Shakira returned to Barclays Center on Tuesday (July 21) for the second of her back-to-back Brooklyn dates, and while the Colombian superstar hardly needed help whipping the crowd into a frenzy, she still delivered the night’s biggest jolt by bringing out Wyclef Jean for a show-stopping performance of their Billboard Hot 100 No. 1 hit, “Hips Don’t Lie.”
Two days after making history at the first-ever World Cup halftime show, Shakira kept the momentum going in New York with a set that balanced global-pop spectacle and the rawer spirit of her earlier catalog. The Wyclef cameo was the clear breakout moment: Shakira, barefoot and dressed in a tan, branch-like bohemian look that echoed the earthy costumes worn by her female dancers, turned the stage into a hypnotic fever dream as Jean emerged in all black, with shades, a fedora-style hat and a colorful bandanna peeking out underneath.
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Together, they launched into one of Shakira’s most recognizable songs — the hit that has become inseparable from her legacy. When Jean delivered his verse, including the immortal “let me see your hips like you come from Colombia,” the audience erupted. Shakira and her dancers answered with serpentine, mesmerizing choreography, and by the end, the two stars were dancing side by side as the arena roared back every word.
Still, the guest appearance was only part of what made the show memorable. A major thread running through the concert was Shakira’s embrace of her early rocker era, spotlighting the sound and spirit that defined her before the English-language crossover years. She leaned into that identity visually too, wearing a sparkly, body-hugging purple one-piece with the flair of an ’80s hair-metal fantasy reimagined through her own lens.
At different points, she strapped on a glittering pink electric Fender and reminded fans just how central guitar has always been to her artistry. She also picked up an acoustic guitar for “Inevitable,” one of the night’s most emotional moments, and later dipped into fan-favorite classics that turned the arena into a giant sing-along. Dónde Están los Ladrones?, her landmark 1998 album, was especially well represented, with songs like “Ojos Así” casting a trance over the room and “Ciega, Sordomuda” landing like a full-body release of nostalgia and joy. “Dónde Estás Corazón” also hit hard, as thousands of fans sang along to every word.
She kept the old-school energy flowing with “Antología,” another one of the night’s loudest sing-alongs, before moving into later hits and English-language favorites including “Underneath Your Clothes.” She also made room for newer material like “Soltera,” proving that even in a set packed with history, she knows exactly how to keep her present-day catalog in the mix.
If the first Barclays show underlined Shakira’s command as a hitmaker with surprise guests like Tyla, Ed Sheeran and Burna Boy, the second doubled down on something deeper: her range. She can still deliver the arena-pop spectacle people expect, but Night 2 showed just how powerfully her rock roots and Latin alternative beginnings continue to connect.
The Colombian superstar is set to perform again in New York on Thursday (July 23) at UBS Arena.
Travis Scott should buy a lottery ticket, because he’s been winning a lot of late.
The “Sicko Mode” rapper, whose Circus Maximus Tour last year banked $265 million to becomes the highest grossing solo rap trek in history, has made the brightest possible start to his acting career.
Scott makes his feature acting debut playing The Bard in Christopher Nolan’s The Odyssey, the first character we come across in the Brit’s epic new film. Almost unrecognizable in long dreads, Scott’s Bard appears at the very top, narrating the titular character Odysseus’s journey through rhythm and song; he appears once again, late; and he recorded “When I’m Home” with producer James Blake and composer Ludwig Göransson, an original work that appears as the closing-credits song.
If he wasn’t already smiling at his good fortune, Scott could afford one when the box-office results landed. The Odyssey nabbed $123.5 million domestically with a global launch of $263.7 million, with the latter marking the master filmmaker’s highest-grossing worldwide opening ever, The Hollywood Reporter confirms. All told, it’s the biggest live-action opening weekend result for 2026.
Winning.
For Scott, it’s been a wild ride. And during shooting, a nervy one. During an interview for The Tonight Show, Scott admitted he was “actually nervous,” as every star in this star-heavy project watched on as he delivered his lines. “I don’t know what the *beep* I’m doing,” he recounted. But yes, it all worked out in the end.
“Such an amazing cast, supportive,” he explains. Nolan, who reached out with the offer of a part, “is an amazing director, everybody made me feel, like comfortable,” he says. “I was just glad to be there and watch him. And be in such a world with them. So I’m just glad to be here.”
Scott directs the official music video for “When I’m Home,” due out next week.
The Houston rapper also recounted his meeting with Norway striker Erling Haaland, following a match last month at Boston Stadium. Scott designed a soccer boot with Nike, which the goal-scoring ace wore in the tournament. As a show of thanks, Haaland gave Scott a signed jersey, and shared the moment on his social accounts.
Check out the late-night interview below.
Now that the FIFA World Cup is in the books, Cruz Beckham, like his famous folks, can turn their mind to other things.
For Cruz, it’s all about music. Specifically, his debut EP Wear & Tear, due out Aug. 21 via Republic Records.
The 21-year-old is now diving into promo. Earlier this week, he sat for a chat with Mack and Jen, hosts at SiriusXM Hits 1 Miami, for some insights into his new music, and the kind of advice and motivational talk shared by his mom and dad, Victoria and David Beckham.
“They’ve taught me throughout the years to just work on your craft and hone-in and make sure you’re the best version of yourself at what you’re doing,” he explains. “So, you know, if they didn’t teach me that, I don’t think I’d be able to get up on stage and play guitar and be confident enough to show what I’ve been working at for a long time. You know, I feel like it’s just, yeah, it’s just working and working and becoming the best version of yourself, I think.”
And who gives the best pep talk? The former soccer superstar and England captain with the best right foot in the business? Or Posh, founding member of the all-conquering, chart-topping Spice Girls?
It’s 1-0 to mom.
“She’s just like, ‘Well, you’re going to do it anyway, so make sure you do it the best of your ability,’” he reckons. “And you know, I understand that she’s definitely played for a ridiculous amount of people, so I trust her opinion a lot, heavily. And, yeah, she just tells me that it’s all going to be okay. Just relax. And I mean, she didn’t have to play guitar on stage, though. So, I’m just saying I have that. I do have that.”
Cruz also admitted he listens closely to the opinion of his girlfriend, a songwriter. Which means, yes, he’s taken.
Wear and Tear collects “songs that I’ve been working through for like maybe two or three years now,” and includes the previously-released title track, a tune that tugs on the Britpop sound. “I’m just excited to be able to put a body of work out,” he enthuses. “I’m really, really excited. I can’t wait to actually give everybody more than just one or two songs.”
Beckham will support the new recordings with a debut U.S. headline tour, getting underway July 28 at The Atlantis, Washington, DC, with stops for festival appearances at Lollapalooza, Outside Lands, Shaky Knees Festival, and U.K. fests Reading and Leeds, and Rock’N’Roll Circus.
Stream the SiriusXM interview here.
Cruz Beckham 2026 tour dates:
July 28 – The Atlantis, Washington, DC
July 29 – Baby’s All Right, Brooklyn, NY
July 31 – The Garrison, Toronto, ON
Aug. 2 – Lollapalooza, Chicago, Illinois
Aug. 3 – 7th Street Entry, Minneapolis, MN
Aug. 6 – Barboza, Seattle, WA
Aug. 7 – Polaris Hall, Portland, OR
Aug. 9 – Outside Lands, San Francisco, CA
Aug. 10 – Masonic Lodge At Hollywood Forever, Los Angeles, CA
Aug. 22 – Rock’N’Roll Circus, Norwich, UK
Aug. 27 – Rock’N’Roll Circus, Sheffield, UK
Aug. 29 – Reading Festival, Reading, UK
Aug. 29 – Leeds Festival, Leeds, UK
Sept. 19 – Shaky Knees Festival, Atlanta, GA
We can’t get Kylie Minogue out of our heads. The Australian pop superstar is everywhere right now — on the airwaves, on our screens, strutting red carpets on the awards circuit, and beaming for an on-stage collaboration with Snow Patrol in South London, the official video for which is now live.
Kylie joined forces with Gary Lightbody and Co. at their sold-out concert July 3 at Crystal Palace Park. There, they delivered the debut performance of “These Alarms,” which officially dropped July 1 on streaming platforms, the first through the band’s new deal with BMG.
The on-stage collaboration was the first time Snow Patrol and Kylie were able to meet in-person, reps say.
On the night, the “Spinning Around” singer stuck around for a performance of “Chasing Cars,” Snow Patrol’s biggest U.S. hit, which peaked at No. 5 on the Billboard Hot 100 in 2006, after its inclusion in the teary season 2 finale of Grey’s Anatomy.
Snow Patrol wrote the new song with Minogue in mind, and recorded it for their 2024 U.K. No. 1 album The Forest is the Path, their second leader, with the working title “KYLIE.” On completion, the band decided to hold back the track until they could record it with the Aussie artist.
“The story behind this song was irresistible,” Kylie comments in a statement. “Hearing there was a demo called ‘KYLIE’ that had been living in the Snow Patrol archives was a complete surprise and, naturally, I was curious to hear it. Gary is such a brilliant songwriter, so to be invited into the band’s world is a total honor.”
The Northern Irish–Scottish rock band this year celebrates the 20th anniversary of their hit fourth album, Eyes Open, which logged three weeks at No. 1 in the U.K. and went on to become the market’s biggest album of 2006. Eyes Open has shifted more than 2.6 million units in the U.K. including 2.4 million pure sales, the OCC reports.
Earlier this month, the band was the first recipient of the Official Charts Hall of Fame Award, a new honor to be presented annually in recognition of official biggest single and album of the year.
The Crystal Palace shoot was led by director of photography Daniel Broadley, whose credits include directing Sam Fender & Olivia Dean’s “Rein Me In” video, and the Oasis (Live ’25) concert series.
Watch the official concert video for “These Alarms” below, and purchase the limited-edition 7” physical vinyl here.
Maluma adds another Billboard Tropical Airplay chart champ to his résumé as “Tu Recuerdo” ascends 2-1 on the chart dated July 25, marking his fifth career leader and the second No. 1 from the album Loco X Volver.
The champ, released on PARIS LG/Sony Music Latin, trades places with Romeo Santos and Prince Royce’s “Dardos,” as the latter slides to No. 2 after seven weeks in charge.
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“Tu Recuerdo” is the second ruler from Maluma’s seventh studio album Loco X Volver, following “1+1,” with Kany García, which became his first salsa No. 1 among his five coronations on Tropical Airplay. His featured turn on Elvis Crespo’s merengue “Ole Brazil,” marked his first No. 1 on the tally in 2014.
“Tu Recuerdo” reaches No. 1 with 5.4 million audience impressions, up 6%, earned across the tropical-reporting stations in the United States during the tracking week ending July 16, according to Luminate.
The song is the second by a core Latin rhythmic artist to top Tropical Airplay in 2026, following Arcángel’s merengue cut “Hoy Se Guaya,” which led for a week in June. Adding on, Maluma becomes one of only three solo acts, with no accompanying billed artist, to reach No. 1 among the chart’s eight leaders this year, joining Arcángel and Carlos Vives, whose “Te Dedico” ruled for three weeks between May and June.
Beyond its Tropical Airplay success, “Tu Recuerdo” earns Maluma a 34th top 10 on the overall Latin Airplay chart, with a 13-10 jump.
The track also climbs to a new No. 2 high on Hot Tropical Songs and rises 40-37 on Hot Latin Songs. Both tallies combine radio airplay, streaming data and digital sales into their formulas.
Sarah Hardwig knew exactly what she was doing when she covered Lainey Wilson’s “Heart Like A Truck” on America’s Got Talent.
Hardwig has a heart like a Mack Truck, an 18-wheeler.
Raised in Naples, Florida, and now based in Nashville, TN, Hardwig was born blind, diagnosed at just 5 months of age with a genetic eye condition, Leber’s Congenital Amaurosis.
“Music has always played an important role in my life,” she explained at the top of her audition. “And I want to prove to the world that regardless of whether you have a disability or not, you can do absolutely anything that you set your mind to.”
The 23-year-old lives it and led by example with her performance, which aired Tuesday night, July 21. Several minutes later, Hardwig, overflowing with emotion and energy, admitted she felt “amazing.”
Everyone in the room felt the same thing.
“That was beautiful and heartwarming,” remarked Howie Mandel, “and you are the epitome of resilience to show up here and to sing your heart out and to move three or four thousand strangers in this room and hopefully millions of people at home, I love your message and I love your energy and this show is about inspiration and you’re inspiring.”
Spice Girl Mel B agreed. “Sarah, you’ve got a really good voice young lady. Your trills and the way you control your voice is on-point,” she remarked. Mel B also dished out some criticism. The hopeful has more to give, she noted, and her next song selection should be “even bigger.”
Forget that, chimed in Sofía Vergara. “Everything you did was amazing. I wouldn’t change a thing. Your voice, the song, I think we all fell in love with you and everybody else is going to fall in love with you.”
Simon Cowell, as he tends to do, spoke last. “I understood where Mel was going,” he suggested. “Our auditions are our first introduction. However, that was a really, really good audition. I really hope this boosts your confidence, because you really, really have a natural gift.”
Hardwig earned four “yeses” from the judges, a standing ovation 4,000-plus folks in the room, and progress in this 21st season of AGT.
This isn’t Hardwig’s first rodeo. In 2023, she won the Tennessee Songwriters Showcase, was tapped to participate in The Acoustic Guitar Project at the Country Music Hall of Fame, has won a Danny Award for musicians with disabilities, and last year made her debut at The Grand Ole Opry.
AGT airs Tuesday evening on NBC and next day on Peacock.
Watch Hardwig’s audition below.
BMI celebrated the best in gospel music on Tuesday (July 21) at the 2026 BMI Trailblazers of Gospel Music Awards held at BMI’s Nashville office, where Kierra Sheard received the BMI Impact Award in recognition of her career and impact on the future of gospel music. Sheard was also honored as BMI’s gospel songwriter of the year in a three-way tie with her brother, J Drew Sheard II, and Kerry Douglas.
BMI’s gospel song of the year went to “Lead Me On,” co-written by Jonathan Jay, Chandler Moore and Jeff Pardo. Performed by Moore, the song was a single from his 2024 solo album, Chandler Moore: Live in Los Angeles. The song brought Moore his first solo No. 1 on Billboard’s Gospel Airplay Chart.
BMI’s gospel publisher of the year went to Capitol CMG Publishing for having the highest publisher share percentage of the top 25 songs, including BMI’s gospel song of the year, “Lead Me On.”
The 25 most-performed gospel songs of the previous year were also announced at the private afternoon ceremony hosted by BMI’s CEO, Mike O’Neill; executive vp and chief revenue & creative officer Mike Steinberg; and vp of creative, Atlanta, Catherine Brewton.
Douglas and siblings Kierra Sheard and J Drew Sheard II received songwriter of the year for each writing three of the most performed gospel songs of the previous year. Douglas was honored for “Don’t Give Up,” “Windows” and “Without You,” bringing his total number of BMI Awards to five. J Drew and Kierra Sheard were recognized for co-writing their hits “All Yours,” “RAIN DOWN ON ME” and “Send It Down,” marking the second time the duo has been honored with this title, after their first win in 2022.
The BMI Impact Award tributes kicked off with a video message from Sheard’s aunt and 2024 BMI Trailblazer of Gospel Music honoree Dorinda Clark-Cole. Sheard’s mother, Karen Clark Sheard, also gave a speech congratulating her daughter for the “well-deserved honor.”
To pay homage to Sheard’s career, tribute performances kicked off with Darrel Walls on “Indescribable,” joined by DOE, who gave a soulful rendition of “This Is Me.” Tasha Cobb Leonard ended the tributes with an uplifting performance of “Hang On,” with Karen Clark Sheard and Tamela Mann singing along from the audience.
Upon presenting Sheard with the BMI Impact Award, Steinberg said, “Today, we celebrate you for inspiring us through all your endeavors: your innovative songwriting, your powerful artistry and your ministry that touches hearts around the world.”
Sheard thanked her family and members of the audience, sharing, “God has a way to reward faithfulness before He rewards popularity… and [it] is a reminder that if you keep saying yes, He knows exactly where to find you.” She added her appreciation to BMI, saying, “I want to thank you for pushing gospel music forward. You make this industry worth staying in. What matters is what you represent, that someone still believes in a song that is worth protecting and paying for.” The ceremony concluded with Sheard singing her hit song “You Are.”
The ceremony, which kicked off with a performance of “I Love the Lord” sung by Keyla Richardson, highlighted 16 first-time winners, including Adia, Jazze Pha, Travis Finley, Dustin “SLATE” Slater and Keran Vega.
Visit the BMI site to see a full list of BMI’s Trailblazers of Gospel Music Award honorees. (The link should be live by 11 p.m. ET.)
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Macy’s is back with their popular “Black Friday in July” event, giving shoppers a chance to score major discounts months before the holiday shopping season officially begins. The annual summer sale has become a midyear tradition for the retailer, offering Black Friday-style savings across fashion, beauty, home and tech without waiting until Thanksgiving.
This year’s event runs through Sunday, July 26, with 40% to 60% off storewide, making it one of the biggest shopping weekends of the season. Whether you’re refreshing your wardrobe, upgrading your gadgets or getting ahead on gift shopping, there are plenty of budget-friendly finds to browse.
Better yet, every pick below comes in at under $100, spanning everything from noise-canceling headphones and Bluetooth speakers to retro-inspired sneakers, designer watches, trending crochet handbags and graphic band tees celebrating iconic artists like The Beatles, Journey, AC/DC and The Rolling Stones.
’80S BASKETBALL AESTHETIC
Nike Men’s Court Vision Sneakers
Sizes 8-12
Retro basketball silhouettes have remained a staple of Nike’s for decades. These kicks are a versatile option whether you’re pairing them with jeans, shorts or athleisure.
A clean blue-and-white colorway gives the Nike Court Vision Low timeless appeal, blending ’80s basketball DNA with modern everyday comfort. Available in men’s U.S. sizes 8-12, the sneaker features leather and synthetic panels, breathable perforations and a durable rubber cupsole for dependable traction.
ATHLEISURE STYLE
Calvin Klein Women’s Amyra Sneakers
Available in three colors
If you’ve been eyeing Tory Burch’s popular Good Luck trainers without the designer price tag, the Calvin Klein Amyra offers a similar sporty-meets-lifestyle aesthetic.
Available in light pink, black and white/black in women’s sizes 5-11 (including half sizes), the lace-up sneaker features breathable mesh, subtle Calvin Klein branding and a lightweight rubber sole. The neutral color options make them easy to wear with everything from leggings to denim.
GREAT GIFT IDEA
Tommy Hilfiger Men’s Black Watch
Stainless steel case and leather strap
A hot deal for this accessible luxury piece, the quartz movement keeps accurate time, while 30-meter water resistance protects against splashes.
Designed with a 45mm stainless steel case, black dial and black leather strap with crisp white accents, it delivers a polished look that works for everyday wear or dressier occasions. It also includes a two-year limited warranty and arrives gift-boxed. Classic never goes out of style, and this Tommy Hilfiger watch proves why.
CLASSIC TIMEPIECE
Michael Kors Corey Women’s Watch
Classic three-hand watch
Everywhere you look on this watch, there’s an intentional detail, like the MK embossing on the dial.
This Michael Kors Corey watch is a timeless look with modern features, such as its black sunray dial, gold-tone stainless steel case and black leather strap. The 38mm case offers a versatile size for everyday wear, while quartz movement ensures reliable timekeeping. Water resistant to 30 meters, it’s built to handle daily splashes and comes backed by a two-year international limited warranty for added peace of mind.
BOXY FIT
Cotton On Tupac Men’s T-Shirt
Sizes 2XS-L
In the week’s leading up to the 30th anniversary of his death, Macy’s is honoring Tupac Shakur with a graphic tee.
Band and music-inspired tees continue to dominate casual wardrobes, and this Cotton On Tupac shirt pays tribute to the legendary rapper with a Me Against the World graphic on a faded slate backdrop. Made from 100% cotton with a relaxed box fit and available in sizes 2XS-L, it delivers an intentionally oversized, vintage-inspired look.
VINTAGE-INSPIRED
The Sak Lanie Crochet Tote Bag
Handmade piece
Crochet bags are one of this summer’s biggest handbag trends, with Prada spearheading the fad. We also saw fruit prints having a micro-trend moment earlier this summer, too.
Combine this summer’s crochet and fruit fads with The Sak’s Lanie crochet tote. This hand-crocheted bag is made from yarn and come with a roomy zippered interior and both top handles and an adjustable crossbody strap. Measuring 12 by 15 inches, it’s spacious enough for everyday essentials while maintaining an effortless warm-weather aesthetic.
BAND TEE
Men’s Journey Band 1981 Graphic T-Shirt
Sizes M-2XL
Hot take: Everyone has a Journey band tee. No? Well, this one is available for 40% off at Macy’s.
Journey merchandise continues to resonate with longtime fans and younger generations alike, thanks in part to Don’t Stop Believin’ finding a wider audience through The Sopranos finale and later Glee. This Lucky Brand graphic tee features an oversized Journey 1981 print on a classic-fit silhouette with a comfortable crewneck. Available in men’s sizes M-2XL, the cotton-blend shirt is an easy everyday staple for rock fans.
NOISE CANCELING
Baseus Wireless Headphones
Available in three colorways
For under $50, the Baseus Bass BH1 NC packs premium features usually found in pricier headphones.
Adaptive hybrid active noise cancellation reduces up to 45dB of background noise, while LDAC Hi-Res audio delivers more detailed wireless sound on compatible devices. The on-ear headphones come with up to 80 hours of battery life (55 with ANC enabled), memory foam ear cushions and three color options: black, pink and starlight off-white.
MACY’S EXCLUSIVE
The Rolling Stones Graphic T-Shirt
Sizes 2XS-XL
The Rolling Stones’ iconic tongue-and-lips logo has remained one of music’s most recognizable graphics for decades.
This Macy’s-exclusive band tee has a soft cotton-blend fabric and a classic crewneck silhouette. Available in women’s sizes 2XS-XL, the tee pairs effortlessly with denim, shorts or a slip skirt for an off-duty look.
THE BEATLES BAND TEE
The Beatles ‘Strawberry Fields Forever’ Women’s T-Shirt
Sizes XS-XL
You may have to wait until 2028 for Sam Mendes’ ambitious four-part Beatles film series, but this vintage-inspired tee lets fans celebrate the band’s 1967 hit now.
Featuring a light green mineral-wash finish and strawberry artwork inspired by Strawberry Fields Forever, the soft cotton-blend shirt nods to one of The Beatles‘ most influential songs. Available in women’s sizes XS-XL.
SELLING FAST
Gemstones Infinity Bluetooth Speaker
Comes with carrying handle
Bring the party anywhere with sound and a light show.
The Gemstones Infinity Bluetooth mid speaker boasts up to 24 hours of battery life that keeps playlists going from day to night. An easily portable speaker, its built-in handle allows for carrying to the beach or park during summer events. The standout “infinity mirror” display features six customizable light shows, and the speaker can pair with up to 50 compatible Infinity speakers for synchronized sound and lighting.
SPORTS EARBUDS
Baseus Wireless Open Earbuds
Available in black or white
If traditional in-ear earbuds tend to feel uncomfortable, the Baseus Bowie MC1 offers open-ear earphones with a clip-on design that lets you hear your surroundings while listening to music or on a call.
Available in black or white, they feature adaptive bass enhancement, AI-powered noise reduction for clearer phone calls and are water and dust resistance. With up to 40 hours of total battery life, these clip-ons earbuds are well suited for high-intensity activities like running, gym sessions and sports.
BAND TEE
Men’s AC/DC Graphic T-Shirt
Sizes S-3XL
Few band logos are as instantly recognizable as AC/DC’s lightning bolt design, and this officially licensed graphic tee gives it a creative twist (but you’ll have to look closer to appreciate it).
The AC/DC artwork is made entirely from the band’s song titles and career-defining imagery. Printed in the U.S. on soft cotton and available in men’s sizes S-3XL, it’s an easy everyday pick for fans of classic hard rock.
GRAPHIC TEE
Pink Floyd ‘The Wall’ Band T-Shirt
Sizes S-M
A solid graphic t-shirt is hard to beat, especially when it’s inspired by one of rock’s most recognizable albums.
The last Pink Floyd record to feature all four members of the classic lineup, The Wall album graphic is displayed on a classic black tee on lightweight, 100% cotton. Designed with a classic crew neck and regular fit, it’s available in sizes S–M and machine washable for easy care.
It’s been four years since NewJeans burst onto the K-pop scene, and they’re marking the celebratory achievement with a heartfelt gift for fans.
The group unveiled “2026 Summer of NewJeans” on Tuesday (July 21), a commemorative anniversary film series that features the reunited members Minji, Hanni, Haerin and Hyein in a rollout of four individual films and one group film. The release arrives just weeks after Minji’s return was confirmed, completing the four-member reunion after the unpredictable future of the group.
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Under a moonlit sky, the group film opens on Minji, with Hanni to follow. Haerin and Hyein gradually join them onscreen, as all four girls hold hands and smile at one another. They look off into the distance, creating the solemn, quiet and hopeful atmosphere that is reminiscent of the visual style that marked NewJeans’ early career. The anniversary series also includes individual films centered on each member’s everyday life, while also incorporating gestures to the group’s fandom: Bunnies. White fur and the delicate animal are a motif throughout the individual films and the group film, expressing subtle gratitude to their dedicated audience.
“The special film series was created from the members’ shared wish to celebrate their fourth anniversary together with fans,” ADOR said in a statement. “We hope Bunnies will enjoy these films as a heartfelt gift.”
The release of these films continue NewJeans’ return after nearly two years of uncertainty. The group’s original five-member lineup announced plans to leave ADOR in late 2024, later promoting independently as NJZ before a court blocked those actions in 2025. Following a court ruling in ADOR’s favor later that year, Hanni, Haerin and Hyein confirmed they would return to the label, while Minji’s decision remained up in the air until earlier this summer. Danielle, whose contract with ADOR was terminated in late 2025, is not featured in the anniversary project.
The reunion marks a new chapter for one of K-pop’s biggest girl groups. Since debuting in 2022, NewJeans has landed five songs on the Billboard Hot 100, while 2nd EP ‘Get Up’ became the group’s first No. 1 on the Billboard 200 albums chart in 2023. The group was also honored as Group of the Year at Billboard‘s 2024 Women in Music ceremony.
A mediados de los años noventa, Kids (1995) produjo una conmoción que excedió ampliamente sus méritos cinematográficos. Dirigida por Larry Clark, escrita por un jovencísimo Harmony Korine y estrenada en 1995, la película convirtió la deriva sexual, emocional y moral de un grupo de adolescentes neoyorquinos en el retrato de una generación que parecía crecer sin adultos, sin límites y sin futuro. Su impacto no provenía únicamente de la crudeza de sus imágenes, sino de la sensación de que aquellos jóvenes habían tomado la pantalla para exhibir una realidad que el cine comercial prefería mantener fuera de campo.
Kids no inauguró este territorio. Reactivó una tradición que podríamos denominar el “cine de los niños perdidos”: Películas sobre infancias y adolescencias abandonadas por la familia, el Estado y las instituciones encargadas de protegerlas. Allí se encuentran El Limpiabotas (1946) de Vittorio De Sica, Los olvidados (1950) de Luis Buñuel, Crónica de un niño solo (1965) de Leonardo Favio, Pixote (1980) de Héctor Babenco y Ciudad de Dios (2002) de Fernando Meirelles y Kátia Lund.
En Colombia, esa genealogía atraviesa a Pepos (1983) de Jorge Aldana, Rodrigo D. No futuro (1990) y La vendedora de rosas (1998) de Víctor Gaviria, y se prolonga en obras recientes como La jauría (2022) de Andrés Ramírez, los documentales Alis (2022) de Nicolás Van Hemelryck y Clare Weiskopf y ANHELL69 (2023) de Theo Montoya; Matar a Jesús (2017) y Los reyes del mundo (2022) de Laura Mora, Puentes en el mar (2023) de Patricia Ayala, Alix (2024) de Ana María Hermida, Perros de niebla (2024) de Andrés Mossos y Tres lunas nuevas (2025) de Rodrigo Dimaté. Todas estas cintas, con sus “no actores”, trasladaron la tradición iniciada en Europa a una narración frenética y sin concesiones sobre la violencia juvenil como sistema de socialización, supervivencia y ascenso dentro de un territorio abandonado por el Estado.
Las mejores películas de este género no se limitan a comprobar que existen jóvenes marginados. Se preguntan qué estructuras los han arrojado a la calle, qué formas de familia construyen entre ellos, qué relación establecen con la violencia y qué lenguaje puede emplear el cine para mirarlos sin reducirlos a objetos de compasión, fascinación o consumo. Incluso cuando estas obras son brutales, existe detrás de ellas una mirada política y humana. Los personajes no funcionan como decoración de un infierno social, sino como sujetos con deseos, contradicciones, crueldades, afectos y posibilidades truncadas.
Harmony Korine profundizó esa exploración en Gummo, su estremecedor debut como director. Allí fusionó ficción, documento, video doméstico, fotografía y fragmentos aparentemente dispersos para recorrer una Norteamérica devastada que rara vez aparecía en el imaginario oficial. Su universo estaba habitado por niños, adolescentes, animales, viviendas deterioradas y familias disfuncionales, pero la película no organizaba esos elementos como un catálogo de monstruosidades. Su forma fragmentaria respondía a la experiencia de una comunidad rota. El desorden era, más que un capricho formal, su estructura emocional.
Por eso Barrio Triste, producida por EDGLRD, la compañía de Korine, resulta especialmente reveladora. La ópera prima de Stillz, el fotógrafo y realizador de videoclips para Bad Bunny, Karol G y Rosalía, pretende inscribirse en aquella tradición, pero termina mostrando cuánto se ha degradado la mirada que alguna vez hizo de Korine un autor indispensable. La provocación que en Gummo buscaba penetrar una realidad olvidada se convierte aquí en una marca de fábrica. La pobreza es textura; la violencia, una descarga sensorial; la adolescencia abandonada, una mercancía visual de exportación.
La película se presenta como una grabación encontrada en el Medellín de los años ochenta como si se tratara de un Found Footage al estilo de la infame coproducción colombo italiana Holocausto Caníbal. Un camarógrafo y un reportero de televisión investigan unas misteriosas luces que supuestamente ingresan a las viviendas del sector. Un grupo de jóvenes los ataca, roba la cámara y comienza a documentar su vida. El dispositivo contiene una posibilidad poderosa: Quienes suelen ser filmados desde afuera se apoderan del instrumento de representación. Los sujetos excluidos dejan de ser la noticia y toman el control de la imagen.
Sin embargo, esa promesa política se diluye casi inmediatamente. La cámara no se convierte realmente en la mirada de los muchachos, sino en la herramienta con la que Stillz reproduce una fantasía prefabricada sobre la marginalidad colombiana y latinoamericana. El recurso del falso material encontrado no les entrega una voz, sino que sirve para legitimar la precariedad visual, los movimientos espasmódicos, el grano, el vértigo, las fallas electrónicas y una supuesta espontaneidad que encubre una construcción tan vacía como calculada.
Los jóvenes recorren las calles, utilizan máscaras demoníacas, asaltan una joyería, asesinan a un inocente, amenazan a desconocidos, bailan con machetes, se refugian en espacios ruinosos y hablan sobre la muerte como si su propia desaparición fuese inevitable. Entre esas acciones aparecen luces sobrenaturales, una figura demoníaca, un ángel y una serie de animales introducidos como signos de una profundidad que nunca llega. Un caballo dentro de una habitación, una cabra deambulando por los espacios, una entidad grabada en Betacam, jóvenes que desaparecen y luego aparecen en una piscina. La película acumula imágenes con la seguridad de que su rareza será confundida con significado.
El problema no es que no explique esos símbolos. El cine no está obligado a entregar un manual de interpretación. El problema es que no establece relaciones suficientemente fértiles entre ellos. Una imagen puede conservar su misterio y, al mismo tiempo, poseer una función dramática, emocional o conceptual. En Luis Buñuel, David Lynch o el mejor Korine, lo inexplicable altera nuestra comprensión del mundo representado. En Barrio Triste, lo inexplicable apenas cambia de forma. El caballo, la cabra, el demonio, el ángel y las luces podrían ser reemplazados por cualquier otra extravagancia sin modificar la película. No son símbolos abiertos, sino accesorios intercambiables.
La luz, presentada como una posible metáfora de la salvación, tampoco alcanza una densidad suficiente. Uno de los muchachos afirma no ver ninguna luz mientras permanece sentado al borde de una azotea. La película insiste después en incendios, bombillas, grafitis aterradores, cadáveres eviscerados, resplandores y apariciones. Pero repetir un motivo visual no equivale a desarrollarlo. Stillz insiste una y otra vez la oposición entre oscuridad y luz como si temiera que el espectador no entendiera que estos jóvenes buscan una salida. Lo que comienza como sugerencia termina convertido en una obviedad recalcitrante.
Algo similar ocurre con las entrevistas frontales en las que los protagonistas hablan de sus pérdidas, frustraciones, paternidades interrumpidas y futuros inexistentes. Esos testimonios contienen la posibilidad de quebrar la superficie y revelar la vida detrás de la pose violenta. Son, de hecho, algunos de los pocos momentos en que los personajes dejan de funcionar como figuras dentro de una instalación audiovisual. Pero Stillz parece desconfiar de la humanidad que emerge de ellos. La cámara tiembla, la edición interrumpe y la puesta en escena vuelve a imponer su presencia. Cada vez que una emoción amenaza con adquirir autonomía, la película la somete a otro gesto de estilo.
La banda sonora de Arca participa de esa agresión. Sus texturas electrónicas, ruidos y acumulaciones atonales pueden intensificar la sensación de amenaza, especialmente durante el asalto (que curiosamente, evoca a Point Break), pero con frecuencia intentan fabricar desde el sonido una perturbación que las imágenes no han construido dramáticamente. La música no amplía la experiencia interior de los personajes; muchas veces les coloca encima una capa de fatalidad programada. En lugar de escuchar a los jóvenes, la película les asigna un ambiente sonoro destinado a recordarnos que estamos contemplando seres condenados.
Es aquí donde Barrio Triste nos obliga a retomar el concepto de la “pornomiseria”, formulado por los cineastas colombianos Luis Ospina y Carlos Mayolo durante los años setenta. Con ese término denunciaron la utilización de la pobreza latinoamericana como espectáculo exportable con sus imágenes de hambre, abandono, violencia y degradación destinadas a satisfacer a públicos y circuitos culturales extranjeros que podían contemplar esos infiernos, escandalizarse, rasgarse las vestiduras y regresar después a la tranquilidad de su propia superioridad moral.
Ospina y Mayolo no estaban afirmando que la pobreza no pudiera filmarse. Cuestionaban las condiciones de esa representación: quién filma, para quién, con qué intereses y mediante qué operaciones convierte el sufrimiento ajeno en prestigio, dinero o validación artística. Su falso documental Agarrando pueblo fue una respuesta feroz contra esa “industria de la compasión”. La cámara perseguía pobres para producir imágenes cada vez más degradantes, mientras los realizadores ficticios (o no tan ficticios) buscaban cumplir con las exigencias de una televisión europea deseosa de consumir miseria tercermundista.
Casi medio siglo después, Barrio Triste parece repetir aquello que Ospina y Mayolo satirizaron. Medellín no aparece como una ciudad compleja, sino como un escenario disponible para una fantasía internacional sobre Colombia. Ruinas, adolescentes armados, suciedad, drogas, cuerpos jóvenes, religiosidad sincrética, demonios, pobreza y violencia se mezclan en una cápsula de exotismo audiovisual. El barrio deja de ser un espacio social y se convierte en una escenografía de la condenación.
La textura del video analógico refuerza esta operación. En teoría, la imagen degradada debería acercarnos a una época, a una tecnología y a una perspectiva marginal. En la práctica, funciona como un filtro nostálgico que vuelve atractiva la precariedad. La suciedad de la imagen no cuestiona nuestra mirada: la seduce. El espectador no queda enfrentado al horror de una estructura social, sino invitado a disfrutar la apariencia de una cinta maldita proveniente de un Medellín infernal.
Incluso Gamín (1977), el documental de Ciro Durán que se convirtió en uno de los principales objetos de la discusión sobre la pornomiseria en Colombia, parece hoy más serio, más complejo y comprometido que Barrio Triste. A Gamín se le reprochó haber recurrido a reconstrucciones y puestas en escena para intensificar el desamparo de los niños habitantes de calle en Bogotá. Su forma de representación continúa siendo discutible, especialmente por la relación de poder entre el cineasta y los menores filmados. Sin embargo, allí existía al menos el intento de documentar una realidad social, reconocer sus condiciones materiales y denunciar un abandono institucional.
En Barrio Triste, en cambio, la miseria casi nunca tiene causas. No hay una exploración del Estado, la familia, la economía, la guerra urbana, el narcotráfico, el desplazamiento o las instituciones que han producido esa juventud a la deriva. La película toma los efectos de la desigualdad y los separa de su historia. Los muchachos son violentos, desesperados y nihilistas porque el universo de Stillz los necesita así. Su dolor se presenta como una condición atmosférica, una especie de maldición flotante sobre Medellín, no como el resultado de decisiones políticas y estructuras concretas.
Esa “deshistorización” es especialmente grave al situar la acción en el Medellín de los años noventa, una ciudad atravesada por la pobreza, el narcoterrorismo, la militarización, el sicariato, la desigualdad, las milicias urbanas, el miedo y la fragmentación territorial. El periodo no puede reducirse a una textura Betacam, unas armas y una colección de jóvenes sin horizonte. Escoger esa época implica una responsabilidad que la película evita. Barrio Triste utiliza el peso simbólico del Medellín de los noventa, pero no se compromete con su complejidad.
La comparación con Víctor Gaviria es inevitable y demoledora. En Rodrigo D. No futuro y La vendedora de rosas, los jóvenes no profesionales aportaban sus voces, experiencias, palabras y formas de ocupar el espacio. La violencia podía ser abrupta y devastadora, pero nunca se separaba de la vida cotidiana, los vínculos afectivos y las estructuras de exclusión. Gaviria no filmaba la marginalidad como una reserva de imágenes extremas. Permitía que sus personajes existieran más allá de la función que la película les asignaba.
Stillz, por el contrario, parece acercarse a sus protagonistas con una lista previa de efectos: Suciedad, violencia, tristeza, cuerpos semidesnudos, máscaras, fuego, armas, animales y apariciones. No descubre un mundo, sino que más bien busca confirmar una estética. La supuesta libertad de los jóvenes frente a la cámara está subordinada a la mirada de un realizador que necesita que permanezcan reconocibles como criaturas de un inframundo.
Además, el cine colombiano contemporáneo ya ha desarrollado múltiples aproximaciones a las juventudes abandonadas, desplazadas o violentadas. Los reyes del mundo convierte el viaje de cinco jóvenes por Antioquia en una búsqueda trágica de territorio, pertenencia y hogar. La jauría examina la masculinidad, la culpa y la violencia aprendida dentro de un centro de reeducación. Puentes en el mar observa la adolescencia desde el duelo, la maternidad y el abandono social. Alis permite que un grupo de jóvenes institucionalizadas imagine colectivamente a una compañera ficticia y, al hacerlo, revele sus propias vidas sin convertirlas en objetos de exhibición.
Estas películas pueden ser desiguales, pero comprenden que representar a jóvenes vulnerables exige algo más que colocarlos frente a una cámara. Requiere escuchar su lenguaje, reconocer sus deseos y construir una forma cinematográfica que no se beneficie únicamente de su sufrimiento. Frente a esa tradición, Barrio Triste no resulta novedosa ni radical. Llega tarde a un territorio que el cine colombiano ha recorrido con mucha mayor profundidad.
La película se encuentra más cerca de Trash Humpers que de Gummo, pero sin el impulso verdaderamente destructivo de la primera. En los últimos años, el cine de Korine parece haber abandonado progresivamente su interés por los personajes para concentrarse en superficies digitales, videojuegos, publicidad, simulación y experiencias audiovisuales concebidas como objetos de impacto. No se trata de condenar esa transformación ni de exigir que un autor repita eternamente sus primeras películas. El problema aparece cuando la experimentación deja de abrir caminos y se convierte en una fórmula reconocible.
En Barrio Triste, la influencia de Korine funciona como una franquicia estética de baja resolución, cuerpos marginales, violencia errática, sexualidad insinuada, animales, máscaras, ruido y una solemnidad apocalíptica. Lo que antes era una búsqueda se ha convertido en una identidad corporativa. La transgresión ya no rompe nada porque llega empaquetada, financiada y preparada para circular dentro de un mercado que reconoce inmediatamente sus códigos.
También existe una dimensión inquietante en la manera en que este universo contempla los cuerpos jóvenes. La película insiste en su vulnerabilidad, su exposición, su cercanía con la violencia y su disponibilidad para la mirada. Sin afirmar que toda representación de estos cuerpos sea necesariamente abusiva, sí conviene preguntarse dónde termina el interés artístico y dónde comienza una fascinación explotadora. Cuando una película carece de una perspectiva social sólida, la exposición del sufrimiento corre el riesgo de volverse un placer visual disfrazado de denuncia.
Sus defensores podrán argumentar que la incoherencia es deliberada, que la película debe experimentarse como un artefacto encontrado y no como un relato tradicional. Pero la fragmentación voluntaria no exime a una obra de construir relaciones, intensidades y sentidos. La ausencia de una trama convencional puede abrir otras formas de comprensión; no garantiza por sí misma profundidad. Barrio Triste confunde la dificultad con la complejidad, la acumulación con la imaginación y la irresolubilidad como propuesta.
Hay instantes en los que los muchachos ríen, conversan, juegan con la cámara o se permiten una fragilidad inesperada. En esos momentos se intuye otra película, una obra sobre el descubrimiento de la imagen por parte de quienes nunca han controlado su propia representación. El acto de robar la cámara podría haber sido una apropiación simbólica del derecho a narrarse. Pero la película no confía plenamente en esa idea. Prefiere convertir la cámara en un objeto fetichizado y a sus portadores en figuras de una mitología de la condenación.
Por eso su vacío no proviene de que sea críptica, sino de que sus gestos no conducen a ninguna transformación. Al final sabemos que estos jóvenes están abandonados, que la violencia forma parte de su cotidianidad y que posiblemente no tengan futuro. Todo eso estaba establecido desde los primeros minutos. El resto de la película no profundiza esa intuición sino que la decora.
Barrio Triste pretende ser una elegía, una cinta recuperada, una experiencia sensorial, un relato sobrenatural y un documento sobre la marginalidad. No logra ser plenamente ninguna de esas cosas. Su mayor tragedia consiste en creer que una imagen granulada de un joven perdido ya contiene, por sí sola, una verdad. Pero el cine no encuentra profundidad únicamente al mirar hacia los márgenes. Debe preguntarse también desde dónde mira, qué extrae de ellos y para quién convierte su dolor en espectáculo.
Ospina y Mayolo entendieron que la miseria podía transformarse en una industria. Stillz parece comprobar que también puede transformarse en una marca. Donde Los olvidados, Pixote, Rodrigo D. No futuro, La vendedora de rosas o Ciudad de Dios encontraban personas atrapadas dentro de sistemas brutales, Barrio Triste encuentra imágenes atractivas de una brutalidad sin sistema. No filma un infierno para comprender cómo fue construido. Lo ilumina, lo musicaliza y lo exporta.
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