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Italian techno producer Deborah de Luca is off the HARD Summer 2025 lineup poster amid a public dispute regarding the font size of her name on the bill.
Late last week, HARD Summer posted a revamped version of the 2025 lineup poster that does not feature de Luca’s name, as the original poster did. In the comments section of the post, when a fan asked where de Luca’s name was, the festival wrote that the producer “informed us she will no longer be playing the festival.” But the Italian techno producer responded to their comment, saying, “That’s not right! You put my name smaller than others. I asked you to change it and you didn’t want to do it. Now you changed it by deleting my name.”
She then made another comment saying that “I’m very sorry, guys! But they put my name smaller than others, it was not dignified for my career. I asked to change it and they told me no. It was not my choice. I’m very sad, but I’m sure it will be a crazy festival and you will have a lot of fun.”
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The spot where de Luca’s name was on the original poster now features electronic foursome Ladies of Leisure. Sean Paul has also fallen off the poster, with the position where his name was in the original poster now occupied by Busta Rhymes. Other lineup additions include Barry Can’t Swim, Fcukers and DJ Gigola, whose names were all blurred out on the original poster for the festival, which happens August 2-3 at Hollywood Park at SoFi Stadium in Los Angeles. The comments section on the revamped poster is a mixed bag of feedback, with many fans lamenting on de Luca’s absence and others being less generous. Representatives for de Luca and HARD Summer did not immediately respond to Billboard‘s request for comment.
As previously reported by Billboard, while such font sizes may seem inconsequential, they are often the subject of intense negotiations between artists, managers and agents and event producers. As such, situations like this one between HARD and de Luca are not unheard of.
Speaking to Billboard in 2015, Governor’s Ball co-founder Jordan Wolowit told Billboard that he once “had a very legitimate act formally pull off the festival the day before our announce, because they hated their billing. My initial reaction was to tell them to piss off — respectfully — but, luckily, good judgment kicked in and I acquiesced to their wishes — which was to be moved three spots up from where they were. It was kind of hilarious, actually. From then on, I have had a line in my offers that clearly states billing is solely at my discretion.”
When Taylor Swift posted a photo of herself leaning back and smiling, her first six studio albums scattered in front of her, on Friday (May 30), the party was on.
Swift’s announcement that she had successfully purchased the master recordings of her first six albums, for an undisclosed sum from investment firm Shamrock Capital, was met with jubilation by her millions of fans. Swift finally had full control of her intellectual property, in a byzantine music industry where such ownership was incredibly difficult to come by, even for the biggest superstars. The importance of such artistic freedom was not lost on Swift, who rightfully treated the occasion as a hard-fought celebration in a letter to fans on Friday. “To say this is my greatest dream come true is actually being pretty reserved about it,” she wrote.
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As even casual pop culture observers likely know by now, Swift spent over a half-decade re-recording her back catalog to combat this previous lack of creative ownership, with Taylor’s Version albums of 2008’s Fearless, 2012’s Red, 2010’s Speak Now and 2014’s 1989 offering faithful re-creations under her domain. Not only did these re-recorded albums prove wildly successful – as fans rallied around the vision and motivation of their favorite artist, and helped 1989 (Taylor’s Version) score an even bigger debut than the original album – they also inspired real industry change, from other artists exploring ways to re-record their own material to label groups reworking standard contracts to prevent them from doing so.
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Still, the news that Swift had bought back her masters was met with some consternation about the future of the Taylor’s Version albums: Swift wrote that her 2006 self-titled debut was fully re-recorded, while Reputation (Taylor’s Version) was not. “Full transparency: I haven’t even re-recorded a quarter of it,” she wrote of her 2017 full-length.
So will the long-sought-after Reputation (Taylor’s Version) ever get completed? Will Taylor Swift (Taylor’s Version) receive a release date in the near future? What’s the point of a re-recorded album, now that Swift owns all of the original albums? And what do we do, moving forward, with the four Taylor’s Version albums that did get released?
We don’t know the answers yet, but we know how much the Taylor’s Version albums have already given us – including “All Too Well (10-Minute Version),” an irreplaceable linchpin recording in her catalog.
We’ll see if and when this project gets completed, how the Taylor’s Version re-recordings will age, and what versions of her hits and deep cuts fans will gravitate toward in the future. But just because the battle is now over, it’d be shortsighted to declare all for naught. The four Taylor’s Version albums presented her back catalog to a new generation – helping first to prime fans for the globe-conquering, catalog-revisiting Eras tour, and then to help cement her career year while the trek was underway.
Plus, fans received over two dozen unheard “From the Vault” songs — castoffs from the original albums that Swift reworked to include on her Taylor’s Version releases. These previously unheard goodies across the bonus cuts on the four re-recordings ranged from collaborations with Maren Morris and Fall Out Boy, to a late-breaking radio hit in the effervescent Red (Taylor’s Version) dance-pop track “Message in a Bottle,” to another Hot 100 chart-topper in the wistful “Is It Over Now?,” from 1989 (Taylor’s Version).
Which brings us to the greatest “From the Vault” song, and the one that stands as the greatest musical legacy of the entire re-recording project. When Red was released in 2012, the five-and-a-half minute “All Too Well” was positioned on the track list as an extended songwriting showcase in between shorter, more radio-friendly pop singles like “I Knew You Were Trouble” and “22.” While those hits helped Swift transition to pop superstardom with 1989 two years later, the power of “All Too Well” as a richly detailed examination of a failed relationship endured, becoming a fan favorite in the years following Red.
The song, and its cult status, also marked an important inflection point for Swift as a storyteller. A year before Red (Taylor’s Version) arrived in 2021, Swift pivoted away from top 40 on Folklore and Evermore, using an indie-folk aesthetic to explore different characters and narratives with the same care as one of her fiercely embraced album cuts.
A 10-minute version of “All Too Well” had long been teased, and the release of Red (Taylor’s Version) proved to be the perfect occasion for its unveiling. Any Swift purist could have been reasonably worried about the decision to nearly double the length of one of her best-loved songs. Yet the supersized version of “All Too Well” was not overstuffed — instead, “All Too Well (10-Minute Version)” towers above the original. Expanding the song’s world of stray thoughts and heartbreak totems while expertly navigating the story’s twists and turns, Swift turned a for-the-fans album cut into an authoritative epic.
With 10 minutes to work with, Swift lets each new detail of “All Too Well” simmer without building to a boil. The profane keychain that gets tossed her way, her subject’s refusal to “say it’s love,” the inquisitive actress, the charming chats with her father, the heartbroken 21st birthday — each new line is woven into the tapestry of a reflection that already exists, and Swift delivers them with varying degrees of frustration and regret.
Most of Swift’s songs wouldn’t improve if pushed to the 10-minute mark, but the structure of “All Too Well” — verses stacked upon one another, chorus lyrics shapeshifting to reflect her curdling emotion — allows for the bulked-up format. By the time the song starts to fade out with the refrain “Sacred prayer, I was there, I was there,” the passage of time is made explicit, as Swift’s recollections are stored in a time capsule that needed to be made a little bit bigger. Sure, there are new Easter eggs for fans to pore over and peruse – but nothing about “All Too Well (10-Minute Version)” feels forced, and that’s why it provoked such a strong reaction upon its release.
All Too Well: The Short Film, written and directed by Swift, was released along with the 10-minute version, and she performed the song in full on Saturday Night Live the day after its release. With so much pre-release hype and release-weekend promotion, “All Too Well” shot to the top of daily streaming charts immediately – and one week later, the song sat atop the Hot 100, the first Taylor’s Version track to come anywhere close to the chart’s peak. The flashpoint of excitement around its release demonstrated Swift’s still-rising commercial power, about a year before she made it unignorable with the record-setting success of 2022’s Midnights.
It also clued in countless casual listeners to one of her best songs. “All Too Well” isn’t just a fluky chart hit; the song now stands as a defining work for Swift, and an encapsulation of her legacy as a modern songwriter. In the future, critics, writers and historians will need a song to represent Swift’s cultural impact, and that song may very well be “All Too Well” – which simply wouldn’t have been the case without the Taylor’s Version moment.
That impact was on full display during the Eras Tour, where “All Too Well” was performed in its 10-minute incarnation as the final song in the Red portion of the show. Each night, stadiums full of Swifties sang along to its fourth, fifth and sixth verses, and bellowed “F—k the patriarchy!” with uninhibited glee.
Now that Swift’s Taylor’s Version project has entered a new phase of existence, those sing-alongs are worth considering as part of its legacy. “All Too Well (10-Minute Version)” wasn’t just a commercial ploy, or catnip for the critics. It’s now an anthem for all of us.
On Tuesday (June 3), VNYL Inc. announced it has acquired record subscription service Vinyl Me, Please. VMP, which launched in 2013, was facing bankruptcy and liquidation.
VNYL will relaunch the brand and service under new ownership and with a new leadership team that includes Nick Alt as CEO and Emily Muhoberac as president. “This isn’t about reinventing Vinyl Me, Please,” said Alt in a statement. “It’s about restoring its true form as the ‘Best Damn Record Club.’”
VNYL already has two subscription services under its umbrella: VinylBox and the VNYL brand. According to a release, the three brands will be marketed to specific audiences: VMP for audiophiles, VinylBox for millennials and VNYL for Gen Z and Alpha.
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“Our philosophy is simple: not every collector is the same,” said Alt. “We’re building different clubs to serve different types of listeners — with pricing and curation that actually match their needs.”
In 2021, amidst a pandemic boom for the format, VMP grew to 80,000 active customers and finished its highest-performing quarter with a 74% growth in membership from the same time period the previous year, as Billboard previously reported. (2021 was the largest year for vinyl album sales since Luminate started tracking sales in 1991.)
Reflecting in the same 2021 article with Billboard, VMP co-founder/CEO Cameron Schaefer said: “What stands out to me now looking back at the origin of VMP is the simplicity of what we were trying to do. We were trying to just pick one record a month that we thought would be worth your time and attention, and that was it.”
In 2022, VMP announced plans to open its own pressing plant in a 14,000 sq. ft., audiophile-grade, Denver-based space. It was going to be used for manufacturing and production, tours and special events.
Looking ahead, VNYL hopes to bring VMP back to its original mission that Schaefer laid out. As Muhoberac said in a statement: “Vinyl customers deserve a white glove experience and that’s far from what they’ve gotten recently. We intend to do that by getting back to the fundamentals of VMP with a great customer experience.”
It’s no secret that Cardi B and Offset‘s relationship has been fraught for a long time, with the latter allegedly cheating on the former multiple times throughout their marriage. And now that they’re separated, the “WAP” rapper is opening up about the effects the Migos star’s rumored infidelity had on her while they were together.
In clips from an X Spaces shared by TMZ Tuesday (June 3), Cardi said that she’s the happiest she’s been “in a very, very long time” while reflecting on a time not so long ago that left her feeling the opposite. “Last year, I really felt like I was going crazy,” she said, referring to the final months of her relationship with Offset — during which she was pregnant with their third baby — before she filed for divorce in late July.
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“It’s more than the cheating,” the Bronx native claimed. “It’s the constant lies, the gaslighting — it was really messing up my with my head … I couldn’t eat, I couldn’t sleep. My baby came out five pounds. A healthy baby. My baby came out five pounds, because I couldn’t eat, I was so depressed.”
Cardi went on to reveal that her management and label team eventually saw the toll it was taking on her and decided to find her a therapist. “I did therapy, and I tried, and I fell back in love again,” she added, most likely referencing her rumored new boyfriend Stefon Diggs.
The rapper welcomed her third child with ‘Set — a daughter named Blossom — in September, just a little more than a month after she filed to legally separate from her now-estranged husband for the second time. The former couple is currently in the midst of contentious divorce proceedings, with Cardi recently slamming the “Stir Fry” rapper for seeking spousal support.
“You such a f–king p—y a– n—a,” said Cardi, who also shares daughter Kulture and son Wave with Offset, during a May X Spaces. “Word to my mother, I want you to die, but I want you to die f–king slow. When you die, I want you to die slow in the bed. And when you die, n—a, you gotta think of me.”
As Cardi shared in her latest chat with fans, however, she’s in a much better place now. A couple weeks after snuggling courtside with Diggs at a New York Knicks game, the hip-hop star leveled with fans about how cautiously she’s approached dating again and slammed claims that she’s only “popping out” with someone new to make her ex jealous.
She also reaffirmed just how important it was for her own sanity to break things off with Offset last year. “If I was still there, I was going to end up going to jail,” she told fans. “‘Cause I was going to end up killing them, seriously, with my own bare hands.”
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T-Pain emerged as a major force in the music scene during the 2000s, leaving an undeniable mark on Hip-Hop.
Known for his unique style and innovative sound, he played a key role in shaping the pop-rap genre. Perhaps his most lasting contribution was the creative use of autotune, not just as a pitch-correction tool, but as a distinctive artistic effect. Though initially divisive, his approach soon became widely accepted and highly influential, helping to spark a wave of artists who followed in his footsteps.
Despite the changing landscape of the music industry, T-Pain has remained active and relevant. In recent years, he has released both original music and inventive cover albums that showcase his vocal range and versatility beyond the autotuned sound he popularized. His creativity and charisma have also translated into success outside of music, particularly on Twitch, where he streams regularly. Fans tune in not only to watch him play video games, but also to witness impromptu beat-making sessions and interact with him in real time.
Now, however, T-Pain appears to be reflecting on his next steps. In a recent social media post, he hinted at a potential retirement, writing, “I gave you all everything for 20 years. I’m grateful to each of you for making this such a great ride. Right now I just need some time to think about what’s next and what’s best for me.” This heartfelt message has sparked both concern and appreciation among fans.
I gave you all everything for 20 years. I’m grateful to each of you for making this such a great ride. Right now I just need some time to think about what’s next and what’s best for me ✌🏿 pic.twitter.com/9DKXvNJsHJ— T-Pain (@TPAIN) June 2, 2025
Adding to the speculation, T-Pain recently shared a clip from his archives showing the moment he came up with the iconic “Wiscansin” line from his 2008 hit “Can’t Believe It” featuring Lil Wayne. Whether this was a nostalgic moment or a subtle hint at closure is unclear. Regardless of what the future holds, T-Pain’s impact on modern music is undeniable, and his legacy as a trendsetter and innovator remains secure.
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For Wu-Tang Clan superfans with money to burn, snagging a premium ticket for their upcoming tour won’t just buy killer seats, but gain them entry to an exclusive pre-party offering an immersive look at the kung-fu and iconography of the famed Staten Island hip-hop collective.
“We’re really being thoughtful from a pricing perspective,” Ben Duvdevani, co-founder of One More Time VIP, says of the Shaolin Temple Preshow Party ticket package, which offers entry to a time capsule-style exhibit showcasing rare Wu-Tang fan memorabilia and 3D video projections of classic films like The 36th Chamber of Shaolin and Five Deadly Venoms that inspired albums like Enter the Wu-Tang (36 Chambers) and Wu-Tang Forever.
“Packaging premium seats with these programs is enticing for the fan and helps push inventory. It helps push the bots out of purchasing premium inventory” and, he adds, “helps conversion for VIP.”
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The Shaolin Temple package is just one example of the lucrative VIP concert business in 2025, which is poised for a comeback thanks to a new generation of fans looking to invest in artist-centric experiences.
“There’s a ton of business out there because there are so many artists on the road right now, and so many artists at all levels trying to create something memorable for their fans,” adds Duvdevani, whose company is handing VIP packages for about 300 tours this year including Shaboozey, Sabrina Carpenter, Teddy Swims and HAIM.
It’s an impressive feat for an industry hit hard by COVID-19. The VIP business was born in the 1990s thanks in part to the work of New Yorker Shelley Lazar — the beloved “Ticketing Queen” who convinced iconic artists like the Rolling Stones, Paul McCartney and The Who to let her build out premium offerings for diehard fans she came to know on a first name basis — and it continued to grow in the new millennium as touring exploded. By the early 2000s, most artists were offering fans some type of VIP product, from meet and greets to destination concerts, facilitated and produced by a new generation of VIP companies with names like Fresh Beats and CID.
Beginning in 2017, many of the VIP companies started to consolidate. Several of them came under the NFL-backed firm OnLocation, which was purchased in March 2020 by Endeavor — just weeks before the concert business shut down for more than a year during COVID-19. During the pandemic, one popular U.K. VIP and hospitality company, Pollen, was forced to file for bankruptcy and later dismissed most of their staff.
Many VIP executives used the pandemic period to leave Endeavor and begin serving out their non-competes. By 2022, a new crop of companies founded by these execs started popping up, including One More Time, which won the contract to build the Shaolin Temple Preshow Party for Wu-Tang Clan’s upcoming Final Chapter North American arena tour. “It’s a bespoke preshow activation, where there’s going to be some surprises and a really special experience for fans,” Duvdevani tells Billboard of the exhibit that was created for the group’s 27-city tour. The Shaolin Temple pre-party is being packaged with front section floor tickets and priced at $740 a piece all-in.
VIP conversion has become increasingly common as more artists embrace platinum ticket pricing and higher prices for front row seating inventory as a response to secondary ticketing prices. Coupling these high-end tickets with VIP add-ons has become an important way to move aggressively priced inventory.
That need has led to one major change in how VIP packages and fan clubs are operated. Prior to the pandemic, many VIP companies operated ticketing systems that pulled tickets off the Ticketmaster or AXS platform, a practice that has largely ended.
“We want to put our best foot forward to make sure everyone’s winning, so we’re not taking anything off platform,” Duvdevani says. “Promoters are still getting the sale, and we’re also being mindful of that inventory. We don’t want to hold up a sell-out.”
Eddie Meehan got his start running VIP access company A Wonderful Union in the early 2000s before eventually selling to OnLocation and subsequently launching Please & Thank You. Meehan said his new company’s clients include Backstreet Boys, Alice Cooper, Melissa Etheridge and Peso Pluma.
“You have to be creative because many artists simply aren’t interested in doing meet and greets, it’s very taxing,” says Meehan, noting that he’s found success creating activations for artists like Aimee Mann, who offered VIP package holders a preshow soundcheck performance with songs not performed during the concert. Fans of another Please & Thank You client, *NSYNC, were invited to a restaurant for a private dumpling making party.
“We’ve had a lot of success bringing in brands to underwrite some of these events, which means more money in the pocket of the artist,” says Meehan, who has struck deals with Amazon Music and eBay Motors. “I tell brands they won’t get the same exposure to 600,000 fans they would get on a tour, but they do get access to 3,000 diehard, loyal fans who will evangelize your brand.”
Duvdevani added that VIP offerings shouldn’t be limited to established artists, pointing to newcomer Jessica Baio, a 23-year-old singer-songwriter who hired One More Time to run a VIP meet and greet program for her first headliner club tour.
“I feel like such an important part of going and performing live is also getting to meet people face to face,” Baio tells Billboard. “It’s something I wanted to offer to people and it’s just one of my favorite parts of the night, getting to physically hug people and meet them in person and allow them to share why my songs have touched them.”
While young artists like Baio have found success with a meet and greet program scaled to fit their tours, VIP industry luminary Dan Berkowitz, who is widely recognized with having helped create the VIP business through his firm CID, which he sold in 2016, says artists should only offer VIP experiences to fans if those experiences promote an “authentic connection.”
If the artist is committed to making the experience work, says Berkowitz, who launched his new company, 100x Hospitality, in 2022, there’s always potential for success.
“There is always going to be a strong demand for compelling experiences and people are always going to want to feel connected to the music that they love and to each other,” he says.
A week after becoming Jon Reddick’s first Billboard chart No. 1 — on the Christian AC Airplay tally — his “No Fear” rises to the top of Christian Airplay. The song increased by 15% to 4.4 million audience impressions May 23-29, according to Luminate. It holds atop Christian AC Airplay with a 5% gain in […]
Justin Bieber is speaking his mind once again, sharing a cryptic post on Instagram slamming people who tell others what they “should or shouldn’t have.”
In white text typed over a purple gradient Tuesday (June 3), the pop star began by writing that “telling other humans they deserve something is like raising someone else’s kids.”
“Who are you to tell someone what someone should or shouldn’t have,” he continued. “The audacity. That’s not your place.”
The “Peaches” singer added, “God decides what we deserve.”
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Billboard has reached out to his reps for comment.
Bieber did not specify to whom he was referring in the post, but it does come at a particularly prosperous time for his family. A few days prior to his message, skincare mogul Hailey Bieber — whom the pop star married in 2018 — announced that she’d sold her Rhode company to e.l.f. Beauty for a reported $1 billion, something the musician celebrated by proudly sharing the news on his Instagram.
Before that, the model — with whom Justin welcomed son Jack Blues in August — appeared on the cover of Vogue. In the accompanying profile, the “Baby” vocalist said, “I’ve done a lot of dumb things in my life, but the smartest thing I’ve ever done was marry Hailey.”
The Grammy winner’s post is just the latest cryptic statement he’s made on Instagram in recent months. In February, he made headlines for posting about how it was “time to grow up” on his Story, after which he penned musings in March about feeling like he was “drowning” in “hate” and struggling with feeling “unworthy.”
In April, Justin called out paparazzi in Los Angeles, sharing a video of cameramen following him out to his car, writing, “This has to stop.”
“IM CURRENTLY ASKING [GOD] TO HELP ME WITH PATIENCE BECAUSE It CAN BE REALLY HARD TO NOT RIP THESE F–KIN GUYS HEADS OFF,” he also wrote at the time. “Today I’m forgiving myself for my own selfishness, AND forgiving THOSE WHO SEEK TO USE AND ABUSE ME SIMPLY BECAUSE THEY WANT TO CAPITaLIze off of me, Or Their jealousy makes them want to make me feel small like how they feel.”
See Justin’s latest post below.
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Lil Uzi Vert has added model to their resume, starring in Vans‘ latest Premium Old Skool campaign.
The “Just Wanna Rock” rapper showcased the brand’s iconic sneaker silhouette in true Uzi fashions, worn with on-trend baggy streetwear, maximalist jewelry and punk-esque spikey hair. The two styles spotlit for the campaign included the Premium Old Skool in Black/White and Old Skool in True White.
The musician seems like the obvious choice for the face of the campaign. They’re a bastion of experimental style, music and culture, facets that perfectly align with the Vans brand DNA. Dropped back in 1977, the Vans Old Skool quickly became a favorite following its release, standing as a symbol of skate culture and street style all around the world.
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Uzi is no stranger to skate culture. Growing up in Philidelphia, a city boasting a rich skateboarding culture spanning decades, the lifestyle was bound to rub off on them. The rapper has been known to share their skateboarding escapades, posting videos of practiced and perfected kickflips on occasion. This, mixed with their love of the punk rock genre, makes Uzi a pretty perfect candidate for Vans’ Premium Old Skool campaign. Wanna get like Uzi? Here’s how to shop the beloved styles seen on the star in the campaign.
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Premium Old Skool Shoe in Black/White
$90.00
$90.00
Black-and-white low-top Vans with platform-esque soles.
Vans’ Old Skool just got a premium upgrade. Retailing for $90 this updated classic features all the details fans loved about the OG, but with elevated comfort. It’s all about the Sola Foam All-Day-Comfort insoles. This anti-fatigue detail is made of 30% bio-based materials that cushion the feet. There are also the classic black-and-white canvas uppers with that instantly recognizable side striping that tethers the style to the original.
The leather collar lining is enforced with padding and raised slightly, adding extra comfort. White cotton laces give way to platform-esque rubber soles, offering the wearer a subtle lift. It’s a style that aptly pays homage to the Old Skool legacy made for all-day wear. Worn with streetwear or your favorite athleisure pieces, these timeless sneakers will fit right into your wardrobe.
Old Skool Canvas Shoe in “True White”
A monochrome white canvas sneaker.
It’s all about the classics. Vans’ Old Skool sneaker is a tried-and-true model loved by skaters and sneaker enthusiasts alike. The True White colorway is a monochrome model with sturdy canvas uppers and cotton laces. Signature rubber waffle soles give way to padded collars that give the wearer added support.
The low-top sneaker also includes reinforced toe caps to withstand wear and tear on the skateboard. Whether you’re a skateboarding pro or a sneaker fanatic, these would make a great addition to your footwear rotation. They’re versatile, thanks to the monochrome colorway, and super comfortable.
“What we continue to try to drive toward as a company is maintaining this sense of heritage, this sense of the familiar and keeping that kind of core spirit alive, and then modernizing it through elevated materials, construction,” said Diandre Fuentes, head designer of footwear at Vans, via statement. “Once you put it on, you’ll immediately notice enhanced comfort.”
Three months after the announcement that deadmau5 sold his catalog to Create Music Group for $55 million, the producer has commented on the deal. “It was time to just let it go,” the producer born Joel Zimmerman said in a June 2 cover story alongside Rezz for Billboard Canada. “I’m not so attached to [my […]