Australia’s Spilt Milk festival has officially confirmed its return for 2026, kicking off its next festival campaign with a teaser video after months of silence following last year’s sold-out edition.

Shared across the festival’s social media channels on Friday (July 17), the clip features members of the public being asked to name their favorite Australian music festivals before cutting to footage of a packed festival crowd and a large-scale stage production. The video ends with the confirmation that Spilt Milk will return in 2026, though organisers have yet to announce dates, locations or a lineup.

The announcement launches the festival’s 2026 campaign following a successful 2025 edition, which sold out across all four host cities: Ballarat, Perth, Canberra and the Gold Coast.

Last year’s lineup was headlined by Kendrick Lamar and featured Doechii, Dominic Fike, Sara Landry, ScHoolboy Q, sombr, Nessa Barrett, Don West and more. Organizers later expanded the bill with Genesis Owusu, Larissa Lambert and Lotte Gallagher ahead of the December run.

Demand for the festival remained high throughout the campaign. Before tickets went on sale, organisers warned that presale registrations had exceeded the number of tickets available, with all four events ultimately selling out.

Launched in Canberra in 2016, Spilt Milk has grown into one of Australia’s largest touring festivals, expanding to Ballarat and the Gold Coast in 2019 before adding Perth in 2023. The 2019 Ballarat event also marked Juice WRLD’s final live performance, taking place one week before the rapper’s death.

Like much of Australia’s live music sector, the festival paused during the COVID-19 pandemic before returning in 2022. Organisers skipped the 2024 edition amid a challenging period for the festival market, which also saw several prominent Australian events either cancelled or placed on hiatus.

Previous editions have featured artists including Post Malone, Lorde, Flume, Khalid, Steve Lacy, Latto, Dom Dolla, FISHER and Peach PRC.

Fans will have the chance to say goodbye to Bonnie Tyler in Wales next month, with funeral arrangements announced for the late singer.

A celebration of life service for Tyler will be held at Swansea Minster, St. Mary’s Church, on Monday, Aug. 17, at noon BST, according to a funeral notice shared by William Pressdee Funeralcare on behalf of her family.

Two days earlier, on Saturday, Aug. 15, Tyler’s coffin will be brought back to her home in Mumbles at 3:30 p.m. BST. Members of the public have been invited to line Newton Road from 3:15 p.m. BST to pay their respects as the procession passes through.

Following the Swansea service, Tyler will make a final journey through Skewen, Neath Port Talbot, the village where she grew up before her unmistakable voice carried her from local club stages to international fame. The procession is expected to travel through Skewen at approximately 1:20 p.m. BST before a private family service.

Tyler, born Gaynor Hopkins, died July 8 at age 75 in a hospital in Portugal, where she had been receiving treatment for an ongoing illness. In a statement previously shared on her official website, her family said she “unexpectedly passed away” as a result of the illness for which she was being treated.

The funeral notice remembered Tyler as “a warm, generous artist whose music touched generations and continues to fill dance floors and karaoke booths around the world.”

“Her legacy lives on in the timeless songs that made her a legend,” the notice added.

That legacy is closely tied to one of the most recognizable voices in pop-rock: a smoky, weathered rasp that gave “Total Eclipse of the Heart,” “It’s a Heartache” and “Holding Out for a Hero” their dramatic force. Tyler’s songs became staples not only of radio and concert stages, but of karaoke nights, dance floors, film soundtracks and decades of pop culture singalongs.

Her signature hit, “Total Eclipse of the Heart,” topped the Billboard Hot 100 for four weeks in 1983. Written and produced by Jim Steinman, the power ballad appeared on Tyler’s fifth studio album, Faster Than the Speed of Night, and became one of the defining pop-rock recordings of the decade.

Tyler also found lasting success with “It’s a Heartache” and “Holding Out for a Hero,” the latter of which appeared on the Footloose soundtrack and became one of her most enduring anthems.

Across a career spanning more than five decades, Tyler released 18 studio albums, represented the United Kingdom at the 2013 Eurovision Song Contest with “Believe in Me,” and was made an MBE in 2023 for services to music.

Her family has requested family flowers only. Those wishing to honor Tyler’s memory have been asked to donate to Noah’s Ark Children’s Hospital for Wales and Cerebral Palsy Cymru, two charities for which she served as patron.

Apple Music has raised its subscription prices for the first time in nearly four years, according to prices listed on the Apple Music website.

In the U.S., the price for the individual plan rose from $10.99 to $11.99 per month, while the family plan increased from $16.99 to $19.99 per month and the student plan rose from $5.99 to $6.99 per month.

This marks the first hike in Apple Music subscription prices since October 2022, when the company cited increased licensing costs.

Representatives for Apple Music did not immediately respond to a request for comment.

Rival streaming platform Spotify has hiked its subscription prices fairly steadily over the last several years after maintaining a $9.99 price for its individual premium plan since it first launched in the U.S. in 2011. Its first increase arrived in July 2023, followed by another hike in July 2024 and a third increase in February of this year. The price for Spotify’s individual premium plan is now $12.99 a month, while its family plan is $21.99, its duo plan is $18.99 and its student plan costs $6.99.

In an interview with Kristin Robinson for Billboard‘s On the Record podcast in April, Apple Music vp Oliver Schusser noted that the platform is the only music streamer without a free tier. “And believe it or not, we’re really proud of that,” he said, adding, “I think it’s not the right thing for songwriters and artists to just say, you know what, we’re going to give this away for free — especially with the very little monetization that artists and songwriters are going to get in return.”

Schusser went on to lament the idea of free (ad-supported) streaming tiers, arguing they led to lower subscription prices across the board. “The fact that all paid services have to compete with free means, at the end of the day, not enough people are paying, because they can get it for free, and the paid services can’t actually charge the correct price for the service because they’re always competing with free,” he said.