Get ready to flip out: G Flip will take their Bed On Fire tour through North America this summer.

The Australian singer, songwriter and multi-instrumentalist launches the trek off the back of “Bed On Fire,” which too is on fire after it was synced in Amazon’s Off Campus series. G Flip’s latest coast-to-coast visit gets underway Aug. 4 at New York City’s Bowery Ballroom, and will include dates in Boston, Toronto, Chicago, Los Angeles, Seattle, Nashville, and elsewhere.

Also, G will headline Chicago Pride on June 21, and perform at Brighton Pride on Aug. 1, before supporting Robbie Williams’ BRITPOP Australian stadiums jaunt this November.

It’s been another hot run for the multiple ARIA Award-winning Sydney artist, who recorded the official song for the 2026 AFC Women’s Asian Cup, and performed a mini-set at the soccer tournament’s grant final.

Since then, “Bed On Fire” has been sizzling. On the latest ARIA Singles Chart, it has snagged a new peak position, up 33-28; the cut sits at No. 2 on Billboard’s Alternative Digital Song Sales chart; and it crashed Billboard’s Hot Rock & Alternative Songs tally, with a peak of No. 46.

Following the premiere of Off Campus in May, the tune has seen total streams surge by more than 650%, according to reps, with over 86% of its lifetime streams generated during that period. Total worldwide streams have flown by 20 million.

G has been in record-setting form in their homeland, where in early 2024, they established a then-record by landing a total of seven songs in triple j’s Hottest 100 countdown, including the No. 2 ranked track, “The Worst Person in the World”. That bettered the mark previously held by rock trio Wolfmother, which scored six entries in a countdown two decades earlier, in 2005 (Charli xcx and Billie Eilish have since raised the bar, with eight entries each).

Earlier, in 2023, G landed a first ARIA No. 1 album with DRUMMER, released via Future Classic/Universal (their debut from 2019, About Us, peaked at No. 6), and bagged two ARIA Awards.

“Bed On Fire” appears on their third studio album, Dream Ride (via AWAL Recordings), which G described as their “little ‘80s Butch Springsteen fantasy.” Dream Ride motored to No. 4 on the ARIA Albums Chart last September.

The general ticket onsale for the Bed On Fire tour starts today, June 18 at 10am. Visit gflipmusic.com/tour for more.

2026 Bed On Fire Tour:

Aug. 4 — Bowery Ballroom, New York, NY

Aug. 6 — The Sinclair, Boston, MA

Aug. 7 — Le Studio TD, Montreal, QC

Aug. 8 — Mod Club, Toronto, ON

Aug. 10 — Lincoln Hall, Chicago, IL

Aug. 18 — The Roxy Theatre, Los Angeles, CA

Aug. 20 — The Independent, San Francisco, CA

Aug. 22 – Portland, OR – Wonder Ballroom

Aug. 24 – Vancouver,  BC – Hollywood Theatre

As should be expected, Stewart Copeland is spending a fair amount of time talking and answering questions about the Police during his current spoken word tour of North America. And he’s pleased to report that he, Sting and Andy Summers “get along just fine” these days, even in the midst of a lawsuit over royalties.

“We’re not (in court). The bean counters are, somewhere over in London,” the group’s drummer tells Billboard. “For me it’s, ‘Lemme know how it works out…’”

Copeland and Summers sued Sting in England last year, claiming that under band songwriting agreements dating back to the Police’s formation in 1977 they are owed $2 million in unpaid royalties. Summers, in fact, has been particularly outspoken in feeling he should have received a songwriting credit for the Grammy Award-winning 1983 smash “Every Breath You Take.” The case has made its way to the U.K.’s High Court; records indicate Sting has paid his former bandmates $870,000, but Copeland and Summers are still seeking the rest of the claim.

Copeland, however, says he still talks to Sting, about “kids, Instagram memes, bullshit… I’m happy that we get along just fine, and we know way. It’s not because of satanic impulses or any of the human infirmities of jealousy, greed, pride, whatever. It’s because we had a spell where our music universes overlapped and we created some incredible stuff. We really achieved everything we needed to achieve. Really, as I’ve been saying a lot recently, ol’ Sting-O and I, we make music for different reasons, and it has a different place in our lives. So we get along great as long as we’re not trying to make music together.”

The Police was together between 1977-1984, releasing five studio albums capped by 1983’s eight-times platinum Synchronicity, which has been inducted into the Grammy Hall of Fame and the Library of Congress’ National Recording Registry. The trio reunited for three concerts on Amnesty International’s A Conspiracy of Hope tour in 1986 and a 2003 Rock and Roll Hall of Fame induction, then for a global reunion tour during 2007-2008, assisted by band therapy according to Copeland. “We had professionals come along and straighten us out; I guess their day job was probably, like marriage counseling,” he recalls. “It worked so well after our session the business suits said, ‘Hey guys, let’s put another six months on the tour!’ ‘Sure!’

“It was actually a lot of fun — a lot of misery and a lot of fun at the same time. But after two years of it, we were all read to get back to our central mission.”

That’s been busy multi-media careers for all three of the Police men — in Copeland’s case forays into opera and classical composition, film and video game scoring, filmmaking and writing. He’s the subject of a new documentary, Copeland, which premieres June 19 at the Raindance Film Festival in London, and is writing another opera that’s “kind of under wraps until it will be revealed to the world.” He’s also expanding his touring Police Deranged for Orchestra repertoire to include other songs from his career. “Instead of just the Police it will be the entire world f***ed up,” Copeland says.

Despite what sounds like a full docket, however, Copeland considers himself “fully retired” from music — at least in a commercial sense. “I’ve had a career in music; it worked out well. Now I just do it for kicks and put (music) up on YouTube for folks to enjoy, without any agenda. I’m not chasing the charts; if I make a record, it’s probably gonna cost me money. You can’t make a living writing opera, but it’s a lot of fun.”

Copeland has also written another book — publication details still TBA — that he describes as “a guide to living the life with people chasing you for autographs, with interviews asking you pointed questions, with all the stuff that goes with rock ‘n’ roll celebrity, all the weirdness. ‘Cause it’s a very weird place. It’s not normal; people don’t treat musicians the same way they treat dentists, even though dentists are far more important for their health. Inhabiting that weird world on that precarious pedestal is a strange thing.” He’s interviewed therapists and other musicians for the book, including Kiss’ Gene Simmons and Carly Simon.

The latter, in fact, gave Copeland “one little weirdness” of a story, from the making of her second album, Anticipation, in London during the summer of 1971. “I get into band dynamics (in the book), and I was talking to her about the phenomenon about romance in a band, like Fleetwood Mac, like ‘How does that work?’ And she says, ‘When I was recording (Anticipation) in London and feeling all the mojo and all the excitement… with these incredible musicians, staying at this beautiful house near Hyde Park and recording by day, and at night with all the musicians, I f***ed them all.’ I said, ‘Can I put that in the book?’ ‘Sure’ — she didn’t use the F-bomb, but, I mean, it’s pretty amazing.

“And the dynamic was clear. By day they’re making music, which is very emotionally engaging, very tense, and the natural result of all that manifested itself by night, and then the next day they would make the music of love, and it was even bigger than her first album.”

Clearly, then, Copeland has plenty of fodder for his Have I Said Too Much? The Police, Hollywood and Other Adventures shows. He launched the multi-media presentation last year in the United Kingdom and began an extensive North American run earlier this month, with dates booked into early August and another leg during October and November. “I’m telling these wild stories I have, instead of to just one person or a dinner table, to a room full of people,” Copeland says. “And getting laughs is kind of fun. I never imagined that would be in my career path, but I’m having a great time doing it.”

In addition to his prepared remarks he also answers written audience questions, submitted to a bucket in the venue lobbies.

“My favorite one, which got the biggest laugh of the evening, was, ‘What hotel are you staying in tonight?’” he recalls. “That got a bigger laugh than any of my gags, goddammit.’ And then when the laughter died down, the rest of the question says, ‘Because I need to know where to pick up my mom in the morning.’” Copeland’s answer? The Four Seasons, Milwaukee — even though he was in Dublin, Ireland at the time.

“My life is an open book,” Copeland notes. “There’s no uncomfortable subjects, really — in fact, the more discomfort, the more you can milk it for laughs. I’m really enjoying this.”

Upcoming dates on Copeland’s Have I Said Too Much? The Police, Hollywood and Other Adventures tour:

June 18 — Coach House, San Juan Capistrano, CA
June 20 — Presidio Theatre, San Francisco, CA
June 25 — Hollywood Theatre, Vancouver, BC
June 27 — Aladdin Theater, Portland, OR
June 28 — Neptune Theatre, Seattle, WA
July 6-7 — The Kate (Second show), Old Saybrook, CT
July 9 — City Winery, Boston, MA
July 10 — The Waldo Theatre, Waldoboro, ME
July 11 — BNH Stage, Concord, NH
July 12 — Greenwich Odeum, East Greenwich, RI
July 14 — The Paramount, Huntington, NY
July 16 — South Orange Performing Arts Center, South Orange, NJ
July 17 — Daryl’s House Club, Pawling, NY
July 18 — The Colonial Theatre, Phoenixville, PA
July 19 — The Birchmere, Alexandria, VA
July 21 — Rams Head On Stage, Annapolis, MD
July 22 — Palace Theatre, Pittsburgh, PA
July 24 — The Kent Stage, Kent, OH
July 25 — Ludlow Garage, Cincinnati, OH
July 28 — The Parkway Theatre, Minneapolis, MN
July 30 — Vivarium, Milwaukee, WI
July 31 — North Shore Center for the Performing Arts, Skokie, IL
Aug. 1 — Wealthy Theatre, Grand Rapids, MI
Aug. 2 — Tarkington, Carmel, IN
Aug. 4 — City Winery, Nashville, TN
Aug. 6 — Harvester Performance Center, Rocky Mount, VA
Aug. 7 — The Beacon Theatre, Hopewell, VA
Oct. 28 — Scherr Forum, Thousand Oaks, CA
Oct. 30 — Rialto Theatre, Tucson, AZ
Nov. 1 — Rose Wagner Theater, Salt Lake City, UT
Nov. 3 — Boulder Theatre, Boulder, CO
Nov. 4 — Holiday Theatre, Denver, CO
Nov. 6 — The Admiral, Omaha, NE
Nov. 7 — Granada Theater, Lawrence, KS
Nov. 8 — Wildey Theatre, Edwardsville, IL
Nov. 10 — Magic Bag, Detroit MI
Nov. 12 — Center for the Arts of Homer, Homer, NY
Nov. 13 — Bethel Woods Event Gallery, Bethal, NY
Nov. 15 — Spruce Peak Performing Arts, Stowe, VT
Nov. 17 — Sellersville Theatre, Sellersville, PA
Nov. 18 — Elkton Music Hall, Elkton, MD
Nov. 20 — Appell Center for Performing Arts, York, PA
Nov. 22 — Carolina Theatre, Charlotte, NC

YEONJUN of TOMORROW X TOGETHER is continuing to shed labels through his music, with the K-pop star announcing his second solo album on Tuesday (June 16).

Arriving on July 10, NO LABELS: PART 02 will follow up YEONJUN’s first LP as a soloist, NO LABELS: PART 01, which dropped in November last year. The news comes along with a cinematic video titled “CHOI YEONJUN,” which previews the vibes of the sophomore project through a series of simple but eye-catching shots of the performer doing ordinary things such as brushing his teeth and eating breakfast in a hotel room.

“Throughout the video, YEONJUN roams around the room in his most authentic form,” reads a description. “Through these unfiltered, everyday moments, the video offers a glimpse into a more personal side of YEONJUN and sets the tone for the upcoming album.”

A release also promised that more details about NO LABELS: PART 02‘s concept and tracklist will roll out in the coming weeks.

Featuring songs such as “Let Me Tell You” featuring Daniela of KATSEYE, NO LABELS: PART 01 debuted at No. 1 on Top Album Sales — a chart TXT topped for the ninth time this past April with the six-track project 7TH YEAR: A Moment of Stillness in the Thorns, which also peaked at No. 3 on the Billboard 200. As a soloist, YEONJUN had previously collaborated with KATSEYE on a remix of the girl group’s “Touch” and released his debut single, “GGUM,” in 2024.

Check out “CHOI YEONJUN” to get a sense of NO LABELS: PART 02 above.

Vince Staples has cleared the air over the album cover of his latest set, Cry Baby, which features a drawing of a blonde-haired white baby crying while wearing an American flag diaper.

The Long Beach rapper and actor recently told Apple Music the meaning behind the cover and stressed that the baby depicted isn’t meant to represent President Donald Trump. “I see a lot of conversation about the cover,” he said during his Radio Takeover. “That is not a baby version of Donald Trump. That is you, the listener, that is you as a baby. That is all of us.”

Staples added, “That’s the socio-political systems in which we adopt and complain about at the same time. And as we complain and as we operate within these things without wanting to break apart from them, you are feeding the baby, the beast, so to say. And this album is about the different ways in which you can do that.”

Released on June 5, Cry Baby has sparked a lot of conversation around not only the artwork but the politically charged subject matter, with fans split on the album’s genre-bending sound.

Staples spoke on the album’s alternative leanings and his frustrations with the country and the music industry in general during a performance at the El Rey Theatre in L.A. “We didn’t do much press and stuff like that,” he told the crowd. “We just wanted to come and play the music ’cause I’m sick of f—kin’ talkin’. You do the press run, you tell jokes and s—t but like, ain’t nothin’ f—king funny. You know? Not to me at least, maybe to you.”

The rapper continued by revealing that he’s been frustrated with the music industry since he flirted with different genres on his Hell Can Wait EP and his sophomore album Big Fish Theory, telling the crowd, “You know, they told me, ‘You can’t make this, you gotta do straight hip-hop, it’s gonna translate better with your audience.’ Whatever the f—k that means.”

Olivia Rodrigo may have crossed paths with the ghosts of people who dropped dead centuries ago during her music video shoot at the Palace of Versailles in France.

In a recent appearance on The Capital Evening Show with Jimmy Hill, the pop star revealed that while shooting the visual for her Billboard Hot 100-topping single “Drop Dead” overnight at the iconic museum, she “definitely” sensed a paranormal presence or two. “It was a little [scary] and a little creepy,” Rodrigo said. “I kind of believe in ghosts, and I feel like if I was a ghost, I’d probably want to haunt the halls of Versailles.”

The Grammy winner added, “I definitely felt some spirits there.”

The “Drop Dead” music video premiered in April, featuring Rodrigo frolicking through the ornate halls of the palace while rocking out to the song on guitar and in her headphones. The choice of location likely stems from one of the lyrics in the song’s chorus, on which the star sings, “I always had a vision of us standing like this/ All pressed up in the bathroom line, you looking like an angel on the walls of Versailles.”

“I can’t believe that they let me film there, it was really wild,” Rodrigo added. “It started as kind of a pipe dream of, ‘Oh, that could be cool one day if I could go and visit Versailles.’”

“Drop Dead” marked the first taste of You Seem Pretty Sad for a Girl So in Love, Rodrigo’s third album that dropped June 12. The former Disney star has since followed up the first track with two more music videos for songs on the album: “The Cure” and “Stupid Song.”

Check out the “Drop Dead” music video filmed inside the Palace of Versailles below.

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.

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.

Rod Wave’s next album is on the way. The Florida rapper/singer announced Tuesday (June 16) that his Don’t Look Down project is set to arrive before summer ends on Aug. 28.

Rod released a bittersweet trailer to coincide with the announcement, which takes place at a funeral and finds the “Heart on Ice” artist plotting with his crew.

“No more sneaky business, no more side deals. Keep building our own machine. Keep going and don’t look down,” Rod says in the clip before being asked about his next move. “Album.”

The trailer closes with a preview of a soulful track, which appears to be on Don’t Look Down. A press release confirms that a single is “coming soon.” “I am the chosen one/ The only one they banking on/ Real s–t that raw s–t they waiting on,” he croons.

Billboard caught up with Rod Wave at a homecoming show in St. Petersburg, Florida, last year, where the Grammy-nominated artist spoke about the growth he felt going into this LP.

“Growth,” he said when describing the project. “I feel like every album, as I grow older, is different. I paint a different picture, because I’m a different version of myself. Every album’s a different chapter. I feel like it’s all real-life stuff.”

The 27-year-old continued: “We all can agree that life goes up and down. So every year, what I basically do is I just talk about where life has taken me up to that point, and people connect with it. We’re all growing up together.”

Rod Wave’s most recent album, Last Lap, arrived in 2024 and debuted at No. 2 on the Billboard 200. Watch the Don’t Look Down trailer below.

Mikal Bridges of the New York Knicks was still celebrating the team’s historic run to an NBA title on Monday and gave fans an IG Live to remember.

During one clip that was spliced out by Internet sleuths, Bridges got serious for a moment as he poured a shot of tequila when Kendrick Lamar‘s song “Count Me Out” popped up on his playlist and told fans why he loved the song and Mr. Morale & The Big Steppers so much. “Let me let you know, let me be honest about this song, about this album, if y’all can hear me right now over this music,” he said before revealing that he was really down after his Suns lost to the Dallas Mavericks in seven games during the second round of the 2022 NBA Playoffs. “I was really depressed, bro. We lost to Dallas, I was in Phoenix, I was f—in’ depressed, bro. This album came out. I was just liftin’ bi’s and tri’s, chest, and that sh– got me through it. I love this f—in’ album, for real. I will never forget this album. Ever.”

He then continued to vibe and rap along to the chorus as Lamar rapped, “I love when you count me out.”

The combo shooting guard/small forward can relate to that very phrase, especially during this past season. The Knicks famously staked their future on Mikal when they traded six first-round picks to the Brooklyn Nets in 2024 and signed him to an extension in 2026. However, fans have given him a nickname after the organization won their first championship in 53 years and he now goes by Mikal “F— Them Picks” Bridges.