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Source: Assassin’s Creed Shadows / Getty Images / Elon Musk
Whoever runs the official X account for Ubisoft’s latest video game, Assassin’s Creed Shadows, deserves a very nice raise.
The Assassin’s Creed Shadows X account has 0 f**** to give. The person behind social posts on the account let Elon Musk have it after he began complaining about the game.
Last night, Musk, who should be busy ensuring DOGE is productive—spoiler alert: it’s not—took to his platform to talk about the latest game in the famed Assassin’s Creed franchise. He explicitly mentioned streamer Hasan Piker, who flagged his stream of Shadwos as sponsored content.
Musk, of all the people in the world, called Piker a “fraud” before adding “Sell-out’ would be more accurate. Objectively, he is promoting a terrible game just for the money.”
https://x.com/elonmusk/status/1904594321199988935
Ubisoft would not take Musk’s trash talk sitting down and hit him with the hidden blade in the form of a scathing clapback, “Is that what the guy playing your Path of Exile 2 account told you?”
The X post has amassed over 600K likes and over 60K reposts. Comedian /writer Mike Drucker accurately described the moment: “It turns out the real assassins were the social media managers we met along the way.”
https://x.com/MikeDrucker/status/1904663808921993670
Elon Musk’s History of Cheating
Why is this post so significant? The AC Shadows account alludes to Musk being exposed as a cheater after he claimed to be an expert Path of Exile 2 player after Musk exposed himself during his stream when gamers noticed his lack of skills in the game for having such a high build character.
Gamers immediately accused Musk of “fraudmaxing,” basically paying someone good at the game to play for him. Musk eventually admitted to cheating in the game, and gamers were furious that the game’s developers didn’t take action.
Musk was not the only person who felt the wrath of the Assassin’s Creed Shadows account. Mark Kern, who goes by the handle @Grummz on X and is always bitching and moaning about games being “too woke” and other ridiculous nonsense, got some smoke too.
https://x.com/assassinscreed/status/1904661876681699351
Kern has spent a lot of his time hating on the game, so it should sting to see the game he confidently thought would flop be successful. Ubisoft announced that the game has already hit 2 million players, which could continue to climb as gamers love that the AC ShadowX account has no chill.
One user said on X, “Was gonna wait for a sale but nah y’all have earned this.”
Well, they should enjoy AC Shadows because it is great game, you can peep our review here.
The gallery below also shows more reactions to Elon Musk’s being fried by the Shadows X account.
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: The biggest TV drama on streaming dusts off some old renditions of vocal pop favorites, an ’00s smash goes newly viral and lifts the ’70s classic it samples, and 27 years after Will Smith’s Hot 100-topper, it’s time to get jiggy with it again.
A Streaming Waffle Party for Severance Finale-Bumped Pop Standards
Did you manage to see the Cold Harbour project through to its completion in the Severance Season Two finale last Thursday (Mar. 20)? If so, you probably heard a number of pop standards in the episode, soundtracking all the innie-and-outtie drama in the action-packed season-ender. While Apple TV’s hit sci-fi workplace drama has resulted in minor gains for some of the more high-profile synchs of its second season, the finale saw a couple songs who were previously racking up weekly streams in the triple or low-quadruple digits exploding to five and even six figures.
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The biggest bump was, unsurprisingly, for “The Windmills of Your Mind,” the late-’60s pop standard originally recorded by Noel Harrison for the soundtrack to late-’60s heist flick The Thomas Crown Affair. In last Friday’s Severance, “Windmills” was featured (as performed by legendary crooner Mel Tormé) during the episode’s emotionally heightened-but-ambiguous closing sequence – with viewers rushing to Shazam the mysterious pop ballad. The song has racked up 215,000 U.S. on-demand audio streams in the four days since the finale aired (Mar. 20-24), up over 30,000% from the negligible number of streams it amassed in the equivalent period the prior week, according to early data provided by Luminate.
Similarly gargantuan were the percentage gains for late-’50s and early-’60s hitmaker Bobby Darin’s version of “Work Song,” a jazz-pop standard originally penned by Nat Adderley (with lyrics added by Oscar Brown Jr.), and recorded by Darin for his 1963 album Earthy! After playing over the end credits to the Severance season finale, the relative pop obscurity jumped over 35,000% in streams to over 20,000 for that same four-day period.
Much more modest were the gains for a song featured in the finale that’s never that far removed from American popular culture: The Alan Parsons Project’s spectral prog-rock instrumental “Sirius,” which became an all-time jock jam after being used by the ‘90s Chicago Bulls for their pre-game player intros. After seeing similar usage from Mr. Milchick on Severance, the song jumped 16% to just under 125,000 streams for the same four-day period. – ANDREW UNTERBERGER
Nearly 25 Years After Release, TikTok Revives Janet Jackson’s “Someone to Call My Lover”
Janet Jackson is an indisputable music icon, but her 2004 Super Bowl halftime show controversy effectively railroaded her crossover to younger listeners. Luckily, in the TikTok era, anyone can have a comeback at any time.
Bolstered by a natural love for breezy, springtime pop songs by Black women – the same general trend that’s boosting Ravyn Lenae’s “Love Me Not” — Janet Jackson’s “Someone to Call My Lover” has started to explode on streaming. According to Luminate, streaming activity for “Someone” has risen over 606% over the past four weeks. During the week of March 14-20, the song earned 1.14 million official on-demand U.S. streams, marking a 75% increase from the 651,200 streams it pulled the week prior (March 7-13).
The song originally earned a series of viral X posts and TikToks last fall, and as the weather started warming up, users started gravitating towards “Someone” to capture the mood of the season. The official “Someone to Call My Lover” TikTok sound has earned over 64,200 posts, with that number growing each day.
“Someone” lifts its signature guitar riff from America’s ’70s pop-rock smash “Ventura Highway,” which has also seen a boost in streaming. Activity for “Ventura” has risen over 56% over the past four weeks; during the week of March 14-20, the song earned 2.45 million official on-demand U.S. streams, marking an 8% increase from the 2.26 million streams it pulled the week prior (March 7-13).
A quarter century after it reached No. 3 on the Hot 100, “Someone to Call My Lover” has enraptured a whole new set of listeners. — KYLE DENIS
Zeddy Will Racks Up Another TikTok-Fueled Hit With “Get Jiggy”
Zeddy Will is as much of a regular as an artist can be in this column, and he’s back this week with another one.
Zeddy first teased “Get Jiggy,” a collaboration with B Jack$, back in January, and, the following month (Feb. 6), he shared another snippet with the now endlessly recreated neck-jerking choreography. The first snippet earned 113,000 views, while the second has since topped out at around 575,000 views. The song finally hit streaming on Feb. 27, clocking over one million official on-demand U.S. streams in its first full week, according to Luminate.
That figure leapt 95% to over 2.2 million streams during the week of March 7-13. The next week (March 14-20), “Jiggy” rose a further 26% to over 2.81 million streams. Over the past two weeks, streams for “Jiggy” have soared nearly 148%. The official “Get Jiggy” TikTok sound has garnered nearly 400,000 posts, showing that Zeddy Will is more than validating his status as one of Billboard staff’s 15 Hip-Hop, African and R&B artists to watch in 2025. – KD

LONDON – Following the arrival of the U.K. government’s Spring Statement — an overview of the upcoming budgetary and spending plans — on Wednesday (Mar. 26), the U.K. creative industries are expressing concern over what the new budget could mean for artists, grassroots music venues and music education this year.
Since coming into power after winning an overwhelming majority with 412 elected MPs in last July’s General Election, Sir Keir Starmer’s Labour Party and Lisa Nandy — the U.K.’s culture, media and sport secretary — have run their campaign on promises of economic growth and a greater respect for the British arts. Last summer, they pledged a new National Music Education Network in their manifesto that would deliver increased resources for parents, teachers, and children. The creative industries were also named as a growth-driving pillar in the U.K.’s modern industrial strategy, with an aim to grow the sector by £50 billion by 2030.In November, Chancellor Rachel Reeves delivered the first Labour budget in 15 years, which raised some taxes — notably national insurance contributions for employers — that will allow the government to invest in the National Health Service (NHS), education and infrastructure. She also committed £6.7 billion ($8.6 billion) for education investment in 2025.
In the Spring Statement, however, which was delivered by Reeves from London this afternoon, a fresh set of cuts to government spending and public investment were outlined. She also told MPs that “the world has changed” since her first budget just under five months ago, and that those changes were to blame for the string of downgrades she put forward.
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When discussing departmental budgets, which dictate how much different parts of government can spend until 2030, Reeves said she aims to make the state “leaner and more agile.” Early reports suggested that day-to-day department spending was set to increase by an average of 1.3% per year above inflation; Reeves said it will rise by 1.2%. Furthermore, she confirmed that cuts will fall on departments outside of health, defense and education, whose departmental spending is not “protected,” she said.
“The Spring Statement makes it clear that most government departments, including the Department for Culture, Media and Sport, face real-terms cuts,” Roberto Neri, CEO of The Ivors Academy, tells Billboard U.K. “This will put further pressure on already stretched budgets at the BBC and Arts Council England, two of the most significant commissioners of new music.”
Years of underfunding from previous governments, tough financial conditions for artists and grassroots venues and complex issues surrounding generative artificial intelligence (AI) are all significant challenges for the sector. A hearing at The Houses of Parliament in October 2023, for example, found that 1,000 music teachers have been lost in the past decade, while a 2025 report by Music Mark found that Labour had inherited a shortfall in its music education budget over the next five years.A briefing published by U.K. Music in Sept. 2024, meanwhile, suggested that the international appetite for British music remains strong — with overall exports growing by 15% to £4.6 billion ($5.9 billion) last year — but that the health of the country’s music ecosystem must be looked at more closely, Neri posits.“Since the pandemic, the U.K.’s music industry has grown almost twice as fast as the wider economy — and we’re fighting to ensure songwriters and composers see more of the benefits,” Neri says. “As the government prioritises economic growth, it should back our world-leading songwriters and composers, the source of all value in music, and invest in the infrastructure they depend on.”
The lack of new policy around music and culture in the Spring Statement is also of concern to Ben Selway, managing director at Access Creative College (ACC), the U.K.’s largest independent training provider across creative fields. Former pupils at Access Creative’s seven national campuses include Ed Sheeran (now a patron of the ACC), Rita Ora and Jorja Douglas of BRIT-nominated girl group FLO.The future of music education in the U.K., Selway says, depends on “how effectively we are able to reverse the negative trends we’ve seen over the past decades, from the closure of grassroots music venues to a reduction in funding in real terms, and mitigate the risks that threaten the music industry, such as AI and copyright.”Selway also highlights the recent statement made by the Ed Sheeran Foundation, whose namesake made headlines earlier this week with the release of an open letter — signed by other A-listers including Sir Elton John and Harry Styles — calling upon the government to ensure music education remains high on the agenda. “This creative industry brings so much to our culture, our communities, our economy, our personal wellbeing, but music education has fallen through the gaps. That’s why I’m asking the government, collectively, to correct the mistakes of its past and to protect and grow this for generations to come,” Sheeran wrote.
Sophie Brownlee, external affairs manager at the Music Venue Trust (an organisation that supports the grassroots music scene) told Billboard U.K. that “the chancellor, treasury and DCMS have all the facts and data they need to know how to reverse the decline in access to live music and culture in our communities.” She added: “For the chancellor to choose, once again, not to act on this opportunity will not generate growth or meet the Government’s wider ambitions for the creative industries. Instead, it will see more grassroots music venues close, many in already deprived communities, further jobs lost, and the continuation of undervaluing local culture in the U.K.”Though Reeves announced plans to invest more in AI technologies across the civil service and defense sectors, her statement didn’t broach the government’s 10-week consultation, which took place in late 2024, on whether copyrighted content, including music, can lawfully be used by developers to train generative AI models.In recent months, the AI question has become a highly debated talking point among the industry, proving controversial among creatives and copyright holders. The government’s resulting report said an “opt out” approach would give rights holders a greater ability to license the use of their content, but those plans are yet to be confirmed.Tom Kiehl of U.K. Music argues this is not a time to become complacent. “The chancellor has talked again about her strategy for economic growth and some of the potential benefits of AI,” he says. “However, there was nothing in her statement about the huge damage that would be caused to the music industry by government plans to give AI firms unfettered access to music under sweeping changes to copyright law. The proposals would be a disaster for the U.K.’s £7.6 billion music industry.
“We need an urgent rethink from the Government and the Chancellor over those plans,” Kiehl continued, “which would allow firms to train their AI models on British music without having to pay or seek permission from the people who created the work or own the rights.”
Billboard Women In Music 2025’s lineup keeps on growing, with Tina Knowles, Becky G, Suki Waterhouse and more joining as presenters and honorees. Keep watching to see who else will be at Women in Music! Watch the live event on March 29 at 10 p.m. ET/7 p.m. PT on the Billboard Women in Music 2025 […]
Playboi Carti tops Billboard’s Streaming Songs chart for the third time, debuting atop the tally dated March 29 with “Evil J0rdan.” The new track, off Carti’s latest album Music, bows with 30.8 million official U.S. streams earned in the week ending March 20, according to Luminate. It’s the rapper’s first fully solo No. 1 hit […]
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After sweeping the Chicago Cubs during MLB World Tour 2025: Tokyo Series in Tokyo, Japan, superstar baseball player Shohei Ohtani and the Los Angeles Dodgers are coming back home for MLB Opening Day.
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Detroit Tigers vs. Los Angeles Dodgers takes place at Dodger Stadium in Los Angeles, California, on Thursday (March 27).
When Does Detroit Tigers vs. L.A. Dodgers Start?
Detroit Tigers vs. L.A. Dodgers broadcasts live, with a start time of 7:10 p.m. ET/4:10 p.m. PT.
Where to Watch Detroit Tigers vs. L.A. Dodgers Online
The Detroit Tigers vs. L.A. Dodgers game airs on ESPN. It will be available to livestream on Hulu + Live TV. Keep reading for more details on how cord-cutters can watch the Tigers-Dodgers game online with Hulu + Live TV.
How to Watch Detroit Tigers vs. L.A. Dodgers with Hulu + Live TV
Detroit Tigers vs. Los Angeles Dodgers on ESPN is available to watch with Hulu + Live TV. Prices for the cable alternative start at $82.99 per month, while each plan comes with Hulu, Disney+ and ESPN+ at no additional cost. Sign up for a 3-day free trial to try out the streaming service for yourself.
Hulu + Live TV might be best for those who want all of these streaming services together in one bundle. It also features many other networks, including MLB Network, ESPN2, Fox Sports, CBS Sports Network, ABC, Hallmark Channel, BET, CMT, Disney Channel, NBC and more.
What Is Shohei Ohtani’s Walkup Song During Detroit Tigers vs. L.A. Dodgers?
During games, L.A. Dodgers superstar Shōhei Ohtani typically walks up to the plate for an at-bat to the song “The Show Goes On” by Lupe Fiasco.
Starting at 7:10 p.m. ET/4:10 p.m. PT, the Detroit Tigers vs. Los Angeles Dodgers airs on ESPN on Thursday (Mar. 27). The game is available to livestream with Hulu + Live TV.
Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.
Grammy-nominated artist mgk (formerly known as Machine Gun Kelly) has signed with WME for representation worldwide. The global touring artist and actor (real name Colson Baker) was previously represented by UTA. mgk has notched 19 Hot 100 hits including No. 4 entry “Bad Things” with Camila Cabello in 2017, 2021’s “My Ex’s Best Friend” with […]
“We’ve been trying to spread our music from Japan to the world,” Lilas Ikuta, singer for the Tokyo-based duo YOASOBI, told the audience at a sold-out Peacock Theater show in Los Angeles during a break in the group’s frenetic, synth-driven pop show. Already stars in their home country, Ikuta, who goes by the stage name Ikura, and her bandmate, Ayase, are beginning to get serious help finding fans beyond their home turf.
YOASOBI’s appearance that night was part of a concerted effort to push Japanese pop music — J-pop — far beyond the island nation. The March 16 showcase — matsuri ’25: Japanese Music Experience LOS ANGELES, which also featured Ado and ATARASHII GAKKO! — is the creation of The Japan Culture and Entertainment Industry Promotion Association (CEIPA), an organization created by the five Japanese music industry organizations, along with Los Angeles-based promoter Goldenvoice. CEIPA was founded in 2023 by the Recording Industry of Japan (RIAJ), the Music Publishers Association of Japan (MPAJ), the Federation of Music Producers Japan (FMPJ), Japan Association of Music Enterprises (JAME) and All Japan Concert and Live Entertainment Promoters Conference (A.C.P.C.) An industry mixer and panel discussion before the concert was hosted by the Japan External Trade Organization (JETRO) and the Consulate-General of Japan in L.A.
The quest to take J-pop global also has the financial heft of Japan’s largest corporation. In February, CEIPA announced a partnership with Toyota and the launch The Music Way Project, an effort to bring Japanese music to a global audience. The Music Way Project will have overseas bases in L.A., London and Thailand to organize showcases in those regions. It will also help develop artists through a three-pronged approach that includes student seminars, in collaboration with Japanese universities; seminars for young music professionals; and a songwriting camp. Toyota’s “innovation and adventurous spirit,” said CEIPA executive director Taro Kumabe at the press conference, “aligns perfectly with our mission to take Japanese music further into the world.”
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The global success of South Korean music — K-pop — and the resulting growth of companies such as HYBE and SM Entertainment have people in Japan wondering why J-pop can’t be the next great music export. “There is a chance for Japan as well,” Tatsuya Nomura, board member of CEIPA and president of FMPJ, told Billboard through an interpreter. “You have to understand, K-pop music is based on ‘80s Japanese pop. So, as long as we strive forward, we can do it.”
Japan already has a presence in the U.S. mainstream through video games (Final Fantasy, Pokémon), anime (Spirited Away), fashion (Uniqlo), food (sushi) and martial arts (karate). But while K-pop songs and albums regularly appear at the top of Billboard’s U.S. charts, J-pop remains a niche. A few Japanese artists have made some headway. In 2019, pop trio Perfume became the first J-pop act to perform at Coachella. Babymetal, a heavy metal band fronted by three females, tours the U.S. regularly and has appeared at festivals such as Sick New World and Rock on the Range. YAOSOBI performed at Lollapalooza and Coachella in 2024 but didn’t build a U.S. tour around those appearances.
Successfully breaking J-pop in the U.S. and other foreign markets would provide a financial windfall for the Japanese music industry. While Japan was the second-largest recorded music market in 2024, according to the IFPI, it was just 23% the size of the U.S. And because streaming dominates in the U.S. — it accounted for 84% of 2024 revenue, according to the RIAA — there is a huge, internet-connected audience ready to push play on emerging trends. Last year, the global music market reached $29.6 billion, with $20.4 billion coming just from streaming.
South Korea’s early embrace of streaming helped K-pop find fans in the U.S. and elsewhere. With streaming starting to take off in Japan, Nomura believes the time is right for J-pop to look beyond its borders. “Up until now, the Japanese market was mainly focused on CD sales,” he says. “But after COVID happened, people started listening to music on a streaming service. That opened a new page for Japanese music outside of Japan.”
Japan’s government wants to give J-pop a push, too. Faced with decades of deflation and stagnant wages, it’s looking to its content industries to help lift wages and commodity prices. These grand ambitions were laid out in a 2024 report by Japan’s Ministry of Economy, Trade and Industry (METI) titled, “Grand Design and Action Plan for a New Form of Capitalism 2024,” which described the government’s dedication to increase exports of the country’s content — including music — to a world audience that’s easily reachable by digital distribution. The plan includes, among other things, education, assisting business development and using global platforms “to encourage the formation of local, dedicated fan communities.” Nomura said CEIPA does not receive any government funding.
Michael Africk, a former recording artist with songwriting and production credits on numerous hits in Japan, also believes that J-pop is ready for a bigger stage. Africk’s Handcraft Entertainment recently raised $1 million to help build a multi-faceted company that Africk says will encompass music, fashion, merchandise and cosmetics. The relatively small sum is just “a start,” he says, and the next funding round is already underway.
Africk sees South Korea’s success as a blueprint for how Japan can work in foreign markets and tailor its music to Westerners. K-pop “Westernized really well,” he says. “They understand the economics and the way business works over here. The Japanese struggle with that a bit.” After decades spent working on both sides of the Pacific, Africk believes his experience will help Handcraft bridge the business culture divide between the world’s two largest music markets.
For J-pop to cross over in the West, the artists and music will need to fit the tastes of listeners. Africk explains that J-pop that’s popular in Japan tends to have vocal sounds and chord changes that Western audiences aren’t used to hearing. He seeks out artists who cross cultures seamlessly, speak both Japanese and English perfectly, and have appeal in both Japan and English-speaking countries. While K-pop leans heavily toward ensembles, Handcraft, which is distributed by Virgin Music Group outside of Japan and B ZONE within Japan, has signed two individual artists, Anna Aya and Hana Kuro.
There were two other signs of Japan’s expansion this month. First, blackx, an Asian-focused music investment firm, and ASOBISYSTEM, a management and production company that represents more than 100 artists, formed a strategic partnership to build J-pop outside of Japan. The pairing is meant to provide artists with resources, help them connect with fans globally and create cross-industry collaborations. Then on Tuesday (March 25), Japanese music company Avex made a major move into the U.S. market by naming Brandon Silverstein, founder of S10 Entertainment, the CEO of its newly formed U.S. arm, Avex Music Group. As part of the deal, Avex acquired 100% of S10’s publishing division and added to its existing stake in the management business. The hiring and investment will help Avex break Japanese artists in global markets and position Avex “as a potent force in the international music landscape,” Avex CEO Katsumi Kuroiwa said in a statement.
The Japanese industry will make another push in May with the inaugural Music Awards Japan, an ambitious, two-day event that will name winners of 62 categories based on votes from more than 5,000 members of the Japanese music industry. Set for May 21 and 22 in Kyoto, the awards show will be broadcast in Japan by NHK and will be streamed globally by YouTube. Toyota is a top sponsor of the event.
“Beginning with matsuri ‘25 and the Music Awards Japan, we hope that these events will become the sort of conception or beginning to a lot of different Japanese music artists being able to create more, expand their expression and creativity, to share their love for music with different fans around the world,” CEIPA’s Nomura said during the press conference. “This is going to define the future of the Japanese music industry.”
PinkPantheress is back! The 23-year-old star took to Instagram on Wednesday (March 26) to tease some sort of new release. “May 9th,” she wrote with a kiss emoji alongside a photo of herself, looking into the camera with her hand on her hip against a white background. As of press time, PinkPantheress didn’t indicate whether […]
Neon Carnival has announced the line-up for this year’s late-night blow-out after party in Indio, CA that will take place on April 12.
The 14th year of the event founded by L.A. nightlife impresario Brent Bolthouse and produced by Jeffrey Best of Best Events will once again take place at the Desert International Horse Park and feature sets from Anderson .Paak‘s record-spinning persona, DJ Pee .Wee, as well as DJ Charly Jordan and Chase B & Friends.
“As we kick off our fourteenth year in the desert, we’re beyond thrilled to once again team up with our incredible sponsors to create another unforgettable experience, featuring some of the biggest names in the industry,” Bolthouse said in a statement. “Last year, we amazed our guests with an incredible DJ lineup and a surprise performance by Busta Rhymes. This year, we’re turning it up even more — Charly Jordan and Chase B & Friends are joining the lineup to deliver one of the most electrifying sets yet, and it’s going to be a night everyone will remember.”
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Last year’s show also featured sets from .Paak’s DJ Pee .Wee, along with a live horn player and drum kit, as well as TikTok DJ Hunny Bee and Vanderpump Rules star DJ James Kennedy.
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The invite-only, 21+ celebration that traditionally draws A-list guests including celebrities, influencers and industry movers will again take over the three-football-sized, all-grass Horse Park, turning it into an “immersive neon-lit wonderland” of music, along with classic carnival games, amusement park rides and the event’s iconic light-up ferris wheel. This year’s topline sponsor is once again Patrón El Alto, whose handcrafted, prestige tequila cocktails will be served along with beverages from returning sponsors Ghost Energy, Nütrl Vodka Seltzers, LaCroix, and PathWater.
Attendees at this year’s event will get to sample the event’s first-ever official cocktail, the PATRÓN Headliner Margarita, which will be served in a glow-in-the-dark collector cup.