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Beyoncé’s tours have a habit of breaking records. Her Renaissance Tour reportedly grossed $579 million, becoming the highest-grossing tour by a woman ever, and making her the only woman, only Black artist, and only American solo act to reach the top-10 milestone.

Now, with her Cowboy Carter Tour likewise wrapping up, the records have already reached the wrecking room, as well. According to Rolling Stone, Cowboy Carter is the highest-grossing country tour ever, grossing $407.6 million from 1.6 million tickets sold. No other country tour has ever achieved this milestone — let alone one by a Black artist or a woman, of which Beyoncé represents both — and Beyoncé is the first American artist to have two separate tours gross over $400 million.

Even more impressively, Cowboy Carter was only 32 dates long; Renaissance garnered its record-breaking totals with a full slate of European dates, while the most recent one only did a week in England and three days in France. However, Beyoncé’s innovative touring strategy this time around — more dates in fewer cities — seems to have paid off big, as the gamble resulted in greater fervor to actually make it to the shows, with some fans even taking in multiple dates.

It just goes to show that if she ever really did want to do a Las Vegas residency, she’d have an eager fanbase ready to cross the globe to make it just as successful as her tours.

Following the release of his new single, “Im Yeat,” Yeat has announced the impending release of his new EP Dangerous Summer. The EP is due on August 1, just in time to live up to its title.

On Instagram, the rising rap star wrote that the project would have “no rollout,” “no deluxe” edition, and a “cover by Harmony Korine,” the filmmaker who most recently collaborated with Travis Scott on the Houston rapper’s Jackboys 2 short film and Aggro Dr1ft.

Yeat’s a little under a year removed from his last album, Lyfestyle, which found him collaborating with Don Toliver, Kodak Black, Lil Durk, and Summrs, while a deluxe edition also featured Quavo. The project debuted at No. 1 on the Billboard 200 chart, earning 89,000 album-equivalent units — an impressive number attributed in part to the album being Yeat’s first to receive a physical release.

Still, those figures are an impressive sign of his growing popularity, after just five years. The Oregon native drew attention with his debut in 2021, and since then, has collaborated with Young Thug, performed at Coachella, and headlined Lyrical Lemonade’s Summer Smash festival this year, showing that even if his style doesn’t appeal to everyone, he’s well on his way to being a star nonetheless.

Dangerous Summer is due on 8/1 via Capitol Records. You can find more info here.

Hayley Williams has employed an unusual release strategy for her new music, but if you want to hear the Paramore singer’s new music, you’ll need a special code. Here’s how to get it:

If fans buy any product from Williams’ hair dye company, Good Dye Young, you’ll be given a 16-digit code that’ll unlock her website, granting access to a full album’s worth of unreleased songs.

According to Consequence, there are 17 songs in total, including “Mirtazapine,” which she recently debuted on public radio in Nashville. She also played the song at the Newport Folk Festival alongside Bleachers.

For those fans who can’t make the purchase, the site advises, “If you don’t have an email with a code, maybe ask a friend for theirs,” prompting some fans to share codes via social media.

If that’s not enough new music for you, Williams is also set to appear on Jay Som’s new album, Belong, in October. She also recently teamed up with Moses Sumney for “I like It I Like It,” the singer’s May single teasing his own new album’s direction. Earlier this year, she also collaborated with Turnstile and her own grandfather, who released his first album at 78 years old.

Check out Hayley’s website for more info on the unreleased music.

TikTok often does this cool thing where its users take older songs and give them entirely new life by pairing them with trending dances or even just random posts, making them go viral enough to make them real-world hits as well.

This often corresponds with songs’ use in movies or TV shows, such as Stranger Things revitalizing Kate Bush’s “Running Up That Hill.” That’s exactly what’s happening now with “Punkrocker,” a 2006 song by Swedish alt band Teddybears that features punk rock pioneer Iggy Pop.

The song owes its resurgence to James Gunn‘s Superman, which is flying high at the box office, and similarly restoring its titular hero to his former glory at the same time. And with its supercharged popularity, it was only a matter of time until “Punkrocker” made its way into Iggy’s setlist proper — which it did at Portland’s Project Pabst festival. Best of all, Gunn himself brought attention to the performance, posting the above YouTube and noting that it’s the first time Iggy Pop has performed the song — ever.

Over the past decade, Gunn’s earned a reputation for his pitch-perfect needle drops. In the case of “Punkrocker,” it appears in the closing credits of Superman, summarizing this version’s pop-punk ethos in a call-back to one of the film’s most resonant emotional beats, which arguably contains the film’s entire thesis. It’s a beautifully shot moment, and it’s very cool to see it already having some real-world impact.

You can watch the performance above.

Beyoncé’s Cowboy Carter Tour officially wrapped this weekend in Las Vegas, and fans attending the finale show were treated to a reunion with Queen Bey’s old group, Destiny’s Child. Kelly Rowland and Michelle Williams stepped onto the stage to a raucous reception, and performed the group’s mainstays, “Bootylicious” and “Lose My Breath,” amid Beyoncé’s usual setlist staples like “Ameriican Requiem” and “Levii’s Jeans.”

In addition to her old bandmates, Beyoncé was joined onstage by Cowboy Carter collaborator Shaboozey, performing their duet “Sweet Honey Buckiin’,” and by her husband Jay-Z, who performed “Crazy in Love” with her before delivering a solo performance of his and Kanye West’s song, “N****s In Paris.”

When all’s said and done, the Cowboy Carter Tour will not only be the most successful tour of Beyoncé’s career, but also of pop music as a whole. Just five shows into the tour, she’d already broken a record for the highest-grossing reported single-venue engagement ever by a woman. The tour featured the return of Blue Ivy to Beyoncé’s dance company, along with her little sister Rumi, and despite a late tour mishap involving a “flying” car, the tour was otherwise well-received by fans — even those initially put off by Beyoncé’s swing into country and a Americana.

You can check out video of Destiny’s Child’s reunion here and here.

With his last two albums, it feels like Tyler, The Creator is trying to play the role of Tyler, The Disruptor. He notably released Chromakopia on a Tuesday, foregoing the now-traditional New Music Friday release in favor of doing it the old way. In exchange, he gave up several chart counting days’ worth of streams, yet still debuted at No. 1 on the Billboard 200. His latest release, Don’t Tap The Glass, was similarly released on an off-day, but achieved the same accomplished as its predecessor, topping the chart in its first week of availability.

Despite discounting Friday, Saturday, and Sunday streams, Don’t Tap The Glass garnered an impressive 197,000 equivalent album units earned since its off-cycle release, with 128,000 of those coming from physical sales. Meanwhile, Don’t Tap The Glass is Tyler’s fourth No. 1 release, following 2019’s Igor, 2021’s Call Me If You Get Lost, and of course, Chromakopia. Uproxx has long advocated for a return to New Music Tuesdays, which could help cut down on some of the Friday-related clutter, and Tyler is certainly helping to make that case , despite his unusual status as cultural touchpoint in a fractured musical landscape. Maybe there’s no going back at this point, but it definitely feels like Tyler is going to keep pushing for it anyway.

Welcome to SNX DLX, your weekly roundup of the best sneakers to hit the internet. This week we’re keeping things short and sweet with a few key releases out of Nike and Adidas. Once again, we’re staying starved for the smaller brands, but it is what it is, the big two just continue to bring the heat.

On the collaboration front, we have a new take on the Nike SB Air Trainer 1 made in collaboration with the San Diego-based skate store Arts-Rec for the skatewear addicts out there, a Bad Bunny Adidas collab, and a new A Ma Maniére Nike link up.

As for the non-collab stuff, we’re getting a new colorway of the fan-favorite Nike Sabrina 3, and a Rare Air Jordan 4. So overall, a pretty good week despite the low number of drops. Without further ado, let’s dive into the best sneakers dropping this week.

Arts-Rec Skateshop x Nike SB Air Trainer 1 Earth and Dusty Peach

Price: $135

This one is a little out there and wild, but it seems the trend this year is for brand’s to play it incredibly safe, so we’re happy to see Arts-Rec take a bit of a chance with this funky design.

The sneaker features a hairy suede upper with debossed animal print overlays, a mix of browns and black, with an Arts-Rec branded strap.

The Arts-Rec Skateshop x Nike SB Air Trainer 1 Earth and Dusty Peach is out now for a retail price of $135. Pick up a pair at Nike.

Nike Sabrina 3 Blueprint

Price: $135

This week Sabrina Ionescu’s signature, the Sabrina 3 got a new colorway dubbed the “Blueprint.” The sneaker features a lightweight upper, cable support, a sleek design, gold “S” branding, and a gold textured swoosh over a Glacier Blue and Light Armory upper.

The sneaker rides atop an icy outsole and comes in a special blueprint plan-inspired box.

The Nike Sabrina 3 Blueprint is out now for a retail price of $135. Pick up a pair via the Nike SNKRS app or aftermarket sites like GOAT and Flight Club.

A Ma Maniére x Air Jordan 5 Black Collective

Price: $225

This week’s most hyped release is without a doubt the A Ma Maniére x Air Jordan 5 “Black Collective.” Released as part of the Atlanta-based brand and Nike’s ongoing campaign, Every Summer Tells A Story, this Jordan 5 sports a premium white leather upper with violet and burgundy accents, a quilted interior, and co-branding.

It’s simply a dope Jordan 5 colorway, with some premium upgrades. An absolute must-cop for hardcore fans of the AJ-5 and people who love their silhouettes elevated from the stock build.

The A Ma Maniére x Air Jordan 5 Black Collective is set to drop on July 25th for a retail price of $225. Pick up a pair exclusively at A Ma Maniére.

Nike Jordan 4 Rare Air

Price: $220

The Jordan 4 is getting the Rare Air treatment this week. If you aren’t familiar with Rare Air yet, the concept is simple — Nike takes a bunch of past botched construction details, and tastefully adds them to a shoe for an imperfect take on a masterpiece. It’s pretty funny that Nike has made a whole line out of its mistakes, but that’s the power of the Jordan 4 silhouette — even when its off, it looks so good.

The sneaker features a leather and suede build with Nike Air heel branding, Rare Air branded insoles, a removable tongue patch, and an aged midsole.

The Nike Jordan 4 Rare Air is set to drop on July 26th at 7:00 AM PST for a retail price of $220. Pick up a pair via the Nike SNKRS app or aftermarket sites like GOAT and Flight Club.

Bad Bunny x Adidas Gazelle Indoor Cabo Rojo

Price: $140

Bad Bunny and Adidas are back, this time with a Gazelle Indoor inspired by the salt formations of Cabo Rojo, Puerto Rico. The town is beloved for its natural salt flats and the sort of pink hue of its water.

The Cabo Rojo sports a leather and textile upper with a rubber sole, a leather sockliner, thick rope laces, and Cabo Rojo gold foil branding, all in a colorway that reflects tones of pink. It’s a beautiful sneaker, easily one of Benito and Adidas’ best.

The Bad Bunny x Adidas Gazelle Indoor Cabo Rojo is set to drop on July 26th at 7:00 AM PST for a retail price of $220. Pick up a pair via the Adidas Confirmed app or aftermarket sites like GOAT and Flight Club.

Disclaimer: While all of the products recommended here were chosen independently by our editorial staff, Uproxx may receive payment to direct readers to certain retail vendors who are offering these products for purchase.

Offset has been on a roll this year. His last single, “Bodies,” sampled Drowning Pool for a tit-for-tat lyrical sparring match with JID, and now, his new song, “Professional,” keeps that momentum going with a propulsive ode to his popularity with the opposite sex.

It’s a much more fun examination of the subject than his last two singles, “Swing My Way” and “Ten,” probably because it sounds like he’s actually having fun chasing all these women instead of proving a point to his ex. The video exemplifies this sentiment, with Set treating his squad to dinner at a fancy restaurant, pouring up glasses of wine behind the bar as everyone bounces to the rhythm and looks like they’re having the time of their lives. There’s also a bit where he rides around with two of the women in a cycle rickshaw, which gives more of the impression he’s out and about, not cooped up feeling sorry for himself.

Offset was recently a guest on Uproxx’s trivia interview show, Sound Check, where our host Jeremy Hecht pits some of his favorite artists, including Andre 3000, Future, and Michael Jackson against each other to determine his musical taste — and get him to talk about his influences.

Watch Offset’s video for “Professional” above.

R&B has a long tradition of its artists making bold, sometimes bawdy requests in their music — often as a desperate bid to save a failing relationship. Remember how in “Let’s Get Married,” 112 shrugs “we ain’t gettin’ no younger, so we might as well do it?” That song exists on a historical continuum that now includes Daniel Caesar setting a baby trap with his latest single, “Have A Baby (With Me).” You gotta love a song title that clarifies its proposition with a parenthetical.

All jokes aside, it’s an expectedly pretty song from the Canadian crooner, employing a loopy bassline over which Daniel narrates the situation. “You hold my hand, but in your head, you’ve already left / You free yourself of patience / You sit on the bed, but your shadow is getting dressed / You’ve had too many years of waiting.”

His solution is bad, but it’s familiar; faced with the possibility of losing his lover for good, he beckons, “Have a baby with me / There’s no time to believe in what we could be / We could leave something here / It’s too late for our dreams / We can make a new dream.”

As a staunch non-aspirant, I must say: while there are admirable and dubious reasons to pursue parenthood, this is undoubtedly the worst. That said, it’s thematically resonant with the title of his upcoming third studio album, Son Of Spery, which invokes his father to address the complexities of our relationships with our parents, and how they affect the ways we move through the world, even without knowing it. It sounds like we’re getting a literary classic from Caesar, which might reverse the results of that drunken rant in 2019.

Anthony Edwards is currently one of the NBA’s most exciting talents, an unapologetic shooting guard who’s just as entertaining in off-court interviews as he is dynamic on the court. As if that wasn’t enough proof he’s one of God’s favorites, he also, apparently, has impeccable music taste and a future as a successful A&R.

That is, if his first contribution to the ongoing Culture Jam project is anything to judge by. “Damage Control,” the first single from the Edwards-curated Legend In My Hood compilation, features the unexpected combination of Wale and Pusha T over a beat by Don Cannon and… well… it’s a perfect three-man weave of a track, with Wale playing the finesse guard, Pusha playing the punishing power forward, Don Cannon directing traffic like a Hall of Fame point guard.

I say “unlikely combo” up there, but honestly, it’s kind of a wonder this didn’t happen sooner. Although Virginia Beach isn’t part of the DMV area proper, these things get lumped together enough that you’d think they’d have crossed paths. And while Wale is better known as more of a backpack rapper — sorry, Ralph, you know it’s true — while Pusha is hip-deep in the streets, the former was associated with a crew of street rappers for the better part of a decade, and Push is widely regarded as one of the upper echelon examples of his subgenre, lyrically.

But hey, it’s happening now, and it’s well-worth the wait. Check it out above.