After pressing pause on its flagship festival for 2026, Desert Hearts is making a smaller-scale return this fall.

The dance music collective has announced Microfest, a new five-day gathering set for the beginning of October at Deloro Valley in Northern California. This comeback is designed to encapsulate the intimate ambience that helped launch Desert Hearts more than a decade ago, and it’s meant to bring fans back to the community-focused dancefloors that first defined the brand.

This announcement comes after the pause of Desert Hearts Festival 2026, the news of which was shared in an Instagram post this past November. The crew’s statement read that “After 13 years of magic, love, and dancing under the stars, we’ve made the tough call to pause Desert Hearts Festival in 2026. This isn’t goodbye – but it’s time to reset, refocus, and rebuild so the heartbeat of DH can keep going strong for years to come.”

With today’s news, Desert Hearts has kept their promise to come back better than ever, with the Microfest lineup featuring house and techno veterans alongside longtime Desert Hearts favorites. DJ Minx, Stacey Pullen, Danny Daze, Doc Martin, Justin Martin, DJ Holographic, Kevin Knapp, Shaded (Live), Toy Tonics (Barbara Boeing & Cody Currie) and Life On Planets are among the artists scheduled to perform, with Desert Hearts founders Mikey Lion, Lee Reynolds, Marbs and Porky also taking the stage throughout the weekend.

Additional performances will come from B Rose, Brunch Life, Caleb Jackson, Groovewell, Issac Carter, Jake Mora, Justin Campbell, Maitreya, Rob Grega, Sprout, Stacy Christine and Techno Tupac. See the complete lineup below.

The lineup reveal also arrives alongside new music from the collective’s founders. Mikey Lion, Marbs and Lee Reynolds have released “A Place For Us” under their newly unified Desert Hearts artist project, with the song reflecting the sense of connection and belonging that has long been central to the Desert Hearts community.

Microfest takes place Oct. 1-5 in Deloro Valley, Calif. Tickets are available now.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Guns N’ Roses, with Axl, Duff, Izzy and Slash, hits the road this summer, with the tour scheduled to end in the United States on Sept. 19 at Truist Park in Atlanta, Georgia. The legendary rock band will then travel to Asia, Australia and New Zealand for the rest of 2026.

A rotating lineup of artists are set to support, with Public Enemy, The Barbarians of California, The Black Crowes, Ice Cube, Pierce the Veil and XCOMM all set for opening slots across the tour.

Tickets to the tour first went on sale through Live Nation and Ticketmaster, while the retailer’s Face Value Exchange program is an option for fans to resell tickets.

However, many of the dates have either sold out, or are very close to selling out, so one of the best ways to find last-minute Guns N’ Roses tickets online is through third-party sites, such as StubHub, SeatGeek, Vivid Seats, TicketNetwork, Gametime, Event Tickets Center and others. All online retailers guarantee authentic tickets in time for your concert. Prices may be above or below face value at times.

Where to Find Guns N’ Roses World Tickets Online

StubHub has Guns N’ Roses tickets available. The retailer ensures that all tickets are valid and authentic, but for whatever reason, if they’re not, you’ll get your money back. And, if your concert is canceled and not rescheduled, you’ll receive 120% in credit, or a full refund without the extra 20% credit. As of this writing, tickets start at $11.

One of the lowest prices we’re seeing for Guns N’ Roses tickets is at SeatGeek. We’re seeing tickets starting at only $10, as of publication. Use our discount code BILLBOARD10 to save an additional $10 at checkout.

You can find Guns N’ Roses tickets online at Vivid Seats, which lets you search by price, location and “Super Sellers,” which denotes reputable sellers with the best deals on tickets. You can even get 10% off your first purchase when you sign up for the company’s newsletter. On Vivid Seats, tickets start as low as $11, as of this publication date. As a bonus, you can use our exclusive promo code BB30 to take $30 off your purchase.

TicketNetwork has tickets to Guns N’ Roses’ concerts with all-in pricing that lets you see exactly what you’ll pay up front (fees included). Tickets start at just $11, as of this writing. You can use our exclusive code BILLBOARD150 to save $150 off $500 or BILLBOARD300 to save $300 off orders of $1000 and up.

Guns N’ Roses 2026 Tour Dates

Sphere Entertainment reported Thursday (July 30) that second-quarter revenue rose 11% to $313.6 million, as the company’s flagship Las Vegas venue added more viewings of its popular adaptation of The Wizard of Oz.

However, the company recorded an overall $61.3 million operating loss, $11.1 million more than the year-ago quarter, due in part to a 30% increase in the Sphere segment’s selling, general and administrative expenses, which totaled $125.6 million for the second quarter ending June 30.

Sphere Entertainment had an adjusted operating income of $50.9 million, down 17% from a year ago. Notably, this figure was adjusted to strip out the impact of share-based compensation, depreciation and amortization costs related to a merger with MSG Networks and other costs the company says are not related to its fundamental business operations.

The Sphere segment, which generates revenue from Sphere Experience film showings, brand events, concert residencies and sponsorship and suite licensing fees, generated revenue of $226.4 million, up 29% compared to the year-ago quarter, mainly on more “per-performance” revenue from The Wizard of Oz at Sphere.

“We’re not shy of demand from artists to come play the Sphere, and we have some great artists coming up,” executive chairman and CEO James Dolan said when asked during an earnings presentation about Oz and where additional growth will come from. “But the whole business strategy behind the creation of Sphere is utilization of the venue, and that’s where we look at the growth to come.”

From its opening last August to mid-June, The Wizard of Oz at Sphere has sold more than three million tickets and generated over $400 million in ticket sales. The company said 220 “performances” of Oz in the second quarter exceeded the 215 showings of Postcard from Earth and V-U2 An Immersive Concert Film in the year-ago quarter. That translated to Sphere Experience-related revenue growing by $53.8 million in the second quarter from a year ago.

The company announced earlier this quarter that it is working on the production of a new Sphere Experience — The Rocky Horror Picture Show at Sphere — which is expected to open in 2027. Dolan said earlier this year that the company also expects to debut From The Edge, a film about extreme sports, later in 2026.

Sphere event-related revenue fell $11.7 million due to two fewer brand events compared to the year-ago quarter, but that was partially offset by higher revenue from concerts, according to the company. While there were six more concerts held in the second quarter at Sphere this year compared to a year ago, the concerts held in April, May and June had lower per-concert revenue compared to the same period last year.

The company did not disclose an overall event-related revenue figure in its initial second-quarter financials, making it difficult to determine the share of revenue contributed by The Sphere Experience and concerts. However, the company said it generated $150 million in ticketing and venue licensing fees from Sphere in Q2 overall.

Dolan compared Sphere’s ability to capitalize on concerts to Madison Square Garden, which he also owns.

“The Garden does approximately 200 or something events a year, and it is hamstrung by the fact that you have to load in, you have to load out,” Dolan said. “When we created Sphere, it was all about increasing utilization through our own IP and our own content. I don’t think that we have refined the model to the point where we’ve maximized the revenue potential there, and I think we have new products, some of which we haven’t talked about.”

The Sphere segment generated a nearly $70 million operating loss. That’s around $14 million less than the loss notched in the year-ago quarter thanks to higher revenue.

The company continues to develop plans for additional Sphere venues, and Dolan said the company will likely announce plans for a new Sphere later this year. Construction on the Sphere on Yas Island in Abu Dhabi is expected to be completed in 2029, with the company saying in a statement that “plans to bring Sphere to National Harbor also continue to move forward.”

MSG Networks generated revenue of $87.3 million, down 18% from the year-ago quarter, primarily due to distribution revenue falling $13.7 million on a 16.5% decline in total subscribers.

In the first half of 2026, the Universal Music Group (UMG) continued positive forward momentum with healthy overall revenue growth and managed to maintain internal profitability levels for the period. But overall net profitability was impacted by costs related to consolidating the Downtown acquisition, higher than usual legal fees and financial expenses, and going up against 2025’s first-half profitability, which was boosted by a high-margin settlement.

For the six-month period ended June 30, UMG revenue grew to 6.194 billion euros ($7.195 billion), up 5.3% (10.8% on a constant currency basis) from the prior year’s first half, when the company generated 5.881 billion euros ($6.694 billion). While UMG benefited from the addition of its acquisition of Downtown in the first half of the year to the tune of 234 million euros ($272 million), its revenue was nevertheless up by 1.34% in the second half of 2026 versus the first half of 2025, and 5.7% on a constant currency basis.

Net profits declined to $223 million euros in the first half of 2026 versus 1.425 billion euros in the corresponding year-earlier period, resulting in a 12-cent euro ($0.14) per diluted share in the first half of 2026 versus a 78-cent euro ($0.88) per diluted share in the corresponding 2025 period.

Nevertheless, UMG generated earnings before interest, taxes, depreciation and amortization (EBITDA) of 1.81 billion euros ($1.37 billion), versus 1.214 billion euros ($1.382 billion) in the year-earlier period.

Within the first half, in the second quarter, UMG generated 3.294 billion euros, a 10.54% increase (13.1% on a constant currency basis) over the year-earlier corresponding period when revenue was 2.98 billion euros. Meanwhile, EBITDA almost held steady, coming in at 610 million euros, versus 611 million euros in 2025’s second quarter. However, adjusted EBITDA grew to 674 million euros versus 676 million euros, which on a constant currency basis was actually a 1.5% increase.

“While I am pleased with our strategic progress and aspects of our financial performance, we know where we can improve,” UMG chairman and CEO Lucian Grainge said in a conference call with analysts. He added that what gives him his “greatest confidence” in the company’s future performance is the broad strength of the UMG organization, and three things that give the company a competitive advantage “that no other company brings together.” He again cited the strength of the core business, pointing out that it has elevated more successful artists than any of its competitors; its leadership at shaping the overall music ecosystem; what he sees as significant opportunities ahead due to the company’s artists and label services, the company’s strength in high-growth market places around the globe; and how both AI (artificial intelligence) and exploiting the super fan contingent will benefit the company and the industry.

Grainge pointed out that China and India, two of the most populous countries, are among the fastest-growing territories, and says UMG’s experience in the China market will benefit the company as the India marketplace grows. In fact, in India, UMG will duplicate the windowing release strategy it deployed in China so that its new releases first become available on paid streaming services for a 72-hour period before becoming available on ad-supported services.

By division, recorded music grew by 6.83% to 4.769 billion euros ($5.539 billion), up from the prior year first-half revenue total of 4.464 billion euros ($5.081 billion); and music publishing totaled 1.168 billion euros ($1.357 billion),up 3.82% from the corresponding period in 2025 when publishing revenue was 1.125 billion euros ($1.28 billion). Meanwhile, the merch and other revenue category fell to 268 million euros ($311 million) from 311 million euros ($347 million), or a 12.13% decline, due to a softer release schedule and less touring activity. 

In addressing the controversial AI issue, which can be a double-edged sword thanks to carrying both beneficial and possible detrimental effects for the industry, Grainge said the business should use it as a benefit — like if a musician adds a new instrument to the mix using the technology — while guarding against allowing it to be regarded as an artist, which would divert royalties from artists, songwriters, labels and publishers. Or as he put it, “AI is a new instrument, and not the next artist.”

Moreover, he added, “Our responsible AI strategy is being brought to life through partnerships with start-ups such as Udio and Klay, creative platforms like Splice and Stability, and tech giants like NVIDIA.”

In moving over to other licensing, Grainge said UMG now has a “streaming 2.0 agreement with almost all of the major streaming services” (a group that includes Spotify, YouTube, Amazon and Deezer), as well as a completed agreement with Pandora and a new strengthened deal with TikTok, according to a transcript of his comments made available to Billboard. 

Grainge also pointed out how the company has strengthened its reach in the indie label world since 2013, first by relaunching Caroline, buying out the Ingrooves joint venture and then bringing those two companies together under the new Virgin Music Group banner. With the Downtown acquisition, UMG is now the second largest operator in the indie artist services space, Grainge said.

He further cited UMG artists who helped boost UMG’s performance in the first half, including releases by Sam Fender, Olivia Rodrigo, Noah Kahan, Gracie Abrams, Paul McCartney and The Rolling Stones.

Looking ahead, Grainge says he expects UMG to continue its momentum into the second half thanks to upcoming releases from the likes of Ariana Grande, KATSEYE, Sam Smith and Mrs. GREEN APPLE, among other yet-to-be-announced releases. 

Moreover, Grainge noted that in looking at the IFPI annual list of the world’s best-selling artists over the past 10 years, UMG “has averaged just under 14 of the top 20,” or 70% of the world’s top-selling artists. 

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

If you’re thinking about joining Disney+, a free trial is the best way to test out a streaming platform to see if it’s a good fit. However, Disney+ doesn’t offer a free trial anymore, but we found a clever workaround to watch movies and TV shows for free.

You can get Disney+ for free, if you sign up for DirecTV or Hulu + Live TV. Both services offer free trials for up to five days of use.

These days, there are a number of live TV streaming platforms that include Disney+, as well as other channels that’ll get you access to hit movies, TV shows and documentaries from The Walt Disney Company, Marvel Studios, Pixar Animation, Lucasfilm, Twentieth Century Studios, Hulu, National Geographic and much more online at home.

The streaming service also has a wide selection of music specials and concert films, such as Taylor Swift: The Eras Tour (Taylor’s Version), Elton John Live: Farewell from Dodger Stadium, The Beatles: Get Back, Ed Sheeran: The Sum of It All and others.

The streaming platforms below include promos and free trials that’ll help save you additional money while allowing you to watch Disney+ online for free.

DirecTV is offering a five-day free trial, which will let you watch Disney+ for free. Access to the streaming app comes with all of its signature packages, which include unlimited DVR storage. In addition, you’ll get access to local channels and the ability to stream on up to three devices at the same time.

Right now, you can sign up starting at $59.99 for the first month of service ($89.99 per month afterward) for DirecTV’s “Entertainment” Signature Package.

With a three-day free trial, Hulu + Live TV gives you access to Disney+, in addition to more than 100 live TV channels for $89.99 per month. And, you can expand your content library by bundling Hulu + Live TV with Hulu and ESPN Unlimited too.

About Disney+

Disney+ plans start at $7.99 per month for the ad-supported plan, while you can go ad free for $13.99 per month. For even more content, Disney+ offers a bundle with Disney+ and Hulu, which starts at $9.99 per month. You can add ESPN Unlimited to Disney+ and Hulu starting at $35.99 per month.

Meanwhile, if you’re not into ESPN Unlimited, you can add HBO Max to Disney+ and Hulu instead with prices starting at $19.99 per month.

When Cole Swindell reached the top of Billboard’s Hot Country Songs and Country Airplay charts in 2016 with “You Should be Here,” the title arguably became the biggest hit of his career.

He’s had others that reigned for more than one week on each of those lists, but “You Should be There” – with four weeks atop Hot Country Songs and three weeks in the lead on Country Airplay – is the only title to spend multiple weeks at No. 1 on both. Additionally, it was the first of three Swindell singles certified triple-platinum by the RIAA.

“You Should be Here” helped Swindell accept the death of his father, Bill Swindell.

“Hearing that other people needed to hear that as much as I needed to write it,” Cole says, “that’s kind of when I knew that, ‘Hey, this is just part of my story. There’s nothing you can do about it.’”

Ten years later, there’s a sequel. “Girl Dad” documents the major changes in Cole’s personal life as he checks in with his father; even though Bill isn’t present in the physical world, “Girl Dad” assumes Bill’s soul is able to witness his son’s forward motion, and to recognize his own role in it.

“In 10 years, a lot of good things can happen,” Cole suggests. “Even though you’ve been through [some tough] things, you can use those to help other people, and I don’t think I would have been the person I was without going through that.”

Cole has forged a level of professional success that his father never got to see, but he also married the former Courtney Little in California in 2024, and the couple welcomed a daughter, Rainey, last August. Around the beginning of the year, Cole hit the links, and while he was alone on the golf cart, he contemplated his status as a girl dad. Was there a song in that? He thought about how he might tell his father of the changes in his life, and the idea coalesced around the use of a comma. “I met a girl, Dad” would work as the starting point of a chorus; “We’re having a girl, Dad” would clinch it.

Cole had written a number of songs with Michael Tyler (“Somewhere on a Beach,” “Mind on You”) and Ben Stennis (“’Til You Can’t,” “Holy Smokes”), and he felt they would be the right collaborators to finish “Girl Dad.” He texted Tyler, who needed to hear the whole pitch before he was on board.

“I see the words ‘Girl Dad,’ and I’m just thinking, you know, ‘Maybe not a hit song,’” Tyler admits.

But once Swindell shared the actual lines he had in mind for the chorus, Tyler was completely in on it. They wrote it on Jan. 7 at Stennis’ Young Guns Publishing office on Nashville’s Music Row. Swindell knew parts of their personal biographies, but it became even clearer when they were together that they were the right collaborators: Stennis was a girl dad who’d lost his father; Tyler’s dad had passed, and his wife was expecting a girl.

Their first attempts on guitar fell flat, but Stennis turned on his virtual keyboard, using an Emotional Piano program that simulates a baby grand, and they found some chords that fit. Tyler hopped on for a bit and created a repetitive, descending pattern. It set the tone for the rest of the process.

Swindell sang the first line, “I hate the sound of my boots on this gravel,” and they were on their way. Tyler kicked in a phrase about “that dash in between those years” – a reference to a headstone – and they vacillated a bit between the first verse and chorus, making sure to place some of the most important information in the spots where it would have the most impact.

“Knowing the beginning and the end of the chorus really helped a ton,” Stennis says. “All we did was fill in the gaps of Cole’s story, and then try to make it something that a lot of people could latch onto – personal, but not so personal that other people couldn’t tell their story within the song as well.”

The first verse laid out the cemetery setting for the conversation, while the chorus recounted Cole’s marriage and produced a sonogram that confirms the pregnancy.

Verse two would do much of the heavy lifting while maintaining a light tone: Dad brags about his granddaughter in Heaven, her due date is the same month as Grandpa’s birthday, and it ends by comparing the day Cole met his wife to his parents’ introduction. It’s three generations of life compressed into four lines, efficiently making connections that cement the song’s intimacy.

“It should have been complicated, but I think that’s why we felt like we had something special that day, because it flowed out so freely and so fast,” Stennis says. “Those are the days where you know you’re just a conduit. You know that someone else is doing the heavy lifting for you.”

The process was extremely emotional – “A lot of it was venting and grown-man tears,” Tyler notes – and it culminated with a two-line bridge that expressed the ultimate regret: that little Rainey will never know the grandfather who had played such a crucial role in shaping her father’s life. “All I can do is kind of make sure she knows who my dad was through who I am,” Cole says.

Stennis recorded Swindell’s vocal on a Shure SM7 microphone right there in the room. “I do remember saying to Cole, ‘How are you gonna sing this live?’” Tyler recalls. “He’s like, ‘I don’t know. I’ll worry about it when I get there.’”

Stennis hired Blake Bollinger to replay the piano, then added a few light touches to fill out the demo. Swindell, who thought it was likely too personal to be released, introduced “Girl Dad” to Warner Records Nashville in an off-the-cuff manner during a meeting. He was shocked at the reaction.

“There were people, legit, streaming tears down their face for just the demo,” Swindell says.

Finalizing it became a priority. Swindell enlisted producer Sam Ellis (Ingrid Andress, Hunter Hayes), who thought “Girl Dad” was “incredible.” He felt similarly about Swindell’s demo vocal. “You just can’t beat it emotionally,” Ellis says. “[He’s] a little unsure and just learning it for the first time. There’s some real vulnerability.”

Ellis replayed Bollinger’s core piano parts and filled it out further with an array of mostly acoustic instruments. He mixed real drums with programmed percussion, intentionally creating a “heartbeat” vibe, and unintentionally building an other-worldly sensibility to it. That spiritual tone was further enhanced with a spacey introductory electronic keyboard, plus the phrasing in the chorus, which feels almost like a mantra.

During the last half of the production process, Ellis hired steel guitarist Justin Schipper, and got more in that vein. “Justin Schipper’s great at adding those ethereal, tension steel guitar parts, things that don’t really stand out as traditional steel lines,” Ellis says. “He’s one of a kind for doing that.”

Warner Records Nashville released the single – and an emotional video, with Swindell’s boots crushing the gravel at his father’s cemetery – on June 19. It’s at No. 48 on the Country Airplay chart dated Aug. 1, connecting with fans whose stories are similar to his, and with some who have no firsthand experience with the scenario.

“These kinds of songs are why I love country music,” he says. “When you have a story and you can share it like that, and other people connect with it, there’s not anything more powerful than that.”

Between sips of the same mate, Milo J and Trueno made a clear case that Latin music’s global reach doesn’t come from watering down local identity, but from leaning into it. During a panel at LAMC (Latin Alternative Music Conference) on Thursday (July 30), moderated by Billboard‘s co-chief content officer Leila Cobo, the Argentine artists agreed that their connection with audiences at home and abroad has come from making music rooted in their truth, their neighborhoods and their language.

“The best thing we could do was make music with our identity,” Milo J said, sharing that he never built his sound around trying to “blow up” or come off more universal. Trueno pushed the idea even further: “The world listening to us is a consequence.”

That idea ran through much of the conversation, as both artists spoke about how soccer culture, a sense of belonging and neighborhood life shape not just their lyrics, but the way they understand the world. “In my country, soccer isn’t just soccer — it’s life itself,” Milo J said. Trueno, for his part, described soccer as “a feeling of identity,” helping explain why both artists have built such distinctly Argentine worlds without losing international resonance.

Beyond the conversation around identity, the panel also offered several reflections on craft. Both artists said building a lasting career depends less on following formulas than on protecting your own voice. Trueno urged emerging artists to be “as much yourself as possible,” stressing that the audience that stays is the one that connects with something real. Milo J emphasized the importance of building community early on by surrounding yourself with friends, creatives and collaborators who grow alongside you.

There was also room to talk about the less glamorous side of the business. Both Milo and Trueno acknowledged that, over time, they’ve had to learn about contracts, teams and legal protection — the part of the journey that often gets overlooked when a project takes off fast. On that front, both emphasized the importance of having trustworthy people around them, from family members to lawyers and close collaborators.

In one of the panel’s most talked-about moments, the two also struck a cautious tone on the use of artificial intelligence in music. While they acknowledged it can be helpful as a support tool for demos or references, they agreed it can’t replace the weight of human experience. For Trueno, art remains “irreplaceable,” while Milo J defended the value of process: learning, trying, messing up and building a body of work from scratch.

The two artists have previously teamed up on tracks including “Gil” (2025). This week, Trueno shares a Billboard cover story with Bella Kay and Slayyyter. Milo J continues to stand out with his album La Vida Era Más Corta (2025), while Trueno keeps building momentum with his recent LP TURR4ZO (2026).

LAMC runs through Saturday (Aug. 1) with more panels, showcases and concerts, including its SummerStage closing event in Manhattan’s Central Park on Saturday where both artists will perform.