Category: News

Sports fans were treated to quite the spectacle during the men’s basketball tournament at the Paris Olympics. While the result went the way it usually does — the United States won a gold medal — the tournament was a joy, as a number of NBA players participated and gave us high-level hoops the entire time. And when it came to the Americans, their semifinal win over Serbia is one of the very best basketball games you will ever see, while their win in the final against France was an opportunity for Steph Curry to do some absolutely incredible things to get them across the finish line.

It was pretty remarkable to watch, even when the U.S. wasn’t involved and we saw the level that teams from other countries have reached. And on Friday, Netflix teased an upcoming project revolving around the tournament that is coming in 2025. While we don’t know much about it now, Netflix tweeted out a picture of a ball with the international jerseys of LeBron James, Nikola Jokic, Shai Gilgeous-Alexander, Franz Wagner, and Victor Wembanyama surrounding it.

“Relive the journey behind the tip off to Olympic glory,” the tweet read. “Coming to Netflix in 2025.”

Back in May, the International Olympic Committee announced it would team up with Netflix for a trio of series revolving around the Paris Olympics. While it’s unclear if the plans for the basketball series have changed at all, in the release, the IOC said, “Olympic Men’s Basketball will give all access to the sport’s promising hopefuls and medal contenders from across the world as they first battle to qualify for Paris 2024 before setting their sights on the Olympic podium. Through a generation of legends, the six-episode series will also explore what has led the game to become such a global, competitive phenomenon.”

In July, Queens Of The Stone Age announced they were canceling some tour dates due to Josh Homme needing emergency surgery. The band said at the time, “QOTSA regret to announce that Josh Homme must return to the United States immediately for emergency surgery. Every effort was made to push through and play for you, but it is no longer an option to continue.”

Well, now the band has again had to change their plans, as today (August 23), they announced the rest of their 2024 performances have been either canceled or postponed.

The announcement post reads:

“QOTSA regret to announce the cancellation and/or postponement of all remaining 2024 shows. Josh has been given no choice but to prioritize his health and the receive essential medical care throughout the remainder of the year. […] Josh and the QOTSA family are so thankful for your support and the time we were able to spend together over the last year. Hope to see you all again in 2025.”

It also lists the affected performances: headlining concerts in Boston; Cincinnati; Chicago; and Madison, Wisconsin; along with the Soundside Music Festival in Bridgeport, Connecticut; the Mempho Music Festival in Memphis; and the Corona Capital Festival in Mexico City.

The band has not specified what health issues Homme is facing. Worth noting, though, is that Homme previously revealed he had cancer in 2022.

Before the first date of The Eras Tour, there was a lot of speculation about which song Taylor Swift would start the concert with. That’s how little was known about the show, which go on to be the most successful tour of all-time. Would the setlist stay in order of her discography, beginning with her self-titled debut album and close with Midnights (that came half true!), or did she have something else in mind? I was there in Glendale, Arizona, for opening night, and as the digital clock ticked down to zero and the dancers took the stage attached to flowing, morning sky-colored clamshells, all us Swifties in attendance were somewhere between screaming from excitement and holding our breath in anticipation for the unknown.

And then: “It’s been a long time coming…”

It had been a long time coming since Swift’s last tour before Eras. The Reputation Stadium Tour concluded in November 2018. Less than a year later, in August 2019 (five years ago today!), Swift released her seventh studio album Lover, a colorful return to open-hearted love songs.

Swift was going to support the album at international festivals in 2020, followed by two shows each at SoFi Stadium in California and Gillette Stadium in Massachusetts, dubbed as Lover Fest West and Lover Fest East, respectively. Those dates were to feature “Taylor Swift and Friends” and a heart-shaped stage. But then the pandemic happened, and the tour, scheduled from June to August, was canceled. Save for a few scattered appearances, the live debut of Lover wouldn’t come until the opening era of The Eras Tour in 2023.

Lover has an interesting standing in Swift’s discography. The top-selling album of 2019 has some of her best songs, including “Cruel Summer” (still waiting on that music video), “Cornelia Street,” and “Death By A Thousand Cuts,” in particular the monumental bridge. But there are blemishes: it’s at least four tracks too long, and because “Me!” and “You Need To Calm Down” flopped as singles, it’s arguably the album of hers with the least cultural impact. But the main issue with the Lover era, as it were, is that it feels incomplete.

The typical album rollout for Swift, at least in the pre-pandemic days, went like this: first single with a music video; months of building hype through interviews, TV show appearances, and magazine covers; second single; release the album; and tour. Lover had all of that — except the tour. There wasn’t a chance for a community to build around the album, and when the opportunity finally presented itself on the The Eras Tour, it was sharing space with her other albums. Especially the ones that came before and after it.

I remember a feeling in the air when Lover came out that maybe Swift’s popularity had peaked, which is funny to think about now, when she’s as popular as she’s ever been. Maybe as popular as any artist has ever been. Folklore is a big reason why. It’s the album that made some-indie-record-that’s-much-cooler-than-mine people take her seriously as a lyricist. Folklore was a bright spot during a dark time (I love you, too, Evermore). Meanwhile, the consensus opinion around Taylor’s actually dark album, Reputation, has consistently improved since it came out: once misunderstood, it’s now considered an angsty, messy, and thrilling highlight in her discography. Lover sits between the extremes of Reputation and Folklore, somewhat uneasily.

But — to borrow (steal) a premise from Marvel — what if Lover Fest hadn’t been canceled? Would that have made the era feel fully realized? It’s one of many “what if” questions I have about Lover, including:

What if… the poorly received “Me!” wasn’t the first single?

What if… “hey kids, spelling is fun” was left off “Me!” in the first place?

What if… album MVP “Cruel Summer” had been released as the first single, or the second single (instead of “You Need To Calm Down”), or the third single (instead of “Lover”), or the fourth single (instead of “The Man”)?

What if… she returned to working with Max Martin?

What if… the tracklist was re-arranged to have a stronger opener?

What if… Lover had a more consistent sound — would that made it better or worse?

We’ll never know the answers to these hypothetical “what if…” scenarios, and if I think about this alternate timeline for too long, I’ll spiral out from imagining a world without Folklore, Evermore, “Hits Different,” “The Black Dog,” Traylor, and maybe even The Eras Tour (and, y’know, no pandemic).

Looking back at Lover five years after it was released, I’m intrigued by what could have been with Lover Fest but thankful for what we have. It’s not her best album, but it’s also not her worst. Lover is a friend instead of a loved one. And you know what they say: it’s nice to have a friend.

At this point, the likelihood of an Outkast reunion is a faint dream. However, members André 3000 and Big Boi are united on one front — protecting their intellectual property.

According to AllHipHop, Outkast’s company High Schoolers LLC have filed a lawsuit against EDM duo ATLiens for trademark infringement.

In the paperwork, the hip-hop legends accuse ATLiens of “improper, willful, unauthorized and illegal use and registration of the ATLIENS mark,” which is owned by Outkast.

As evident in their claim, Outkast referenced ATLiens upcoming 2025 show at the Coca-Cola Roxy Theater in Atlanta, Georgia. Outkast has taken issue not only with ATLiens’ selected stage name, but also its use in their merchandise, among other things.

Although Outkast acknowledges the word, made popular by their standout 1996 album, was thrust into pop culture, and as a result the world’s “cultural lexicon,” they firmly stake creative ownership of the made-up word.

“Upon information and belief, Defendant selected the name ATLIENS for their EDM duo to trade upon the tremendous fame and goodwill associated with Plaintiff’s ATLIENS album, song, and mark, or, at a minimum, to call to consumers’ minds Plaintiff’s famous ATLIENS album, song, and mark,” reads the document.

Outkast has demanded that ATLiens “permanently enjoined and restrained from, directly or indirectly” further usage of their trademark. They always also asked that the United States Patent and Trademark Office cancel the ATLiens’ live and active service mark as they attempt to “collect compensatory, incidental and consequential damages.”

On the United States Patent and Trademark Office’s website, ATLiens’ mark has a notion of this request. The last of Outkast’s request include for legal fees reimbursement, and ATLiens to remove any and all online usage of their mark, which encompasses their website and social media profiles.

This seems to be a simple case for United States Patent and Trademark Office to decide, unlike Eminem’s filing against Real Housewives of Potomac‘s Gizelle Bryant and Robyn Dixon.

Chicken Shop Date has spawned many delightful moments since emerging as a more off-beat, less torturous, and more British alternative to Hot Ones. Host Amelia Dimoldenberg routinely keeps the energy weird and fun, which was a perfect fit for her latest guest: Sabrina Carpenter.

Towards the end of the video, Dimoldenberg recited a new “Nonsense” outro lyric she wrote to mark the occasion, saying, “Went to London ’cause I had a hot date / The food was average, but the company was great / Four plus four, me and Amelia ate,” and then she trailed off with a lack of confidence. They then workshopped it from there, with Carpenter dancing around a line she’d want to say if not for the fact she was on camera at the moment. They eventually got it out, though: “Later, I’m going to get my p*ssy ate.”

Elsewhere in the episode, she revealed her first experience with the word “wanker,” explaining, “The first time I came to London, someone on the street ran past me and yelled, ‘F*ckin’ wanker,’ and I was like, ‘Someone called me a wanker. I feel like I really lived the London experience.’”

All in all, it was a fun chat as expected, so check out the video above.

It only took ten years, but Travis Scott’s beloved mixtape Days Before Rodeo was finally added to streaming services today. The project arrived just a year before his official debut album Rodeo, and to this day, it still stands as one of the best projects in Scott’s discography. That was often the case for rappers, especially in the mixtape era. A lot of the projects that fans deemed to be their best work were indeed free mixtapes. At the time, mixtapes were a great promotional tactic for the album a rapper was about to put out, but now, many of them are going back in time to relive the success of the project, make some money off a great body of work, and also place the mixtape in the easily accessible and vast library of streaming services.

In celebration of Days Before Rodeo being available to stream on your favorite streaming service, we compiled a list of 12 mixtapes that also need the same treatment. Take a scroll and see our picks that include releases from Lil Wayne, Meek Mill, J. Cole, and more.

Dom Kennedy — Yellow Album

Dom Kennedy is a West Coast legend, there’s no question about it. If you asked 100 Dom Kennedy fans, or even 100 West Coast rap fans, what his magnum opus was, most will tell you his 2012 mixtape Yellow Album. Kennedy is one of the many examples of an artists’ best project arguably being a free collection of music, many coming from the 2010s mixtape era. Still, the impact of Yellow Album on Kennedy himself as well as rap altogether is undeniable. It pushed Kennedy to new heights, as he would tour the US and Europe after the project’s release. As one of the leaders of West Coast rap’s new age, Dom Kennedy influence traveled past the generations of his own to present-day artists like Larry June. Yellow Album is stamped culturally and is absolutely needed in the ever-accessible streaming libraries. Kennedy just needs a cool $2 million to get the project cleared for streaming — which should be doable, right?

DJ Esco & Future — Project E.T.

For the most part, Future’s vast mixtape catalog can be found on streaming services. 56 Nights, Beast Mode, Monster, and Purple Reign all live in between Future’s impressive batch of albums. One project that’s yet to receive this treatment is DJ Esco & Future’s 2016 collaboration Project E.T. At 16 songs, it features the Platinum-certified “Too Much Sauce” with Lil Uzi Vert and “Married To The Game,” one of Future’s best b-side tracks. We even have “Who” with Young Thug, the record that Future and Thug used to bury the hatchet in their brief beef. Project E.T. is one of the more fun projects Future has been apart of, but it’s also a great body of work with plenty of highlights and strong collaborations with a variety of artists. The mixtape is available to varying and unofficial extents on different streaming services, so making it available in full across the board would be incredibly ideal.

G-Unit — 50 Cent Is The Future

To understand the true legacy of 50 Cent and G-Unit is to understand and appreciate their mixtape catalog. No better example of the exists than G-Unit’s 2002 mixtape 50 Cent Is The Future. The project was a big turning point for both 50 Cent and G-Unit as a whole, which consisted of 50 Cent, Lloyd Banks, and Tony Yayo at this point. 50 Cent Is The Future arrived after 50 Cent infamously escaped death as well as after he was dropped from Columbia Records and blacklisted from the industry. It was short-lived as 50 Cent released his classic debut album Get Rich Or Try Dyin’ in 2003. The promise of 50 Cent was on full display on 50 Cent Is The Future as he and his G-Unit compadres made street records out of R&B songs like Raphael Saadiq’s “Be Here” and Tweet’s “Call Me” while also massacring rap beats like Wu-Tang Clan’s “You’ve Been Warned” and Jay-Z’s “Lyrical Exercise.” 50 Cent Is The Future is key in understanding why 50 Cent became the superstar he is and why G-Unit became one of rap’s best hip-hop collectives.

J. Cole — Friday Night Lights

By the time J. Cole released his 2010 mixtape Friday Night Lights, the North Carolina rapper was already stepping into the star that we now know him as. The music on this project was originally intended for his debut album Cole World: The Sideline Story, but his label did not believe the project would do well with the music on it. But boy, were they wrong. Friday Night Lights became an instant classic and still remains one of J. Cole’s best projects. Though “In The Morning” with Drake is the undeniable standout from the mixtape, other higlights like “Too Deep For The Into,” “Back To The Topic,” and “Premeditated Murder,” helped to confirm that Cole would have a successful rap career. With its 15th anniversary coming in 2025, next year would be a great time to bring the project to streaming services.

Jadakiss — Consignment

Six years went by in between Jadakiss’ third album 2009’s The Last Kiss and his fourth album Top 5 Dead or Alive. The latter was a project he spent the better part of five years working on, but in the meantime, Jadakiss adding to his discography with a slew of mixtapes. One of those is 2012’s Consignment, a Gangsta Grillz collaboration with DJ Drama. The project arrived as Jadakiss transitioned into an elder statesmen in rap, but it was an early sign that Jadakiss’ rap skills would not falter after the solo career high of Kiss Of Death. Consignment is a mixtape standout in Jadakiss’ career and with tracks like “Traffickin,” “Respect It,” and “Paper Tags,” the project is absolutely needed on streaming services.

Lil Wayne’s Entire Mixtape Catalog

Initially, Lil Wayne’s 2007 mixtape Da Drought 3 was the first that came to mind when thinking about mixtapes from him that need to be on streaming services. While that is certainly a priority, his 2006 mixtape Dedication 2 and 2008’s Dedication 3 are also a necessity on streaming. While we’re here, we can also add 2005’s Dedication and 2015’s Sorry 4 The Wait 2 because they’re also good projects from Wayne, and also, why not? With Wayne’s other mixtape standouts like No Ceilings and Sorry 4 The Wait already on streaming, there’s an argument to be made for Wayne to upload his whole mixtape catalog to be placed on streaming, or at least the mixtapes released during his impeccable 10-year run between 2005 and 2015. Regardless, what you can’t argue is that Lil Wayne is one of, if not the best mixtape rapper ever and that catalog of greatness needs to be more accessible.

Logic — Young Sinatra: Welcome To Forever

Though Logic’s public appeal may have wavered over the last half-decade, that was far from the case prior to his debut album. His 2013 effort Young Sinatra: Welcome To Forever is a project I would place at the top of his discography. With production from Logic himself, his longtime producer 6ix, as well as Don Cannon, Key Wane, No I.D., and others, Logic had the perfect sonic landscape to display his undeniable rap talents. Logic, who was months removed from beign a XXL Freshman Class inductee as well as signing a deal with Def Jam, pierced through beats laid before him with ease. “925,” “5AM,” and “Ballin” are bass-rattling highlights while “Break It Down” and “Walk On By” settle into a more reserved and relaxed pocket.

Meek Mill — Dreamchasers 2

A list about the mxitapes that need to be on streaming services cannot be complete without Meek Mill’s Dreamchasers 2. The Philadelphia rapper’s 2012 mixtape was the most popular release of all-time on the now-defunct mixtape hosting site DatPiff as it tallied 1.5 million downloads within 6 hours and 2.5 million in its first day. It’s no shock that Dreamchasers 2 was an incredibly successful project as it carries excellent highlights like “Amen” with Drake, “Burn” wiht Big Sean, and the massive “House Party” remix with Fabolous, Wale, and Mac Miller. The mixtape — and its success — perfectly captures the anticipation that fans had for Meek as he neared the release of his debut album. He was bigger than a lot of artists who were a couple of albums into their careers, and bringing Dreamchasers 2 to streaming will be a much-needed reminder of Meek’s peak.

Pusha T — Wrath Of Caine

More times than not, as seen with entries on this list, one of the better mixtapes in a rapper’s catalog comes when all eyes are them in anticipation of them breaking through the mainstream threshold. For Pusha T, his mainstream status had already been established through his career as one-half of Clipse, but as we entered the 2010s, it was time for him do the same for his solo career. Wrath Of Caine was a sweet appetizer ahead of his excellent debut album My Name Is My Name. Whether it be the triumphant “Millions” with Rick Ross” or the heavy-muscled “Doesn’t Matter” with French Montana or the tough-talking “Blocka” with Popcaan or Travis Scott, Wrath Of Caine helped Pusha make his mark on the rap game, independent of his brother.

Rich Gang — Rich Gang: Tha Tour Pt. 1

In a perfect world, Birdman, Young Thug, and Rich Homie Quan’s Rich Gang side project could’ve been more than the flash-in-the-pan moment that we know it as. In 2014, the trio released Rich Gang: Tha Tour Pt. 1 the first of what many thought would be many projects from them. The release carries highlights for rappers like “Givenchy,” “I Know It,” “730,” and “Tell Em (Lies).” After its release, the project was praised by fans and critics, and placed Thug and Quan in position to be the best rappers of hip-hop’s new wave. Unfortunately, only Young Thug reached those heights as a beef between him and Quan ruined their relationship and put a surprising halt to their undeniable chemistry. As great as Rich Gang: Tha Tour Pt. 1 is, the project equally represents what could’ve been and what actually was.

Rick Ross — Rich Forever

You know a mixtape is beloved and highly-regarded when the consensus is that it should’ve been an album. Rick Ross’ 2012 mixtape Rich Forever is one of the many projects from the mixtape era that left listeners with that feeling. This is no surprise though, as Rich Forever arrived in the midst of impressive project run from Ross that continued uninterrupted into 2014’s Mastermind. Rich Forever excelled as an epic and exhilerating experience provided by bangers like “King Of Diamonds” and the Drake and French Montana-assisted “Stay Schemin.” The luxurious and pristine Maybach Music touch also lives through the mixtape’s title track and “Keys To The Crib” with Styles P.

Tyga — Well Done III

Back during his days as a Young Money standout rapper, Tyga kept hip-hop fed with a consistent release of fun, strip-club friendly bangers, but the projects from his early days shouldn’t be slept on. His 2012 mixtape Well Done III, is a great example, putting together a strong combination of original tracks and freestyles over top hip-hop tracks. “Do My Dance” with 2 Chainz and “Switch Lanes” with The Game are great examples of the latter while the former can be found on “Desinger” (a remix of Kanye West’s “Mercy”). Well Done III, Tyga’s 2013 album Hotel California, and 2014’s Well Done IV make up Tyga’s best era as a rapper.

Young Thug — Slime Season 2

Young Thug is the lone artist on this list with two separate entries, and it’s only right as the Atlanta rapper helped to push a new wave of rap to the massses with a workhorse approach that was similar to his idol Lil Wayne. Though Thug crept into the mainstream spotlight in the mid-2010s, his official debut album did not arrive until 2019. So until then, Young Thug was a mixtape artist — and he was a good one too. Jam-packed 22-song release Slime Season 2, released in 2015, stands at the pinnacle of Thug’s catalog. There are career highlights like “Thief In The Night” and “Pull Up On Kid” as well as other excellent inputs like “Don’t Know,” “No No No,” and “Big Racks.”

There are few things in life that are more fun than getting a group of people together and just rattling off the names of old athletes. This game is affectionately known as Remember Some Guys, and it is a staple of any gathering of sports fans who have nothing else to do but want to get really happy in a short amount of time.

We’ve seen versions of this on the internet over the years, and on Friday, the Buffalo Bills decided to get in on the fun. The Bills’ social media team set up a camera at practice and invited players to name a random NBA player. If the intent was to have a bunch of guys walk past and, one by one, name one athlete, that didn’t quite happen. But if the intent was for Keon Coleman — the team’s rookie draft pick out of Florida State — to show off his gigantic personality by naming guys, over and over, with his teammates, then they succeeded.

The video, which you can watch right here, made me laugh no fewer than 10 times, as Bills players got incredibly into this — probably not surprising, as they clearly love basketball. I salute them for their efforts, and would like to say as I wrap up this post: Thabo Sefolosha, Scott Burrell, Bob Sura, and of course, DeSagana Diop.

Most people make it pretty obvious where they stand in the debate of Drake vs. Kendrick Lamar. Mustard, example, produced Lamar’s chart-topping Drake diss “Not Like Us.” He’s keeping that energy up, too, as he says he has no interest in working with Drake in the future.

In a recent Los Angeles Times interview, Mustard said, “I don’t think I want to make a song with that dude. He’s a strange guy.”

He also spoke about Drake’s fans, saying, “These guys don’t go to sleep — all they do is tweet, tweet, tweet, tweet. That’s where ‘the Nation of drizzlam’ came from. I said it in a joking manner, but I guess on Twitter it looked like I was mad [laughs]. Drake should use that phrase. I won’t charge him for it.”

Mustard has praise for Lamar, of course, saying, “He’s just a genius. He does the unthinkable every time. And on a human level — just as a normal person — I like his style. […] His whole mystique gives me the same vibes as Prince. Even now [after the success of ‘Not Like Us’], the guy has not posted anything. I told him, ‘I don’t know how you do that sh*t. Me, I’d be like, ‘Yeah, I’m No. 1!””

Check out the full feature here.

It’s hard to talk about eras without acknowledging the artist who basically owns the term now — Taylor Swift closed her European ‘Eras Tour’ run this week — but few artists reimagine and reinvent themselves from album to album like St. Vincent. The signifiers can be everything from hairstyles to full-on sonic aesthetics, but the always expanding vision makes it pretty essential to check in on St. Vincent from album to album.

Her latest run, for the strong All Born Screaming from earlier this year, turns its back on the ’70s scuz of her Daddy’s Home concept and couldn’t be farther from the industrial rubber of Masseduction. Long gone is the jagged art rock of Strange Mercy or her David Byrne period, where Byrne was both a collaborator and inspiration. It’s easy to forget that St. Vincent began her career as Annie Clark, member of The Polyphonic Spree, and then started her solo offerings humbly enough, known for her guitar wizardry, her knack for a catchy melody, and a camaraderie to many of the indie darlings of the time, including The Nationals and Sufjan Stevens.

So where does that leave St. Vincent in 2024? If anything, her Los Angeles headlining set last week at the Greek portrayed an artist free of being locked in to hard-lined signifiers and costuming. Persona is still in play — which I suspect is the case anytime Clark is in the public eye — but on this night, it was less costumed, less defined by the work she was supporting. It also allowed for a setlist that could touch on all eras of her career without needing to play many of her best-known singles. In fact, many of the songs you might consider St. Vincent staples were skipped in favor of tunes that complimented the new material.

Does that mean the show was any less theatrical? Of course not. This is a St. Vincent concert, after all. When she rolled through the punk blitz of “Krokodil,” Clark did her best version of hardcore posturing, even winding up crowd-surfing in a space where that’s truly a rarity. For “Dilettante,” she was a drunken lounge singer, stumbling across the stage with everything but a martini in hand. And for “New York,” she embraced the moment and embodied the young pop singers of today, taking time to take photos with fans in the front row.

There’s tons to be impressed with in a St. Vincent concert, namely in how completely she commits to all of her bits. It’s just a tad unhinged, a splash scary, where she seems to be embodying a person who could snap and break at any moment. Her smiles and laughter always a bit haunted, a bit disconcerting. Of course, this is all part of the performance and is meant to keep the audience on guard. And for the most part, she’s so entrenched in it that it feels seamless.

Where the seams do show is when she tries to reverse course and talk to the audience. It’s very difficult to play the part that St. Vincent does and then be able to reverse course to make band introductions feel sincere and grounded. Instead, moments of addressing the crowd feel too performative, like she lost control of the acceleration and can’t slow back down.

But if that’s the price to pay for St. Vincent’s now-singular brand of conceptual theater, so be it. We don’t go to St. Vincent concerts to meet Annie Clark the actual human being. We go to be swept up in her vision, to check in on how she is evolving and what tricks she has in store. She hasn’t delivered a boring era yet. In a world full of dull sincerity, St. Vincent would rather have a devilishly good time.

Just when you thought the 2024 iHeartRadio Music Festival couldn’t grow any more today (August 23) organizers proved otherwise. Back in June, the multiday event set to be held at Las Vegas’ T-Mobile Arena on September 20 and 21.

So far, musicians slated to perform include Big Sean, Camila Cabello, Doja Cat, Dua Lipa, Gwen Stefani, and Uproxx cover star Paramore. Now, Billboard has exclusively revealed that Asap Rocky, Chris Martin, and The Weeknd were added to the lineup.

The summer has been filled with dozens of tours, festivals, and showcases tailored to specific genres. But the 2024 iHeartRadio Music Festival’s list of confirmed acts run the gamut of sonic influences including rock, rap, pop, and country. Tickets for 2024 iHeartRadio Music Festival are on sale now. Find more information here.

If you aren’t able to catch the multi-day event in-person, you are in luck. The performances will be accessible in other ways. Hulu will livestream the sets, while and iHeartRadio station nationwide will broadcast the event.

Continue below to view the full 2024 iHeartRadio Music Festival lineup.

2024 iHeartRadio Music Festival Lineup

ASAP Rocky
Big Sean
Camila Cabello
Chris Martin
Doja Cat
Dua Lipa
Gwen Stefani
Halsey
Hozier
Keith Urban
New Kids On The Block
Paramore
Shaboozey
The Black Crowes
The Weeknd
Thomas Rhett
Victoria Monét