peaking at No. 86 on the Hot 100. On the other side of the Atlantic, the tune crashed the U.K. top 10, peaking at No. 9 on the Official Singles Chart.

In the decades that followed, “Don’t Stop” has enjoyed several new lives through film, TV and ad placements, including commercials for Toyota, Silk almond milk, Amazon, Pfizer, L’Oreal, a trailer for American Idol and the 2004 horror-comedy Shaun Of The Dead.

In 2005, viewers of the British TV show Top Gear ranked “Don’t Stop Me Now” as the “Greatest Driving Song of All Time,” and the following year, pop-rock group McFly topped the U.K. singles chart with a bright cover. Katy Perry, The Vandals and Glee have all covered the cut.

“Don’t Stop Me Now” appears on Queen’s 1981 Greatest Hits collection, the all-time best-selling album in the United Kingdom, where it has racked up 1,216 weeks (and counting) in the Official Albums Chart Top 100, and the track enjoyed another burst of energy with the blockbuster success of the Rami Malek-starring Bohemian Rhapsody from 2018, a global sensation that set the high mark for the highest-grossing musical biopic of all time.

Queen was first crowned in the Billion Views Club with the music video for their ‘70s classic “Bohemian Rhapsody,” which reached the milestone back in July 2019.

Watch the official music video for Queen’s “Don’t Stop Me Now” below.

UPDATE (July 29): Recording Academy CEO Harvey Mason jr. released a statement on Wednesday (July 29) in response to BTS’ decision not to enter their music for the 2027 Grammy Awards.

“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.

“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.

“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. 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. – Harvey Mason jr, Grammys CEO”

While Mason didn’t mention it in his statement, he and BTS have something in common, at least in terms of Grammy nominations. Both have received exactly five Grammy nods without winning. Mason’s nominations are as a producer of Justin Timberlake’s Justified and the Dreamgirls, Pitch Perfect 2 and Jesus Christ Superstar Live in Concert soundtracks and as a songwriter of Toni Braxton’s “He Wasn’t Man Enough.” BTS’ nominations are detailed below.

PREVIOUSLY (July 29): BTS has announced that they will not be submitting music from their comeback album ARIRANG for consideration at the 2027 Grammy Awards.

All seven members of the K-pop supergroup — RM, Jin, Suga, j-hope, Jimin, V and Jung Kook —simultaneously posted an identical statement on their individual Instagram accounts on Wednesday (July 29): “We have decided not to submit to the Grammys this year,” a translation of the message reads. “I hope that music can be heard and loved for what it is, rather than being divided by region or language. Thank you to ARMY and everyone who is always with us.”

Their message takes an implicit swipe at the guidelines for the Recording Academy’s newly created Best Asian Pop Music Performance category, which was one of five new Grammy categories introduced in June. The group members’ choice to specify both “region” and “language” is relevant, as the category specifies that songs must include “meaningful use” of any Asian language.

Ironically, BTS’s smash English-language hit single “SWIM,” which debuted at No. 1 on the Billboard Hot 100, would have been excluded from this new Asian pop category anyway.

The boycott comes during a banner comeback year for BTS. After completing the group members completed their mandatory military service, they released their fifth studio album, ARIRANG, in March 2026. The album debuted at No. 1 on the Billboard 200 with 641,000 units, marking the biggest opening week for a group album in more than a decade.

BTS has received five Grammy nominations, including three consecutive nominations in the high-profile best pop duo/group performance category, for “Dynamite” (2021), “Butter” (2022) and “My Universe,” the latter a collab with Coldplay (2023). In 2023, the group received two other nominations: album of the year as a featured artist on Coldplay’s Music of the Spheres and best music video for “Yet to Come.”

BTS’ decision not to enter its music is a blow to the Grammys’ prestige, but the biggest impact could be the Grammy telecast losing a powerhouse draw. The group has performed on the Grammy telecast twice; it contributed a remote performance from a Seoul skyscraper in 2021 and a live, spy-themed rendition of “Butter” in Las Vegas in 2022.

Other artists have declined to submit their music for Grammy consideration, often in reaction to what they saw as snubs, including Drake, The Weeknd and Morgan Wallen.

Some have criticized the new best Asian pop music performance category, which sits in the Pop & Dance/Electronic Field, fearing that it will lock Asian acts into a subcategory and deny them the opportunity to compete in the higher-profile General Field categories or in pop performance categories. The former fear is unfounded. All artists from all genres can compete in the General Field categories, which include album, record and song of the year and best new artist.

But it is true that a specific recording can compete in only one performance category. If a recording is entered for best Asian pop music performance, it cannot be entered for, say, best pop duo/group performance. The same act can, however, be nominated in multiple performance categories with different recordings.

K-pop achieved its first-ever Grammy win earlier this year when “Golden” from Netflix’s KPop Demon Hunters won best song written for visual media. The song was also nominated for song of the year but did not win.

The Recording Academy’s description of the new award, in full, reads:

“This category recognizes artistic excellence in Asian pop music performances. Eligible recordings include contemporary popular music originating from or widely recognized within Asian markets, including K-pop, J-pop and C-pop.

“Asian pop is a distinct and globally recognized form of popular music characterized by its integrated approach to music, performance, and presentation. Eligible recordings typically feature melody-driven composition, mainstream pop songwriting, and commercially oriented production, as recognized within their respective markets, and may incorporate elements of pop-adjacent styles such as pop-rock, pop R&B, and other related forms. Recordings in this category are often characterized by genre-blending arrangements, layered production, and dynamic structural shifts designed to support both audio and performance-based delivery.

“Recordings must feature meaningful use of one or more Asian languages. An Asian language should play a significant role within the song in bilingual or multilingual structures such that the recording is identifiable with that language. Recordings performed entirely in an Asian language are eligible. Incidental or minimal use (e.g., isolated words, adlibs, or brief phrases) does not qualify. Recordings performed entirely in English are not eligible in this category and remain eligible in other appropriate categories.

“The musical style is determinative of eligibility, not the ethnicity or nationality of the performer(s).

“Other popular music forms which originate in Asia or the Asian diaspora but do not meet the genre criteria for this category are eligible in other categories as appropriate.

“Only one version of a recording is eligible in a performance category in any year. A recording which is eligible and entered in another performance category is not also eligible in Best Asian Pop Music Performance for a different version featuring an Asian language performance.

“Nominees are Artist(s).

“Grammy statuettes awarded to Artist(s).”

There is recent precedent for tracks to win both in General Field categories (such as record and song of the year) and genre-specific categories. In 2019, Childish Gambino’s “This Is America” won best rap/sung performance as well as record and song of the year. In 2022, Silk Sonic’s “Leave the Door Open” won in two R&B categories as well as record and song of the year.

Earlier this year, Bad Bunny made history when Debí Tirar Más Fotos became the first all-Spanish-language album to win album of the year. It also won best música urbana album. Of Bunny’s six 2026 nominations, four were in genre-neutral categories and two were in genre-specific categories. Of his three wins, one was in a genre-neutral category and two were in genre-specific categories.

The latest offering from Disney’s fruitful fantasy franchise Descendants casts a spell on the charts, as the Descendants: Wicked Wonderland soundtrack debuts on multiple rankings (dated Aug. 1). The film, which premiered on Disney Channel July 16 and hit the Disney+ streaming service a day later, is the sequel to Descendants: The Rise of Red (2024) and the fifth film in the Descendants series.

The new musical fantasy comedy movie stars Kylie Cantrall and Malia Baker, and was directed by Kimmy Gatewood. Also on board in the cast and on the soundtrack: Billboard chart-toppers Brandy and Rita Ora, who play Cinderella and the Queen of Hearts, respectively, in the film.

On the Kid Albums chart, Wicked Wonderland debuts at No. 1 and is the fifth leader from the Descendants world.

Kid Albums ranks the week’s most popular kid albums in the United States, by equivalent album units, according to Luminate. The latest chart reflects the tracking week ending July 23.

Meanwhile, on the Soundtracks chart the new album starts at No. 2, following four No. 1 debuts for the series.

On the Billboard 200, the new album enters at No. 88, marking the fifth from the Descendants-verse series to start in the top half of the chart. The first three soundtracks (in 2015, 2017 and 2019) all debuted in the top 10, with the first bowing at No. 1. Also notable, Descendants: Wicked Wonderland is just the third TV soundtrack to debut on the Billboard 200 in 2026, following Heated Rivalry and Stranger Things 5.

Lastly, on the Independent Albums chart, the new project bows at No. 13.

Sam Smith is writing a new chapter for their love story.

The Grammy-winning singer disclosed in a new interview with The New York Times that they’re engaged to fashion designer Christian Cowan, sharing the heartwarming news just days after releasing the latest single, “Oh Mother” feat. The TwoCity Chorus, off of their forthcoming fifth studio album, Hazel Eyes.

Smith confirmed that Cowan is now their fiancé while looking back on the relationship that inspired much of the album, due Aug. 21 via Capitol Records. They revealed that “Everlasting Love,” another track from Hazel Eyes, was first written the night before the couple’s first date. It wasn’t until the relationship began to blossom that the song was completed. The album’s title is also a nod to Cowan, whose hazel-colored eyes inspired its name.

The upcoming project follows 2023’s Gloria, which reached No. 7 on the Billboard 200 and featured megahit “Unholy” with Kim Petras that peaked No. 1 on the Billboard Hot 100 back in 2022. Across their career, Smith has earned 7 top 10 hits on the Hot 100, including the No. 2-peaking breakthrough ballad “Stay With Me,” while 2017’s The Thrill of It All debuted atop the Billboard 200.

Elsewhere in the interview, Smith speaks vulnerably about the process of making Hazel Eyes outside the traditional pop songwriting system, collaborating with a close-knit group of creatives (including indie singer-songwriter Feist) to make what they describe as a more personal and creatively freeing project.

Though songs on Hazel Eyes explore everything from the joy of finding lasting love to heartbreak and healing, Smith said they intentionally held onto the emotional contradictions that tend to come with happiness. “I feel all types of things all the time,” Smith told The Times. “In my happiest moments, I can get really sad.”

The singer also reflected on crafting openly queer love songs at a time when LGBTQ+ rights continue to face challenges, explaining why celebrating love is meaningful in itself.

“For me, there’s something radical about being queer in this time, in this world and singing love songs,” Smith said. “I’m not going to allow the poison that I read and that I see to affect my way of loving.”

Hazel Eyes is set for release Aug. 21.

This year has already been a jam-packed for Cardi B, and now she’s set to release her first single since 2025’s Am I the Drama?

After previewing the single “Ah Ha” on Monday (July 27), the overwhelmingly positive reception from the Bardi Gang pushed Cardi and Atlantic Records to slap a release date on the single, which is slated to hit streaming services on Friday (July 31). “Meet me at the club,” Cardi captioned the IG post announcing the release date.

On “Ah Ha,” Cardi delivers a catchy chorus, which finds her repeating the song’s title, and then goes on to snipe at her opps and the men after her.

“A n—a can’t trap me, I won’t keep it/ B—es really hate me, so be it/ Bathroom floors and these hoes both heated/ It goes threee, two, to the one in this b—h/ I’ll give a hoe exactly what she want in this b—h,” she raps.

The 33-year-old rapper even disses Donald Trump on the track, which she’s had no problem doing when speaking out against the president publicly in the past.

“Black trucks at the club look like Trump in this b—h, f–k him/ A hoe never played with me once in this b—h,” she continues.

The hard-hitting single’s cover art shows Cardi posing in the same Dominican Republic-themed flag bikini she wore on the beach in the initial track teaser video.

Cardi hopped on IG Live on Tuesday (July 28) to clear up any confusion surrounding the “a n—a can’t trap me bar,” which fans believed was a shot at ex-boyfriend Stefon Diggs.

“I know exactly how I felt when I said that s–t. I could have a baby with a n—a, but that’s the issue,” she said. “You could have a baby with a n—a, and sometimes n—as think that because you have a baby with them or you gonna keep a baby or you have a baby that you won’t move the f–k on or you’ll stay there taking s–t. Nah, b—h, I’ll take my baby and get the f–k on. That’s for sure. Like nah, b—h, a baby ain’t trapping me b—h.”

Cardi kicked off the Little Miss Drama Tour in February, which served as her first headlining North American trek. She’s continued to remain outside since Am I the Drama?‘s arrival in September 2025, which topped the Billboard 200.

Check out a teaser of “Ah Ha” and the single’s cover art below.

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The Caribbean Music Awards are moving closer to home.

On Wednesday (July 28), Caribbean Elite Group, which presents the awards, announced that the fourth annual ceremony will take place Sept. 18-20 in Trinidad & Tobago. The buzzy move follows a stellar three-year run at Brooklyn’s Kings Theatre, where the Caribbean Music Awards united artists, key industry players and fans in one of the world’s most robust diaspora cities.

Co-hosted by Trinidadian soca star Nailah Blackman and “King of Caribbean Comedy” Majah Hype (in his fourth consecutive year), the awards ceremony will take place on Saturday, Sept. 19 at the National Academy for the Performing Arts in Port of Spain.

In addition to the new location, this year’s Caribbean Music Awards expands the single-night celebration into a sprawling Caribbean Music Awards Elite Weekend Experience. The weekend will feature immersive events across music and culture, the awards ceremony and official afterparty, and a special steelpan showcase presented by Stars and Steel.

“Four years hosting the Caribbean Music Awards? Mi feel like dem haffi give me my own seat at this point!” said Majah Hype. “But seriously, being part of this journey from day one has been a blessing. I’ve watched this celebration grow, seen the incredible talent come through, and witnessed how much this moment means to our people. To see it expand from Brooklyn’s Kings Theatre to Trinidad & Tobago is something special. Caribbean culture is powerful, the talent is endless, and mi ready fi celebrate everybody who continues to carry our music and our culture to the world.”

Moving to Trinidad also underscores the incredible year Trini artists have been having across genres. T&T’s own Lady Lava, Billboard’s Up-And-Coming Caribbean Artist of the Month for June 2026, leads this year’s nominations tally with nine nods across seven categories. King of Soca Machel Montano, Grenadian soca sensation V’ghn and Jamaican dancehall star Ayetian — Billboard’s Up-And-Coming Caribbean Artist of the Month for July 2026 — follow with seven nominations each. Other notable names on this year’s nominees list include Vybz Kartel, Tyla, Nicki Minaj, Bad Bunny, Shakira, Sting, Fridayy, Davido and Burna Boy.

“The Caribbean Music Awards has been a special part of my journey,” said Nailah Blackman, whose grandfather Lord Shorty (born Garfield Blackman) is credited with inventing soca music. “I’ve experienced this celebration as a fan, as a performer, as a nominee, and as a winner, and now being able to step into the role of host is truly an honor. To do it in Trinidad, surrounded by our people and our culture, makes this moment even more meaningful. I’m excited to celebrate the incredible artists who continue to push Caribbean music forward.”

This year’s Caribbean Music Awards honors over 250 nominees across 40-plus categories spanning a diverse range of genres including reggae, soca, dancehall, calypso, R&B and gospel. Several new categories were introduced for the 2026 ceremony to accommodate the varied Caribbean music scene, including Dennery artist and song of the year, zess song of the year, konpa song of the year, chutney soca artist and song of the year, jab artist and song of the year and French Caribbean song of the year.

The Caribbean Music Awards are presented by the Caribbean Elite Group, which also produces Caribbean Elite Magazine – a print and digital publication that highlights Caribbean entertainers, artists, producers, promoters, cuisine, travel, fashion and entrepreneurs.

Voting is currently underway at the Caribbean Music Awards website and will conclude on Monday, Aug. 10. For the complete list of nominations, visit the Caribbean Music Awards website.

Ariana Grande isn’t holding back on her new album, Petal, which the pop star said comes from a place of “unfiltered rage” in a new Apple Music clip posted Wednesday (July 29).

Shared one day prior to “Petal Radio” airing on the platform Thursday (July 30) at 5 p.m. PT with a more in-depth conversation about the LP, the clip shows Grande sitting on the bed that is part of her stage design on the Eternal Sunshine Tour. When asked which of the 12 tracks on Petal she’s most excited for fans to hear, the Grammy winner couldn’t choose.

“I’m equally excited to see how they react to every single song,” she said. “It pulls from many different parts of myself and yet, at the same time, it is very experimental and different for me. I wrote from a place that I don’t usually, which was like an unfiltered rage that I think we all feel sometimes.”

“I usually am too shy to tap into that,” she continued. “This time, I didn’t filter as much as I usually do. I usually do a lot of rewrites and make things a little kinder. This time, I didn’t.”

It’s not the first time Grande has hinted that Petal has a bit of a temper. In May, she posted a video of herself breaking down the message of the album in a meeting with her team, saying at the time: “It’s a little feral. It’s definitely from a place I’ve been maybe too shy or polite to tap into before. This kind of just feels like, ‘F–k it.’”

Fans will have to wait until the full album drops on Friday (July 31) to get the full picture, but the snippets of Petal they’ve heard so far definitely live up to Grande’s description. On Billboard Hot 100 No. 1 lead single “Hate That I Made You Love Me,” for instance, she muses with brutal honesty, “I’ve held your projections when you’ve felt so insecure/ Tell me, why is it this way?/ Why you so hate to see women endure?/ Is it really my fault you all gave me your hearts of your own accord?”

“Good luck on your way to hell,” the vocalist sings plainly on a clip from one song she posted on Instagram earlier in July.

And on the title track — which she debuted live on stage at her first Eternal Sunshine Tour show in Montreal — she further addresses her relationship to being in the public eye. “All of my favorite stories end in some kind of catastrophe,” the lyrics read. “But I don’t need someone to save me/ ’Cause this music and I will never die.”

Watch the clip from Grande’s conversation with Apple Music below.

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The electronic world is reeling Wednesday (July 29) with the news of Kavinsky’s death. The French synthwave producer was found dead in his Paris home on the night of July 28, local time, with police reporting that the artist had been experiencing headaches and may have died from a stroke. An inquiry has been opened to determine the cause of death, with first responders finding nothing suspicious at the scene. He was 50 years old.

A synthwave pioneer, Kavinsky was a key member of the global swell of French Touch in the early and mid-2000s and into the 2010s. He became famous for 2010’s “Nightcall,” a synthwave masterpiece and staple of the era that gained global renown when it was used in the 2011 film Drive, starring Ryan Gosling and directed by Nicolas Winding Refn.

Now, the artist born Vincent Belorgey is being remembered by friends and associates.

“Just learned about Kavinsky’s passing,” David Guetta wrote on social media. “A true icon of French electronic music. Thank you for creating a sound that was entirely your own and for leaving us with music that will continue to inspire. Thank you for your kindness and simplicity. My thoughts are with his family, friends, and loved ones. Rest in peace.”

“Kavinsky was the funniest person I’ve ever met,” wrote A-Trak. “As I sit here processing the sadness of losing a dear friend, I think this is what he would want me to remember. The good times. There were many sides to Vinco. Of course there was the Kavinsky character, the zombie in the ‘Teddy’ varsity jacket, driving a Testarossa — whose music became more celebrated than ever in recent years since the French Olympics. But there was also a man who, in my case, joined the Fools Gold Records tour on the first year of the label, who had us in tears cracking up every time we saw him, who stayed at my apartment in Montreal back in the day, who had a nickname for everyone in the crew. The lore runs deep, a lot of stories will have to wait for another day but for now go watch the video for Mr. Oizo’s ‘Analog Worms Attack‘ to get a glimpse of Vincent the actor before he became a musician. Everyone who met him was marked by his charisma. RIP to the silver fox.”

Madeon wrote that “Yesterday I was going through my CD copy of OutRun, amazed by the vibrancy of his universe… I remember reading all the updates about him on French Touch Forum as a teen and how nervous I was when I finally got to meet him. A few months ago I played ‘Nightcall’ at Coachella as the sun set and I got chills sharing this unique moment with the crowd. It’s a generational record that our kids will discover as well. Sending love to his friends and family.”

Sebastian Tellier wrote, “You were one of a kind—hilarious and deeply moving. Your brilliant, masterful music will stay with me—and all of us—forever. We shared so much over the years: records, movies, music videos, fits of laughter, and endless nights out!!! I’m going to miss you terribly, my Vinco —as will the whole French Touch scene and our beloved Montmartre neighborhood. You were, and always will be, a legend!!!”

“My Vincent, the night truly called you back too soon,” wrote Jean-Michel Jarre. “I remember our late-night calls and the bond we shared, and I keep you close to me, my little brother-in-arms.”

Gaspard Auge of Justice simply wrote, “Goodbye mon cher ami.”