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OVO Fest will be back in summer 2025. Drake made the announcement while making a surprise guest appearance at Central Cee‘s concert in Toronto Saturday (May 24) at History. “I’ll see you this summer, by the way” Drake said to the crowd, while congratulating the British rapper on his success. “OVO Fest will be back […]

When Shakira announced the stadium tour dates for her Las Mujeres Ya No Lloran trek, Chicago was not part of the list, leaving fans wondering why the Windy City was left out. Soon after, it was unveiled that she’d headline Sueños Festival and on Saturday (May 24), the Colombian star closed out day one of the two-day event in Chicago’s Grant Park.

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What was originally billed as a two-hour performance starting at 8 p.m., Shakira went onstage closer to 8:30 p.m. and played a 90-minute set. The crowd — which had quickly dispersed after Peso Pluma’s set — slowly returned to find a good spot to watch Shakira and the empty spots filled up, especially when the main stage lights were turned on.

Shakira’s crowd was multigenerational, which is noteworthy given that Sueños caters to a younger, perhaps Gen Z-leaning crowd. Many women in attendance paid homage to Shakira, wearing her signature belly-dancing hip belts. And Colombians proudly waved their flags, eager to hear La Loba howl.

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“I was really looking forward to being with you tonight,” a beaming Shakira said, speaking in a mix of English and Spanish. “This is incredible. This city, wow I’m in love with this city, it’s so beautiful. Thank you for making me feel at home. There is definitely no better reunion than a she-wolf with her pack. Chicago, tonight, we are one.”

While it’s hard to replicate a stadium tour stage in a festival setting, it’s safe to say Shakira gifted Chicago fans an unforgettable night. Going from wearing a shimmery white jumpsuit and large black sunglasses to a sparkly pink dress in a blink of an eye, the “Pies Descalzos” singer, backed by a troupe of fierce dancers, kicked off with bangers, including “Girl Like Me,” “Las de la Intuición,” “Estoy Aquí,” “Inevitable,” “Te Felicito,” “TQG” and “Don’t Bother.”

“These last few years have not been easy for me, nobody is saved from falls. But if I have learned anything, it’s that the fall is not the end but the beginning of a higher flight. We, women, get up a little stronger, a little more wiser, every time we fall,” Shakira said, a nod to the empowering theme of her Las Mujeres Ya No Lloran era, inspired by the healing that comes from a heartbreak. 

During her 90-minute set, Shakira’s hypnotizing dance moves and choreography were on full display, including her unmatched belly-dancing in “Ojos Asi” and the champeta and calypso footwork during “Waka Waka.” But a fan favorite moment was when Shakira revisited her rockera roots, singing “Pies Descalzos, Sueños Blancos” and “Antología.”

Of course, she closed with the global hit “Bzrp Music Sessions, Vol. 53,” which had all the women in attendance singing at the top of their lungs, ending an epic reunion between a she-wolf and her pack.

Sueños continues on Sunday (May 25) with Grupo Frontera and Don Omar as headliners. Meanwhile, Shakira’s Las Mujeres Ya No Lloran is set to visit Boston, Atlanta, Miami and Los Angeles next.

Sueños fans waited one year for Peso Pluma to headline the Latin music festival in Chicago’s Grant Park after his set was canceled by festival organizers last year over thunderstorms.

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“It’s good to be in Chicago,” Peso told attendees at the top of his one-hour-and-15-minute set on Saturday (May 24). “Remember last time we got rained out? Well, no rain can stop me this time.”

The significant crowd that gathered to see him perform at the event’s main stage roared, crowding the stage area to be closer to Peso.

Although the air was crisp and unseasonably cold temperatures had festival-goers rethinking their summery wardrobe choices, it did not rain. This time, mother nature was on Peso’s side. And so he went on to sing his biggest hits, including “AMG,” “Rubicón,” “Nueva Vida,” “La Patrulla,” “Rompe La Dompe” and “Lady Gaga,” to name a few on his Sueños setlist.

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Dressed casually in jeans, a black T-shirt with a black puffer jacket over it and a black and white Chicago White Sox baseball cap (which he later traded for a beige one), Peso was accompanied by his band composed of nearly 10 musicians — giving life to signature sound powered by instruments like charchetas, trombones and trumpets and following Peso’s lead.

“They are my family,” Peso gushed about his band. “Over the past three years, we’ve grown this project together.”

A handful of artists joined him onstage as special guests, including Oscar Maydon and El Alfa — both who had performed earlier in the day — and labelmates Tito Double P and Jasiel Nuñez. Throughout his show, Peso expressed his Mexican pride and wrapped a Mexican flag at the end of his set saying, “Viva la cultura mexicana!”

And, although he didn’t address head on the bans on narcocorridos in Mexico and the U.S., and how they’ve impacted a few of his fellow regional Mexican hitmakers, Peso made note during his set that he’s focusing on romantic corridos.

According to Sueños’ website, as of Saturday, about 95% of the passes to the event were sold, although actual daily attendance figures were not made readily available by festival organizers. Now in its fourth edition, day one of Sueños featured other acts like NSQK, El Malilla, Dei V, Oscar Maydon, El Alfa and Arcángel. Shakira closed out Saturday with a 90-minute set.

Don Omar and Grupo Frontera will headline day two of Sueños on Sunday (May 25).

D’Angelo has dropped out of the 2025 Roots Picnic in Philadelphia, citing medical complications related to a previous surgery.
On Friday (May 23), the iconic R&B artist announced through social media that he will no longer headline the Roots Picnic, scheduled for May 31 and June 1 at Philly’s The Mann in Fairmount Park. The decision was made following medical advice related to an “unforeseen” delay in his surgical recovery.

“It is with the deepest of regrets that [I] must cancel my performance at the Roots Picnic in Philadelphia next weekend,” D’Angelo wrote in a statement shared through the Roots Picnic’s Instagram page. “But, due to an unforeseen medical delay regarding surgery [I] had earlier this year, [I’ve] been advised by my team of specialists that the performance this weekend could further complicate matters.”

The festival added its support in the post’s caption. “Due to a longer-than-expected surgical recovery, @thedangelo won’t be able to join us at Roots Picnic this year. We’re sending love and keeping him in our thoughts as he continues to heal!” organizers wrote.

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The 17th annual Roots Picnic will still go forward with a stacked lineup including headliners Meek Mill and Lenny Kravitz. Other performers include GloRilla, Miguel, Tems, Latto, Kaytranada, and Jeezy.

D’Angelo was originally slated to perform alongside festival curators The Roots. Stepping in as his replacement is fellow neo-soul icon Maxwell, the festival announced Friday on Instagram.

“It is nearly impossible to express how disappointed [I am] not to be able to play with my Brothers ‘The Roots,’” D’Angelo added. “And even more disappointed to not see all of You.”

The singer closed the message by thanking fans for their continued support, hinting at new music on the horizon. [I’m] currently in the Lab & can’t wait to serve Up what’s in the Pot!” he wrote. “LOVE U All and will see you very soon!” he wrote.

D’Angelo last performed at the Roots Picnic in 2016, during the festival’s first-ever New York City edition. The appearance followed the release of his acclaimed third album, Black Messiah, which reached No. 5 on the Billboard 200 in January 2015.

Hunched over a paper plate piled with oysters and snow crab legs, I realized I hadn’t worn a shirt now in two days. The sun was setting on day two of the first-ever Sand in My Boots festival, hosted on the beach of Gulf Shores, Alabama—part of the stretch of Florida/Alabama Gulf Coast sometimes referred to as the “Redneck Riviera.” Since 2010, this weekend in May has been reserved for the Hangout Music Festival, a more generalized three-day beach bash whose previous headliners included Travis Scott, The Weeknd and Lana Del Rey. But this time was something different: a complete takeover curated by Morgan Wallen, the 32-year-old country superstar whose 37-track fourth album, I’m The Problem, dropped on the fest’s opening day.

Borrowing its name from the opening song on Wallen’s first blockbuster (2021’s Dangerous: The Double Album, the first album in history to spend at least 100 weeks in the top 10 of the Billboard 200), Sand in My Boots arrives as the high-water mark of the artist-curated festival. You could call the lineup that Wallen hand-picked “country-oriented,” though its details might surprise an old-school genre purist. Just past the three-day fest’s headliners (the newly roots-y Post Malone, country stalwarts Brooks & Dunn and Wallen himself) are an array of acts which suggest that, at a moment when country music’s bigger than it’s been in decades, its once strict boundaries are more porous than ever. Among rising country stars like Bailey Zimmerman and Ella Langley are a slew of rappers—some newer (like BigXthaPlug), some veterans (2 Chainz and Memphis icons Three 6 Mafia), though nearly all of them are Southern. Then there’s a handful of indie rock bands (The War on Drugs, Wild Nothing, Future Islands) which might seem comically random, were it not for the fact that Wallen’s been a champion of them for years.

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“When the idea of Sand in My Boots started becoming a reality, it was extremely important to me to build a festival of artists that I enjoy and listen to regularly,” Wallen told Billboard by email last week. “We didn’t come up with this idea trying to fill a gap, but I believe that is what we have done. We created a festival that was centered around my country culture and that just so happens to include a variety of sounds.” Whatever you want to call the Sand in My Boots vibe, all 40,000 tickets sold out in less than two hours last October. (Three-day G.A. passes started at $549, while VIP packages ranged upwards of $5,000, and private luxury cabanas by the main stage were even steeper.)

I’d arrived in Alabama’s gulf coast on Thursday afternoon, whispering “Get me to God’s country!” to the alarmingly small plane that would take me from Houston to Mobile, followed by a 2.5-hour drive to Gulf Shores. And Gulf Shores is, indeed, God’s country, if on the fourth day, God invented Zyn, the fifth day, Michelob Ultra, and on the sixth day, he declared, “Let there be scantily clad women walking barefoot in the street!” (Just across from the fest’s shuttle depot is a historic landmark: the world’s smallest Hooters restaurant.) Sand in My Boots’ two stages sit at either end of a pristine stretch of white sand beachfront along a body of water whose name no one can seem to agree on: while the festival’s website offers the opportunity to “cool off in the Gulf of Mexico between sets,” several dozen t-shirts and trucker hats I spy on attendees throughout the weekend proudly proclaim “GULF OF AMERICA SINCE 2025.”

Though I’m a fan of country music, both old-school and new, I also happen to be a Midwestern woman whose wardrobe is mostly black. This means that not only did I stick out like a sore thumb among the sea of body glitter, mesh cover-ups, star-spangled bikinis, ruffled mini-skirts, Hawaiian shirts, baseball jerseys, abundant camouflage, and yes, cowboy boots, I also cultivated the worst sunburn of my life within roughly 40 minutes of my arrival on day one. (“The sun reflects off the sand and makes it even worse!” explained a shirtless man in a mustache and a trucker hat that read “COUNTRY MUSIC TITTIES & BEER,” wincing at the two-tone paint job of my tan lines.)

Nevertheless, White Claw in hand, I set out to investigate the beachfront offerings between the stages, where a foam party was going off behind the Monster Energy Beach Club. Farther along, a man with a mustache and a microphone stood outside a makeshift chapel labeled “Love Somebody Lane,” soliciting passerbys: “Anybody wanna get married? It’s free!” (It’s more of a photo opp than a legally binding matter, he explained when I asked further: “Hell, we don’t even ask for their last names!”) All the festival grounds’ offerings are loosely Morgan Wallen-themed, from the 7 Summers Sandbar to the Up Down Cap n’ Gown (where you can collect a gift, should you have chosen Sand in My Boots over your graduation ceremony) to the booths hawking a zero sugar ice tea brand “crafted by Morgan Wallen,” to the “Field & Stream 1871 Club” pop-up, where you can subscribe to the magazine Wallen bought with Eric Church last year.

Just after twilight on night one, a throng of girls in t-shirts printed “MORGY HARDY POSTY” were buzzing around the sandy margins of the main stage, where Hardy was preparing to perform. You either know the Mississippi native from his solo material, which often draws from rock and nu-metal despite its outlaw themes, or from the endless stream of hits he’s co-written for other artists under his full name, Michael Hardy. (You’ll find his name throughout the credits of Wallen’s discography, from 2017’s “Up Down” to I’m the Problem.) Emerging onstage barefoot in camo shorts and a Death Row Records t-shirt, Hardy’s set epitomized the omnivorous sound of country today: thrashed out with a full rock band, songs like “Truck Bed” and “Psycho” felt more like mosh-pit fodder. Thematically, there was less ambiguity: “I believe America is the greatest country in the world,” he bellowed as an introduction to 2019’s “God’s Country.” “And if you don’t agree, go get a f–kin’ beer!”

On the other end of the beach, T-Pain’s set was starting; the 40-year-old former Auto-Tune maverick has been slowly but steadily embraced by country fans since his 2023 cover of “Tennessee Whiskey.” (In fact, as he shared with me last year, the Florida native lived in Nashville in the mid-2010s, ghostwriting songs for Luke Bryan, Toby Keith and Florida Georgia Line.) But having seen his set extensively, I re-upped my cocktail (a vodka/lemonade/iced tea concoction named after the golfer John Daly) and settled in for the headlining set from Post Malone, who made his official jump to country with last year’s F-1 Trillion, fulfilling the promise of a 2015 tweet: “WHEN I TURN 30 IM BECOMING A COUNTRY/FOLK SINGER.” A cynic might read the pivot as opportunistic, but so far, I’ve been charmed by Posty’s country crossover: he’s got the voice, demeanor and goodwill to fit seamlessly into the Nashville scene, where face tattoos are no longer frowned upon, thanks to Jelly Roll.

I might add that Post didn’t look half-bad in his boot-cut jeans and cut-off Cowboys jersey, strutting and shimmying down the runway through the crowd as he performed slightly rootsier versions of old hits (“White Iverson,” “Circles”) and twangier album cuts like “Wrong Ones” and “M-E-X-I-C-O.” “I came here tonight to play some sh-tty music and party a little bit while we do it!” he crowed, sitting down at one point to pull off his cowboy boots and pace the stage barefoot. Mostly, the 29-year-old just seemed happy to be there, hyping up his nine-piece band and thanking the audience profusely between every song. Beside me in the sand along stage left, a sunburnt six-year-old girl mouthed every word of “Losers” from her perch on her dad’s shoulders: “Last callers, last chancers, 9-to-5ers, truckers, dancers…”

My day-old sunburn was feeling borderline psychedelic on Saturday afternoon, but the idea of putting a shirt over my bikini just seemed wrong, particularly on a perfectly balmy 80 degree day. So I slathered on some sunscreen, chugged some water (plus a mysterious blue cocktail billed as “Electric Lemonade”) and made my way past rows of booths selling “Cowboy Nachos,” “Boot-Scootin’ Smoothies,” and discounted cans of Zyn (Sand in My Boots’ preferred nicotine delivery unit) towards the Dangerous Stage, where all of the day’s rappers were performing. First up was BigXthaPlug, the 27-year-old Dallas native with a booming voice and offensive lineman build who’s spent the past few years putting Texas rap back on the map. I was initially unsure how songs like “Mmhmm” and “Levels” would go over with an early afternoon crowd rocking t-shirts that read “SLAMMIN’ BUSCH & POUNDIN’ TUSH” and “EVERYTHING I LOVE IS ILLEGAL, OFFENSIVE, OR BRUNETTE” (plus one fellow who’d fashioned the box of a Twisted Tea 12-pack into a hat). But far more people than I expected rapped along to every word, not to mention lost their minds as X stripped off his shirt to the sounds of “All The Way (Don’t Let Me Down Easy),” his collab with Bailey Zimmerman that debuted at No. 4 on the Billboard Hot 100 last month.

“Ooohh, I wanna see Three 6 Mafia!” shrieked a woman in stars-and-stripes booty shorts and a MAGA trucker hat to her husband, who was costumed in Hulk Hogan wrestling attire. It is almost unthinkable the extent to which the Memphis rap group have parlayed their hellish beats and eldritch lyrics into a wildly influential 35-year career, which has brought 48-year-old DJ Paul and 50-year-old Juicy J here to incite a beachfront riot. “Can we do a mosh pit?!” coaxed Juicy J to the stabs of 1997’s “Hit A Mothaf-cka.” “I ain’t never seen a mosh pit in the sand before,” noted DJ Paul above the fray, beginning a chant: “When I say ‘WEAK ASS,’ y’all say ‘BITCH!’” “We got anybody in here from jail? DUI last night, straight from jail?” he continued with a grin. “Anybody from the hospital? Anybody from rehab?”

Sand in My Boots Festival

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Across the beach, I caught the tail end of the set from Riley Green, the 36-year-old Alabama native whose baseball player-esque good looks and horny new single, “Worst Way,” have combined to make him the festival’s unofficial heartthrob. (“SAVE A HORSE, RIDE RILEY GREEN” read one passing tank top.) Green’s the Platonic ideal of an archetype my buddy has coined a term to describe: the GCB, short for Glam Country Boy, a type of guy you know well if you live in certain parts of the South or the Midwest. The GCB listens to country and a little bit of rap, wears a thin gold chain and often a mustache, possibly played minor league baseball; but his defining feature is the half-mullet my friend described as “that salad in the back.” (I tried to keep a tally of the festival’s GCB count, but the task was too exhaustive, and I quit after an hour.) Soon Green is joined by Ella Langley—another Alabama local who tore up the stage earlier that afternoon with nostalgic songs like “Weren’t for the Wind” and “Better Be Tough”—for their pair of duets, “You Look Like You Love Me” and “Don’t Mind If I Do.” But I had an appointment with “Super VIP” catering that I was not going to miss.

At the risk of sounding like a tremendously spoiled douchebag, the dining room for the ritziest tier of VIP attendees was the most elaborate I’ve witnessed in all my days as a reporter. Saturday night, the dinner buffet included a dozen salads, charcuterie, beef short ribs, porchetta, blackened cod and a tower of crab legs piled higher than me—and that’s before you hit the oyster bar. (It’s air-conditioned, don’t fret.) And that’s how I found myself sunburnt and shirtless, cracking open crab legs as if I were Rick Ross. “Life on the Redneck Riviera ain’t too bad,” I thought, washing down another oyster with a tequila soda.

I’d answered my own question as to whether the crowd would be too young to appreciate the evening’s headliner, Brooks & Dunn—what did kids these days know about “Boot Scootin’ Boogie”? But Sand in My Boots’ crowd skewed a bit older than your average music festival, and though a few youngsters streamed towards the exit as the Nashville duo (formed in 1988) took the stage, most of the crowd knew every word to 20-something-year-old songs like “Ain’t Nothing ‘bout You” and “Red Dirt Road.” On the shuttle back to my hotel (there’s no parking on the premises, but a steady stream of buses ran from the grounds all day), a pair of sun-dazed women arrive at an inspired idea: “Girl, should we get Waffle House?” “Ohhhh, f–k me up!”

The seagulls have grown bold on day three of the festival, flying so low above the food court as to incur screams from shirtless men in Busch Light cowboy hats. As for me, I figured “when in Rome” and joined the line for the Zyn pop-up, where those 21 and up can purchase packs of the Swedish nicotine pouches favored by cowboys for the low price of $1. “Our menthol flavor has a eucalyptus aftertaste,” a gorgeous saleswoman informed me. Just ahead of me in line was a couple who’d flown in from Calgary, Alberta, the man cowboy hatted and mustached and the woman dressed to the nines in red thigh-high cowboy boots. “You guys like country music in Canada?” I asked them, to which they replied, “Oh, yah!”

All the lineup’s indie rock bands have been relegated to the Dangerous Stage for the festival’s last day, so I headed across the beach, passing the outdoor showers where a half-dozen partygoers were quite literally washing the sand off their cowboy boots. I’d been interested to see the crowd for The War on Drugs, the Philly-based seven-piece band whose t-shirts Wallen has been known to rock. Numbers-wise, the crowd paled in comparison to the hip-hop acts who played the previous day, to the point where I could clearly make out Ernest covering Hank Williams Jr.’s “Family Tradition” from the main stage. Still, I could see a through-line between the band’s synthy heartland rock and a handful of my favorite Wallen songs—2023’s “One Thing at a Time,” or the recent “Genesis.”

After another absurdly lavish dinner (peel-and-eat shrimp, crab legs, oysters, Lyonnaise salad, chicken piccata) I post up at the main stage, where 25-year-old Bailey Zimmerman is bouncing around in jean shorts before a band whose members all looked vaguely like Skrillex, reminding the crowd: “God is good all the time!” Until 2019, the Southern Illinois native had never sung outside of drunk karaoke; he worked on a gas pipeline, then gained some fame on TikTok for his videos tricking out his GMC truck. When his first-ever song, 2020’s “Never Comin’ Home,” racked up a million TikTok views overnight, he quit his job the next day. Now, between hits like “Fall in Love” and “Religiously,” he coaxed the crowd to scream “I love you!” to his mom backstage.

But like most everybody else, I’m here for Morgan Wallen, whose set tonight will close the festival. So far he had refrained from popping out for duets with collaborators on the lineup (Post Malone, Hardy, Ernest), and I was curious how much his setlist would reflect the brand-new album, whose mood was decidedly more introspective and subdued than previous blockbusters like Dangerous and One Thing at a Time. As for the crowd that had gathered around stage left, morale was high; a group of girls who’d traveled from Kentucky generously passed around a couple boxed wines and a joint. Then the lights went down, the beach erupted with screams, and video showed Wallen in white shorts and a white long-sleeve, jogging out from backstage to the sounds of “Broadway Girls,” his 2022 collaboration with Lil Durk.

Wallen kept the banter brief, taking a moment to acknowledge the years it had taken for Sand in My Boots to come together, then launched into a pair of songs from One Thing at a Time before transitioning to a handful of I’m the Problem singles (the title track, plus “Love Somebody”) and a few new songs he’d yet to play live before: “Kick Myself,” “Don’t We,” “I’m A Little Crazy.” “I wanted to find the most classy way to talk a little sh-t,” he introduced the latter. (“I’m a little crazy, but the world’s insane,” goes the chorus.) As stage presence goes, I’ve certainly seen more dynamic performers; occasionally he’d pick up an acoustic guitar, more as a shield than anything. But his raspy Tennessee drawl sounded surprisingly great live, particularly on “Cover Me Up,” a Jason Isbell song he’s been covering for years, and on the festival’s namesake track, a ballad about a one-night stand on the beach: “Somethin’ bout the way she kissed me tells me she’d love Eastern Tennessee/But all I brought back with me was some sand in my boots.”

Wallen finished with a suite of early hits: “More Than My Hometown” and “Whiskey Glasses,” followed by an encore of the inescapable “Last Night” and his 2016 debut single “The Way I Talk.” Then the festival figurehead was off into the night, and so was I—back on the east-bound shuttle bus, where the driver allowed a group of drunk girls to blast Soulja Boy and Flo-Rida over the Bluetooth speakers. I didn’t have boots to speak of, so all I brought back with me was a raging sunburn and a couple packs of Zyn.

05/12/2025

Twin Cities musical landmarks, concert venues, record stores, festivals and more.

05/12/2025

Weezer, Car Seat Headrest, Janelle Monáe, Bright Eyes, Aurora and Sylvan Esso are among the headliners for the 2025 Bumbershoot Arts & Music Festival. The 52nd annual edition of the Seattle fest will take place over Labor Day weekend (August 30-31) and feature the usual eclectic mix of music, delicious local food and drink and visual arts programming.

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Other artists slated to take the stage at this year’s event include: The Budos Band, Indigo De Souza, Tank and the Bangas, Pretty Girls Make Graves, Pattie Gonia, Say She She, Hey, Nothing, Quasi, Tennis, Saba, The Linda Lindas, Bob the Drag Queen DJ set, Real Estate, The Murder City Devils, Frankie and the Witch Fingers, Spellling, Fat Dog, Bebe Stockwell and Digable Planets celebrating the 30th anniversary of Blowout Comb.

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Bumbershoot Weekend passes are available for $199 through Thursday (May 8), with the Big Gulp joint ticket going on sale for $340 on Friday (May 9) — for both Bumbershoot and the Capitol Hill Block Party (July 19-20) — along with single-day tickets for $125. The festival is also offering a Crew Pack for $800 which features weekend passes for four people; for more ticketing information click here.

In addition to two days of music against the backdrop of Seattle Center’s 74-acre urban campus, Bumbershoot will offer food from local restaurants, Cocktail Corner, VineShoot and BumBEERshoot highlighting the best food and drink from the Pacific Northwest. It will also feature art installations, comedy, runways shows in the Fashion District, a half pipe skate program in the Recess District and a Century 21 District with large-scale contemporary sculptures.

Check out the full lineup for the 2025 Bumbershoot Arts & Music Festival below.

Sabrina Carpenter, Hozier, Doja Cat, Luke Combs, The Strokes, John Summit and Doechii are among the headliners of the 2025 Austin City Limits Festival. The fest that takes place in Zilker Park over two weekends — Oct. 3-5 and Oct. 10-12 — will also feature sets from Feid, Cage the Elephant, T-Pain, Empire of the Sun, DJO, Pierce the Veil, Rilo Kiley, Maren Morris, Mk.gee, Zeds Dead, Rainbow Kitten Surprise, Modest Mouse, Wet Leg, King Princess and many more.

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The artists will spread out on nine stages, with this year’s event again slated to stream on Hulu, which will air select live performances, interviews and more during the first weekend, with a full broadcast lineup and schedule to be announced later this summer.

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Other acts on this year’s roster include: Role Model, Japanese Breakfast, Car Seat Headrest, Magdalena Bay, Olivia Dean, Marina, Gigi Perez, MJ Lenderman, Phantogram, Passion Pit, The Dare, Ca7riel & Paco Amoroso, Panda Bear, Anderson East, Lucius and many more.

Three-day general admission, GA+, VIP and platinum tickets will go on sale today at 1 p.m. ET here, with plans available starting at only $25 down; one-day tickets will be available at a later date.

Fans can also catch some shade at the Bonus Tracks stage, which organizers call a hub of “culture, connection, and good vibes [that] comes alive between music sets with a diverse lineup of programming. Expect artist and thought leader interviews, podcast recordings, cooking demos, drag performances, and creative ways to move your body and recharge your mind.”

Among the past highlights on that stage are author and podcaster Brené Brown in conversation with Foo Fighters singer Dave Grohl and Ted Lasso‘s Brett Goldstein, as well as intimate chats with Billie Eilish and Noah Cyrus and dance parties with Bob’s Dance Shop, and the best of Austin Drag hosting bingo and live shows.

Check out the full lineup and 2025 ACL poster below.

Eddie Vedder, Hozier and Green Day will headline this fall’s edition of the Ohana Festival on Doheny State Beach in Dana Point, CA. The three-day fest (Sept. 26-28) will also feature support on the Vedder-topped first night from Kings of Leon, Garbage, Stereophonics, Lukas Nelson, Kim Deal, Deep Sea Diver, Hinds, Girl and Girl and more.

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Night two will feature Hozier atop a bill with Leon Bridges, Rainbow Kitten Surprise, Tedeshi Trucks Band, Royel Otis, Margo Price, Mdou Moctar, Mon Rovia, Chaparelle, David Duchovny and the Alain Johannes Band.

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The final night will pair pop punk veterans Green Day with Cage the Elephant, Wet Leg, Jams, Mannequin Pussy, the Chats, Lambrini Girls, The Murder Capital, The Criticals and Skating Polly.

A pre-sale begins on Thursday (May 1) at 10 a.m. PT, followed by a public on-sale at 12 p.m. PT if any tickets remain.

One of the highlights of last year’s Ohana fest was founder and Pearl Jam singer Vedder bringing out his 16-year-old daughter Harper to sing a mash-up of PJ’s signature cover of Wayne Cochran’s 1961 car crash tragic love song “Last Kiss” with the second-generation Vedder taking over to slip in the first verse from Taylor Swift’s Fearless song “The Best Day.” The 2024 version also featured sets from Maren Morris, Devo, Dogstar, Sting, Black Pumas and Alanis Morissette, among others.

Before that, Pearl Jam will take the stage to headline at the New Orleans Jazz & Heritage Festival on Saturday night (May 3) and Vedder will be on hand at the Tribeca Festival on June 12 for the premiere of his documentary about the devastating childhood skin disorder epidermolysis bullosa, Matter of Time.

Check out the full poster for the 2025 Ohana Festival below.

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In the heart of Palm Springs, the Coachella Valley Music and Arts festival came and went with a bang, from Lady Gaga‘s extravagant “Mayhem In the Desert” set, to Charli XCX‘s electrifying Brat performance with surprise guests. But this year marks a significant shift for concert culture as the music festival brings in Loop Earplugs as its first official earplug partner.

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The collaboration also delivers a limited-edition Loop x Coachella Experience 2 Earplugs that quickly became a go-to accessory for many in attendance.

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As the growing awareness of hearing health continues to rise, this partnership encourages users to tear up the dance floor without tearing up their eardrums in the process. With 17 decibels(SNR) of filtered noise reduction, the earplugs, which were sold at both Coachella weekends, ensures clear sound while protecting ears.

Adventuring to the Sahara, Yuma, and Sonora stages, which typically offer lineups of electronic dance music, the Loop earplugs shine when blocking out pounding subwoofers, so you can enjoy the music without sacrificing sound quality or risking hearing damage. Conversations may be muffled with them on, but when a Chase & Status set is happening, who’s is trying to talk?

“The Loop experience is actually made to reduce noise, but not distort it, so that you’re protected and also you’re still in the music, in the festival, in the atmosphere,” Loop co-founder Maarten Bodewes tells Billboard. “Loop started as a way for us to keep enjoying live music experiences without the negative side effects. It’s incredibly rewarding to have Coachella join us on that journey, making hearing protection a more natural, welcome and intrinsic part of live music culture.”

Limited-edition

Loop x Coachella Experience 2 Earplugs

The days of carrot stick-esque foam earplugs that fall out in seconds are over. The limited-edition Loop x Coachella Experience 2 Earplugs provide as much design aesthetic as they do functionally. Inspired by the festivals desert location, the earplugs feature a modern gradient design mixing sky blue and sunset orange for a dusk till dawn aesthetic. They come with multiple sized tips so they stay snug in your ear during any activity the day brings, as well as a matching Loop x Coachella Carry Case and an optional Link connector cord. There is a bit of a learning curve to get them to sit properly in your ear, but after some minor adjustments they fell pretty comfortable for long-term uses.

“From a design perspective, we looked at like what is typical about Coachella,” says Bodewes. “It’s in the desert. It goes from dusk till dawn, and if you look at the color of dusk, it’s more the bluish hue, and dusk is more of a orange hue. So we tried to make it from dusk till dawn.”

limited-edition

Loop x Coachella Link

As Coachella kicks off the 2025 festival season, Loop is leading the charge in this new era of specially designed hearing protection and quickly becoming a go-to essential for concert goers. Its sleek design, resembling daith piercings, sets it apart from typical earplugs on the market, and adds a element of stylish fun for vibrant festival looks. With an affordable price point, the Loop x Coachella Experience 2 earplugs are a game-changer for live music.

The Loop x Coachella Experience 2 earplugs ($39.95 USD), as well as the duo’s link connector ($29.95 USD), are now available on Loop’s site here.