If fans thought the Backstreet Boys‘ just-launched Into the Millennium residency at Las Vegas’ Sphere was going to be a faithful track 1 to track 12 run-through of the boy band’s seminal 1999 Millennium album, they were in for a shock at Friday’s (July 11) opening night.

Yes, all dozen tracks of the standard album are there — in addition to “Hey,” the single from BSB’s brand-new Millennium 2.0 reissue — but they are not performed in the order that ’90s tweens and teens have committed to memory. The show starts with “Larger Than Life,” the album’s opening track (and also the namesake of Backstreet’s original Vegas residency that ran from 2017 to 2019), and then all bets are off from there.

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The first non-Millennium moment comes early in the night, with “As Long as You Love Me” — from BSB’s self-titled 1996 debut album — as the third song on the setlist. Even more surprising might be the fact that the project’s most enduring hit, “I Want It That Way,” does not end the show. In fact, fans are in for four more, non-Millennium songs after their signature ballad.

So what we’re saying is: Backstreet Boys did not play it safe or straightforward with this setlist. In total, there are four non-Millennium albums represented across the setlist, proving that the Boys are doing their best to serve the casual Vegas fans who know them best for the 1999 album, while also sprinkling in treats for the superfans who continue to ride with them more than 25 years later.

Below, find the full night 1 setlist for Backstreet Boys’ Into the Millennium residency at Las Vegas’ Sphere — with dates through Aug. 24 — and stay tuned for our full recap of the show and its epic visuals.

Kelly Clarkson kicked off her brand-new Las Vegas residency “Kelly Clarkson: Studio Sessions” at The Colosseum at Caesars Palace on Friday night (July 11) — one week later than planned.

After postponing the original opening weekend dates of July 4 and 5 due to rehearsals taking “a toll” on her famous voice, Clarkson delivered on her promise to fans to bring “the studio to the stage” for the new residency. The stage setup brought the audience inside exactly what it’s like to be a fly on the wall in a Clarkson recording session.

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“Studio Sessions” isn’t Clarkson’s first turn as a Las Vegas headliner. After a no-go in 2020 for the 18-date “Invincible” residency due to the pandemic, she finally made it to the stage of PH Live at Planet Hollywood Resort & Casino in 2023 with the sold-out “Chemistry” engagement. The show kicked off on July 28, 2023, and was initially scheduled for 10 dates. However, it expanded to 14 dates with the addition of performances over the New Year’s Eve holiday of that year and the 2024 Super Bowl.

In 2020, she told Billboard that Las Vegas represented an excellent opportunity for her. “I’m able to do things with [a residency] that I’ve never been able to carry out on the road,” she says. “We get to stay for a bit, see and hang with fans, and then you’re not having to travel every night to a different city, which can be exhausting. I’m stoked to have a home away from home [in Vegas].”

Recently, she teased fans with an ultra-glam Sin City look, wearing a plunging sequin jumpsuit accented in feathers, for the “Where Have You Been” video, channeling fellow Las Vegas headliner Cher.

“I’ve always loved performing in Las Vegas and the high energy of the crowds. Musicians from every genre of music, young and old, rookies and legends—it has become this fantastic city filled with artists from everywhere. So many of my musical idols have had, and still have, incredible residencies on the Strip, and I’m so excited to create my own,” Clarkson says. 

There are 16 performances of “Kelly Clarkson: Studio Sessions” scheduled through Nov. 15, with news dates for the postponed July 4-5 shows yet to be announced. In the 23 years since she won American Idol, Clarkson has sold more than 25 million albums and 40 million singles worldwide. In addition to three Grammy Awards, she has multiple Emmys on the mantle for her six-season Kelly Clarkson Show.

A highlight of Friday night’s debut came during the second-to-last song of the night, when Clarkson introduced a rotating Kellyoke cover — named after the wildly popular performance segment from her daytime talk show — this time performing the Dolly Parton-penned “I Will Always Love You” in the style of Whitney Houston’s 1992 The Bodyguard soundtrack version.

Here’s a look at Clarkson’s full opening-night setlist for “Kelly Clarkson: Studio Sessions” at The Colosseum at Caesars Palace.

With Iceman season fast approaching, Drake is primed and ready to kick off another album worthy of anticipation and hype, especially after the release of his new single “What Did I Miss?” But, on Friday night (July 11), fans at the U.K. Wireless Festival didn’t get the mischievous, revenge-plotting Drake looking to avenge his losses. Instead, they received a Drake who was keen on celebrating his R&B heroes, his OVO comrade PARTYNEXTDOOR, and day-one fans who have always appreciated the melodic side of Heartbreak Drake.

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“This is the first time in my life that I’ve done three different shows on three different days,” Drake told the crowd during his performance. “You came to a very special night. It’s night one. It’s a celebration of all things R&B. All things melodies. All classics.”

Along with Drake headlining three nights of Wireless, Friday’s outing wasn’t just a highlight reel featuring The Boy and Friends; it served as a thriving garden for R&B artists from the States and across The Pond. The U.K.’s shining stars like KWN and Nippa treated the day as a homecoming, while Summer Walker and Leon Thomas demonstrated their performance prowess and elite status in the genre. The guest list ran deep, with surprise appearances from Ty Dolla $ign, Kehlani and more, making day 1 a dreamscape for R&B purists.

Check out the best moments from Drake’s R&B-themed night 1 at Wireless Festival. Plus, stay tuned for more coverage of Drake’s day 2 and 3 performances, along with special surprises.

History was in the making on Friday night (July 11) as Bad Bunny launched his wildly anticipated No Me Quiero Ir De Aquí (meaning: I Don’t Want to Leave From Here) residency at the legendary Coliseo de Puerto Rico José Miguel Agrelot (a.k.a. El Choli) in San Juan. The event marks the beginning of his unprecedented 30-show series, making him the first artist to ever headline a residency of this scale at the iconic venue with capacity for 18,000 people.

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The Puerto Rican superstar (real name Benito Antonio Martínez Ocasio) is set to put on an electrifying show for a euphoric, sold-out audience on opening night, fusing reggaeton, Latin trap and Puerto Rican folk sounds with heartfelt moments honoring his culture — even featuring a quaint Boricua home onstage.

“Show them from the start where the gladiators were born,” reggaetón pioneer Ivy Queen wrote in Spanish on Bad Bunny’s IG post announcing the residency. “Proudly representing from the heart of the neighborhood, where we can vibe to the beat of drums, the bass of a car speaker, or even acapella — we bring the energy anywhere! Historic moment, my pollito stepping up with pride and showing off what it means to be Puerto Rican! That huge Pisces heart is coming through strong! Let’s gooooooo!”

The first three weeks of the residency (July 11–27) are restricted to Puerto Rico residents before opening up to tourists.

“[This residency] will position Puerto Rico as a premier entertainment destination,” Jorge L. Pérez, the general manager of Coliseo de Puerto Rico, previously told Billboard Español. “It will open the eyes of visitors who have never come to Puerto Rico. It will create awareness of Puerto Rico as an entertainment and leisure destination.” 

Planning to come to Bad Bunny’s residency? Here’s the ultimate travel guide with everything you need to know before you arrive.

Below, check out the full setlist from his opening show at El Choli, which we’ll be updating live throughout the night.

On Friday (July 11), London’s Wireless Festival roared back to life for its 20th anniversary. The revered U.K. institution — previously home to luminaries like Jay-Z, Ye, Rihanna, Daft Punk and Bruno Mars — reopened its gates for one of its most beloved guests: Drake.

Wireless was once Drake’s stomping grounds at the onset of his career. He first crossed the pond to headline in 2012 before making a triumphant return in 2015. In 2021, he popped up for a surprise cameo alongside What a Time to Be Alive partner Future. Fast-forward to 2025, and Drake is eyeing an unprecedented trifecta: headlining all three nights of the festival.

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Night 1 served as a full-on love letter to R&B enthusiasts. Drake flexed his vocal stamina while gliding through B-side classics like “Jaded” and “Jungle,” using the night to pay homage to his R&B heroes. Among those hitting the stage, he welcomed millennial heartthrobs Mario and Bobby Valentino for their signature gems. From there, he dipped into the late 2010s to salute Bryson Tiller’s TrapSoul era before skating into the 2020s with a soul-stirring medley alongside GIVEON.

Things heated up when Drake reeled in his $ome $exy $ongs 4 U partner and OVO comrade PARTYNEXTDOOR for a teaser of their forthcoming UK Tour. The duo treated fans to a fistful of highlights ranging from “Somebody Love You” to “SpiderMan Superman,” before Drake tagged in R&B icon Lauryn Hill for a special mash-up of “Ex Factor” and “Nice for What.”

Check out the full setlist from Drake’s R&B-themed night 1 at Wireless Festival below.

Music stocks had a mixed week as markets fell in reaction to President Trump’s escalating trade war.  

On the positive side, Netease Cloud Music added to its hot streak by rising 8.9% to 241.00 HKD ($30.70) in the week ended July 11. The Chinese music streamer, which was the top music stock in the first half of 2025 after gaining 114.8%, has risen another 12.0% since June 30, pushing its year-to-date gain to 136.3%.

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Warner Music Group (WMG) is also on a roll. In the week ended July 11, the company’s stock rose 1.3% to $29.77, cutting its year-to-date loss to 3.8%. After losing 12.2% in the first half of the year, WMG shares have gained 9.3% in July as investors reacted positively to the July 1 news of the company’s cost-cutting measures. On Wednesday (July 9), Bank of America Securities upgraded WMG to “neutral” from “underperform” and increased its price target to $33 from $28, citing the benefits of layoffs and licensing agreements with music streaming services. Bernstein lifted its price target to $34 from $32 on July 3. WMG will announce results for its fiscal third quarter on Aug. 9.

The 20-company Billboard Global Music Index (BGMI) had 11 winners to 9 losers but fell 3.7% to 2,896.56, its second consecutive weekly decline. Some of the most valuable companies on the index lost ground: Live Nation fell 3.7%, Spotify dropped 2.2% and HYBE fell 1.6%. Foreign exchange was another factor as the dollar gained 0.7% against the euro, making euro-denominated stocks such as Universal Music Group (UMG) less valuable when converted into dollars to calculate the dollar-denominated BGMI. The BGMI reached a high mark of 3,112.87 in the week ended June 27. 

As President Trump threatened a 35% tariff on goods imported from Canada and steep tariffs on foreign drugs, U.S. indexes were slightly down and foreign indexes gained ground. The Nasdaq composite fell 0.3% to 20.547.67 and the S&P 500 also dipped 0.3%, finishing the week 6,259.75. The U.K.’s FTSE 100 rose 1.3% to 8,941.12. South Korea’s KOSPI composite index jumped 4.0% to 3,175.77. China’s Shanghai Composite Index improved 1.1% to 3,510.18. 

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Three K-pop companies were among the week’s best performers. JYP Entertainment gained 4.9%, SM Entertainment rose 4.4% and YG Entertainment improved 2.0%. HYBE was an exception, stumbling 1.6% and bringing its loss in July to 12.3%. HYBE chairman Bang Si-hyuk may face criminal charges over allegations he misled the company’s early investors ahead of the company’s 2020 initial public offering.  

On the streaming front, Spotify fell 2.2% to $766.95. The audio streaming giant had one of the best performances of the first half, gaining 64.4% and adding $61.5 billion in market value. In July, however, it has already lost 7.5%, and its year-to-date gain is down to 58.5%. The company will announce its second quarter results on July 29. 

Finally, Music streamer LiveOne was the week’s biggest loser after falling 14.1% to $0.75. The stock has fallen 45.3% this year. 

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The bid-rigging charges brought against Oak View Group (OVG) CEO Tim Leiweke earlier this week grew out of the federal government’s 10-month regulatory review of the merger between Legends Hospitality and ASM Global last year, multiple sources have confirmed to Billboard.

During that review, emails surfaced between Leiweke and former Legends CEO Shervin Mirhashemi that government officials allege show Leiweke conspiring to “rig the bidding to develop, manage, and operate an arena” at the University of Texas in Austin. Leiweke has denied any wrongdoing in the case and vowed to fight the charges.

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The government also uncovered evidence during the review that OVG’s venue management division encouraged its clients to sign ticketing agreements with Ticketmaster while failing to disclose that OVG was paid an upfront payment of $20 million in November 2022, along with $7 million in annual payments, to steer clients to the ticketing giant, according to documents attached to OVG’s non-prosecution agreement with the government over the big-rigging charges.

OVG executives allegedly lobbied the company’s venue clients on behalf of Ticketmaster “to remain or become the exclusive ticketing service provider for venues that OVG360 managed,” documents attached to the non-prosecution agreement read. “When OVG advocated in this way for [Ticketmaster], OVG did not disclose to the venue owners that OVG had entered into an agreement with [Ticketmaster] that called for OVG to receive payments in connection with ticket sales,” it adds.

It’s unclear how the government plans to use the information it uncovered about Ticketmaster, as the criminal indictment against Leiweke makes no mention of the ticketing company. However, in federal court filings in the 2024 civil antitrust lawsuit the Department of Justice brought against Ticketmaster parent company Live Nation, Leiweke was described as a “pimp,” “hammer” and “protector” for Ticketmaster, though neither OVG nor Leiweke are defendants in that case.

Legal experts tell Billboard that the criminal case against Leiweke is not particularly strong and predicated on a series of business maneuvers that seem relatively mundane in the cutthroat live entertainment business. The charges were, however, serious enough that the board of directors for both OVG and Legends signed non-prosecution agreements with the Department of Justice. As part of its agreement, OVG also agreed to pay $15 million in penalties, while Legends agreed to pay $1.5 million.

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OVG was not being prosecuted, writes Omeed A. Assefi, deputy assistant attorney general, because the company “cooperated and has agreed to continue to cooperate with the Antitrust Division in any ongoing criminal investigation of the conduct of the Company and its business partners.”

As part of its non-prosecution agreement, OVG agreed to “use its best efforts to make available for interviews or testimony any current or former owners, officers, directors, employees, agents, and consultants of OVG,” the document reads. This obligation includes “sworn testimony before a federal grand jury or in federal criminal trials,” with one exception — Leiweke’s daughter Francesca Bodie, the company’s COO.

“OVG shall not be required to make individuals available to provide interviews, testimony, or other cooperation against immediate family members,” the agreement reads.

Legends has paid $5 million total as a result of multiple federal probes into the company. Last year, the company agreed to pay $3.5 million in fines after government attorneys uncovered evidence that Mirhashemi violated mandatory waiting period laws — known as “gun-jumping” charges — as part of its $2.3 billion acquisition of ASM Global.

On November 3, 2023, Legends agreed to purchase ASM from owners AEG and Onex and submitted a notification to the Justice Department as part of the Hart-Scott-Rodino (HSR) Antitrust Act, which requires advanced notification of corporate mergers. According to the HSR Act, merging companies must adhere to a 30-day waiting period prior to closing the transaction while the government decides whether or not to open a second, more in-depth investigation and study the deal’s potential impact on competitiveness.

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During the secondary review, which began on Jan. 8, 2024, Legends was barred from operating ASM Global or sharing sensitive information with ASM executives, but Legends officials reportedly broke the rules three times, including by changing an ASM bid for a building contract to include Legends.

The gun-jumping charges led to a wider review of Legend’s contracts, including its involvement in OVG’s bid to build the Moody Center Arena in Austin, Texas, sources tell Billboard — ultimately leading the DOJ to review the emails between Leiweke and Mirhashemi.

Leiweke previously served as the CEO of former ASM Global owner AEG and was one of the co-founders of the company, previously known as AEG Facilities, which he left in 2013 after a fallout with AEG owner Phil Anschutz. Working with partner Irving Azoff and with financial backing from investment firm Silver Lake, Leiweke would begin building OVG, first by acquiring media companies like Pollstar and Venues Today and eventually by leading an acquisition of venue management firm Spectra. OVG would go on to build and operate a number of top-tier arenas, including Climate Pledge Arena in Seattle, UBS Arena in New York, Acrisure Arena in Palm Springs, Calif., Co-Op Live in Manchester, U.K., and dozens of other clients through its management companies and groups like the Arena Alliance.

On Wednesday, Leiweke announced that he was stepping down as OVG’s CEO but would continue on with the company as vice chair of its board of directors.

Live Nation declined to comment for this story. Representatives for OVG, Legends and the DOJ did not respond to requests for comment.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

If you’re still not over Brat, just like us, you’re in luck: Charli xcx dropped an exclusive collaboration with Urban Outfitters.

The certified collectors collaboration dropped Friday (July 11) and includes Charli’s full discography pressed on vinyl for the first time in a complete UO-exclusive lineup and, our favorite, an exclusive Brat tee. The unisex tee retails for $35 and comes in a range of sizes from small to XXL.

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The piece is made of ultra-breezy cotton jersey in black that’s adorned with a large neon-green Brat graphic on the back and Charli’s name in lower-case font on the front. Simple and comfy, this tee is short-sleeved with a crew neckline that offers a casual fit that evokes those chic “it girl” vibes the singer is well known for.

Shop These Brat Tees From Charli XCX & Urban Outfitters Latest Collab

Charli XCX X Urban Outfitters Exclusive Brat Graphic Tee

A black tee referencing Charli XCX’s Brat album.


We can actually see Charli wearing this tee with micro shorts and chunky black moto-style boots, a cigarette perched between her lips post-show. You’ll want to act fast, given this tee is an exclusive item likely not made in large quantities. It’s already selling like hotcakes, as expected. This proves that while Brat summer is officially over, it’ll never really be dead and gone.

If you can’t get your hands on the Brat tee in time, Urban Outfitters also created a Hi It’s Me Graphic Tee in red that references Charli’s song “Springbreakers,” from Brat. The shirt is currently on sale for $19.95, and is just as cute, if not more, than its Brat counterpart. Like the aforementioned shirt, this one’s got the “Boom Clap” singer’s name scrawled on the front, but in black.

It’s also a crew-neck style with short sleeves and a relaxed, almost boxy fit. The back includes black lettering reading “Hi, it’s me you’re all in danger,” in reference to the lyrics of “Springbreakers.” Sizing options range from small to XXL. This piece is giving sleezy chic in the best way possible. Both tees are perfect for those looking for Charli merch that doesn’t necessarily look like merch. Thanks to this, each shirt can easily be incorporated into the buyer’s wardrobe. It’s the perfect little splurge for die-hard Charli stans, new or old.

Shop These Brat Tees From Charli XCX & Urban Outfitters Latest Collab

Charli xcx UO Exclusive Hi It’s Me Graphic Tee

$19.95 $35.00 43% off

Buy Now at urban outfitters

A bright right t-shirt with lyrics from Charli XCX’s song “Springbreakers.”


The printed vinyls accompanying the tees include Brat and It’s Completely Different but Also Still Brat, True Romance, Number 1 Angel, Pop 2, How I’m Feeling Now, Crash, Sucker and Charli.

Justin Bieber and Sexyy Red are getting their swag on.

In a video shared by both artists on Instagram on Friday (July 11) — the same day the Canadian pop star dropped his new album, SWAG, with barely any notice — the duo dance along to their new collaboration “Sweet Spot.” As the rapper twerks and lip-syncs to her verse, Bieber kisses her on the temple before joining her in grooving to the track.

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“love you frienddddddddddddd,” the singer captioned his post, noting that he was “faded” in the smoke-filled clip.

In her caption, Sexyy wrote, “Congratulations my friend just dropped his album.”

The hip-hop star is one of a few collaborators Bieber worked with on SWAG, which also features guest spots from Gunna, Druski and Cash Cobain. The LP had barely any promotion leading up to its midnight release, with Bieber simply posting photos of billboards displaying the track list in different cities on Instagram hours before it dropped.

SWAG marks Bieber’s first album in four years, following 2021’s Justice, which spent two weeks at No. 1 on the Billboard 200. Before the new record arrived, fans couldn’t be sure if or when he would ever release music again, as Bieber had appeared to take a large step back from his pop star career in recent years to focus on his family with Hailey Bieber — with whom he shares 11-month-old son Jack Blues — and recover from partial facial paralysis caused by Ramsay Hunt Syndrome.

Sexyy’s appearance on SWAG follows her April single “Hoochie Coochie.” She’s also teamed up with Tommy Richman, Snoop Dogg and Central Cee on various tracks in 2025.

Watch Bieber and Sexyy turn up to their new collaboration below.

The Velvet Sundown, the AI-generated retro rock group that launched out of nowhere in June, has done something many real bands struggle to achieve: Gain worldwide media attention that converts into streams at Spotify and other streaming platforms. 

In the week ended July 3, The Velvet Sundown’s catalog of 26 songs — spanning two albums — generated 2.59 million streams globally, according to Luminate. That’s a staggering 399% increase from the previous week. The surge followed a flood of online coverage at music trades, mainstream newspapers, and popular YouTube channels, all intrigued by the novelty — and the ethical implications — surrounding an artificial band that diverts attention (and royalties) from actual musicians.  

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After more than two weeks of media coverage, the buzz hasn’t died down. The Velvet Sundown has been featured in major publications, including articles at BBC.com and a long-form think piece in The Atlantic. In an era when viral fame often fades in hours, the sustained interest — from both the media and the public — is remarkable. Just six weeks ago, the band had zero streams. Today, it boasts 1.3 million monthly listeners on Spotify, up from approximately 300,000 following a viral Reddit post about the band on June 24. To capitalize on the momentum, The Velvet Sundown will release yet another album on Monday (July 14).

The notoriety of being an AI band has translated into modest real-world success. By Tuesday (July 8), the attention had propelled The Velvet Sundown’s track “Dust in the Wind” to No. 1 on Spotify’s Viral 50 chart — a measure of recent popularity and social engagement — in the U.K., Ireland, Israel, Iceland and Sweden, and into the top 10 in Australia, Canada, Denmark and a handful of other countries. “Dust in the Wind” also landed on iTunes’ top tracks list in Switzerland (No. 3), Poland (No. 9), Austria (No. 14), Canada (No. 20) and Sweden (No. 23), according to Chartmetric.

The Velvet Sundown represents a reality of the music business in 2025: Getting online attention, whether complimentary or critical, helps an artist rise above the noise and find listeners. Notoriety — being known for something negative — isn’t necessarily a liability.  

For all the people turned off by The Velvet Sundown’s artificial origins, there may be other listeners who stick around, says Phillip Lybrand, creator of the AI-generated band Hoverborg. The group’s album The Good Stuff, a collection of catchy pop-punk songs, used Lybrand’s lyrics but was otherwise conceived entirely on the generative AI platform Udio. The Good Stuff received some positive press and online streams early on, but coming clean about the band’s origins actually added to its momentum. “I’ve sold through Bandcamp more copies of it digitally, and the physical CD and vinyl, since letting people know it was AI-generated,” Lybrand says, adding that only one person has asked for a refund.

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Even though streaming platforms are awash in AI-generated content — Deezer estimates that 18% of its daily uploads come from AI — the success of The Velvet Sundown stands out. The band’s albums, complete with evocative, surrealistic artwork, do an excellent job of capturing the look and feel of a psychedelic folk-rock band. Importantly, the songs reveal a level of expertise that is typically absent from hastily created AI music, says author and audio engineer Bobby Owsinski: “It does take a fair amount of skill and a fair amount of time to come up with that.”

Real-life music groups Kneecap and Bob Vylan have also grabbed worldwide attention for controversy as of late. Kneecap, a hip-hop trio from Northern Ireland, gained notoriety in April for the anti-Israel comments it made during its performance at Coachella. More media impressions followed: Kneecap split with its agent, Independent Artist Group, after Coachella, and band member Mo Charra (born Liam Óg Ó hAnnaidh) was indicted on a terrorism charge in the U.K. for allegedly displaying a Hezbollah flag at a concert in London. Charra was released on bail on June 18, but the controversy wasn’t over.

Both Kneecap and Bob Vylan ran into trouble following their appearances at Glastonbury in late June. Kneecap’s Charra voiced support for Palestine and criticized U.K. Prime Minister Kier Starmer — with an expletive — for stating the Irish group should not be allowed to perform at the annual event in Somerset, England. And Bob Vylan singer Pascal Robinson-Fraser, who performs as Bobby Vylan, led a chant of “death, death to the IDF,” referring to the Israel Defense Forces, the country’s national military. Since the performances were broadcast live by Britain’s public service broadcaster, the BBC, both Kneecap and Bob Vylan are facing a criminal investigation.

The uproar that followed Kneecap’s Coachella set has had an undeniable effect on the metrics that denote success. From the week before Coachella to the week after Glastonbury, Kneecap’s weekly global on-demand streams more than doubled. The increase in new listeners isn’t necessarily fleeting: Chartmetric data for the last 30 days shows that Kneecap’s new followers on Spotify have grown faster than its monthly listeners, suggesting that people who recently discovered the group are more than casual fans. As for Bob Vylan, Glastonbury led to a nearly 13-fold increase in the duo’s weekly streams.

In music, gaining fame for political statements isn’t necessarily bad for business. For groups such as Public Enemy and Rage Against the Machine, being controversial was part of the appeal. Today, though, the internet amplifies statements and preserves them for posterity. “Artists ought to be ready to live and die by what they’re putting out to the world,” says Johnny Cloherty, CEO of Genni, a social media creator network. In the case of The Velvet Sundown, people won’t forget that the viral band was created using AI technology. The question there is whether, ultimately, they’ll even care.