Olivia Rodrigo is making a surprise appearance at Primavera Sound.

On Saturday (June 6), the 23-year-old pop star took to social media to reveal that she’ll perform an unannounced set later that evening at the Barcelona festival.

“Surprise!!!” Rodrigo captioned a photo shared to her Instagram Stories showing the singer giving a thumbs up amid a large festival crowd. “See you tonight primavera_sound … I’m excited.”

The “Vampire” hitmaker is scheduled to take the Occident Stage at 10:25 p.m. local time.

“Spilling our guts,” the festival wrote in its own Instagram post alongside a photo of Rodrigo.

The surprise performance comes less than a week before the release of Rodrigo’s third studio album, You Seem Pretty Sad for a Girl So in Love, which arrives June 12. The project’s first two singles, “Drop Dead” and “The Cure,” debuted at No. 1 and No. 5, respectively, on the Billboard Hot 100 chart.

Rodrigo was last in Spain in early May for her Billions Club Live show in Barcelona. The one-night-only event brought together 1,500 of the singer’s most devoted Spanish fans at the historic outdoor venue Teatre Grec. During the intimate performance, Rodrigo sang eight of her nine Billions Club tracks, along with fan favorites from her first two albums and her OR3 lead single, “Drop Dead.” Billions Club Live with Olivia Rodrigo: A Concert Film premiered on Spotify on May 27.

The singer also announced in late April that she’ll be hitting the road in support of You Seem Pretty Sad for a Girl So in Love. The 65-date Unraveled Tour will feature multiple-night arena engagements across North America, Europe and the U.K. beginning Sept. 25 at PeoplesBank Arena in Hartford, Connecticut.

The global trek is scheduled to conclude with a two-night stand at Barcelona’s Palau Sant Jordi on May 1 and 2.

Meanwhile, headlining sets from Doja Cat and Massive Attack at Primavera Sound on Thursday (June 4) were canceled due to extreme weather in Barcelona.

Thursday marked the opening day of the three-day festival, but severe conditions forced organizers to shut down programming early. After Geese performed through a chaotic rainstorm, sets by Alex G, Mac DeMarco and Bad Gyal were also canceled, along with the night’s headlining performances.

Primavera Sound resumed as planned on its second day, featuring performances from The Cure, Skrillex, PinkPantheress, Ethel Cain, Role Model, My Bloody Valentine and others.

Electric Callboy have released their new single “Let the Good Times Roll,” featuring The Offspring‘s Dexter Holland — the latest preview of their forthcoming album TANZNEID, due August 7.

The track pairs Electric Callboy’s genre-blurring electronicore — metalcore breakdowns colliding with glowstick-ready techno drops and grin-inducing pop hooks — with Holland’s unmistakable tenor, the kind of voice behind “Come Out and Play,” which hit No. 1 on the Billboard Modern Rock Tracks chart in 1994, and “Self Esteem,” which peaked at No. 4 on the same chart.

The collaboration marks a full-circle moment for the German band, who cite The Offspring as a foundational influence. “The Offspring have been one of the bands that shaped us from the very beginning,” Electric Callboy said in a statement. “Their music was part of our lives long before Electric Callboy even existed, so having Dexter on this song honestly feels surreal.”

Holland was equally enthusiastic about the pairing. “When Electric Callboy sent us the track, it immediately put a grin on our faces,” he said.

“It’s energetic, unpredictable and doesn’t take itself too seriously — exactly the kind of spirit we’ve always loved about punk and rock music. I had a blast being part of ‘Let the Good Times Roll.’”

The single arrives as Electric Callboy kick off their European festival season, with major appearances at Rock am Ring and Rock im Park this week. The TANZNEID World Tour also includes an Australian leg in September, presented by Destroy All Lines, with Ice Nine Kills and Coldrain as special guests.

The run opens at RAC Arena in Perth on Sept. 4, followed by AEC Arena in Adelaide on Sept. 6, Rod Laver Arena in Melbourne on Sept. 8, Qudos Bank Arena in Sydney on Sept. 10, and Riverstage in Brisbane on Sept. 12 and 13 — with the Sept. 12 date already sold out. Tickets are on sale now via destroyalllines.com.

Formed in Germany in 2010, Electric Callboy have grown into one of heavy music’s most genre-defying global acts on the strength of viral hits including “Hypa Hypa,” “We Got the Moves” and “RATATATA” featuring BABYMETAL. Their 2022 album TEKKNO amassed hundreds of millions of streams worldwide. TANZNEID is pre-order available now.

Watch the video for “Let The Good Times Roll” below.

Nine years after Lorde last played the Governor’s Ball in New York City, the New Zealand native returned Friday (June 5) to close out night one of the 2026 festival. And with the time she had on the main stage, she chose to deliver a powerful set that both expanded her Virgin universe and, more importantly, reminded her fans just how much they’re worth in her eyes.

Ever the unorthodox pop star, Lorde kicked off the program by seemingly debuting a snippet of an unreleased song. While manning a scratchy synth board to the side of the stage, she sang, “Don’t look for me now that I’m gone/ Don’t look for me, I’m gone.”

With that self-possessed energy locked in, she went on to play some of the boldest tracks in her discography back to back, starting with Billboard Hot 100 No. 1 hit “Royals” and Virgin lead single “What Was That.” Her latest headlining performance comes just a few weeks shy of the one-year anniversary of Virgin, which debuted at No. 2 on the Billboard 200 last summer — but while she’s spent the past several months on the Ultrasound World Tour in support of the project, this marked the first time she’s played a revamped festival version of the show.

“This is the most nervous I’ve been for a show in a while,” she confessed to the crowd midway through. “Partly because we’ve never done this show before, and partly because I’m obsessed with you, and I can’t even pretend that isn’t the case.”

The overall unvarnished, techy, raw-materials aesthetic of the show was still very much Virgin-coded, but all four of her albums got their moments throughout the night. Solar Power was the least represented, with Lorde playing only “Oceanic Feeling” from the project after running her hands through a drinking-water fountain. Live footage of her singing from creative angles captured by hidden and handheld cameras all over her stage projected on the big screens behind her during Pure Heroine classics such as “Buzzcut Season” and “Team” and Melodrama fan-favorites “Perfect Places,” “The Louvre” and “Liability.”

“Don’t you feel like so much has changed in the last nine years?” Lorde told the crowd before diving into the latter, reflecting on how she last played Gov Ball when she was promoting Melodrama. “To me, the world is unrecognizable compared to where we were in 2017 … There’s a loss of dignity that I feel. Our world feels increasingly unjust. And it feels harder and harder to arrive at your own definitions of beauty and truth and what is real. But I really feel this is real, all of us in this field.”

At that point, she urged fans to “show yourself” to the world, or in other words, let their real personalities “hang out.” “If we show ourselves — all the broken bits, all the jagged edges, all the filth — I really believe we will start f–king going somewhere,” she added earnestly.

Possibly the best two-song run of the set was “Man of the Year” followed by “Girl, So Confusing,” the 2024 Charli xcx remix that reunited the two pop savants after personal tensions divided them. (No, Charli did not make a cameo in NYC, with Lorde flying solo on their duet.) While the first track delves into Lorde’s embrace of masculinity, the second — which Lorde did not perform on the main Ultrasound trek — is all about her complicated relationship with femininity, making the pairing a perfect juxtaposition.

But by the end, Lorde made sure to turn the focus back on her audience. Her penultimate number was “David,” which she dedicated to “anyone who knows what it’s like to be under a boot.” As she sang, an enormous banner unfurled over the crowd for fans to hold onto together, literally unified under the mantra: “I don’t belong to anyone,” which big-screen footage from birds-eye cameras in the sky revealed to be printed on the fabric.

To close out the show, Lorde traveled to a B-stage deep in the crowd to belt out “Ribs,” far enough away from the stage for her to be able to turn around and watch her own fireworks go off in the background. “Look after each other,” she urged the audience in her final message of the night. “Let’s go Knicks.”

The musician will presumably continue playing the revamped show on her upcoming festival stops this summer, including All Things Go in Toronto on Sunday (June 7) and Mad Cool Festival in Spain, NOS Alive in Portugal and Festival de Nîmes in France in July. The first night of Gov Ball also featured sets from Baby Keem, KATSEYE and Pierce the Veil, with Stray Kids and A$AP Rocky set to headline Saturday and Sunday.

See Lorde’s setlist at the 2026 Governor’s Ball below.

The Black Crowes‘ Chris Robinson has spoken out following controversy sparked by comments he made during the band’s May 31 performance at Tampa’s MidFlorida Credit Union Amphitheatre as part of their Southern Hospitality tour.

The incident occurred when, following the band’s performance of “Soul Singing,” a portion of the crowd broke into chants of “U-S-A!” — reportedly prompted by the appearance of the band’s Black Crowes mascot dressed in Uncle Sam garb on the screen behind them.

Robinson responded from the stage: “Thanks for the geography lesson. I don’t know what you’re so proud of right now.” He continued: “Some of us have real faith. For those of you f—–g booing us, some of us are not afraid. And we most assuredly are not f—–g ignorant.”

The exchange resulted in numerous crowd members walking out on the show, according to a video shared by the outlet on X.

Speaking to Ultimate Classic Rock this week, Robinson sought to provide context. “I think the whole thing was, of course, blown out of context so people can get clicks and people can stir up the animosity,” he said.

“But be most assured — in a week, something else will come up that stirs up the hornets’ nest.” He was also careful to draw a distinction between his broader outlook and any perceived slight toward the military. “No matter what I ever would say or do or feel about things, there’s no way I would disrespect our veterans,” Robinson said.

“For the people who’ve put their lives on the line and made that sacrifice and dedication, I wouldn’t do that. But I have to speak my mind. I don’t have an agenda or anything — I’m just trying to make a soulful connection with people.”

The comments drew added scrutiny given the performance took place just days after Memorial Day. Robinson has previously stated he is “not interested in politics,” telling Mojo in March: “I’m more interested in poetry and art and people and experience. But a song doesn’t have to be like an overt political statement. I know what’s right and wrong — and this s–t going on right now is wrong.”

The Black Crowes released their new album A Pound of Feathers in March, shortly after receiving a nomination for the 2026 Rock & Roll Hall of Fame — though the band was ultimately not selected for induction. The Southern Hospitality tour continues with upcoming dates in Augusta, Ga., and Charlotte, N.C.

Lizzo returned Friday (June ) with her first album in four years, BITCH, hitting streaming services. Shortly after the project’s arrival, the Detroit native shared an alternate edition of the LP’s title track, which seemingly finds her taking aim at Nicki Minaj.

Lizzo reposted a screenshot of Minaj’s tweet from Feb. 1, which saw the Queens rapper mocking Lizzo’s weight loss and upcoming album.

“Fat Lizzo lost 300 lbs just to sell 300 albums,” Minaj wrote at the time alongside a photo of a Chucky doll. “So now she has loose skin AND a flop album, AND a weird charge. Sheesh.”

Lizzo put the audio of the remixed version of the album’s title track over the screenshot of Minaj’s tweet with the caption, “Since I’m blocked.”

“Used to be the biggest fan, then I lost weight/ Wait, wait, let me fixate,” she raps. “Paid to keep the peace, I don’t even like beef/ Crazy thing is you knew me you would like/ I’m praying for our sisters, I want to see us all in our bag.”

Since I’m blocked… pic.twitter.com/sbJnemz0jm

— LIZZO (@lizzo) June 5, 2026

As of press time, the “Super Bass” rapper is yet to respond to Lizzo.

Lizzo’s BITCH is her first album since 2022’s Special, which contained the Billboard Hot 100 No. 1 hit “About Damn Time.”

“Reclaiming the word ‘bi—’ is power. It’s taking a label once used to diminish women and turning it into a declaration of confidence and unapologetic self-love,” the “Truth Hurts” artist said in a statement. “So many incredible women in music have used the word for positivity like Meredith Brooks and Missy Elliott. It was only fitting to name my album BITCH because it has become my favorite word when using it on my own terms, and because I am 100% that bi—!”

Billboard has reached out to reps for Minaj for comment.

For three days, the city of Lecco, in northern Italy, became one of the epicenters of live music in Europe. By the end of Nameless Festival 2026, one thing was clear: the event had achieved something many festivals struggle to pull off – growing larger while staying true to the identity that made it successful in the first place.

After years of expansion and increasingly ambitious editions, organizers made a bold decision this year by bringing the festival back to its original home at Lecco’s Centro Sportivo Bione, the venue where Nameless first began its journey in 2013. The move proved to be a winning one. Thousands of attendees, mostly aged 18-35, from across Italy and around the world, descended on the city, transforming the shores of Lake Como into a vibrant hub of music, culture, and community. International participation was particularly strong, with 25% of attendees traveling from abroad and a remarkable 10% coming from the United States alone, according to the organizers.

Billboard Italy attended the festival since the inaugural date of Saturday, May 30, and from the moment the gates opened, the excitement surrounding the return to Bione was impossible to miss. Long lines formed at the entrances, several areas quickly reached capacity, and a steady stream of festivalgoers moved between the event’s five stages. The atmosphere felt less like a regional event and more like one of Europe’s established major festivals.

What stood out most was the diversity of the crowd. While Nameless continues to attract an increasingly international audience, it has managed to preserve the sense of identity and community that longtime attendees have come to associate with the festival.

Friday’s opening day drew massive crowds, thanks in large part to the return of Calvin Harris, arguably the most anticipated artist of the entire weekend.

The Scottish DJ and producer made his long-awaited return to Italy after more than a decade, choosing Nameless as the stage for his comeback. As the lights dimmed on the Ploom Stage and the first notes of his set rang out, a sea of fans packed the festival grounds.

Harris crafted a performance that spanned more than fifteen years of chart-topping hits, seamlessly blending recent releases with the tracks that helped define modern dance music. Songs like “Summer,” “Feel So Close,” “Sweet Nothing,” and “We Found Love” sparked a wave of collective nostalgia among millennial fans, many of whom grew up with those records as the soundtrack to their teenage years.

But nostalgia alone doesn’t explain Harris’ appeal. The younger generation was equally engaged, singing along to every lyric and anticipating every drop. The performance became more than a greatest-hits-set – it was a celebration of electronic music’s enduring ability to connect audiences across generations.

Reducing Nameless’ success to its biggest names would miss the bigger picture. One of the most impressive aspects of the 2026 edition was how effectively the festival spread attention across its entire site. Whether attendees were exploring the house-driven sounds of the Red Bull Energy Zone, the bass-heavy programming inside the Nameless Tent, or the urban and pop performances at the Garnier Fructis Arena, there was a clear sense of variety and intentional curation throughout the weekend.

The “Less Names” concept, featuring surprise guests whose appearances were kept secret until showtime, also played a significant role in maintaining excitement. The unpredictability has become part of Nameless’ DNA, giving fans a reason to stay curious and engaged throughout the event.

If day one delivered the biggest headlines, day two offered perhaps the clearest demonstration of how far Nameless has evolved. As the day unfolded, it became increasingly evident that the festival no longer depends solely on its headliners, which included John Summit, Halō and Pendulum. Attendees moved organically between stages, discovering both established international acts and emerging artists. The energy never dipped, regardless of who was performing – a subtle but important sign of a festival that has reached maturity.

By now, Nameless feels fully aware of its place within the European festival landscape. It is no longer an up-and-coming event trying to prove itself. It has become a destination in its own right. The festival’s final day maintained the momentum, delivering another packed schedule (that included headliners Fisher, Chris Lorenzo and Svdden Death) and reinforcing the consistency of the entire weekend.

As the closing performances unfolded and attendees prepared to say goodbye to another edition, the atmosphere became increasingly celebratory. Beyond the excitement of the music itself, there was a palpable sense of appreciation for the people who have spent years building Nameless into what it is today.

One of the most memorable moments came after the final sets had ended, when festival staff gathered to applaud CEO Alberto Fumagalli. The spontaneous tribute served as a reminder that behind the impressive attendance figures, sold-out stages, and international reputation stands a long-term vision that has transformed Nameless from an independent passion project into one of Europe’s most respected music festivals.

Ultimately, the success of Nameless 2026 cannot be measured solely by attendance numbers, major artists, or economic impact. The festival’s most meaningful achievement may have been its decision to return home. Bringing the event back to Lecco represented both a risk and a statement of identity. The overwhelming response from attendees confirmed that the choice resonated.

Judging by what unfolded on the shores of Lake Como this past weekend, this homecoming feels less like a return to the past and more like the beginning of a new chapter – one that will continue to unfold when Nameless Festival returns on June 4, 5, and 6, 2027.

Joe Budden has apologized to Latto in a clip from a Patreon episode of the Joe Budden Podcast that recently surfaced.

Earlier this week, Latto tweeted out a picture of her handwritten lyrics to “Hostage” from her new album Big Mama, and @’d the podcaster after Budden said that her flow reminded him of Drake‘s cadence on ICEMAN’s “Shabang.” So, of course, his co-hosts brought it up and he tried to explain his reasoning.

“I ain’t tryna be funny — somebody not writing they sh– is a heavy accusation,” he said after jokingly saying he’s never seen someone write raps on a white board before. “So I wasn’t really trying to say that about her. She’s been on the show, she won the Netflix show, she says she writes all her sh–.”

He then added that being influenced by other rappers that you like is something that could happen when you sit down to write your own songs. “But there’s also such a thing as listening to somebody so much that they influence … they kinda rub off on you when you write. That’s a thing,” he continued. “She could really listen to Drake 24/7 and love that flow so much that now when she writes that’s what’s happening. I wasn’t tryna she don’t write her sh–. When I used to write, I would try my best to not listen to the radio or other rappers because whether you like it or not, whoever you like, it’s gonna happen.”

Joe then apologized for the misunderstanding, saying, “Latto, I’m sorry. I wasn’t tryna play with your pen like that. I get how it sounded like that, so my bad.”

Latto has been busy since her fourth album, Big Mama, last week, including dissing Cardi B on “Gimme Dat” in response to a leaked phone call in 2025. Cardi has since apologized.

The Electric Daisy Carnival in Las Vegas brings together the top DJs in the dance world every year for an estimated 500,000 attendees to enjoy over 3 days. For many EDM artists, playing the festival is a marker for truly “making it.” This year, Toronto-native, HNTR made his EDC debut. Although he didn’t have a set on the lineup in 2025, his presence was definitely felt. His remix of Cloonee and InntRaw’s “Stephanie” which samples Young M.A’s “OOOUUU” could be heard at practically every stage.

Fast forward one year and HNTR’s dropped his new track “Holla At A Player” featuring Academy Award Winner, Juicy J. We caught up with the DJ and producer to find out how the song came together, see what his life looks like after the success of a viral remix and get to know the man behind the stagename.

At last year’s EDC, I asked a bunch of DJs what the most played track of the festival would be and Tiësto, Alison Wonderland, Alok, Morten, and Tape B all said your remix of Cloonee’s “Stephanie” would be the most played song of the year. A year later, what was it like watching that song blow up?

It was honestly unreal. When I made that remix, there was no strategy behind it. It was just something I made that purely for fun cuz I thought it would be cool to put my spin on it.

To see it go from a bootleg in my sets to a record being played by pretty much everyone was crazy. It changed my career, but more than anything it gave me confidence that there was a real audience for the sound I was building. Gotta shout out Dom Dolla. That one video changed everything

From having the most played song last year, to making your EDC debut this year, was playing Stereo Bloom everything you expected? What were you thinking going into that set?

EDC has always been a bucket list festival for me, so just being on the lineup was a huge moment. I have probably never put more effort into a set, I had my laptop in the trailer working on music till the last few minutes before I went on stage. I wanted to play as much of my own (new) music as possible.

Once I stepped on stage and saw the crowd I had a bit of a moment to myself. It was one of those times where you realize where all the hard work has taken you.

For fans who just discovered you from that track, who is HNTR? Can you tell us about your background, your influences, and what it’s taken to reach this point in your career?

I’m a producer and DJ from Toronto. It’s a city with a huge hip hop culture and a really deep dance music scene, so those influences naturally came together in the music I was making.

A lot of people told me that blending hip hop and dance music the way I wanted to wouldn’t work. But I always believed there could be an audience for it. People discovered me through Stephanie, but before that there were years of learning, experimenting, putting music out, playing clubs, throwing parties, and figuring out what HNTR actually sounded like. If you go back to the very first HNTR release you can hear that I had been trying the formula for years before it actually hit.

A lot can change in such a short period of time. What are some of your top achievements within the last year?

Obviously Stephanie was a huge moment, but making my EDC debut, touring internationally, and seeing my music supported by artists I’ve looked up to for years have all been major milestones.

What I’m most proud of is that we’ve continued building momentum beyond a single record. 8 beatport No.1s in a year was pretty dope, and entering the top 101 producers list at #46 and winning the remix of the year at the beatport awards.

 The goal has always been to build something bigger than one song, and I feel like we’re doing that. Landing in Asia and meeting someone who’s influenced by my music was proof that what we’re doing it working.

A lot of artists I talk to after “over-night success” tell me it comes with some unexpected difficulties or emotions. Have you experienced that at all with the rapid changes in your life and career?

Definitely. The funny thing is people call it overnight success, but it was an overnight success 15 years in the making.

The biggest adjustment is probably the expectations. More people are paying attention and every move feels a little more magnified. But it’s also what I’ve worked toward my whole career, so I’m grateful for it and focused on keeping the same mindset that got me here.

Shifting to your new track, how did “Holla At A Player” come about and how did Juicy J get involved?

I’ve always been a huge fan of Juicy J. He’s not just one of the most influential artists to me personally but all of modern hip hop imo. The record started like any other, a loop with a simple drop idea, no real expectations.

We have a great creative relationship with Kinetica Records, who loved the idea and said “make a list in order of who you’d want to work with. I put Juicy J at the top just for a laugh, like ya sure. They got it to him within a day and he connected with the vision, and was really into it. Once his vocals came back, it felt like the record immediately jumped to another level.

He even made a surprise appearance during your set at Billboard’s The Arrival party in the Coachella Valley back in April. What was it like getting that instant feedback to your track?

Yo bro I really brought Juicy J out to preform “Slob On My Knob”, “Bandz that Make Her Dance”, and MY OWN ORIGINAL SONG… Crazy moment I’ll never forget. It’s one thing hearing a record in the studio, but it’s another seeing people react to it live and then having Juicy J perform it with you.

Those are the moments you dream about as a producer. The reaction was incredible and it made me even more excited to finally release the record.

Not to be greedy when you’ve just released a track, but what else is in the pipeline? Anything you can hint at?

There’s a lot coming. We’ve been working hard behind the scenes and I feel like we’re only scratching the surface of what the HNTR project can become.

There are more records on the way, some exciting collaborations, and some big shows and festivals coming up. The focus now is continuing to push

Who’s on your bucket list of collaborators? Rappers, vocalists, DJs, and producers, all included.

Honestly I usually just remix the people I want to hear over my sound but short list of some artists I think I could make some cool music with is: Denzel Curry, Ty Dolla, Don Toliver, Project Pat.. man I could go on for days.

On the dance side, I’m lucky to be working with a lot of them but in general I love to work with artists who are carving out their own lane. For me, it’s less about how famous someone is and more about whether they’re bringing something unique to the table.