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Bresh, the “Most Beautiful Party in the World,” is embarking on its most ambitious chapter yet in Ibiza. This weekend, the widely celebrated fiesta kicks off its first Saturday-night residency at Amnesia — the storied venue dubbed the “temple of electronic music.” Running all summer through Sept. 20, this monumental residency sets the stage for Bresh to possibly redefine Ibiza’s nocturnal landscape with its known Latin pulse.
“For us, it’s a source of pride because Ibiza is one of the biggest entertainment platforms in the world —right up there with Las Vegas,” Nicolás Fernández, Bresh’s chief strategy officer, tells Billboard Español. Bresh’s residency at Amnesia isn’t just a milestone for the party itself but also a major turning point for the Spanish island, which has historically been synonymous with electronic music.
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This season marks Bresh’s third residency at Amnesia, after previously hosting parties on Tuesdays and then Thursdays. But now, it moves to Saturdays — the most coveted night of the week. “We’re doing something different, something unique — really offering a true alternative to electronic music,” Fernández adds. “[Ibiza] is one of our biggest bets every year. It’s where we bring our ideas to life: the staging, the decorations, the show, the music. It’s one of our main laboratories, where we need to shine the most.”
Since its inception in 2016 in Buenos Aires, Bresh has become a global phenomenon, delivering an unapologetically joyful mix of reggaetón, pop, rock en español, and more Latin rhythms. The residency is designed for an audience of both locals and international visitors eager to dance and connect during its 16-week season.
“You’ve got a big Spanish audience on the island that might be more familiar with Latin music and culture, but you also have Italian, British, German, and Dutch audiences who might not be as familiar,” he says. “It’s both a joy and a huge responsibility to carry the flag and represent [Latin culture].”
Bresh
Courtesy of Fiesta Bresh
Since opening its doors in the 1970s, Amnesia has established itself as one of the most prestigious clubs in the world. Its recognition includes accolades at the International Dance Music Awards (IDMAs) as the best global club in 2007, 2008, 2009 and 2011.
The residency will showcase its essence with a lineup of surprise guests every week, in a format they call Bresh & Friends, Fernández explains. This year, the production comes with a completely revamped design and execution, taking the Latin party experience to another level — something that hasn’t been seen in Bresh’s previous Ibiza residencies.
“We believe that this year the key difference had to be showcasing what happens in many other places — inviting artists and people from the industry to be part of this and doing it together through Bresh as a platform,” he says. “It’s our role to take up this space, but also to be a place where artists with a Latin and Spanish-speaking imprint can show their work. These are artists who, perhaps, don’t often have shows in Ibiza — it’s not very common. Maybe they fill stadiums or massive venues in other cities, but in Ibiza, that doesn’t happen due to the island’s own dynamics. We feel we have to be the space to make this happen.”
Notable figures from Latin music and culture are no strangers to Bresh’s dance floors in Ibiza and beyond. Previous guests include Aitana, Emilia, Lola Índigo, and even sports icons like Lionel Messi and Brazilian soccer star Vinícius Jr. However, the emphasis is not on celebrity appearances but on the collective energy of the crowd and the music. “The focus at Bresh isn’t on who shows up, but on what’s created through the connections,” reads the press release.
This season in Ibiza brings a new addition to the Bresh universe: Casa Bresh. Designed as a space that goes beyond a traditional backstage, this new location aims to become a creative and social hub for artists, collaborators, and friends. “Casa Bresh is the place where these artists will stay and spend a few days experiencing what Ibiza is all about,” Fernández reveals. “It’s a carefully designed and creative environment, meant for connecting, conversing, and celebrating from a different perspective.”
The magic of Bresh has always been its ability to connect people, and Casa Bresh is no exception. Spontaneous moments at these parties have already led to major collaborations, such as Ozuna and Tiago PZK meeting at a Miami edition of the party and later creating the hit “Nos Comemos” in 2022, which made its way onto several Billboard charts, including Latin Rhythm Airplay at No. 16.
With over one million attendees each year across more than 30 countries, 190 cities, and four continents, Bresh continues to solidify its status as a global phenomenon. But its Ibiza residency carries a special mission. “”From the very first day we arrived, the goal was clear: ‘We need to be here forever.’”
“We believe we’re here to embody everything that aligns directly with Bresh’s values,” Fernández says. “The essence of Bresh is to make people happy, bring joy, dancing, and great energy to everyone.”
If owning two versions of four of her Big Machine albums presents a challenge to Taylor Swift, it’s a great problem to have. Then again, it might not be a problem at all.
At first blush, it might seem that Taylor Swift’s decision to purchase her Big Machine master recordings presents her with a difficult decision. Does she emphasize the original versions or the high-profile re-recordings that many fans have purchased and streamed? Then again, Swift isn’t necessarily forced to choose between the two versions of her catalog. Conversations with multiple music industry veterans revealed there are many options for monetizing the Big Machine releases and getting the most out of her investment.
Swift’s immensely successful re-recordings, given the name “Taylor’s Version,” have amassed 15.8 million track equivalent albums (TEAs) in the U.S. so far, according to Luminate. But despite driving her fans to those re-recordings, the four Big Machine versions have continued to perform well. Year to date, the original versions of Fearless, Speak Now, Red and 1989 have a total of 331,000 track equivalent albums in the U.S. — about 40% as much as the re-recorded albums.
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When Shamrock owned the Big Machine masters, Swift effectively had veto power over requests for synch licenses. If a music supervisor wanted a track from one of her Big Machine albums, Swift, who is either the sole songwriter or a co-writer on every track, could refuse to grant permission for the publishing rights. And she announced her intention to do just that in an interview with Billboard after Ithaca bought her catalog in its 2019 Big Machine acquisition, saying she would license her music for movies and commercials only if she owned the master rights. That’s why a 2020 Match.com ad used a re-recording of “Love Story,” not the Big Machine original.
Owning the Big Machine masters opens the door for more synch licenses. Whether the music supervisor wants the original or the re-recording, Swift, as the sole owner of both versions, has a financial incentive to put her songs in ads, films, TV shows and movie trailers, says Bryan Calhoun, a marketing consultant. “I would say, ‘Hey, let’s go crazy. I own this stuff. Let’s go hard.’ And I would have some people dedicated to really being aggressive about going and getting licenses.”
Owning her Big Machine catalog will also create more synch opportunities because some directors and music supervisors will want Swift’s original versions. Michael Hausman, manager of Aimee Mann and ‘Til Tuesday, says Mann re-recorded her song “Wise Up” to keep 100% of the revenue. “It worked out well,” he says. “Most people probably could never tell the difference.” But some music supervisors “just don’t like the idea of a re-record and they want the original,” he adds, “even if there’s no difference” between the two.
Swift’s most fervent fans supported her re-recordings and, in some cases, showed solidarity in her feud with Scooter Braun, whose Ithaca Holdings acquired Big Machine, by avoiding the Big Machine originals. Her four Taylor’s Version re-recorded albums, stuffed with additional material and released in multiple variations, have sold a combined 6 million units to date in the U.S. across digital download and physical formats, according to Luminate. Sales and streaming executive Adam Abramson believes that Swift would similarly find a welcome response to reissues of the original albums.
“While the Swifties were happy to accept the re-records at that time so that they did not have to buy or stream the original, ‘problematic’ versions, I think most will be thrilled to be able to listen to the original albums as they were recorded at those respective points in Taylor’s life,” says Abramson.
Album reissues tend to coincide with anniversaries, and owning her Big Machine catalog gives Swift the opportunity to celebrate her original albums’ 20th anniversaries. Her self-titled Big Machine debut — which was not re-recorded — will turn 20 next year, followed by Fearless in 2028, Speak Now in 2030, Red in 2032 and 1989 in 2034. That gives Swift eight years to repackage her first five Big Machine albums. And considering how well her four re-recorded albums sold, it’s reasonable to think Big Machine anniversary editions could see a similarly strong response from fans.
Owning two versions also gives Swift additional streaming revenue. While Swift has pushed her re-recordings, the Big Machine versions had the benefit of inertia. The four original Big Machine albums have accumulated 406 million on-demand streams in the U.S. in 2025. That’s about two-fifths of the streams from the re-recorded albums, but that many streams — worth 293,000 TEAs — will generate well over $2 million in annual royalties in the U.S. alone.
News of the Swift purchase is an opportunity for digital service platforms (DSPs) to take advantage of fans’ interest, says Adamson. “I would not be surprised, and have already started to see, the DSPs highlighting her newly owned catalog again.” Indeed, on Wednesday (June 3), just four days after Swift announced the acquisition, Apple Music took to Instagram to encourage subscribers to delve into Swift’s entire catalog.
There’s also the lesson of Garth Brooks, who bought his Capitol Records masters in 2005 and took them off streaming and download stores. Brooks tightly controlled the availability of his catalog, first licensing the recordings to Walmart in 2005, then to Amazon in 2017. Brooks has also made deals with select retailers — Bass Pro Shops, Cabela’s, Dollar General — to sell his box sets. Downloads of his music were also made available at GhostTunes, an online music store launched by Brooks in 2014. Brooks could do whatever he wanted because he owned the masters.
Swift could take the Brooks route and do exclusive deals with digital and e-commerce platforms. But it seems more likely that she will capitalize on her unique ability to motivate consumers and maximize her catalog’s availability across all sales and streaming channels. Swift can arguably squeeze more out of her catalog than any one DSP or e-commerce platform, and she’ll do more with it than an investor like Shamrock. “It’s more valuable in her hands than in somebody else’s hands,” says Calhoun.
Billboard caught up with Anderson .Paak ahead of his DJ Pee .Wee set at House of Mouse, and he shares how he’s grown as a DJ, working on his label, collaborating with Mariah Carey and more!
Tetris Kelly:
So a party doesn’t start until DJ Pee .Wee shows up. Man, how you feeling?
I feel great!
I feel like everywhere I go in the industry, I can be at Coachella, I can be at the Super Bowl — you’re there providing the vibe. So what’s the evolution been like for you as a DJ?
Man, it’s been great. I love DJing, you know? Being a part of the party, but also like helping make the party is like, it’s a dream, like, I love it. So it’s been awesome to get to learn a lot of music. Shout-out to Eddie and Maurice. It’s, like, always a new challenge every time, just like, trying to make the crowd move. So it’s been awesome to go from like, a little like speakeasy, where we started, to doing parties with Mickey Mouse now.
I mean, that’s what I’m saying, being at the House of Mouse. How’d you get involved with Mickey and all his cool friends?
It’s been a dream come true. I think our first party that we did was in London, maybe. And, yeah, we hooked up with Joss, and they just like, you know, at first I didn’t know what Willie was about, and it was just like, exceeded all expectations, like to be able to interact with, like, all the characters, and they took me to the studio, and we did so much cool content. It’s been amazing.
Keep watching for more!
Billboard Japan unveiled its mid-year charts for 2025 early Friday morning (June 6), and Mrs. GREEN APPLE dominated the three major domestic rankings for the first time in the platform’s history: the all-genre Japan Hot 100 song chart, the Hot Albums tally, and the Artist 100 list compiled from the sum of the former two charts.
The three-man band’s songs old and new are loved by a wide audience, including the long-running hit “Lilac,” streamed approximately 270 million times during the mid-year tallying period. As they forge ahead with projects marking the tenth anniversary of their major-label debut, members Motoki Omori, Hiloto Wakai, and Ryoka Fujisawa shared their thoughts on the band’s monumental achievement during a packed schedule, repeatedly expressing their gratitude to everyone who listens to their music.
“Lilac” is the No. 1 song on Billboard Japan’s mid-year Japan Hot 100. Mrs. GREEN APPLE also remains atop the Artist 100 chart following your reign over the year-end list for 2024, and your album ANTENNA tops the Hot Albums tally for the first time. Congratulations! How do you feel about this unprecedented accomplishment?
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Motoki Omori (vocals, guitar): I’m thrilled. I also feel humbled, but the fact that so many people are listening to our music just makes me so happy. I’d like to continue making music sincerely from now on as well. Thank you.
Hiloto Wakai (guitar): It makes me really happy to know that our music is reaching so many people in this way. “Lilac” is a song from last year, and since we aim to make songs that will be loved for a long time, it’s very gratifying. Thank you.
Ryoka Fujisawa (keyboards): Mrs. GREEN APPLE is celebrating its tenth anniversary since its debut this year. From the time we formed the band, we’ve continued to place importance on putting out the music that Omori writes, so I feel very happy and grateful that it’s being listened to by many and appreciated like this. Thank you.
And Mr. Omori, you’re on your way to becoming the Top Lyricist and Top Composer for the third year straight, after topping the mid-year results for 2025. In addition to “Lilac,” “Bitter Vacances,” “Que Sera Sera,” “Darling,” and “Soranji” are also charting in the top 10, proving that many listeners are inspired by your words, and the melodies that create the world of your songs.
Omori: You know what, I’m just really pleased to hear such kind words from each person and also about the fact that our songs are blending into everyday life and adding color to it. Like, “I danced to your song on our school’s sports day,” or “It was playing at such-and-such a place,” for example. I still find it hard to believe that my music has become a part of people’s everyday lives, but it really gives me joy. Writing music is a necessity in my life, not just something I enjoy doing. It’s something very important for me to be able to live my life as who I am, so I feel really fortunate that the recognition meshes properly with that and am grateful for it.
You’ve had many opportunities to do solo work in addition to working as a band. Do you feel that you’ve grown from those experiences?
Wakai: I’ve done solo work before, but used to always be like, “What if I mess up?” and sometimes things didn’t go well. But now that I’m being tapped to work as an individual on more occasions, I’m starting to gradually enjoy myself more, so that feels like proof that I’m growing as a person.
Omori: I’ve had more opportunities to do acting, and it’s the first time in four years that I’ve done any solo work. I feel very reassured by the magnitude of our band and the fact that Wakai and Fujisawa are protecting it as my allies. I’m able to lean on them now, and that feels like personal growth, or that time has passed. I’m truly grateful to both of them.
Fujisawa: I’ve been watching Omori and Wakai working hard on their solo endeavors and like them, I’m determined to do my best representing our band, but I don’t think I’m in a position to speak of such ambitions yet. When I’m working on my own, it really hits home how important Omori and Wakai are to me. Like the things they say, or words of encouragement they give me when we’re working together. I really appreciate that kind of casual, everyday communication. Every day I realize how grateful I am that they’re there.
The tenth anniversary of your debut, as well as your anniversary concerts and dome tour are coming up. What do you think are the highlights and things to look out for in these events for fans looking forward to them?
Omori: I think the best way to experience the latest Mrs. GREEN APPLE is at one of our live shows, so I hope everyone will enjoy our energy to the fullest. I’m just looking forward to meeting many people. I want to express my gratitude directly to the people who support us so much, so I hope we’ll have more opportunities to do so. Everything is going to be fun, so I really hope people will enjoy it from the bottom of their hearts without hesitation. That’s all I can say.
Wakai: There are some songs we haven’t performed live yet, so I hope people have fun waiting to see if they’ll be played or not. We’re all excited getting prepared, so let’s go full-out and create some fun memories together! Looking forward to seeing everyone there!
Fujisawa: This year is our MGA MAGICAL 10 YEARS celebration, and we intend to unleash lots of things that everyone will enjoy. As the other two said, we’re really looking forward to meeting everyone, and more than anything, we’re grateful to be able to celebrate the tenth anniversary of our major-label debut in this way. All we feel is gratitude, and I hope everyone is really, really looking forward to it!
–This interview by Mariko Ikitake first appeared on Billboard Japan
Samuel L. Jackson didn’t exactly know what he was getting into when he first agreed to be a part of Kendrick Lamar‘s Super Bowl Halftime Show. The veteran actor and civil rights activist stopped by the Mad Sad Bad podcast and talked about his turn as Uncle Sam during the Super Bowl earlier this year, […]
Mrs. GREEN APPLE dominates Billboard Japan’s mid-year domestic charts for 2025, rounding up the weeks from Nov. 25, 2024 through May 25, 2025.
On the Japan Hot 100 song chart, the three-man band’s “Lilac” leads the list for the first half of the year. “Lilac” was released on April 12, 2024, and featured as the opening theme song for the anime show Oblivion Battery. The track became a long-running hit, topping the Japan Hot 100 five times during the tallying period for the 2025 mid-year chart.
Rosé & Bruno Mars’ “APT.” follows at No. 2. The global hit led the Japan Hot 100 on the chart released Nov. 20, becoming the first song by a Western act to hit No. 1 on the tally in about eleven and a half years, since The Wanted’s “Glad You Came” in May 2013.
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At No. 3 is Mrs. GREEN APPLE’s “Bitter Vacances.” The theme song for the live-action movie Saint Young Men became the third-fastest song to rack up 100 million streams for the band. Four songs by the hitmakers have charted in the mid-year top five, the first time any act has accomplished this feat.
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Frontman and principal songwriter Motoki Omori comments, “I’m thrilled. I also feel humbled, but the fact that so many people are listening to our music just makes me so happy. I’d like to continue making music sincerely from now on as well. Thank you.” Guitarist Hiloto Wakai says, “It makes me really happy to know that our music is reaching so many people in this way. ‘Lilac’ is a song from last year, and since we aim to make songs that will be loved for a long time, it’s very gratifying. Thank you.” Keyboardist Ryoka Fujisawa notes, “Mrs. GREEN APPLE is celebrating its tenth anniversary since its debut this year. From the time we formed the band, we’ve continued to place importance on putting out the music that Omori writes, so I feel very happy and grateful that it’s being listened to by many and appreciated like this. Thank you.”
Mrs. GREEN APPLE also rules the mid-year Hot Albums chart, with its fifth studio set ANTENNA leading the list. The project dropped on July 5, 2023 and came in at No. 1 for streaming and No. 7 for downloads during the 2025 mid-year tallying period.
Snow Man’s best-of album THE BEST 2020 – 2025 follows at No. 2. The collection by the nine-member group sold 1,616,736 copies during the tallying period and topped the album sales chart. SixTONES’ fifth album GOLD is at No. 3. All of the sextet’s albums, including this one, has hit No. 1 on the Hot Albums tally.
And Mrs. GREEN APPLE rounds out the mid-year trifecta as the top artist on the Japan Artist 100 chart, compiled from the results of the Japan Hot 100 and Hot Albums charts. 20 songs by the “Darling” hitmakers have charted in the mid-year top 100.
back number follows at No. 2. The veteran three-man band’s latest hit is “Blue Amber,” being featured as the theme song of a currently ongoing drama series. At No. 3 is singer-songwriter Vaundy, who has five songs including “Kaiju no Hanauta” and “Fuujin” charting in the top 100.
The globalization of music has been gaining momentum in recent years, with Japanese artists performing overseas more proactively and a brand-new international music award, MUSIC AWARDS JAPAN, launching this year. On Billboard Japan’s Global Japan Songs Excl. Japan chart that tallies songs from the country that are popular abroad, Creepy Nuts’ “Otonoke” rules the mid-year round-up. The Dandadan opener has become a global hit following the rap duo’s breakout smash “Bling-Bang-Bang-Born.” “Otonoke” also topped the country and region specific Japan Songs rankings in six countries and regions, tallying the weeks from Nov. 22, 2024 through May 22, 2025.
“‘Otonoke’ has topped the mid-year Global Japan Songs excl. Japan chart for 2025, a ranking of songs from our country that are being listened to globally. Thank you so much!” comment Creepy Nuts. “We’re really proud of ‘Otonoke,’ so we’re glad to know so many people from around the world are enjoying it. We also look forward to being able to visit the countries where our songs are being listened to and perform live there. Thank you for your continued support!”
Billboard Japan Hot 100 Mid-Year Chart 2025
1. “Lilac” / Mrs. GREEN APPLE
2. “APT.” / Rosé & Bruno Mars
3. “Bitter Vacances” / Mrs. GREEN APPLE
4. “Que Sera Sera” / Mrs. GREEN APPLE
5. “Darling” / Mrs. GREEN APPLE
6. “Soranji” / Mrs. GREEN APPLE
7. “Otonoke” / Creepy Nuts
8. “Kawaii Dakeja Dame Desuka?” / CUTIE STREET
9. “IKUOKUKONEN” / Omoinotake
10. “Bling-Bang-Bang-Born” / Creepy Nuts
Billboard Japan Hot Albums Mid-Year Chart 2025
1. ANTENNA / Mrs. GREEN APPLE
2. THE BEST 2020 – 2025 / Snow Man
3. Attitude / Mrs. GREEN APPLE
4. strobo / Vaundy
5. No.Ⅰ / Number_i
6. replica / Vaundy
7. Rosie / Rosé
8. Hello! We’re timelesz / timelesz
9. LOST CORNER / Kenshi Yonezu
10. BAD HOP / BAD HOP
Billboard Japan Artist 100 Mid-Year Chart 2025
1. Mrs. GREEN APPLE
2. back number
3. Vaundy
4. Kenshi Yonezu
5. Official HIGE DANdism
6. YOASOBI
7. Aimyon
8. Creepy Nuts
9. Snow Man
10. CHANMINA
Billboard Japan Global Japan Songs Excl. Japan Mid-Year Chart 2025
1. “Otonoke” / Creepy Nuts
2. “Bling-Bang-Bang-Born” / Creepy Nuts
3. “Idol” / YOASOBI
4. “Shinunoga E-Wa” / Fujii Kaze
5. “ReawakeR (feat. Felix of Stray Kids)” / LiSA
6. “TOKYO DRIFT (FAST & FURIOUS)” / TERIYAKI BOYZ
7. “Mayonaka no Door – Stay With Me” / Miki Matsubara
8. “It’s Going Down Now” / Lotus Juice/Azumi Takahashi
9. “NIGHT DANCER” / imase
10. “Racing into the Night” / YOASOBI
The first week of June is ending with an impressive variety of major music releases, with hitmakers such as Sabrina Carpenter, Mariah Carey and Ed Sheeran all dropping new tracks. Both S.C. and M.C. released songs dedicated to the types of partners they’re attracted to, but with decisively different attitudes. Marking her first piece of […]
Over the past two-ish years, BLINKs have definitely missed seeing their favorite lovesick girls together. But this summer, the ladies of BLACKPINK will finally be a unit once more, with ROSÉ, LISA, JENNIE and JISOO set to return with a world tour and new music after taking time off to pursue solo projects. And, much […]
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Addison Rae just dropped a dreamy music video, and a stunning beauty look with it.
The singer just dropped her self-titled debut studio album, and with it a music video for her track “Times Like These.” In the video, Rae channeled levels drama, beauty and grace, all while looking stunning. The video saw the performer and TikTok star boasting a full-on Armani Beauty look featuring a dreamy lavender eye and dewy skin.
For those looking to replicate Rae’s music video moment, you’re in luck. From blush to concealer to eye makeup, we’re sharing all of the Armani Beauty products Rae used to create her latest music video look that you can shop now at Sephora.
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Armani Beauty Luminous Silk Cheek Tint Shine
A new blush in a mauve hue with flecks of sparkling pigmint.
Armani Beauty just dropped Luminous Silk Cheek Tint Shine. Rae popped on shade 62S Magnetic Mauve in a radiant finish on her cheeks and a bit on her lips. The lively flush product comes in two finishes, natural and radiant. It’s exceedingly lightweight, instantly melting into the skin. This liquid blush is also exceedingly long-lasting, up to 12 hours to be exact.
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Rae’s chosen hue is a mauve tone with flecks of sparkling pigment suspended in the formula that offers the skin a luminous finish, hence the name. In total, you’ve got 10 shades, four of them new, so there’s bound to be something that’ll work for you.
Armani Beauty Luminous Silk Natural Glow Foundation
A foundation with a natural glowy finish.
Rae’s makeup team utilized Luminous Silk Natural Glow Foundation in shade 5.75 light to medium, golden. The foundation is a best-seller for Armani Beauty, and for good reason. Retailing for $69.00, this foundation features a radiant, skin-like finish that offers the complexion a subtle “glow from within” kind of look.
Armani Beauty Luminous Silk Hydrating Face and Under-Eye Concealer
A silky brightening undereye concealer in a hydrating formula.
High-coverage and well-performing like its foundation counterpart, Armani Beauty’s Luminous Silk Hydrating Face and Under-Eye Concealer is a major winner in our book. Rae used shade 5.25 medium with a pink undertone to cancel out any redness under the eyes. The concealer is equipped with a radiant but high-coverage formula that’s dispersed with help from a nifty short doe foot applicator.
Armani Beauty Eye Tint Long-Lasting Liquid Eyeshadow
A long-lasting tinted liquid eyeshadow with a doe foot applicator.
This dreamy and ultra-creamy eyeshadow formula comes in three finishes, metallic, matte and shimmer. Rae sported shade 32S Frost in an icy lilac shimmer. The pastel hue was very 2000s-inspired and brought out the color of her eyes. The secret of this eyeshadow formula is a liquid-to-powder technology that goes on wet so you can blend and dries down so it won’t budge or transfer. That means no fallout and no creasing. The formula consists of pure color pigments in a water-infused formula so you can build up for a higher color payoff without disturbing the layer beneath. No bunching or pilling here.
Armani Beauty Vertigo Lift Longwear Lengthening Mascara
A black lengthening longwear mascara.
Want long lashes without the hassle? The Vertigo Lift Longwear Lengthening Mascara will get you there in a few easy swipes. The “Headphones On” singer wore Armani Beauty’s Obsidian Black shade, a deep and rich pigmented hue with a formula that builds and lengthens without getting clumpy. The wand is equipped with a long and bristled brush that works to define each lash, giving each hair follicle the attention and length it deserves. Smudgeproof and ultra black, the formula also boasts 24 hours of wear time. Rae built up her lashes with this product for a spidery, doll-like look, making the eyes look bigger in turn.
Armani Beauty Prisma Glass Hydrating Lip Gloss with Squalane
A clear hydrating gloss with squalane for moisturizing properties.
For a powerful pout, Rae sported Armani Beauty’s Prisma Glass Hydrating Lip Gloss with Squalane in shade 01 Clear Shine. The chosen shade is clear and not sticky, offering the lips a glassy and plump look. The key to this formula is the added squalane, a naturally occurring oil that offers ample hydration, keeping the lips shiny and moisturized. Clear glosses like these can be used as a sort of lip topper, enhancing the color beneath. If the clear gloss isn’t your thing, the Prisma formula is also available in eight other colors on Sephora’s website.
Watch Addison Rae’s “Times Like These” music video below:
Beyoncé suffered a wardrobe malfunction during her Cowboy Carter Tour on Thursday night (June 5), but not even having her pants fall down on stage can ruffle Queen Bey’s feathers. Explore Explore See latest videos, charts and news See latest videos, charts and news According to footage posted by attendees on social media, the mishap […]
