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Pop stars often talk loftily about creating worlds, particularly when discussing a tour that’s designed to travel. Few acts, though, make good on that promise like Bad Bunny. The Puerto Rican singer has spent the past year expanding his Billboard 200-topping LP Debí Tirar Más Fotos into a blockbuster stadium show defined by an unwavering sense of place. As his audience has grown, the 32-year-old has only become more specific in his live output, doubling down on cultural detail – from aerial shots of the island’s landscape during “Weltita” to the iconic pink ‘La Casita’ b-stage – and keeping his heritage at the center of everything on stage.
Last time Bad Bunny (born Benito Martínez Ocasio) was in London, he played the 1,200-capacity O2 Forum Kentish Town supporting his debut album X 100pre. Eight years on, he has built a storied career: moving into Hollywood, scooping Grammys, and becoming one of the decade’s biggest global touring artists. Now, with two sold-out nights (June 27 and 28) at Tottenham Hotspur’s 50,000-capacity ground, he is the first Latin artist to headline a U.K. stadium, while recent Billboard Boxscore figures reported the Debí Tirar Más Fotos world tour has surpassed $360 million in total grosses – a feat made even more impressive with a total absence of U.S. dates across the trek.
And after years of dominating global streaming without fully breaking through in the U.K. charts, 2026 has also marked a sea change in that regard. After headlining the Super Bowl halftime show in February, Debí Tirar Más Fotos surged to No. 2 on the Official U.K. Albums Chart and its title track hit No. 4, becoming Bad Bunny’s first solo U.K. top 10 hit. The double-header of shows in London, then, is the culmination of a long-awaited crossover moment in one of his few remaining major markets; a decisive arrival on British soil.
On stage in London for night two, he was supported by a traditions band, mixing the trap and Reggaeton fusion hits of his earlier career (“Monaco,” “Bichiyal”) with the plena and bomba folk flourishes that characterize much of his more recent output. In a live setting, the latter often foregrounds percussive elements, whistles, surging dynamic shifts and call-and-response vocals, all coming together to exude something of a jubilant, street party energy.
Debí Tirar Más Fotos is a deeply personal record, exploring loss and longing against a backdrop of reckoning with one’s own relationship to nostalgia. Almost miraculously, it sounds even better when it’s louder and in your face, the aura of Bad Bunny’s electrifying stage presence supercharging the experience. His music is crafted in a way to be shared with one another, danced to and lit up as much as it is played or sung; live, it’s clear that the album’s themes are meant to be collectively lived out.
These were the best moments from Bad Bunny’s Sunday night (June 28) fiesta extravaganza at London’s Tottenham Hotspur Stadium.
The B-52s are speaking up about a harrowing situation that forced them to cancel their set at the Retro C Trop Music Festival in Tilloloy, France on Saturday (June 27) when a huge storm descended on the area. “We are so sorry to everyone who came out to Château de Tilloloy yesterday. The storm made it impossible to continue, and the safety of our fans and everyone on site had to come first,” they wrote in an Instagram post that featured a photo of the stage with a giant bolt of lightning hovering ominously over the proceedings.
“A huge thank you to our touring crew for their work and care in keeping everyone as safe as possible throughout an incredibly dangerous situation,” the post continued.
In a translated Facebook post announcing the cancellation of Sunday’s (June 28) planned final day of the festival’s 10th anniversary edition, organizers wrote, “It is with great regret that we are forced to cancel the final day of the 2026 edition of the festival, scheduled for Sunday, June 28, due to a tornado that occurred late last night and destroyed all public reception facilities. The safety of the public, artists, teams and all stakeholders remains our top priority. Given the exceptional weather conditions and their consequences on the site, this decision has been imposed as the sole responsible.”
Sunday’s lineup was slated to feature sets from Joan Jett and the Blackhearts, Europe, Ultra Vomit, New Model Army and Fools Garden.
The statement did not address what singer Fred Schneider described in a Facebook post as a frightening scene backstage during the storm. “Last night was a total disaster. The promoter knew the dangerous storm that was brewing and on its way to The C Trop Music Festival in Tilloloy, France,” he wrote. “First, there was lightning, but the promoter still had the crew set up the stage and told the band to get ready to perform. Luckily, our tour manager, said to hold back 10 minutes because it’s not safe and we have to see what is going on with the storm. Then it was like a world wind hurricane force and heavy rain.”
Schneider said most of the band’s crew were caught in the storm and were forced to duck for cover anywhere they could as the festival was evacuated, with the band unable to leave the site due to what he said were dangerous driving conditions. He also reported that the power went out several times backstage and that the band’s equipment was damaged in the storm.
“We felt terrible for the fans that have waited in the heat all day for us to perform. And then get very little warning to no warning from the promoter that it wasn’t safe to stay out and make our way to the stage, there was lightning striking the band before our set,” Schneider continued. “Scaffolding even fell from the stage and destroyed our equipment. Keyboards, mic stands, laptops, sound equipment. All destroyed.”
He included several pictures of what he described as the violent aftermath of the storm, depicting the band’s equipment and amps smashed in piles on the stage. The veteran singer ended his post with a bizarre scene in which he described being huddled in the dark backstage as representatives of the event’s promoter walked around with flashlights asking the group to sign posters. “Well, I won’t tell you what strong expletives words were used,” he wrote. “Our sound man Frank feared for his life. It was that dangerous. We were worried about the crew the entire time. No one was hurt thank goddess.”
At press time a spokesperson for the festival had not returned Billboard‘s request for additional comment on the incident or Schneider’s claims.
The storm came as France is just beginning to emerge from a week of deadly high temperatures, with the smothering heatwave reportedly resulting in more than 1,000 excess deaths as the extreme heat broke records. The Europe-based World Weather Attribution group said in a new study that the norm-shattering heat and humidity in Europe over the past week would not have been possible without climate change.
Hosted by Billboard cover star Druski and anchored by star-studded tributes to Ms. Lauryn Hill and the late D’Angelo, the 2026 BET Awards absolutely rocked Los Angeles’ Peacock Theatre on Sunday night (June 28).
A wide range of performers lit up the night, including R&B sensations (Kehlani, Tems, kwn), hip-hop superstars (Cardi B, Don Toliver, Baby Keem, T.I.), and British powerhouse RAYE.
Lauryn Hill, who was honored with the Living Legend Icon Award, received a sprawling tribute comprised of some of contemporary music’s biggest stars and her own musician children, including Selah, YG and Zion Marley, who provided a strong reggae backbone for the whole affair. The War and Treaty, which includes Sister Act 2 actress Tanya Trotter, kicked off the tribute with a rousing performance of “Joyful, Joyful,” threading together the gospel and thespian throughlines that ground much of Ms. Hill’s oeuvre. Doja Cat and Nas delivered a cross-generational rendition of “If I Ruled the World,” Lizzo and Rapsody joined forces for the classic “Doo Wop (That Thing)” and Common and Queen Latifah rocked the theater with “Lost Ones.”
D’Angelo also received a terrific tribute. The Vanguard, his illustrious backing band, reunited to support a lineup of stellar vocalists, including RAYE, George Clinton, Ari Lennox, Isaiah Sharley, BJ the Chicago Kid and Durnad Bernarr, who stole the show with a killer rendition of “S—t, Damn, Motherf—er.”
The night’s most-nominated artist, Cardi B (six), took home a new best female hip-hop artist trophy, marking her third win in the category. Teyana Taylor and Clipse swept the ceremony with three wins each. The One Battle After Another star won best actress, video director of the year, and the newly-established fashion vanguard award, in addition to her honorary Icon of the Year Award, while the Virginia-hailing brother duo took home best group, best collaboration (for their Kendrick Lamar-assisted “Chains & Whips”) and album of the year (Let God Sort Em Out). Pusha T and Malice might not have been in attendance, but Taylor picked up her trophies from none other than Janet Jackson.
Another music industry titan was honored with a special award: culture-shaping record executive Sylvia Rhone, who received the Ultimate Icon Award, presented by Kelly Rowland, for her indelible impact on contemporary Black music and the music industry at large.
Outside of music, Sinners won best movie, Michael B. Jackson picked up best actor and New York Knicks 2026 NBA Finals MVP Jalen Brunson was named sportsman of the year.
Viewers at home were treated to a (surprisingly and relatively) succinct show, but those cameras didn’t tell the full story. Here are the seven best 2026 BET Awards Moments you may not have seen on television.
Lauryn Hill was honored Sunday night (June 28) at the 2026 BET Awards as the inaugural recipient of the Living Legend Icon Award.
According to BET, the Living Legend Icon Award celebrates “the pioneers who mastered their craft and never let go of the culture.” Connie Orlando, EVP of Specials, Music Programming & Music Strategy, called Hill the very definition of a living legend, while further explaining why she’ll be the award’s first honoree. “Across every era, she has never chased the moment; she has shaped it,” Orlando said. “Her artistry redefined what was possible in our music and gave a generation permission to be fearless, spiritual and free. Her influence is woven into the fabric of the culture, and it is a profound honor to celebrate her legacy on Culture’s Biggest Night.”
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The New Jersey singer, rapper and actress first made a name for herself on the silver screen playing the stubborn but talented student Rita Louise Watson in 1993’s Sister Act 2: Back in the Habit. She then reinforced herself as one-third of the legendary Fugees alongside Wyclef Jean and Pras Michel in 1994 when the group dropped their debut album Blunted on Reality. However, it wasn’t until 1996’s The Score and Ms. Hill’s rendition of Roberta Flack’s “Killing Me Softly With His Song” that she really catapulted to superstardom. She then upped the ante two years later with her seminal debut solo album The Miseducation of Lauryn Hill that forever changed what a hip-hop album could sound like.
Her tribute started off with Ice Cube setting the table as he broke down her career, which was then followed by her bandmate Wyclef narrating their time with the Fugees. As for the medley, The War and Treaty started things off with a callback to Sister Act 2 as they performed “Joyful, Joyful,” originally performed by the fictional St. Francis Choir in the movie; Doechii and SZA covered “Ready or Not”; Tems and Tierra Whack did “Fu-Gee-La”; Lauryn’s daughter Selah Marley performed the title track from her mother’s solo project; Doja Cat came out for “Superstar”; Nas did their classic collab “If I Ruled the World” with Doja; Hill’s son YG Marley performed “Turn Your Lights Down Low”; Lizzo brought Tierra out again to help her perform “Doo Wap (That Thing)”; her other song Zion Marley did a rendition of a song that’s named after him; Alexia Jayy blew the crowd away with her cover of “Killing Me Softly”; and Queen Latifah and Common ended the tribute with “Lost Ones.”
Hill then surprised the crowd and viewers by performing “Ex-Factor” before accepting her award.
During her speech, she explained why she’s so outspoken and encouraged artists to do the same before she congratulated her children on their many accomplishments.
“I do this because I love y’all,” the singer began. “I do this because I want you to have everything that I experienced, right? I had wonderful parents who loved on me, poured into me, and protected me. And once I realized that not everybody got to have that experience, I felt like it was my duty, my responsibility to share as much love, and to pour into as much people as I possibly could. And music was a way for me to do that. But also, I had always cared about the expression and the representation of the dignity of our people. So, you know, we put ourselves at times as artists, we put ourselves in places and in situations where we have to say things that aren’t always comfortable. But we understand that people will understand later.”
She added: “I fight for y’all. Everybody may not know about it, but I fight for y’all. And fighting for y’all is me fighting for myself, it’s me fighting for my children, it’s me fighting for my parents, it’s me fighting for my grandparents, it’s me fighting for my community. I have a desire to make music as well as I can, or to communicate with people as well as I can because I wan’t people to know that’s what we do. I want people to know what we can do.”
Finally, Lauryn ended the show with an emotional performance of “Everything Is Everything” as the credits began to roll.
You can watch her acceptance speech below.