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Primavera Sound has announced a stacked lineup for its 2025 edition, including headline slots for Charli XCX, Sabrina Carpenter and Chappell Roan. The festival will take place at Barcelona’s Parc Del Fòrum (June 5-7) and also feature sets from LCD Soundsystem, FKA Twigs, Fontaines DC, Clairo, Haim and Turnstile.
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The announcement Thursday morning (Oct. 24) also included confirmation of acts including TV On The Radio, Wet Leg, Beach House, Waxahatchee, Beabadoobee, Caribou, Anohni, Denzel Curry, Chat Pile, Parcels and more.
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Elsewhere on the lineup, there will be sets from The Dare, Floating Points, Stereolab, Yaosobi, Spiritualized, Hinds, Glass Beams, Kim Deal and MJ Lenderman.
Fans can register for a presale which takes place on Oct. 28 at 11 a.m. CET. The general sale will take place on Oct. 29 at 11 a.m. CET. Passes for all three days will cost $286 and you can register for access on the festival’s official website.
2024’s edition of Primavera Sound included sets by Blur, Lana Del Rey, Pulp, SZA, Justice, The National, Mitski and Charli XCX.
Primavera Sound had expanded its offerings in recent years and included sister events in Madrid, Los Angeles, São Paulo, Asunción and Buenos Aires. In August, the festival confirmed that all their Latin American editions would not be going ahead in 2024.
Primavera Porto in neighboring Portugal will take place on June 12-14, though a lineup has not been announced.
See the first lineup announcement for Barcelona’s Primavera Sound below.
Here and Now.Register now to access the full festival ticket Fan Sale, available from 28/10 at 11:00H (CET). General sale will start on 29/10 at 11:00H (CET).👉 Fan Sale registration: https://t.co/GlKbpon1MR___Regístrate ya para acceder a la Fan Sale de abonos, disponible… pic.twitter.com/9FlyeaVtNH— Primavera Sound (@Primavera_Sound) October 24, 2024
KATSEYE is fully in “TOUCH” as a girl group, as the six-member squad took the stage on The Kelly Clarkson show on Wednesday (Oct. 23) to perform their latest hit.
The group delivered the track out of the studio, on a rooftop against the Los Angeles skyline, dressed in coordinating pastel outfits and go-go boots. “You been so out of touch, touch, touch, touch, touch/ Thought about you way too much, much, much, much, much/ Over, over thinking us, us, us, us, us/ ‘Cause you been so out of touch,” they sing in the instantly catchy chorus as they delivered in-sync choreography.
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“It’s such a beautiful song. We all love it,” KATSEYE’s Daniela previously told Billboard of “TOUCH,” which is featured on their recent EP, SIS (Soft Is Strong). “The song itself is like our softer side and it shows complexity of love. Filming the whole music video was such an amazing experience and recording as well. It’s ethereal and shows our softer side, but we can tap into our fierceness and our self-confidence too.”
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The K-pop-inspired international girl group featuring members Sophia, Manon, Daniela, Lara, Megan and Yoonchae, were formed as part of the competition series The Debut: Dream Academy, and while they only debuted back in June, they’ve already established an impressively dedicated fanbase, known as the EYEKONS.
Watch KATSEYE perform “TOUCH” on The Kelly Clarkson show below.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Tricks and treats! Just before Halloween, Netflix and Disney+ are bringing spooky specials to families and highly-anticipated new releases from two […]
They’re still standing, better than they ever did! Joni Mitchell welcomed her all-star group of friends onstage with her at her Hollywood Bowl “Joni Jam” over the weekend, and the fun continued backstage. Explore Explore See latest videos, charts and news See latest videos, charts and news In a clip shared to the “A Case […]

Beabadoobee is the latest artist to join the BBC Radio 1 Live Lounge, and in addition to singing “Beaches” from her This Is How Tomorrow Moves album, the 24-year-old singer also performed a cover of her fellow TIME100 Next honoree, Sabrina Carpenter’s “Taste.” Explore See latest videos, charts and news See latest videos, charts and […]
SEVENTEEN has touched down in the United States. The superstar K-pop group kicked off the U.S. leg of their [RIGHT HERE] world tour at the Allstate Arena in Chicago on Tuesday night (Oct. 22), marking their first time onstage in the nation in more than two years. The three-hour show was jam-packed with 22 songs […]
Less than two months since Wonho was discharged after his mandatory Korean military service, the star is set to make an anticipated return to the U.S. with his first-ever fan meeting tour as a soloist specifically for his longtime loyal fans, known affectionately as WENEE. Explore Explore See latest videos, charts and news See latest […]
On today’s (Oct. 23) episode of the Greatest Pop Stars of the 21st Century podcast, we reach No. 8 of our list with a teen-pop phenom who created absolute pandemonium among young fans at the turn of the 2010s — and then grew with his fanbase into adult pop stardom in the decade that followed. […]

Dua Lipa performed a special one-off show at London’s historic Royal Albert Hall on Oct. 17, with the British-Albanian artist and her band joined by a 53-piece orchestra, 14 choristers and, most memorably, Sir Elton John for a performance of “Cold Heart,” the pair’s 2021 smash hit. And now, fans who didn’t get to attend will get to watch it from home.
The show was filmed for a TV concert program set to air later this year. Writing on her Instagram, Dua revealed that the concert will air on CBS in the U.S. and on ITV in the U.K., adding, “I wanted to remember this show forever so we captured it to share with you too”.
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An Evening with Dua Lipa — featuring performances of some of her greatest hits — is set to premiere Dec. 15, and is produced by Fulwell 73 Productions and Radical22. Executive producers for the special include Ben Winston and Sally Wood (Fulwell 73), and Dua Lipa, Dukagjin Lipa and Peter Abbott (Radical22). The concert was commissioned for ITV by Lily Wilson.
During the concert, Dua performed her 2024 album Radical Optimism in full with new arrangements provided by The Heritage Orchestra, conducted by Ben Foster. The show saw live debuts for songs such as “End of n Era” and “French Exit,” as well as singles “Houdini” and “Training Season.” Her entry to the Barbie soundtrack, “Dance Rhe Night,” also got its first live airing.
The setlist also contained performances of “Don’t Start Now” and “Levitating” from her 2020 album Future Nostalgia, and “Be The One” from her 2017 self-titled debut. In the show’s encore, Sir Elton John appeared to duet with Dua on “Cold Heart” to a rapturous response.
Alongside the performance, the show will also include interviews with Dua reflecting on her career and 2024 to date.
This past weekend, Dua performed with musical icon Cher at the Rock & Roll Hall of Fame ceremony in Cleveland, Ohio. The pair sang “Believe” on the night when Cher was inducted by actress Zendaya, who called her “so iconic, she only needs one name.”
Dua Lipa will head to Asia in November to continue her Radical Optimism tour before it hits the U.S. and Europe next summer.
See Dua Lipa’s announcement and the trailer for An Evening With Dua Lipa below:
When Katie Gavin announced that she would be releasing a solo project, she expected the backlash to be worse. Seated in the living room of her grandmother’s house on a September afternoon, the 31-year-old singer chuckles nervously as she looks back at the announcement. “I thought they might get mad at me,” she says of her fans.
As one-third of the self-described “greatest band in the world” MUNA, it makes sense that Gavin would be nervous. Over the course of the last decade, she and her friends Naomi McPherson and Josette Maskin have built the kind of impassioned fan base that most indie acts only dream of. Between sold out shows at iconic venues like Los Angeles’ Greek Theater and headlining slots at beloved alt-rock festival All Things Go, MUNA has grown to fit the legend its members created around it — meaning any perceived threat to its existence could be met with vocal opposition.
With the benefit of hindsight, Gavin says that fear is a nice problem to have. “It’s a good thing, ultimately, to have a project where people are invested in what you’re going to create next,” she says.
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That anger from her fans never quite materialized — in fact, they overwhelmingly expressed enthusiasm for What a Relief, Gavin’s debut solo LP due out Friday (Oct. 25) via Saddest Factory. Described by Gavin as “Lilith Fair-core,” the album is interested less the genres of its songs, and more in their emotional lyrics — tracks charting the cyclical concept of motherhood (“The Baton”), emotionally inauthentic romance (“Sanitized”) and the grief of losing a pet (“Sweet Abby Girl”) all bear Gavin’s stamp of remarkably poetic-yet-lucid songwriting.
As MUNA’s in-house lyricist, Gavin found herself in 2019 with a backlog of what she refers to as “MUNA castoffs” — songs she wrote and presented to her bandmates, but that ultimately didn’t fit within the trio’s creative vision for themselves. “There is a tonal difference that speaks to the scale of things — MUNA has become so ambitious, so the songs have to be scalable to a certain size,” she explains. “A lot of these songs feel like they live in a much smaller world.”
But when she shared a selection of those songs with her friends Eric Radloff (known on-stage as Okudaxij) and Scott Heiner (MUNA’s original drummer), they both told her how much they loved them. “They were the first fans of this solo project,” she says. “I wasn’t really thinking about doing anything with them until that started happening, where I started to realize, ‘Oh, there’s enough of these songs that it’s become something else.’”
Radloff invited Gavin to play a “secret set” at a February 2020 show of his, allowing her the space to learn “what it would feel like to play these songs as just me,” she recalls. By the time she was done, she knew that she had something special. When COVID-19 shut the world down the following month, Gavin got to work with Radloff and Heiner arranging the songs for a potential solo release.
The spirit of sharing songs she wrote with her friends suffuses the finished product of What a Relief, making the case for Gavin as one of the most talented songwriters working today. It’s a strong case to be made — outside of writing all of MUNA’s songs, Gavin has garnered a number of co-writes with artists like Maren Morris and The Japanese House, which she says has only contributed to a “shift in my confidence” that allowed her solo LP to exist.
“One of the things that’s interesting about co-writing is, if I’m in a room with someone else, I naturally attune more to what they want. I can lose my own sense of what I want,” she says. “I have had to both develop that and try to practice that, while also simultaneously accept who I am and be honest about it when I’m working so that I can navigate and find a way that works for me. It’s kind of about self-advocacy.”
Part of that practice means knowing when she is not the best fit for a job — when it came to fine tuning the sound of her album, Gavin says that she offered her input, but gave producer Tony Berg and his team of engineers and mixers like Will Maclellan the space they needed to make What a Relief soar. “I wish that this wasn’t true, but my instinct was to say that I am a pillow princess in the studio — I don’t care what microphone we use, I just want to be able to tell you if I like it!” she exclaims. “I think part of getting older and developing as a creative is understanding delegation, and not trying to be in control of something if that’s not your passion.”
While the project spans a wide variety of genres, Gavin acknowledges that much of the record settles somewhere within the range of folk music, in the vein of her heroes like Joni Mitchell, the Indigo Girls and Tracy Chapman. Violins, mandolins and guitars pepper the album’s various backdrops, as Gavin sings directly to the human condition of looking to change. As she says: “I’m gonna fiddle.”
One of the album’s most beloved singles, “Inconsolable,” even dips into bluegrass, featuring the vocals of Sean and Sara Watkins of string-band Nickel Creek. But Gavin reveals that, had it not been for her friend and label boss Phoebe Bridgers, the song may not have existed in its current form.
“We had kind of done this, like, Ben Folds, Regina Spektor-esque piano version of it, and it just wasn’t hitting the same way. We only had a few days left in the studio, and Phoebe was like, ‘I liked it when it was bluegrass,’” she says. Once they had the Sean and Sara in the room, the song finally clicked. “We ended up recording the song in about 10 minutes, I think we did a total of two takes.”
The song doesn’t come as a complete shift for fans of MUNA — on 2022’s affirming anthem “Kind of Girl,” the pop trio leaned into the stylings of country ballads to better convey the emotional heart of the song. But Gavin explains that there is a potent lyrical difference between a song like “Kind of Girl” and one like “Inconsolable.” “It sounds weird — I think there is this difference between singing ‘work in the garden’ (on ‘Kind of Girl’) and singing ‘baby lizards’ (on ‘Inconsolable’),” she quips.
Early in the process of creating her album, Gavin went to McPherson and Maskin, telling them that she wanted to release the LP as a solo project. Despite some jokes shared on an episode of their podcast Gayotic (“What was the reason you wanted to do this without Naomi and I?” Maskin pointedly asked), both of Gavin’s bandmates supported the idea, with Maskin even playing a series of backing instruments on the final version of the album.
“I’m so grateful that they’ve been super, super supportive,” Gavin beams. “The only thing that they’ve ever expressed concern about is my own workaholism, because this just means that I took on a second job — they would both check in, like, ‘Cool, are you okay?’”
The individual band members’ work ethic, though, is what has helped MUNA become a cult favorite in pop spaces. With the trio’s oft-cited status as the leading “queer heroes” of pop music, Gavin has noticed the outsized rise of queer artists over the last year, with pop stars like Chappell Roan, Reneé Rapp and others breaking through to mainstream audiences in a way that once felt impossible.
“It makes me really emotional, I see these young people that are coming up as actual superheroes,” Gavin says. The singer is hesitant to take too much credit for the current state of queerness in pop music (“There’s a loud voice in my head saying, ‘This would have happened regardless, b—h,’” she laughs). But she eventually admits that she is watching, in real time, as she and her two best friends at least help in making lasting change.
“If you keep your head down and work and believe that what you’re doing with your friends is cool, you can eventually, in ten years, shift f–king culture,” she says. “It’s wild how far your impact can go if you’re consistently trying to ground [yourself] in the world that you want to be in.”
But there are aspects of the current ascent of LGBTQ+ artists that Gavin is wary about — especially when it comes to how non-straight and non-cisgender identities are already being viewed as trends for the music industry to capitalize on.
“That’s how the current stage of capitalism that we are in functions,” she says with a sigh. “Every time the structure realizes that it can profit off of a new identity, there is a choice presented to people of that identity — do I want to assimilate and take on those privileges?”
Gavin validates many artists’ choice to accept those benefits — after all, “everyone’s in such desperate financial situations that it makes sense.” But she makes it clear, when it comes to both MUNA and her solo career, that she’s more interested in building a sustainable future for herself and artists like her.
“There are so many people that I see as siblings in my community who are not safe in this moment, and I want to be with them. I don’t want to be with the straights,” she says. “So we’re going to continue pushing the envelope and making it clear that we’re not happy to be ‘part of the club.’”