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SNX: This Week’s Best Sneaker Drops, Including The Air Force 1 Protro Kobe, A Ma Maniére Air Max 95 Diffused & More

Post author By GoneTrending
Post date June 28, 2025

Welcome to SNX DLX, your weekly rounded up of the best sneakers to hit the internet. Whether it’s the slow trickle of sneaker releases, the lack of big internet-breaking collaborations, or all the big brands playing it safe, we’ve had a lot to complain about this year in sneakers, but here we are, right at the start of summer with one of the absolute best drop weeks of the year.

There is a lot to love here unless you’re an Adidas fan or into the more obscure brands. Nike and New Balance continue to dominate the conversation, but the brands are still managing to bring a lot of variety so we’re not too broken up about the lack of Adidas, Asics, or the like. We have a lot to cover, so let’s jump in and talk about the best sneakers dropping this week.

Air Force 1 Low Protro Soft Yellow

Price: $150

Without a doubt, the AF-1 is a quintessentially New York sneaker. The silhouette is just tied to the history of hip-hop that has flowed out of the city (LA to its credit gets the Cortez), so how do you make a NYC icon fit into the sprawling landscape of Los Angeles streetwear? Easy, drape it in Lakers colors.

Enter the Soft Yellow Air Force 1 Low Kobe Protro. The sneaker features that iconic AF-1 shape dressed in a mix of muted gold and purple tones, inspired by the practice jersey and shorts Kobe used to rock during his arm injury. It’s an obscure reference, but it looks great, so it’s hard not to fall in love with this rendition. A must for any Kobe fan in and out of Los Angeles.

The Air Force 1 Low Protro Soft Yellow is out now for a retail price of $150. Pick up a pair via the Nike SNKRS app or aftermarket sites like GOAT and Flight Club.

New Balance 2010 Pecan with Castlerock

Price: $159.99

Right now early ’00s fashion is in vogue, so how does sell something new while everyone wants designs from 20 years ago? Apparently, according to New Balance the answer is to meet in the middle. The 2010 is a new design from New Balance that takes inspiration from fan-favorites from the early ‘00s (check out that segmented sole, a real marker of the era).

The sneaker features a diamond-knit mesh upper with nubuck and synthetic overlays and reflective details over an ABZORB midsole.

The New Balance 2010 Pecan with Castlerock is out now for a retail price of $159.99. Pick up a pair via the Nike SNKRS app or aftermarket sites like GOAT and Flight Club.

New Balance Made in UK 991v2 Grounded Pastels

Price: $249.99

When you think of New Balance, you don’t exactly think about a sneaker brand known for its colorful tones. In fact, with New Balance, it’s the opposite. The brand is so synonymous with gray that if I were to ask you to picture a gray shoe, it would probably be a New Balance silhouette.

And yet when the brand does do color, we find it incredibly hard to look away. Case in point the Grounded Pastels back. Now granted, these shoes aren’t the brightest, even though you have a green and blue pair, both tones are gritty and a bit muted. And we wouldn’t change a thing! These are simply great designs and colors.

Built on a 991v2 silhouette with Made in UK construction, the Grounded Pastels feature a mesh upper with hairy suede and synthetic leather overlays, debossed branding, and a full-length FuelCell midsole.

The New Balance Made in UK 991v2 Grounded Pastels is out now for a retail price of $249.99. Pick up a pair at New Balance.

Drakes x New Balance Made in UK Allerdale

Price: $269.99

London clothing brand Drakes has teamed up with New Balance’s Made in UK line for the Allerdale. The Allerdale features a lot of different leather work, including a pig suede saddle, tanned leather vamp, pebbled leather tip and foxing, and a synthetic leather collar lining with a Japanese nylon ripstop tongue.

It’s one part British elegance, one part classic New Balance function-first design.

The Drakes x New Balance Made in UK Allerdale is set to drop on June 27th at 7:00 AM PST for a retail price of $269.99. Pick up a pair at New Balance.

Nike Air Flightposite Dusty Cactus and Persian Violet

Price: $250

Another week, another Flightposite colorway. This time, Nike is bringing some vibrancy into the mix with a Dusty Cactus and Persian Violet colorway. The sneaker features that iconic molded upper in a swirling green, blue, and violet colorway with metallic accents, and black details. It’s easily one of the best Flightposite colorways to drop all year.

The Nike Air Flightposite Dusty Cactus and Persian Violet is out now for a retail price of $250. Pick up a pair via the Nike SNKRS app.

Nike Air Tech Challenge 2 Tart and Stone Blue

Price: $155

One part Air Force 1, one part Jordan 4, the Air Tech Challenge 2 looks like a greatest hits package of Nike design tropes, and while at times that could feel like the brand is just recycling what they know works, it’s hard to hate on that when the shoe looks so damn good.

This tennis sneaker sports a leather upper with synthetic details, a foam collar, an Air Max unit, and a mix of complementary colors that make it easy to fall in love with this sneaker. Especially if you’re a NY Knicks fan.

the Nike Air Tech Challenge 2 Tart and Stone Blue is out now for a retail price of $155. Pick up a pair via the Nike SNKRS app or aftermarket sites like GOAT and Flight Club.

A Ma Maniére x Nike Air Max 95 Diffused

Price: $190

Our release of the week designation goes to this collaboration with Atlanta-based brand A Ma Maniére, the Air Max 95 Diffused. You’re looking at what is quite possibly one of the absolute best sneakers to release all year, and it’s dropping right in the midst of summer!

This sneaker features a luxurious leather upper with exposed stitching, dual branding, an embroidered swoosh logo, and a gradient that jumps between gray, blacks, beige, and tans, with a sort of purple hue to it. We’ve said it before, but 2025 has been a weird year for sneakers, but releases like this are enough to save it. Let’s hope we get a few more in the second half of the year!

The A Ma Maniére x Nike Air Max 95 Diffused is out now for a retail price of $190. Pick up a pair at A Ma Maniére.

Nike Ava Rover x Hyein SEO Black

Price: $145

This week Nike teamed up with South Korean designer Hyein Seo for an updated take on the Ava Rover silhouette. This sneaker sports a molded TPU upper with ReactX foam cushioning, a rubber outsole, and a stealthy, city-ready all-black color scheme. The only pop of color here are the reflectice heel details that only emerge in low light.

It’s dark, sleek, contemporary, and incredibly stylish! There is a lot to love here.

The Nike AVA Rover x Hyein SEO Black is set to drop on June 28th at 7:00 AM PST for a retail price of $145. Pick up a pair via the Nike SNKRS app.

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.

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I Saw The Killers Play An Arena-Rock Show In A Theater And It Was Awesome

Post author By GoneTrending
Post date June 27, 2025

the killers 1024 — Chris Phelps/Derrick Rossignol

Earlier this month, a publicist invited me to see The Killers play a theater in St. Paul, Minnesota, near where I live. I immediately had questions. The first was: Why were The Killers — one of the few remaining American rock bands that plays arenas and headlines festivals — doing at a 2,500-capacity venue? Apparently, they were being paid by a bank to play an exclusive concert for credit card holders. Not very rock ‘n’ roll, clearly, but also not my problem. Somehow, I had never seen The Killers play live before, despite listening to them, off and on, for more than two decades. This seemed like a unique opportunity.

But I had other lingering questions. Who is even in The Killers at this point? You have Brandon Flowers, the flamboyant and besuited frontman, and Ronnie Vannucci Jr., the powerhouse and charismatic drummer. And then you have the other two guys, who move freely in and out of the band. (As I eventually discovered, this concert did include founding guitarist Dave Keuning, but not the bass player Mark Stoermer.) This prompted another pertinent question: Is this band still worth seeing? When they put out Hot Fuss in 2004, they were known as a sorta lame live act. But over time, as they stopped having “Mr. Brightside”-sized hits, they evolved (I was told) into a galvanizing force on stage. A U2 for the casino floor, an E Street Band for appreciators of sparkly jackets.

Finally, the most critical question of all: What is the state of The Killers? Despite everything, I was curious. I’ve always liked writing about them. They have a quality that many of my favorite artists share: Their failures and missteps are often more entertaining than their triumphs. It’s great fodder for a music critic. I might not always like their records, but I really enjoy riffing on them. There’s a roller-coaster aspect to their catalog. Hot Fuss is one of the best debut albums of the 21st century, but I have a special place in my heart for the critically reviled (though somewhat rehabilitated) follow-up, Sam’s Town. The records after that are more checkered, but there’s usually at least two or three perfectly bombastic rock anthems, like “A Dustland Fairtyale” or “Runaways.” In the 2020s, they made a frankly incredible comeback with 2020’s rousing Imploding The Mirage and then somehow topped it with Pressure Machine, a song cycle that sounded like Flowers’ attempt to make his own version of L.A. Garage Sessions ’83.

But that was four years ago now. And The Killers are again wandering in an uncertain wilderness. Flowers has announced two solo records and insists his band won’t put out another record “unless it is the best.” In 2024, they did a run of Hot Fuss anniversary shows in their hometown of Las Vegas. And now, here they were, playing a show for Middle American bank customers. Oh, and me, too. I told the publicist I was in.

Let me just say up front: The show was last night and I loved it. If you ever get the chance to see The Killers play a special show for credit card holders in a theater, I heartily recommend it. Going in, I was a little worried that they might do some kind of “intimate” unplugged show, given the environment. Which is precisely what I didn’t want from this band. Your appreciation of The Killers hinges entirely on whether you like musical melodrama of the highest order. For many of my music-crit peers, Brandon Flowers singing about riding on the back of a hurricane in “When You Were Young” is simply too much. But not for me. The Killers still have their lane because outside of a few select icons (the aforementioned U2 and Bruce), few are willing and able to go to that place anymore.

Thankfully, The Killers went there again at this show. They played like they were at Madison Square Garden. (That included turning the volume up to levels that could be felt in the Twin Cities suburbs.) Their rock-star posturing was not at all tempered. They struck power stances, stood on amplifiers during guitar solos, and tossed drumsticks into the audience. They shot confetti into the air not once, but twice. And that suited the songs, so many of them recognizable hits, which sounded as immense and undeniable as ever.

Springsteen recently called Flowers “one of the most beautiful, pure voices in all of rock ‘n’ roll.” Before this concert, I thought that was hyperbole. I still think it’s hyperbole, though I find that the bole is significantly less hyper now. Flowers is, at the very least, part of a tiny fraternity of truly elite active lead singers. If Bruce is the Boss, then Flowers is the Host. That’s what he called himself a few songs into the set. “After all, we’re The Killers,” he declared, “and we’re in the service industry.” The performative humility was pure Vegas lounge singer, as was Flowers’ powder-blue suit. But his vocals are the opposite of lounge-y hackery. They are a testament to clean Mormon living — they aren’t just preserved in Hot Fuss amber, they’ve actually gotten better over time. So, score one for Bruce the music critic on that.

As for Vannucci, it’s rare for the drummer to be the second most magnetic presence on stage. (By my count, this is true for The Killers, The Eagles, The Who, Nirvana, and Black Midi.) And Keuning had his moments as well, particularly on the solo originated by Lindsey Buckingham for “Caution.” But the star of The Killers remains the tunes. They have what I like to call “the Tom Petty set,” which is a collection of songs (between 14 and 18) that you can line up in concert and absolutely annihilate an audience. It doesn’t matter where you’re playing, or how your last album performed, or whether the audience only has casual familiarity with the work. If you have “the Tom Petty set,” you have songs that everybody knows. And they just work in spaces where a large number of people are gathered. The Killers have that: “Somebody Told Me,” “Smile Like You Mean It,” “All These Things That I’ve Done,” “When You Were Young,” “Spaceman,” “Human,” and so on. They’re called The Killers for a reason.

And then there’s “Mr. Brightside,” the most lethal one of all. When I interviewed Flowers in 2021, I asked if he gets sick of playing this song. It’s a stock rock-critic question, and Flowers naturally said no. “I’m able to hear it through the hearts of the people in the venue,” he said. “Some of them, this is their first time seeing this song live, and so I still am able to harness some excitement for it.”

Part of me assumed that he was just saying that, because saying “Yes, I am sick of ‘Mr. Brightside’” would be bad for business. But then The Killers ended this concert with “Mr. Brightside,” and it suddenly seemed impossible that anyone could ever get sick of playing a song that gets this kind of reaction. It wasn’t just that people sang along. They sang along like they were six beers deep at karaoke night. Or sitting alone in the car after a terrible day. It was an orgasm of adulation for one of the most popular rock anthems of the 21st century. And in that moment, all my questions were answered. I realized that The Killers are, indeed, unkillable.

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The ‘F1’ Soundtrack Is The Perfect Example Of Music’s Growing Global Connection

Post author By GoneTrending
Post date June 27, 2025

After months of revving audiences’ engines, F1 The Movie is roaring into theaters at last this weekend, along with a suitably pulse-pounding soundtrack. The album covers a wide range of genres, from Afrobeats and EDM to hip-hop and pop. The diversity of the album reflects the growing global appeal of the sport — and a commensurate growing global connection of the genres represented on it.

In case you’ve missed out on all the promotion for the movie, it follows Brad Pitt’s Sonny Hayes, a semi-washed Formula One driver who is asked to come back to the circuit to help train rookie driver Joshua Pearce (played by Damson Idris). The film not only stars a laundry list of current and former F1 drivers and personnel, but was also shot at real tracks all over the world.

So, it makes sense that the music used throughout would reflect that international appeal. As F1 gains popularity in more markets, genres like Afrobeats have become ubiquitous worldwide as well; Burna Boy is probably just as likely to be recognized walking the streets of New York or Paris as he is in his hometown, Port Harcourt in Nigeria. The same could be said of South Korean singer Rosé or Dutch producer Tiësto.

Even the rollout for the album has highlighted its attempt to tap into a broad range of markets. Launching the rollout with American rappers Don Toliver and Doja Cat and their song “Lose My Mind,” the minds behind promoting F1 The Album followed up with Rosé and “Messy,” then “Baja California” by Puerto Rican rapper Myke Towers. Each song released as a single showed off another facet of the multilingual, universal appeal of the project.

Afrobeats

There are four songs by African artists on F1 The Album: Burna Boy, who you may know from his hit songs like “Last Last” and “Sittin On Top Of The World”; Darkoo, whose single “Gangsta” peaked at No. 1 on the UK Afrobeats Chart; Mr Eazi, who pioneered Banku music, combining Nigerian chord progressions with Ghanaian highlife music; and Obongjayar, who in May released his second album, Paradise Now. While F1 does not currently have a base in Africa, BBC notes “F1 is still keen to have a grand prix in Africa, to make it a truly global world championship.”

Burna Boy — “Don’t Let Me Drown”
Darkoo — “Give Me Love”
Mr Eazi — “Attention”
Obongjayar — “Gasoline”

Country/Rock

While these two genres only get one major look each (and both could arguably fall under the “pop” category), they are represented by two of the biggest artists in each. Their presence here arguably represents America’s nascent but growing interest in Formula One, and brings that swaggering cowboy energy to the soundtrack that we are so known for worldwide. This also reflects Brad Pitt’s character’s position as both focal point and underdog in the film’s narrative; Guitar genres ask for a lot of “fake it ’til you make it” energy, which Mr. Hayes will certainly need to execute his vision of a comeback in the film. Also, these genres are pretty closely tied to US motorsports, so there’s that.

Chris Stapleton — “Bad As I Used To Be“
Ed Sheeran — “Drive“

Dance

Of course, EDM has to be heavily represented here. F1 is still, by and large, a European sport, and regardless of the roots of electronic dance music (which have been endlessly rehashed online in the past couple of years), EDM is still mostly dominated by European figures. Interestingly, though, the names here come from even further reaches, with South Korea’s Peggy Gou, Australia’s Dom Dolla, and Tiësto. It’s also telling that Sexyy Red’s feature lands in this category, highlighting the increasing crossover between hip-hop and EDM.

Dom Dolla — “No Room For A Saint” Feat. Nathan Nicholson
Pawsa — “Double C”
Peggy Gou — “D.A.N.C.E“
Tiësto & Sexyy Red — “OMG!“

Hip-Hop

It’s funny: big soundtracks had been leaning heavily on hip-hop since the ’90s, and while that tradition continues here, it also expands to reflect how global that genre has become since its inception in 1970s Bronx, New York. Yes, you have Houston and Compton (Don Toliver and Roddy Ricch) represented, but you also see Puerto Rico (Myke Towers) and the aforementioned crossover with EDM. Meanwhile, Myke Towers’ Spanish contribution samples from Golden Era hip-hop, bridging generations as well as languages and regions.

Don Toliver — “Lose My Mind” Feat. Doja Cat
Myke Towers — “Baja California”
Roddy Ricch — “Underdog“

Pop

The pop contributions to the soundtrack parallel the popularity of F1, yes, but also the growing diversity within the genre itself. After all, “pop” is probably the most loosely defined of the musical styles here; It can range from the 1960s pop-soul of British artist Raye to the omnivorous maximalism of K-pop via Blackpink’s Rosé. Beer and McRae are dancey and upbeat, which matches the high-speed visuals throughout the film.

Madison Beer — “All At Once”
Raye — “Grandma Calls The Boy Bad News”
Rosé — “Messy”
Tate McRae — “Just Keep Watching“

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Alex G Continues His ‘Headlights’ Rollout With The Warm Single ‘June Guitar’

Post author By GoneTrending
Post date June 27, 2025

Alex G is off to a hot start with his Headlights era, which he launched in May with the lead single “Afterlife.” Uproxx’s Steven Hyden called it “possibly the most immediately endearing song he’s ever written” in “a catalog already loaded with idiosyncratic earworms,” and now he’s back with more fresh music.

This time, it’s “June Guitar” (which he released just in the nick of time, month-wise). The new song is a slower burn than its predecessor and it reflects on the troubles of romance: “Love ain’t for the young anyhow / Something that you learn from fallin’ down.”

Watch the “June Guitar” video above. Alex also just added some UK and European shows, so find all of his upcoming tour dates below.

Alex G’s 2025 Tour Dates

07/25 — Newport, RI @ Newport Folk Festival
09/10 — Boston, MA @ Roadrunner
09/11 — Boston, MA @ Roadrunner
09/13 — Cleveland, OH @ The Agora
09/14 — Toronto, ON @ HISTORY
09/15 — Toronto, ON @ HISTORY
09/17 — Chicago, IL @ The Salt Shed
09/18 — St Paul, MN @ Palace Theatre
09/20 — Denver, CO @ Mission Ballroom
09/23 — Oakland, CA @ The Fox Theater
09/24 — Oakland, CA @ The Fox Theater
09/26 — Los Angeles, CA @ The Greek Theatre
09/27 — Los Angeles, CA @ The Greek Theatre
09/28 — Phoenix, AZ @ Arizona Financial Theatre
09/30 — Austin, TX @ Stubb’s Waller Creek Amphitheater
10/01 — Austin, TX @ Stubb’s Waller Creek Amphitheater
10/03 — Atlanta, GA @ The Eastern
10/04 — Nashville, TN @ Ryman Auditorium
10/06 — Raleigh, NC @ The Ritz
10/07 — Washington, DC @ The Anthem
10/08 — New York, NY @ Radio City Music Hall
10/09 — Brooklyn, NY @ Kings Theatre
10/11 — Philadelphia, PA @ The Fillmore
10/12 — Philadelphia, PA @ The Fillmore
11/05 — Berlin, Germany @ Huxley’s Neue West
11/06 — Cologne, Germany @ Die Kantine
11/07 — Amsterdam, Netherlands @ Paradiso
11/08 — Amsterdam, Netherlands @ Paradiso
11/10 — Brussels, Belgium @ Ancienne Belgique
11/12 — Paris, France @ La Cigale
11/14 — London, England @ Eventim Apollo
11/15 — Manchester, England @ Manchester Academy
11/17 — Glasgow, Scotland @ Barrowland Ballroom
11/18 — Dublin, Ireland @ Vicar Street
11/19 — Dublin, Ireland @ Vicar Street

Headlights is out 7/18 via RCA Records. Find more information here.

Charli XCX’s Glastonbury 2025 Setlist

Charli XCX’s Glastonbury 2025 Setlist

Air Force 1 Low Protro Soft Yellow

New Balance 2010 Pecan with Castlerock

New Balance Made in UK 991v2 Grounded Pastels

Drakes x New Balance Made in UK Allerdale

Nike Air Flightposite Dusty Cactus and Persian Violet

Nike Air Tech Challenge 2 Tart and Stone Blue

A Ma Maniére x Nike Air Max 95 Diffused

Nike Ava Rover x Hyein SEO Black

Afrobeats

Country/Rock

Dance

Hip-Hop

Pop

Alex G’s 2025 Tour Dates