En “Divine Intervention”, una alegre canción sobre ignorar el apocalipsis del próximo álbum número 25 de los Rolling Stones, Mick Jagger confiesa que una vez se preocupó tanto por el fin del mundo que consultó a una vidente de Hollywood. “En medio de la oscuridad, le pregunté: ‘¿Cuál es mi futuro?’ / Bueno, vomitó”, se lamenta sobre un ritmo de guitarra boogie al estilo de Some Girls. El mensaje de Jagger en el estribillo es que incluso cuando el mundo se acaba, “los valores distópicos son demasiado intensos para soportarlos, y me voy a morir en llamas”. ¡Eso sí que suena bien!
Después de todo, al tipo que cantó tanto “Time Is on My Side” como “Time Waits for No One” —el mismo que una vez dijo que preferiría estar muerto antes que cantar “Satisfaction” a los 45— nunca pareció importarle demasiado el futuro. Jagger, que cumplirá 83 años poco después del lanzamiento del álbum el 10 de julio, siempre ha cantado sobre vivir el presente. En los sesenta, cuando Paul McCartney lamentaba elegantemente una ruptura en “Yesterday”, Jagger le reprochaba a su ex con “Yesterday’s Papers”. Y mientras que en el excelente nuevo álbum de Macca recordaba a The Boys of Dungeon Lane, los Boys of Dartford Station están más interesados en asuntos internacionales.
“Ringing Hollow”, un rock country con ritmo pausado que recuerda la influencia de Gram Parsons en los Stones, es la carta de despedida de Jagger y Keith Richards a Estados Unidos. “Bueno, estaba locamente enamorado de ti / Antes de conocernos”, canta Jagger. “Vi todas tus películas / Fumaba tus cigarrillos”. Pero ahora, canta Jagger, “La Estatua de la Libertad está de mal humor”. Es una canción folk americana llena de observaciones irónicas y mordaces como: “Dejen que los soñadores consigan el sueño que desean, mi chiste favorito / Así que pasen el fentanilo / Pasen la cocaína… Cuando las voces se ahogan / Quiero gritar a todo pulmón”. ¡Auch! Sabemos que aún adoran a sus fans estadounidenses, pero al igual que con “Sweet Neo Con”, “Undercover of the Night” y “Street Fighting Man”, cuando los Stones ven una injusticia, no dudan en protestar.
Mientras tanto, en «Divine Intervention», una de las mejores canciones de Foreign Tongues, con un magnífico solo de blues de Ronnie Wood, Jagger describe a «multimillonarios escabulléndose, corriendo a sus refugios en el cielo». En «Covered in You», rapea: «Me despierto harto de todos estos autócratas/Sabes, parecen reproducirse como un enjambre de ratas sucias con sus misiles en exhibición». Nunca menciona a Trump por su nombre, pero sí lanza una pulla a uno de los compinches del presidente en «Mr. Charm», por lo demás un himno de gigoló caprichoso, cuando se refiere al primer trillonario del mundo como «el magnate loco Sr. Musk».
En “Never Wanna Lose You”, una canción pop-rock con un bajo funky y la participación de Robert Smith de The Cure en los sintetizadores, Jagger muestra la otra cara de la vida cuando le dice a su amante que incluso viviría con ella en Nápoles, aunque podría referirse a Nápoles, Florida, ya que describe “un parque de caravanas destartalado”. Al fin y al cabo, la política, como dijo Aristóteles, es la lucha entre los pobres y los ricos. (Y, fiel a su estilo, este hombre de riqueza y buen gusto nunca hace alarde de su propia condición de multimillonario ni la de sus compañeros de banda).
El nuevo LP llega tres años después de Hackney Diamonds. Aquel disco supuso una especie de regreso, ya que fue su primer álbum de música original en casi dos décadas, y, bueno, fue bastante bueno. Le valió a la banda —que ahora incluye al bajista Darryl Jones y al baterista Steve Jordan— un Grammy y los consagró como los creadores de éxitos más veteranos de Inglaterra. Foreign Tongues, que probablemente recopila temas de Diamonds que aún estaban en fase de grabación, se siente como algo habitual para el grupo, en el buen sentido, ya que la grabación obtuvo resultados similares.
Las 14 canciones del disco incluyen temas de rock enérgicos (“Hit Me in the Head“, “Rough and Twisted“), baladas con emotivas despedidas y diálogos fuera de escena (“Back in Your Life“ y la excelente “Some of Us“ de Richards), baladas disco desgarradoras (“Jealous Lover“, “Never Wanna Lose You“), temas country (“Ringing Hollow“) y un sinfín de riffs de Chuck Berry (literalmente en una reverente versión de “Beautiful Delilah“ de Berry). Aquí no hay giros inesperados ni experimentos pop, solo la satisfacción de la música reconfortante al más puro estilo Stones.
Al fin y al cabo, los Stones saben cómo debe sonar un disco suyo. Su fidelidad al blues, el R&B y el rock and roll clásico permanece intacta, y en caso de que se desvíen, cuentan con Andrew Watt, quien también produjo Hackney Diamonds, guiándolos. Figura como productor e incluso tiene algunos créditos de composición junto a Jagger y Richards, pero probablemente también debería haber recibido un reconocimiento por su “conciencia”, ya que, como superfanático, les ayudó a recordar su esencia: riffs cálidos y bluseros combinados con la mordaz ironía de Jagger.
Los únicos momentos realmente desconcertantes del álbum son el rap de Jagger en la, por lo demás, excelente “Covered in You“ —donde McCartney toca un ritmo animado con el bajo mientras Jagger dice algo sobre “espera a ver el blanco de sus culos”— y una versión bastante convencional de “You Know I’m No Good“ de Amy Winehouse, cuya mejor parte es Jagger imitando la producción de Mark Ronson con su armónica. Lo único que falta son improvisaciones largas, una travesía nocturna o una tempestad como “Gimme Shelter“, pero el álbum ofrece en gran medida lo que los fans de los Stones necesitan.
Al igual que en Hackney Diamonds, la lista de invitados es extensa: McCartney, Smith, Steve Winwood (que se limita al piano y al órgano), Benmont Tench de los Heartbreakers (al órgano) y Bruno Mars, que toca un cencerro casi inaudible en la fiesta disco “Never Wanna Lose You“. Al igual que en Hackney Diamonds, la aparición más destacada es la del difunto y genial Charlie Watts en la canción “Hit Me in the Head“, al estilo de “Hang Fire“, grabada en 2021; y esto no es una falta de respeto a Jordan, quien tiene un estilo diferente y golpea con más fuerza.
El álbum suena un poco demasiado pulido a veces, pero en general Foreign Tongues se mantiene fiel al sonido característico de los Stones, o al menos a la idea que Watts tenía de cómo debían sonar. No hay ritmos pesados como los de Dust Brothers en este álbum, como sí los había en Bridges to Babylon. Jagger, Richards y Wood saben que nunca superarán la racha ganadora que los llevó desde Beggars Banquet hasta Exile on Main St. (sin olvidar Aftermath, Some Girls o Tattoo You), así que ¿por qué no superar Dirty Work y Voodoo Lounge, algo que logran con creces aquí? La voz de Jagger es una maravilla moderna, sonando tan bien como hace 40 años; Incluso canta “You Know I’m No Good” en un tono más alto que Winehouse. Y el “antiguo arte de entrelazar” de Richards y Wood produce texturas densas, especialmente en “Ringing Hollow”, que permiten que cada uno de ellos destaque aquí y allá con solos de guitarra.
En cierto modo, Foreign Tongues supone una mejora respecto a Hackney Diamonds, ya que este último sonaba a veces demasiado a un disco en solitario de Jagger por su énfasis en las melodías vocales; este se siente más centrado en la guitarra y con un sonido más característico de los Stones. El objetivo, como ha dicho Watt, era crear canciones que funcionaran bien en grandes estadios, y los sencillos “In the Stars“ y “Never Wanna Lose You“ podrían lograrlo si la banda quisiera volver de gira.
Como siempre, las mejores canciones surgen cuando los Stones se desatan. En “Jealous Lover“, un tema soul con toques funk que recuerda a “Emotional Rescue“, Jagger rompe con su amante en falsete porque ella es demasiado celosa de otras mujeres (y, por cierto, nunca dice que no le esté siendo infiel). Y abraza la actitud de ligón en la divertida “Mr. Charm“, donde seduce a una mujer rica diciéndole: “La vida es demasiado corta para solo ganar dinero / Enséñame a gastarlo, cariño“. (En un raro reconocimiento de su edad, admite en la canción que, si bien alguna vez soñó con recorrer Marte, ahora prefiere quedarse en casa y “hacer anagramas, soltar epigramas“). Luego está “Some of Us“ de Richards, una conmovedora declaración de devoción cuyos orígenes como canción se remontan a los años ochenta, en la que canta: “Algunos de nosotros estamos de rodillas, suplicando, cariño“. Hay una profunda emoción y vulnerabilidad en la voz de Richards, que ocasionalmente se entrelaza con la de Jagger, de una manera que refleja un nivel de dedicación que solo se alcanza con un amor duradero.
Y hablando de amor duradero, el álbum termina con Jagger y Richards, presentes en la vida del otro desde los cinco años, cantando “Beautiful Delilah“ de Berry, con Chad Smith de los Red Hot Chili Peppers al bombo. Al igual que cuando los Glimmer Twins interpretaron “Rolling Stone Blues“ de Muddy Waters en Hackney Diamonds, su elección de Berry representa un momento muy especial para el dúo, ya que Jagger llevaba discos de Waters y Berry cuando se reencontró con Richards en la estación de tren de Dartford, y el primer sencillo de los Stones fue una versión de “Come On“”” de Berry. Durante cuatro minutos, volvieron a ser Blues Incorporated, su primera banda. Y se nota que esa chispa original aún late en ellos.
Jagger ha expresado su deseo de que los Stones publiquen más discos, pero a medida que él y Richards se acercan a los ochenta (Wood cumplirá 80 el año que viene), siempre existe la sensación de que este álbum podría ser el último. No lo saben. Si lo es, sin embargo, Foreign Tongues es un álbum que está a la altura de su legado.
The post Crítica: Los Rolling Stones continúan su racha ganadora con ‘Foreign Tongues’ appeared first on Rolling Stone en Español.
A veces, la mejor escapada está más cerca de lo que imaginamos. Madrid, con su inconfundible carácter cultural y tradicional, ofrece el equilibrio perfecto entre la energía de una gran metrópoli y la serenidad de sus rincones históricos. Aquí, la vanguardia convive armoniosamente con un legado centenario que se transmite de generación en generación, permitiendo descubrir la esencia más auténtica de España mientras se disfruta de todo lo que una ciudad moderna tiene para ofrecer. Y no hay nada mejor que encontrar una estancia que conecte con lo esencial de la metrópoli, aquí es donde entra en escena JW Marriott Hotel Madrid.
Ubicado en el pleno corazón de Madrid, el resort se ha consolidado como un referente en la industria hotelera en la capital. Ofrece una experiencia inigualable donde el bienestar converge de manera armoniosa con el placer y el confort, siendo uno de los emblemáticos edificios que cuentan con una estancia cinco estrellas. La calma y sofisticación lideran este placentero hotel que se encuentra a pocos pasos de los lugares más icónicos e históricos de la ciudad, como la Puerta del Sol, el Palacio Real y la Plaza Mayor.
El JW Marriott Hotel Madrid destaca por un diseño sofisticado que rinde homenaje a la rica historia de la capital española. Con 139 habitaciones y suites distribuidas en siete plantas, algunas de ellas cuentan con balcones privados desde los que es posible contemplar impresionantes vistas panorámicas de la ciudad. Concebido bajo una filosofía orientada al bienestar integral, el hotel ofrece un entorno pensado para revitalizar cuerpo, mente y espíritu. Su legado histórico permanece intacto gracias a la cuidadosa conservación de elementos arquitectónicos originales, como las columnas de hierro forjado del siglo XIX, un tributo al pasado que se integra armoniosamente con la elegancia contemporánea de sus espacios. Más que un alojamiento, se trata de un refugio donde el descanso, la sofisticación y la excelencia gastronómica convergen para crear experiencias memorables y momentos verdaderamente especiales.
La propuesta gastronómica del JW Marriott Hotel Madrid se posiciona entre las más destacadas de la ciudad. Fiel a su sello de excelencia y exclusividad, este hotel cinco estrellas convierte el bienestar en una experiencia integral que también se expresa a través de la alta cocina. Su restaurante QÚ, liderado por el chef con estrella Michelin Mario Sandoval, ofrece una propuesta culinaria que rinde homenaje a la riqueza gastronómica española. Concebido para resaltar la calidad de los ingredientes locales y recuperar la esencia de las recetas tradicionales, su menú incorpora una visión contemporánea que cautiva tanto a los paladares más exigentes como a los amantes de la buena mesa. Cada plato refleja un equilibrio entre tradición e innovación, consolidando a QÚ como un destino imprescindible para quienes desean descubrir la auténtica cocina española desde una perspectiva moderna y sofisticada.
En JW Marriott Hotel Madrid, el compromiso con el bienestar trasciende la hospitalidad tradicional para convertirse en una experiencia integral. Sus exclusivos paquetes combinan tratamientos de spa con propuestas gastronómicas diseñadas por Mario Sandoval, creando momentos pensados para quienes buscan una estancia enriquecedora, memorable y llena de sensaciones. Desde masajes revitalizantes acompañados de cócteles de autor en el lobby hasta selectos aperitivos especialmente concebidos para complementar una sesión de spa, cada experiencia ha sido cuidadosamente diseñada para promover el equilibrio entre cuerpo y mente. Una invitación a desconectar, renovarse y disfrutar de un bienestar que se vive a través de cada detalle.
Más que ofrecer una de las estancias más exclusivas de la capital española, este hotel se presenta como un auténtico refugio para quienes desean descubrir la esencia de Madrid sin renunciar al lujo y al bienestar. Cada espacio ha sido concebido para brindar una experiencia que invita a desconectar, revitalizarse y disfrutar de la ciudad desde una perspectiva más serena y sofisticada. Gracias a su personalidad única, su legado histórico y su firme apuesta por el bienestar integral, JW Marriott Hotel Madrid redefine el concepto de hospitalidad en la capital, convirtiendo cada estancia en una experiencia memorable para los sentidos.
The post JW Marriott Hotel Madrid: el arte de la hospitalidad appeared first on Rolling Stone en Español.
A household name as one of the Backstreet Boys, Howie Dorough (artistically known as Howie D) now presents his new, solo single “Coqui” — marking his official Spanish-language debut, premiering exclusively on Billboard on Wednesday (June 17).
The nearly three-minute track, penned by Dominican songwriter Darlin, is a sensual Afrobeats jam powered by Howie’s sugary vocals, the subtle sounds of the coqui (a small tree frog native to Puerto Rico) and crashing ocean waves.
“Making this record, I wanted to identify with things that were true to me, about the culture, the people, and my heritage,” Howie — who was born in Orlando, Fla. to a Puerto Rican mom and Georgia-based dad — tells Billboard. “This is where my mother is from, and where I have the most connection with growing up. With this song, I’m properly connecting with my roots, and I’ve never fully dived in until now.”
Known as one of the Latin singers of BSB, Howie previously sang in Spanish with the beloved boy band in “Nunca Te Haré Llorar” (“I’ll Never Break Your Heart”) and “Donde Quieras Yo Iré” (“Anywhere for You”); however, he shares that growing up in South Florida in the ‘70s and ‘80s, he wasn’t surrounded by many Latinos, which made it a challenge for him to fully grasp the language.
“I wanted to sound authentic, and the music felt real to me, it felt very natural,” he says of the song’s creative process. “It was almost like re-training my tongue to understand, it felt like a child learning a language for the first time. I was very humble, I was corrected a hundred times. I didn’t want to accept mediocracy. There were times that were easier, there were other times that I was frustrated, but I got through with Darlin’s coaching and my Duolingo app.”
“Coqui” is Howie’s third attempt at releasing a Spanish-language project, and though he’s aware of his huge, devoted Latin following, he admits that his own insecurities always got in the way.
“Making music in Spanish has been a passion of mine, but also a struggle,” he expresses. “I was a little scared of not being accepted by my own people, because I didn’t speak the language perfectly. I wasn’t so much worried about my fans, but of the industry tearing me apart.”
Over the years, he’s grown more comfortable with his Latin identity, and has fearlessly honed his Spanish-speaking skills — with ”Coqui” serving as a reflection of that.
“Latin music is so big right now, and people are willing to hear music that’s not in their own language,” he notes. “I don’t have major expectations… this is a passion for me, it’s more of a journey. It’s a story that hopefully people will get to know, of a kid who once wanted to embrace his culture, his roots, and because of society and insecurities over the years, I’ve held myself back, but now is the time.”
Below, watch the exclusive video premiere of “Coqui”:
Fresh from opening his 12-night stand at London’s Wembley Stadium, on Tuesday (June 16) Harry Styles found himself in a more intimate environment for a special one-off show at London’s Meltdown Festival, where he treated the crowd to a varied setlist of covers, deep cuts and reimagined songs with the Jules Buckley Orchestra.
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Styles was appearing as part of the festival, held at Southbank Centre’s Royal Festival Hall, which he is also curating for 2026. Previous curators include Robert Smith, David Bowie and Grace Jones.
During the 13-song show, Styles switched up the setlist from his Together, Together residency tour and favored a number of rarely-played songs. “Two Ghosts,” from his 2017 debut album, Harry Styles, was performed for the first time in six years, while a number of tracks from his new album Kiss All The Time. Disco, Occasionally received new arrangements. Elsewhere, fan favorites such as “Fine Line,” “Matilda,” and “Boyfriends” were included in the show.
The set also included a number of covers, with Styles spending much of the evening at the piano. He played songs by Canadian songwriter Patrick Watson (“Here Comes the River,” and “Hommage”) and closed the set with a cover of Simon & Garfunkel’s “Bridge Over Troubled Water.” The latter has been used by Styles as his pre-show entrance music during the Together, Together run so far.
“I’ve always been a lover of orchestral music, classical music, and it’s quite an intimidating field to step into as someone who doesn’t, cannot, read music,” said Styles of the switch-up from his usual shows (per The London Standard).
Styles’ Together, Together run kicked off in Amsterdam, Netherlands in May and arrived at Wembley Stadium on Friday (June 12) and will run for 12 nights across June and July. He is now the historic venue’s new record holder for the most shows by an artist in a calendar year; Coldplay previously held the title with a 10-show stand in 2025.
See the full setlist for the show at London’s Meltdown Festival below.
“Boyfriends”
“Paint By Numbers”
“Matilda”
“Matter Red” (Orchestral interlude)
“Two Ghosts”
“The Waiting Game
“Fine Line”
“Hummingbird” (Orchestral interlude)
“Coming Up Roses”
“Here Comes The River” (Patrick Watson cover)
“Carla’s Song”
“Hommage” (Patrick Watson cover)
“Bridge Over Troubled Water” (Simon & Garfunkel cover)
Former President Barack Obama has lined up a galaxy of superstars to help him celebrate the grand opening of his Obama Presidential Center in Chicago. Thursday’s (June 18) event — which will livestream globally at noon ET — will feature performances and appearances from U2’s Bono and The Edge, Bruce Springsteen, Christina Aguilera, Common, Pearl Jam singer Eddie Vedder, Jennifer Hudson, John Legend, Stevie Wonder, Tems and The Roots.
In addition, the event will feature an appearances by the nonprofit arts-based youth development organization Guitars Over Guns, the Illinois Army National Guard and Uniting Voices Chicago, as well as speeches from Obama and former First Lady Michelle Obama. The lineup was announced in a social post featuring an animated group chat with the various artist’s excited responses to the invitation to appear alongside the Obama, with Springsteen asking, “Is this really happening [mind blown emoji], The Roots responding, “Beyond honored. Can’t wait to celebrate with you” and hometown hero JHud adding, “Wouldn’t miss it for the world.”
According to a statement, the grand opening marks the official dedication of the towering center Chicago’s South Side, with the livestream bringing together, “global leaders, artists, changemakers, and citizens for an inspiring celebration of the values that shaped the Obama presidency and continues to inspire people everywhere to believe in their power to create change.”
The $850 million Center financed through private donations sits on a 19.3-acre campus in the city’s Jackson Park and officially opens to the public on Friday (June 19), Juneteenth, with a series of celebrations and events planned for the public throughout the weekend.
Check out the announcement below.
Robbie Williams, arguably the most successful British male artist this century, has signed with WME for worldwide agency representation.
Announced early Wednesday, June 17, the former Take That singer joins WME after his move to the ATC Management roster.
Robbie, as he’s affectionately known to his millions of fans, is a megastar in the United Kingdom and Europe, and around the globe.
According to the Official Charts Company, Robbie boasts six of the top 100 best-selling albums in British recorded music history, with 16 U.K. No. 1 albums as a solo artist — breaking the tie with the Beatles, for the most leader of all time. He also owns 18 Brit Awards, more than any other artist. His international album sales top 90 million.
In the United States, where his cheeky-chappie appeal never quite caught on, Robbie bagged two appearances on the Billboard Hot 100 led by “Angels” at No. 53, and four of his albums impacted the Billboard 200 chart.
Across his decorated career, Williams has collected eight German ECHO Awards, three MTV Europe Music Awards, and last year was appointed as the official FIFA music ambassador, through which he co-wrote and recorded the FIFA anthem, “Desire,” which will be played at the international soccer governing body’s future tournaments, including the current FIFA World Cup.
Also last year, he won the prestigious PRS for Music Icon Award at The Ivors 2025, his fifth Ivor Novello Award. His big screen projects include the Oscar-nominated film Better Man, which swept the 2025 AACTA Awards in Sydney, taking home four major trophies including best film. He’s also the subject of a well-received four-part documentary for Netflix, Robbie Williams.
As a member of Take That, Robbie lived the largest of lives. Formed in 1989 as a five-piece — Gary Barlow, Howard Donald, Mark Owen, Jason Orange and Williams — the pop group was one of the most popular acts of its generation, certainly in the U.K., where few acts can challenge their chart superiority.
Take That is also a proven box-office juggernaut. Their record-breaking 2011 Progress tour (for which Williams returned to the fold) sold over 1 million tickets in less than 24 hours; the following year the lads performed at the closing ceremony of the 2012 London Olympics; and they hold the record for the most performances at London’s The O2, with 34 headline shows.
Williams is playing stadiums around the globe this year in support of his new album BRITPOP, which dropped in January and immediately went to No. 1 in his homeland.
“Is everyone alright? It’s good to be back.”
The answer to that open question from Eddy Current Suppression Ring’s frontman Brendan Huntley is, of course, “yes,” and absolutely. Sixteen years have passed since ECSR worked their homebaked brand of punk rock on Sydney crowds. That damned drought came to an end in spectacular fashion on Friday night, June 12, fittingly as Vivid Sydney 2026 entered its final stages.
ECSR are royalty in Australia’s underground scene, princes of independent, garage rock. Formed back in 2003 in the front room of a vinyl pressing plant in Highett, a suburb of Melbourne, the four-piece built a cult following, one that extends far beyond these shores. Half a decade later, ECSR had ascended the throne with Primary Colours, their second studio album, which would win the coveted Australian Music Prize for the best Aussie album of the year, regardless of sales or hype, and snagged an AIR Award for best independent hard rock/punk album. For the AIR Awards ceremony in 2008, at Melbourne’s Corner Hotel, they nailed a meaty mini-set for industry guests.
Sightings of ECSR are uncommon. These lads are like rare birds.
Then, a bolt from the blue. ECSR recently dropped a new, fifth studio album, In Light of Recent Events, their follow-up to 2019’s All in Good Time. A heads-up came in 2025 with the release of a three-track EP Shapes And Forms, which was supported last September with a free-show at Federation Square, in the band’s hometown.
Last weekend was Sydney’s turn, with a free, headline show at Tumbalong Park, on Darling Harbour. “Sixteen years,” Huntley said at the top, shaking his head, perhaps recognizing the length of the hiatus as both a blink of an eye, and an entire lifetime. Whatever, it was too long. Huntley hasn’t lost any of his frontman skills. Throughout the set, which included “Cool Ice Cream,” “Colour Television” and “Which Way to Go,” he paced about like a cat, looking for a mouse that got away. We see that introspective skinny dance, the thousand-yard stare. The gloves still fit. Gee, it’s good to have them back.
ECSR was one of the highlights of Tumbalong Nights, which showcased upwards of 40 artists from 12 countries, including Aussie acts Mallrat, Matt Corby and Gretta Ray.
All up, the Sydney-wide festival booked 217 events, and 2,253 sessions across 89 locations across its three weeks. The Vivid LIVE program at the Sydney Opera House featured Mitski’s residency and performances from the likes of Jeff Mills, King Stingray, Mogwai and 2026 Libera Award winners Folk Bitch Trio, all of it shifting almost 40,000 tickets for the strongest box office result since COVID-19 and its second-largest on record, organizers say.
The Carriageworks program, which included performances from Lil’ Kim, Alison Wonderland and others, captured more than 30,000 ticket bookings, generating a 38% gain in revenue compared with the previous year’s event.
“This year’s Vivid Sydney has been an extraordinary success,” enthuses Vivid Sydney festival director Brett Sheehy, “exceeding our expectations not only terms of sell out shows across the program, but also in the level of enthusiasm, connection, and delight we’ve seen across the city.” Visitors stuck around, too. “What’s been particularly striking this year is the depth of engagement across the program, with visitors exploring more than ever,” adds Sheehy. “On average they attended 4.5 locations and spent around three hours immersed in the festival per visit.”
Eddy Current’s fans came and stayed for their special set, on the penultimate evening of the Sydney-wide live entertainment and arts extravaganza. Many in the crowd would proudly wear the Gen-X badge, beer in hand, wearing sensible, but pretty groovy, jackets on a chilly night. Up front, the younger, wilder fans unleashed their energy the old-fashioned way — by crowd surfing.
It was a blast from the past, much like the band on stage.
“I’d love to see you again someday,” remarked Huntley, after taking the plunge for his own end-of-set surf, as he rode the crowd on his back while belting out “Get Up Morning.” “You’re always good to us, Sydney.”
Vivid Sydney is owned, managed, and produced by Destination NSW, the NSW Government’s tourism and major events agency.
Isaac Atkins is one man whose job doesn’t define him.
The 23-year-old from Lewiston, Maine, speaks with a booming baritone voice, the kind that thumps your chest like a sound system built to handle bass. No doubt he uses that talent to some effect in his regular job, serving as a sergeant in the U.S. army.
On Tuesday night, June 16, Atkins got his chance to chase his dream when he stopped by America’s Got Talent during the Auditions phase.
At the top, Simon Cowell asked why Atkins was stood before him, and why now? Atkins, who is currently on leave (“I took a few days off to come here”), loves nothing more than to sing in the car. He’s been doing it since he was a kid, we learned, when his dad introduced him to the magic of Motown, and Sam Cooke.
Roughly 18 months ago, Atkins decided to share his gifts on social media with clips of himself singing songs by a slew of artists, from Elvis Presley to Dolly Parton and Kenny Rogers, sombr, Gucci Mane, Bell Biv DeVoe, The Smiths and others. His colleagues saw it, loved it. They were “the ones who kind of urged me to come here and sing. And realize my dream,” he recounts on the AGT stage. “So, I’m really happy to be here.”
Performing in front of a national — no, international — audience is no accident. “This is my dream,” he remarks.
Atkins didn’t waste his chance. He showcased his range and power with a cover of “Beggin’,” the soulful 1967 song by Frankie Valli & The Four Seasons that enjoyed a second life when it was covered by Eurovision champions Måneskin in 2017.
“Isaac, let me tell you,” Mel B enthused. “You can sing.”
Sofía Vergara had similar thoughts. “What a voice. What a sexy voice you have,” she added.
Before Cowell or Howie Mandel had a chance to chime in, Mel B took matters into her hands. “Hold on a minute, before anyone else does this, I’m going to do it,” the Spice Girl said, as she reached for the Golden Buzzer. Cue gold confetti and good times.
Atkins, who has been in the army for six years and is stationed in Honolulu, now advances to the Live round of NBC’s AGT, which is currently in its 21st season.
Watch his Audition in full below.
Oh yes, oh yes! Carl Cox is now an OBE (Officer of the Order of the British Empire), recognition for his outstanding services to music.
The pioneering British DJ and record producer is one of several music figures named in the King’s Birthday Honours List. Writing on his socials, Cox, one of the outstanding technical DJs of them all, a master of techno and house whose career spans over four decades, says he is “absolutely thrilled and deeply honoured” by his award.
“Music has been my life for as long as I can remember. From the earliest days behind the decks to performing on stages around the world, it has been an incredible journey filled with passion, creativity, and unforgettable moments. I’ve been fortunate to do what I love and to connect with so many amazing people through the power of music,” he writes.
“This recognition is not mine alone – it belongs to everyone who has been part of the journey. To the fans who have supported me throughout the years, the artists who have inspired and collaborated with me, the promoters, crews, and teams working tirelessly behind the scenes, my family, friends, and the wider electronic music community: thank you. Your belief, dedication, and energy have helped shape every step of this remarkable path.”
“To receive this honour for doing something that has brought me so much joy is truly humbling. Electronic music has given me a purpose, a voice, and a global family, and I’m proud to have played a part in its growth and continued success.” Cox extends a thank you “to everyone who has supported me along the way. Your encouragement has meant the world to me, and I’m genuinely grateful for every opportunity, every dancefloor, and every shared experience.”
Also recognized by King Charles is fellow British DJ Judge Jules (real name: Julius O’Riordan), who is appointed a Member of the Order of the British Empire (MBE). O’Riordan is saluted for his services to the music industry, entertainment law, and young people.
“I’ve done an awful lot of mentoring. I mean, a good example of what I do,” he tells LBC Radio’s Ali Miraj. “I go to the Brit School, which is… the Brit School has generated more famous global musical icons out of this country than any other single entity. And I go there and I lecture at least once or twice a year. And there are many other ways that I feel that if you’ve been experienced like I have, it’s one’s absolute obligation to give back and to mentor because the arts in this country have had challenging times on and off, but are a real flag that this country needs to fly.”
Also, Black Sabbath guitarist and co-founder Tony Iommi is made an MBE for services to music and charity, while several leading figures from the world of classical music are saluted.
The New Year and King’s Birthday Honours are awarded by the King following recommendations by the prime minister or senior government ministers, as celebration of outstanding achievements, personal bravery, and public service.
Meanwhile, several outstanding artists and executives from Australia’s music community are tapped in the King’s Birthday Honours List. Keith Welsh, co-founder, bassist and now manager of Iva Davies’ ARIA Hall of Fame inducted band ICEHOUSE, receives the Medal of the Order of Australia (OAM), as does Philip Walker (OAM), chair and co-founder of Origin Music Group.
There’s a posthumous award for James Valentine, the beloved broadcaster and sax player for ARIA Hall of Famer inducted new wave band Models and Absent Friends. Valentine, who passed in April, at the age of 64, following a battle with cancer, becomes a Member of the Order of Australia (AM).
The honors recognize and celebrate the exceptional achievements, community service, and public contributions of hundreds of distinguished Australians, and are awarded by the Governor-General of Australia, acting on the recommendation of the Council for the Order of Australia.
SYDNEY, Australia — BMG has acquired the publishing catalog of Chris Cheney, frontman, songwriter and guitarist of The Living End, in a deal announced just days after the Australian rock trio was inducted into the 2026 ARIA Hall of Fame.
The acquisition expands on a relationship that has seen BMG serve as Cheney’s global publisher since 2016 and the group’s global label since 2018. Financial terms of the new deal weren’t disclosed.
“One of the great joys of being a musician is songwriting,” Cheney comments in a statement, issued Wednesday, June 17. “The magical feeling you get from the process of creating something from nothing! Songs can take weeks to write, or they can appear in minutes seemingly out of nowhere, they are the most wonderful, mysterious, powerful things!”
The Living End, he continues, “have always had an incredibly strong connection with our audience around the world through our catalog of songs. I’m thankful and very honored to have done this deal with BMG who I know share the same passion and enthusiasm for music and for this catalog.”
Formed in Melbourne in the 1990s, the trio, with dashes of rockabilly, pop-punk, and indie grit, earned a reputation as a must-see live act, a label that sticks to this day. The rockers’ ARIA Chart-topping self-titled 1998 debut remains one of Australia’s best-selling rock albums, and housed one of the era’s all-time anthems, “Second Solution / Prisoner of Society”.
Over time, the band, comprised of Cheney, Scott Owen and Andy Strachan, have snagged two No. 1 albums, six ARIA Awards, APRA’s song of the year, and a swag of top 10s, including last year’s album release I Only Trust Rock ’N’ Roll, which peaked at No. 5 on the all-genres ARIA Chart.
The Living End was inducted June 11 into the ARIA’s Hall of Fame during a ceremony in Sydney, part of a class that included the late Gurrumul, Jenny Morris, Kate Ceberano, Spiderbait, and Vika & Linda.
“The Living End has been the soundtrack to countless Australian stories and memories while the band has simultaneously achieved cult status internationally as one of the best live rock bands of all time,” comments Heath Johns, president, Australia, New Zealand and Southeast Asia, BMG.
“As The Living End enter the ARIA Hall of Fame, we are incredibly honored that Chris has chosen BMG as his forever home for these iconic publishing rights, and we look forward to finding new opportunities for them at home and abroad.”