Gunna takes his fitness very seriously in his new video. In the motivational “Won’t Stop” visual, the Atlanta employs the latest sports science, running, lifting, biking, and more while being monitored by experts and futuristic technology as he trains for glory. The Uproxx Visionary remains linked up with longtime producer Turbo, who also makes a cameo appearance, playing a piano in the courtyard of The (W)rapper building in Los Angeles, which undergoes its own digital makeover in the video to form our hero’s favorite letter, a giant capital “P.”
Gunna appears to be cooking up a new album, following up his 2024 release One Of Wun. In May, he appeared to tease a new project sometime in June. However, it now appears that the date he initially gave was for the release of the first single, while the album itself remains shrouded in mystery. All we know for sure is that he’s working on one, and as usual, expectations are high. One Of Wun debuted at No. 2 on the Billboard 200 driven by the singles “Prada Dem” with Offset and “Whatsapp (Wassam)“, making it his sixth US top-10 album. Can he top it? Hopefully, we’ll find out sometime this year.
Watch the video for Gunna’s new single, “Won’t Stop,” above.
Danish-born Norwegian director and writer Joachim Trier earned his first Oscar nomination for his most recent movie, 2021’s The Worst Person In The World. It’s been a few years since then, but Trier has spent that time working on his next project, which is set to arrive soon: a new movie called Sentimental Value.
The early returns indicate it’s one to really look forward to, as at Cannes this year, it was a Palme d’Or contender (and Grand Prix winner). Trier told Variety that after his movie’s big festival premiere, he was “grateful and a bit exhausted, but most of all relieved,” and in that same chat, he also described the film as an “emotional, personal piece of cinema.”
Ahead of the movie’s release, read on for everything you need to know before it hits theaters.
Plot
The logline reads:
“Sisters Nora and Agnes reunite with their estranged father, the charismatic Gustav, a once-renowned director who offers stage actress Nora a role in what he hopes will be his comeback film. When Nora turns it down, she soon discovers he has given her part to an eager young Hollywood star. Suddenly, the two sisters must navigate their complicated relationship with their father — and deal with an American star dropped right into the middle of their complex family dynamics.”
In an interview with Numéro, star Elle Fanning also explained, “I play the role of Rachel Kemp, an American actress hired by Gustav, played by Stellan Skarsgård. He’s a Scandinavian filmmaker living in Norway and preparing to shoot his upcoming movie. He meets me at the Deauville Film Festival and offers me the role. So, I fly to Oslo. Rachel is a bit disoriented. She’s a major Hollywood star, very famous and with a large audience. But she’s at a low point in both her career and life. She’s seeking creativity and a grittier role that will allow her to express her talent and feel something. So, she turns to a foreign filmmaker, but ends up finding herself entangled in a family drama. And we soon discover she might not be the ideal person for the role.”
Cast
The film is led by Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas, Elle Fanning, Cory Michael Smith, Catherine Cohen, Anders Danielsen Lie, Andreas Stoltenberg Granerud, and Øyvind Hesjedal Loven.
Trier told Cineuropa, “I’ve reached a ‘lucky’ point in my career where I can approach actors of a certain stature — a very lofty one, at that. On that ‘list,’ I have Stellan at the very top.”
Release Date
The film is set to hit theaters in select cities on November 7.
A couple weeks ago, it was reported that BTS, following the group members’ mandatory South Korean military service, have set a date for the long-awaited reunion, for some point in early 2026. Well, on Weverse today (July 1), all seven members of the group formally reunited for a livestream, and it turns out the reports were accurate.
During the broadcast, BTS confirmed they’re prepping a new album set for Spring 2026. They said:
“We’ll be releasing a new BTS album in the spring of next year. Starting in July, all seven of us will begin working closely together on new music. Since it will be a group album, it will reflect each member’s thoughts and ideas. We’re approaching the album with the same mindset we had when we first started.”
They added, “We’re also planning a world tour alongside the new album. We’ll be visiting fans all around the world, so we hope you’re as excited as we are.”
The group also noted they’ll start work on the album in the US.
This comes shortly after the band announced Permission To Dance On Stage – Live, their first-ever live album that’ll feature 22 tracks, including “Dynamite,” “Butter,” “Life Goes On,” “Boy With Luv” featuring Halsey, and “On.”
Glastonbury, historically speaking, has a strong claim to the “biggest festival” crown. Glasto has been kicking since way back in the ’70s, before solidifying as an annual event in the ’80s (save for fallow years), with artists like Elvis Costello, The Smiths, and The Cure leading early lineups.
Of course, so much has changed since then. Today’s music industry would be unrecognizable to a time-traveler from Glasto’s early days (although they might be surprised by how much vinyl is still sold). The sorts of music that fans crave have undergone radical shifts; Charli XCX’s set from this year might have a “Victorian child” effect on a festivalgoer from 1982.
But, in another sense, many things remain the same. Heck, even The Cure’s Robert Smith is still involved, via a fest-defining moment when he shared the stage with headliner Olivia Rodrigo. Some of modern music’s most dynamic and exciting artists continue to lead lineups, whether it’s Rodrigo, Charli XCX, The 1975, Turnstile, Wet Leg, Doechii, or Lola Young. There were crowd-pleasing vintage favorites, too, like Rod Stewart, Travis, and Kim Deal of the Pixies and The Breeders. After all these years, it’s also still an event capable of surprising: Lorde opened the weekend with an unannounced daytime performance, during which she played the entirety of her new album Virgin live for the first time.
It’s an event of remarkable breadth as well. Even if you didn’t see a single one of the aforementioned acts, you could still have had a 10-out-of-10, no-notes weekend. This year’s fest had literally thousands of performances on dozens of stages. It’s a bit of a “how many grains of sand are on all the world’s beaches” situation when it comes to how many unique Glastonbury weekends are possible, depending on any given attendee’s musical interests and scheduling priorities.
That makes Glasto futile to sum up in any definitive way, but what can be said is this: The high points were high and the options beyond them were nearly limitless. It was hard to go wrong at Glastonbury this year, and it’s thanks to the mix of quality and quantity that the festival has endured as long and prosperously as it has.
Check out some exclusive photos from Glastonbury 2025 below.
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Keeping track of all the new albums coming out in a given month is a big job, but we’re up for it: Below is a comprehensive list of the major releases you can look forward to in July. If you’re not trying to potentially miss out on anything, it might be a good idea to keep reading.
Friday, July 4
Dropkick Murphys — For The People (Dummy Luck Music)
Kesha — . (Kesha Records)
Rival Consoles — Landscape from Memory (Erased Tapes)
THISTLE. — it’s nice to see you, stranger EP (Venn Records)
Friday, July 11
81355 — Bad Dogs (Joyful Noise Recordings)
Africa Express — Africa Express Presents… Bahidorá (World Circuit Limited)
Allo Darlin’ — Bright Nights (Fika Recordings)
Amy Macdonald — Is This What You’ve Been Waiting For? (BMG)
Backstreet Boys — Millennium 2.0 (RCA Records)
Barry Can’t Swim — Loner (Ninja Tune)
Brent Cobb & The Fixin’ — Ain’t Rocked in a While (Ol Buddy Records)
Burna Boy — No Sign of Weakness (Spaceship Incorporated Limited)
Dom Salvador, Adrian Younge & Ali Shaheed Muhammad — Dom Salvador JID024 (Jazz is Dead)
Charlotte OC — Seriously Love, Go Home EP (Embassy of Music)
Cian Ducrot — Little Dreaming (Polydor)
Clipse — Let God Sort Em Out (Clipse)
Fuubutsushi — Columbia Deluxe (American Dreams Records)
Gina Birch — Trouble (Third Man)
Givēon — Beloved (Epic Records)
Gwenno — Utopia (Heavenly Recordings)
Half Japanese — Adventure (Fire Records)
Joey Waronker and Pete Min — King King (Colorfield Records)
Kokoroko — Tuff Times Never Last (Brownswood Recordings)
Mal Blum — The Villain (Get Better Records)
Mark Stewart — The Fateful Symmetry (Mute)
MF Tomlinson — Die to Wake Up From a Dream (Prah Recordings)
Midnight Rodeo — Chaos Era (FatCat)
Molly Joyce — State Change (130701)
Murry Hammond — Trail Songs of the Deep (Fluff and Gravy Records)
N8NOFACE — As Of Right Now (Stones Throw Records)
Nate Mercereau, Josh Johnson, and Carlos Niño — Openness Trio (Blue Note)
Noah Cyrus — I Want My Loved Ones To Go With Me (Columbia)
Petey USA — The Yips (Capitol)
Split Chain — motionblur (Epitaph)
The Swell Season — Forward (Masterkey Sounds)
TOKiMONSTA — Eternal Reverie with Eternal Reverie Remixes EP. 3 (Young Art Records)
Wet Leg — Moisturizer (Domino)
Friday, July 18
Above & Beyond — Bigger Than All Of Us (Anjunabeats)
Alex G — Headlights (RCA)
Alex Warren — You’ll Be Alright, Kid (Atlantic)
Avalon — permanent californian EP (KRO Records)
Billie Marten — Dog Eared (Fiction Records)
Bush — I Beat Loneliness (earMUSIC)
Colin Hay — Man @ Work Volume 2 (Compass Records)
Coral Grief — Air Between Us (Suicide Squeeze Records)
Dream, Ivory — When You Come Back I Have So Much To Tell You (Dream, Ivory)
Dylan Gossett — Westward (Mercury Records)
Fletcher — Would You Still Love Me If You Really Knew Me? (EMI)
Forth Wanderers — The Longer This Goes On (Sub Pop)
Hannah Holland — Last Exit on Bethnal (Prah Recordings)
Healy — Force of Nature (Big Youth)
Jackson Wang — MAGICMAN 2 (88rising)
Jade Bird — Who Wants to Talk About Love? (Glassnote)
Jessie Murph — Sex Hysteria (Columbia Records)
Joe Bonamassa — Breakthrough (J&R Adventures)
Joyner Lucas — ADHD 2 (Joyner Lucas)
Laura Jane Grace — Adventure Club (Polyvinyl)
Lord Huron — The Cosmic Selector Vol. 1 (Whispering Pines Studios)
Real Clairo-heads remember that back in late 2020, during the pandemic days, she formed a band called Shelly alongside Claud, Josh Mehling, and Noa Frances Getzug. They released a pair of songs, “Steeeam” and “Natural,” and Clairo explained at the time, “My best friends and i made a band and put out an A/B side- ‘Steeeam’ and ‘Natural.’ We created everything during quarantine in LA, Chicago, Houston and Atlanta.”
Then, more recently, Clairo teased a pair of Shelly songs that were about to be liberated from the vault, writing in an Instagram Story (as Stereogum notes), “Both songs were written 5 years ago too 🙂 Kept them safe, produced them out And soon they’ll be yours.” Those two songs, “Cross Your Mind” and “Hartwell,” are here now. The tracks have less polish than a typical contemporary Clairo song (not in a bad way) and fans who liked the original Shelly tunes ought to enjoy these, too.
Meanwhile, Clairo recently discussed her friendship with Phoebe Bridgers, saying, Phoebe is so grounded, real, sweet, and such a wise person.” (Claud, by the way, is signed to Bridgers’ Saddest Factory label.)
We’re now two weeks out from Petey USA’s new album, The Yips, and now he has offered the project’s thesis statement via the title track that’s out today (July 1).
On the tune, Petey captures the uncertainty and frustration of having “the yips,” a mysterious condition, most commonly associated with athletes, where somebody is suddenly unable to do things that previously were second-nature to them. He sings, “I’ve got the yips, read my lips / I used to run this town, then I got sick / I can’t hear anything, I lost my sight / Could someone rub some mud over my eyes? / I followed all the rules, I showed up every day / Could you explain to me what’s making me this way?”
He recently said of the track, “My best song the yips comes out a week from today. This is a song you can very much WALK to – so at the very least, there is that. This song is great – and there is an epic saxophone solo that you’re gonna love.” He later called it “the song I am most most proud of.”
Petey previously said of the album, “The album’s about going through a period where just nothing’s clicking, so you go to a bar where everyone can collect themselves and get drunk. […] I don’t want to get into the toxic part of masculinity, but I also want to avoid the other side of it that weaponizes therapy-talk. I’m just singing about being there for your friends.”
Listen to “The Yips” above, and find Petey’s upcoming tour dates below.
Petey USA’s 2025 Tour Dates
07/09 — Chicago, IL @ Metro *
07/11 — Brooklyn, NY @ Music Hall of Williamsburg *
07/15 — West Hollywood, CA @ The Troubadour *
07/25 — Columbia, MD @ Chrysalis at Merriweather Park #
07/26 — Asbury Park, NJ @ Stone Pony Summer Stage #
07/27 — LaFayette, NY @ Beak & Skiff Apple Orchards #
08/29 — Columbus, OH @ Newport Music Hall
08/30 — Huntington, WV @ Joan C. Edwards Stadium ^
* The Yips album release show
# supporting Rainbow Kitten Surprise
^ supporting Zach Bryan
The Yips is out 7/11 via Capitol Records. Find more information here.
Lorde’s new album Virgin is a few days old now, so Lorde decided to reflect on the release by sharing some behind-the-scenes info about the project.
Taking to Instagram yesterday (June 30), Lorde offered a list of trivia facts about the album. For example, “David” was the first song from the project that she started and one of the last to be finished. Lorde also noted there was one song that was cut “last-minute” because she “thought it diluted the vision,” and she added there are a “couple really good B sides knocking around.”
The post reads in full:
“She is three days old. Favs???
Some L4 facts:
— First song started (and second to last finished) was David
— Last song started was Clearblue. Last song finished was Broken Glass
— Hardest song was FD, to write, to produce, to sing. Kicked my ass
— We cut a song last minute because I thought it diluted the vision!! One of my absolute favs that I wrote with Fabi. Couple really good B sides knocking around actually
— I had had dreams of sampling Morning Love for like 8 years, it’s so sexy and murky to me and I loved the contrast w the really organic fragile guitar stuff. Happened to be in the exact same key, meant 2 be
— I had constant constant insomnia making this album. I wrote most of the FD lyrics, CA first verse, Clearblue, and David second verse right before dawn.
— My favourite sound on the album is a tie btw the ripping tremolo + icy vocal adlib at the end of David and the start of Hammer. People always thought the linked start and end of PH was intentional; it wasn’t, but starting and ending Virgin at the fountain was <3
Love u, thank u so much for listening. Got a show to cook now.”
Being an independent artist has never been easy — and with the constantly changing internet landscape, advent of TikTok, and razor focus on streaming services — it doesn’t seem to be getting easier. Still, creative music makers are excited to put their music in front of audiences despite the challenges, even when their challenges are more complex than their counterparts. Enter ILENE, a genre-bending, sound-defying hyperpop alternative artist. Her visceral pop bangers put her on the map in 2019, with fans finding her on BandLab, and resonating with her sharp delivery and in-your-face lyrical antics. The DIY ethos of the platform worked well for Monica Ilene Lackey, who had been writing songs her whole life, and she went on to win two of BandLab’s global songwriting competitions and became the first recipient of their Creator Grant in 2022. Critics took note, with NME calling her an artist to watch, referring to her turbulent tracks as “enticingly dark delights.”
With the talent, looks, and fearlessness to pursue her career, chart success felt like the obvious next step for ILENE, but as a Black artist making music that didn’t fit into the neat boxes of R&B or rap, she faced challenges getting her music to the world and being accepted by the industry and fans who thought she should present in a certain way.
Now, she’s working on an EP with Grammy-nominated producer Epikh Pro (Bryson Tiller, Cardi B, Eminem) and excited to share her most unpredictable bars and soundscapes yet. The first taste for that collection of tracks, “HONEY NUT” is a raunchy yet hilarious and sonically playful bop. “I want it to be stuck in their heads,” ILENE says of the summertime track. “It’s so fun and I want people to have fun singing it, even if they don’t sing the whole song, it’ll be hard not to scream, ‘Mario, cheerio, cereal’ over and over,” she tells UPROXX.
Below, ILENE talks to us about the specific issues of being a Black independent artist, what she hopes will change in the industry, and how she plans on getting her songs out into the world.
I love your new track “HONEY NUT” — with the references to video games and the echoing in the open. How did that song come to you?
The song is hilarious because it’s very raunchy and off the wall at times. It’s so not serious. I literally got this song idea while I was pouring chemicals down my pipes, literally having a plumbing issue. Also, I have been celibate for over two or three years [Laughs]. It’s funny and it’s upbeat. I love the fact that it’s playful and there’s a call and response. It gets stuck in your head. That’s what happened to me … it was like I didn’t write the song, so to speak, it just came to my head. I was pouring stuff down the drain, and it reminded me of the game Super Mario Smash Bros, how they jump through the pipes. That was exciting, how quickly that song came to me. I hope that the song makes people feel empowered and fun, flirty, cute, sexy, badass. Just so they can do whatever they want, even if their pipes haven’t been cleaned in years.
How has the reaction been from listeners?
There have been double standards. There was a guy with a social media platform that reviewed it. he said it was inappropriate and needed more innuendo than being direct. Then people were in the comments like, “You literally just played a song that was way raunchier.” He had literally just played a rap song with disgusting lyrics and the guy couldn’t even sing and he’d loved it. And then the minute it was a woman talking about sexual empowerment, he hated it. He went on to triangulate me and Sabrina Carpenter… he said she was great because she wasn’t so direct, because of the innuendo.
Interesting that he’s ok with it if it’s a man or a white artist. What are some of the issues you’ve dealt with as a Black artist putting out music and resonating with fans?
BandLab had picked me during Black History Month as one of the Black artists on their platform a few years back. When they did, people were like…“She isn’t even black.” Growing up in my family, things were always fractured. There was a whole identity thing from my parents’ skin tones being vastly different and I don’t look like either of them completely. My mother, she would go out in the sun, hoping for darker skin and only getting freckles. So when I would rap and say the ‘N’ word, people would say that I couldn’t say that word. I was getting attacked online. I don’t want to be a victim in this whole… but we’re in 2025, and people fail to realize that Black people could look differently, in a wide range of ways. I feel like my identity has been policed. Even with “HONEY NUT” I say the ‘N word’ twice and someone wrote in a comment, “You sound like a white girl and you don’t look Black… you shouldn’t be saying that.” I’m so tired of having to defend my Blackness. I’m so tired of having to defend each and every part of me all the time, even being racially ambiguous or a more “palatable” Black girl… This wouldn’t even be happening if I looked how people would expect me to look.
I remember reading about Tina Turner when she was trying to get radio play and feeling like she was in between — not Black enough for Black radio and not white enough for white radio. How do you hope that changes in the future?
Just not being boxed in and for people to know that people are not a monolith and that everyone, each and every one of us, regardless of how we look, we’re all capable of being multifaceted and into multiple different things. I feel like you shouldn’t have to just pick one genre and stick to it. I feel like a lot of artists have gotten blowback. When you see artists go into the country genre or or pop artists go into rock… artists are allowed to explore in different genres more now than ever. It does feel like people are freer than they’ve ever been to explore different genres.
What are you most excited to share with fans next?
I have a couple of singles that are coming up and I am working on an EP. It’s pop, alt pop, hyper pop. I’ll be dropping singles every single month. It’s going to be very much the inside of my closet and there are clothes all over the floor and it’s like you’re picking up a mini skirt, like “oh that’s cute,” and there are panties, a cardigan, a tee, and rollerskates. There’s a bit of everything. That’s how the EP is, it’s amazing, but it’s [chaotic] too.
Earlier this year, burgeoning British pop star Rachel Chinouriri shared a heartfelt and heartwrenching post with her followers on X. She’d just opened for Sabrina Carpenter’s European tour, meeting new fans and commanding arenas as if she were the headline act. Still, the Brit award nominee was met with a rude awakening once she started to scroll through Tweets about her — namely a repost of a video of her dazzling a crowd in Paris. One of the comments (which she had to push the translate button to decipher) read: “I’m afraid she won’t be able to break through like Gracie Abrams, Olivia Rodrigo, Chappell, because she’s Black … may God protect my girl.”
Chinouriri responded: “Feel pretty sad tbh but this just reminds me… you can open for the biggest popstar in the world and the internet will still remind you daily that simply being black will make it twice as hard to be a indie pop star,” she wrote. “I deserve to feel like I have a chance at a successful music career because I love storytelling and hope people like me because of my music and not just because of my race.” She added that there was a reason she’d been so vocal about the issues facing Black pop and indie artists during her career, noting: “I won’t let being a black woman stop me from trying and no matter how my career pans out, at least I know I tried my best.” She closed her statement, powerfully, sharing: “Lots of black girls aspiring to be in indie/pop music have this fear … I know it all too well … and I hope my fight to change this narrative behind the scenes and publicly contributes to inspire the future generations of young black girls to keep going and remember you are allowed to just be whoever you want to be and not what the world wants to shape you into.”
Last Summer, the platform had been a ray of hope for Chinouriri, after she reposted a now-deleted poster’s request to see more Black girls in the indie and pop space, and received thousands of interactions as burgeoning stars commented — confirming that despite the fact that those artists are plentiful, their representation in the genre was not. As pop moves back to the center — and stars like Chappell Roan, Charli xcx, Sabrina and more dominate the charts and headline festival line-ups typically topped by rock and hip-hop acts, it’s time to make more space on the top for Black pop stars who despite having more barriers to entry are just as talented, chart-worthy, and motivated to break the norms as their white counterparts.
Below, check out just a few of the Black artists making pop and indie music, and proving to the world that they are allowed to be whoever they say (or sing) they are.
Floweroflove
Getty Image
A mix of melodic pop, sharp lyricism, and stage-worthy style — 20-year-old Londoner flowerovlove has been slowly making a name for herself — first by churning out viral TikTok hits like her bubbly track “breaking news.” She’s opened for the likes of Halsey, Olivia Rodrigo, and is set to play her first US festivals this year at Lollapalooza and Austin City Limits. Her witty writing and vulnerability are magnetizing to her fan base, with tracks like “I’ve seen ur ex” and her latest “new friends” blending the diary-esque title of indie songwriting with the type of one-liners we’re used to hearing on radio-friendly tracks. When she’s not busy churning out internet earworms, she’s modeling and working with formidable fashion houses like Chanel and Louis Vuitton, pushing her to a kind of “It Girl” status most pop girlies don’t achieve until they’ve dropped multiple No. 1 hits. With her global reach expanding, fans like SZA taking notice, and no plans of stopping anytime soon, it’s safe to say this is only the beginning for the star.
Alemeda
Lee Shaner
Alt-pop star Alemeda has just returned from tour with fellow Black pop icon Rachel Chinouriri, creating the world they want to see in real time across multiple stages in the US. On June 30, she dropped her visuals for “Chameleon,” which also features Chinouriri — the duo unleashing chaos at an ex’s house as the early 2000s esque pop-punk songs plays in the background, under Alemeda’s ethereal vocals. The TDE signed artist has had an epic year, and the hits keep coming with a promise to collab with fellow alternative artists from her label, plans to hit the road with Halsey later this month, and a spot on the 2025 Lollapalooza line-up. The Sudanese-Ethiopian singer first made waves in 2021 with her hit “Gonna Bleach My Eyebrows,” (which she did a UPROXX sessions performance for in 2022) and has continued to spark conversation following the release of her EP last year, FK IT. With angsty writing and a penchant for pop punk and soulful vocals, Alameda’s ability to merge genres will see her climbing the charts, line-ups, and to the top of larger and larger stages.
Rachel Chinouriri
Getty Image
Rachel Chinouriri may seem to be getting a lot of love in this piece, but it’s well deserved. Not only has the London-based alternative indie-pop artist spoken up for her Black pop counterparts, she’s done so by making one thing abundantly clear: love me for my music, not my skin color (or vice versa). The fact that she can back it up — with sold-out crowds on both sides of the Atlantic, a cover story for Cosmopolitan UK, cosigns for mega pop stars like Sabrina Carpenter and actress Florence Pugh alike, and (most importantly) a gorgeous, heart-open set of songs that sound gorgeous live. Last May, she released her debut album, What A Devastating Turn Of Events, which has been praised for being moving, soul-bearing, and impossible to forget. With her Y2K style, “It Girl” designation, and ability to hold her space in conversation and arena stages globally, we won’t be surprised if she soon becomes a household name.
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