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The 2025 Festival season is slowly coming to a close. It’s time to stow away your booty shorts, bralettes and face glitter because we’re almost done with festivals for the year, excluding Outside Lands, Louder Than Life and Hard Summer. With Coachella, Stagecoach, Lollapalooza and Bonnaroo in the rearview, fans might be looking for something to help take a breather from the crowds, the heat and the copious glitter-based products.

In the spirit of self-care, we’re rounding up a few favorites to help you wind down, giving your body and mind a break from the festivities, at least for a little while. We’re talking skincare, haircare and bodycare products from top brands like Topicals, Lemme, Aquaphore, Vegamour and much more.

Topicals Faded Under Eye Brightening & Clearing Eye Masks

$22

Buy Now at sephora

A six pack of eye masks.

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This six-pack of eye masks from Topicals will get your undereyes looking hydrated and brightened after all of the sleepless nights packing the perfect outfits for Coachella. These masks are formulated with Kojic Acid to brighten and a cooling agent for de-puffing. You’ll be looking bright and awake in no time.

Peach & Lily Glass Skin Ginseng Collagen Mask

$8

Buy Now at ulta

A collagen-packed face mask that turns clear upon use.

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This Peach & Lily sheet mask went absolutely viral on TikTok this past year, and we can see why. The two-part mask is impressively formulated with an entire 40g serum bottle, 2% ginseng extract, 9 peptides and 55k PPM vegan collagen complex that work to plump, hydrate and brighten. If your skin is looking dull post-festival, then this sheet mask is a must-have.

Lemme Chill De-Stress Gummies

$32.49

Buy Now at target

Vegan gummies made with Ashwagandha.

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Crowds and concerts can be super stressful. Why not unwind with Lemme’s vegan Chill De-Stress gummies? Created by the one and only Kourtney Kardashian, the gummies are made with ashwagandha. This ingredient has been used in traditional Indian medicine for centuries, and while there are many things this key ingredient does, it is also an adaptogen, meaning it helps the body cope with stress.

Aquaphor Advanced Therapy Repairing Foot Mask

$5.89

Buy Now at target

A hydrating foot mask made with shea butter and avacado oil.

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When you’ve been walking around on the festival grounds all day, there’s nothing better for your feet than giving them a boost of hydration. Retailing for $5.89, this foot mask is formulated with a blend of avocado oil and shea butter that work together to condition the skin of your feet for a plush and moisturized feeling post-use.

Vegamour GRO Scalp Massager

$18

Buy Now at sephora

A pointed peach pink scalp massager.

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If you’re a lover of massages, then you’ll love this Vegamour GRO Scalp Massager. Retailing for $18, this pointy tool can be used in the shower while you’re conditioning your hair to stimulate your scalp, promoting circulation, which in turn promotes hair growth. Plus, who doesn’t love a massage post-festival?

Divi Scalp Serum

$48

Buy Now at ulta

A scalp serum in a green dropper bottle used for hair growth.

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Minty fresh and full of benefits, this scalp serum from Divi is sure to banish that post-festival grime from your scalp for good. The product comes in an ergonomic dropper bottle for ease of use. The ingredient list is one to marvel at, with the likes of copper-tripeptide 1, rosemary and caffeine, which all work to stimulate hair follicles, promoting hair growth.

Elefor Massage Gun

$26.99

Buy Now On Amazon

A black massage gun with multiple interchangeable heads.

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Festivals can wear the body out. All the walking and dancing can lead to soreness throughout the body. If you’re looking to work out a few kinks in your back, shoulders and neck post-festival, then this massage gun on Amazon might be a good fit. It currently retails for $26.99 and comes with multiple heads for different massaging possibilities.

Soap & Glory Heel Genius Moisturizing Foot Cream 

$7.99

Buy Now at target

A hydrating foot cream.

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Want that pedicure feeling without leaving your home? This Soap & Glory Heel Genius Moisturizing Foot Cream offers users salon-quality hydration for those post-festival dry and cracked feet. Including alpha hydroxy acids in its formula, this foot cream works as an exfoliant, leaving the feet smooth and ultra-soft. For best results, we’d recommend using this foot cream before bed, allowing the product to aptly sink into the skin.

Sony Music has filed a lawsuit against Napster over allegations that the streaming service owes more than $9 million in unpaid royalties — and has continued to illegally play the songs after Sony pulled the plug on their licensing deal.

Napster — not the infamous turn-of-the-century file-sharing site but the small streaming service once known as Rhapsody — was acquired in March by Infinite Reality, a digital media and e-commerce company, for $207 million.

But in a lawsuit filed Friday (Aug. 1) in Manhattan federal court, Sony accused the newly sold company of failing to pay its bills. The case claims Napster owed more than $9.2 million when Sony finally terminated its contract in June — but has kept on using the songs anyway.

“When companies exploit Sony Music’s sound recordings for commercial benefit without authorization, this not only harms Sony Music by depriving it of compensation, but it also reduces the incentive to invest in the creation and dissemination of new music,” the company’s lawyers write.

Despite Napster’s origins as an industry-shaking pirating service, the famous name has been reused for decades on a series of legal music services. Most recently, Rhapsody rebranded under the Napster name in 2016; it had a little more than 1 million monthly active users at the end of 2020, according to Music Ally.

Back in January, Billboard reported that Napster had been making late royalty payments to at least half a dozen distributors and record labels, sometimes by as much as a year. In June, SoundExchange filed another lawsuit against Napster over accusations of $3.4 million in unpaid royalties.

According to Sony’s new lawsuit on Friday, Napster has failed to pay royalties to the company for over a year. By March, Sony says Napster had racked up an unpaid royalty balance of $6,787,466 across four different licensing deals.

When Napster inked the Infinite Reality acquisition deal in March, the terms of Sony’s licensing agreement gave the music giant the right to terminate its licensing agreement with Napster entirely. But the company’s lawyers say Sony waived that right in exchange for a promise by Napster to finally pay the outstanding royalty balance.

According to Sony, Napster never did so — and on June 23, the label terminated the licensing deal, meaning the streaming service no longer had any legal right to play the company’s catalog. But the lawsuit says Napster never actually removed the music from its platform and is now simply committing wholesale copyright infringement.

“Despite the termination of all of defendants’ licenses to use any of Sony Music works, defendants have continued to use and exploit SME sound recordings and music videos,” the company’s lawyers wrote. “Sony Music has identified a sample of hundreds of sound recordings and music videos that were available through Napster.”

Friday’s case is very obviously not the first copyright battle for Napster. Shortly after Shawn Fanning and Sean Parker’s pioneering service took the country by storm in 1999, it was facing infringement lawsuits from various heavy-hitters, including Metallica, Dr. Dre and the RIAA. Those cases were quickly successful: a federal judge issued an injunction in 2001, effectively forcing Napster to shut down.

The following year, Bertelsmann announced that it would acquire the service and turn it into a licensed listening platform, but a bankruptcy judge later blocked the sale. In the years since, the Napster name has been bought by a series of owners: first by Roxio, then by Best Buy, and finally in 2011 by Rhapsody, an early music streaming service, which rebranded itself as Napster in 2016.

The lawsuit from Sony did not say how much it was seeking in damages. But under U.S. law, copyright owners can seek as much as $150,000 for every work infringed, meaning damages can quickly add up when hundreds or thousands of songs are in dispute.

A spokesperson for Napster did not immediately return a request for comment on Monday (Aug. 4).

Perhaps Daniel Lurie put it best. “What you have all brought to our city over the last week, and here, tonight,” started the San Francisco mayor to tens of thousands of Deadheads as he introduced Dead & Company on Saturday night in Golden Gate Park, “you’ve brought joy, you’ve brought energy, you’ve brought love – it’s just what San Francisco needed.”

Six decades since the Grateful Dead’s debut, Deadheads have become as much a part of the City by The Bay’s fabric as sourdough bread and cable cars. But Dead & Company’s three-night Golden Gate Park run celebrating 60 years of Grateful Dead music wasn’t just what San Francisco needed – it was a necessary and overdue opportunity for Deadheads to congregate in the city with which the Dead is forever linked. Because while Dead & Company’s 48 shows at Las Vegas’ Sphere over the last year and change have been a technological marvel – not to mention big business, with close to $200 million grossed, according to Billboard Boxscore – they’ve still deviated from the large-scale, often outdoors shows that have defined the Dead and its various offshoots for decades.

“There’s nothing like a Grateful Dead show,” one popular Deadhead refrain, reprinted on official event merch for these shows, goes – and that proved particularly true in Golden Gate Park this weekend. Plenty has changed since the Dead, living in the nearby Haight-Ashbury neighborhood in the late ‘60s, staged frequent pop-up shows throughout the park; back then, they didn’t have delay towers or massive video screens, much less Grasslands, the designated cannabis marketplace and consumption area at this weekend’s Another Planet Entertainment-produced event. But even so, the three-show run by Dead & Company – the performing outfit featuring Grateful Dead founding members Bobby Weir and Mickey Hart, joined by singer-guitarist John Mayer, bassist Oteil Burbridge, keyboardist Jeff Chimenti and drummer Jay Lane – felt like a cosmic realignment, an affirmation of the continued significance of the Dead’s roots to Weir, Hart and the broader Grateful Dead tribe.

At Golden Gate Park, that scene swelled. For most of its touring career since its 2015 formation, Dead & Company frequented stadiums, amphitheaters and arenas, which in turn relegated Shakedown Street, the traveling marketplace of merchants that follows the Dead from city to city, to those facilities’ soulless parking lots. In San Francisco, Shakedown was given prime real estate on the John F. Kennedy Promenade that runs through Golden Gate Park, with fans taking in the bazaar’s sights and sounds as they strolled the forest-lined road en route to the event gates.

Inside, the multi-generational crowd united old-timers, who may well have been at some of the Dead’s first Golden Gate Park gigs decades ago with kids and young adults catching live Grateful Dead music for the first time. And promoter Another Planet Entertainment, which will stage its Outside Lands festival at the same site Aug. 8-10, smartly integrated the Dead into every aspect of its infrastructure – from devoted space for Participation Row, the assortment of non-profits and charitable organizations it hosts at many of its shows, to selling Garcia Hand Picked, the cannabis line that bears Jerry Garcia’s name, and Dogfish Head’s new Grateful Dead Juicy Pale Ale (it always seemed to be out).

(For the second straight year, Outside Lands has secured permits for shows surrounding Outside Lands on the calendar that use its infrastructure; Zach Bryan plays Aug. 15, and considering the level of care the promoter exhibited with Dead & Company, it seems likely these APE-promoted Golden Gate Park concerts will continue.)

The weekend’s billing also reflected the Dead’s broad and ever-widening influence. While the Dead often played with openers, even late in its career, Dead & Company has generally eschewed support acts – but at Golden Gate Park, Billy Strings, Sturgill Simpson (under his Johnny Blue Skies moniker) and Trey Anastasio Band kicked off the music on Friday, Saturday and Sunday, respectively. Each reflected different threads of the Dead’s eclectic musical tapestry: Strings, the bluegrass, folk and psychedelic music that defined Garcia in the ‘60s; Simpson, the ripping country-rock that was became the Dead’s bread and butter in the ‘70s; and with Phish frontman Trey Anastasio, the loose, soulful side-project energy of the Jerry Garcia Band.

Each opener brought a no-nonsense attitude to his set – “We got 75 minutes, I’m not gonna waste another second of it talking,” Simpson told the audience as he took the stage on Saturday – efficiently running through what amounted to greatest-hits sets from their respective catalogs. And plenty of the Deadheads in attendance seemed to fall in love with each in real-time, from Strings busting out the Garcia-favored traditional tune “Shady Grove” to Simpson weaving in snippets of Rage Against the Machine’s “Bulls on Parade” and Procol Harum’s “A Whiter Shade of Pale” during his full-throttle set.

Anastasio provided the most poignant moment during the weekend’s opening sets. “I saw my first Dead show in 1981 at the New Haven Coliseum,” Anastasio said, “and fell in love with all of it. But I want to, at this moment, do a particularly heartfelt shoutout to Mr. Jerry Garcia, who we’re all here to celebrate. I look out at this crowd, and this guy came along, and here we all are all these years later.

“Wherever you are, standing up on your moon or whatever, Jerry, thank you for everything you gave us — it’s incomprehensible, the amount of joy,” Anastasio continued, before launching into a sublime and affecting rendition of “Mission in the Rain,” a song off Garcia’s third solo album and a Jerry Garcia Band staple.

But while the openers generated tremendous interest – despite music starting in the 4:00 p.m. hour each day, the grounds were packed when Strings, Sturgill and Anastasio began playing – it paled in comparison to the energy when Dead & Company took the stage. At first, the band didn’t quite reciprocate, as it shook off its non-Sphere-show cobwebs and adjusted to an outdoor gig with a larger audience and a drastically different audio-visual format. But by the time it closed its first set Friday with a rollicking version of Johnny Cash’s “Big River” and the fan favorite “Althea,” it had started to lock in; in the second set, “Playing in the Band” melted into a deep, dense jam that verged on jazz fusion as it segued into the mystical prog of Weir’s “Estimated Prophet.”

Grahame Lesh — the son of late Grateful Dead founding bassist Phil Lesh, who died in 2024 — joined Dead & Company on Mission Control, a classic Phil bass, for “Playing,” and returned to the stage with the band on both Saturday and Sunday for songs where his father played a particularly significant role. (Grahame also hosted the “Heart of Town” after-shows at San Francisco’s Pier 48 over the weekend, which featured a who’s who of esteemed players from the jam-band world.) The representation of Lesh made the absence of Grateful Dead founding member Bill Kreutzmann – who co-founded Dead & Company and played with it until 2022, and who, other than Weir and Hart, is the only surviving founding member of the Dead – that much more noticeable; “What an incredible gift that we can still all come together, even if we can’t all be there in person, for this special anniversary,” Kreutzmann wrote in a social media post thanking Deadheads on Monday.

With its wide-ranging impact, the Dead could have had any number of guests perform with it in Golden Gate Park. But by only inviting Lesh, and each of the show’s openers, to the stage, it acted with an admirable selectiveness and intentionality that elevated these sit-ins beyond the slapdash affairs such appearances at concerts often become. Each opener’s appearance with Dead & Company – Strings for Garcia’s stirring ballad “Wharf Rat,” Simpson for the apocalyptic folk of “Morning Dew,” Anastasio for the soaring pairing of “Scarlet Begonias” and “Fire on the Mountain” – was a standout moment from its respective show, and a bucket-list-level happening for the jam-band fans in attendance. Strings, who normally shreds on acoustic guitar, switched to electric for a towering “Wharf Rat” performance, while Simpson pushed “Morning Dew” in subtly exploratory directions – and elicited some of Weir’s sharpest rhythm guitar of the weekend.

And Anastasio, who filled Garcia’s lead guitar role when Weir, Hart, Lesh and Kreutzmann played five 50th anniversary shows together in 2015, helped Dead & Company take “Scarlet” > “Fire” to new heights to begin the band’s second set on the run’s final night. The Phish frontman’s improvisation pushed Mayer’s own soloing in unusual ways for a sterling rendition of the classic combo that honored its history while building on it.

Because while Dead & Company is the most popular purveyor of Grateful Dead music today, it’s more than (as some detractors like to call it) a “Grateful Dead cover band.” Mayer can deliver rousing renditions of classic Dead rockers like “Bertha” and “Deal” with one hand behind his back, but he’s at his best – often feeding off the keyboardist, Chimenti – when the band taps into the types of jazzy, psychedelic pockets that it did on “Playing,” or on Saturday’s second-set opening sequence of “Uncle John’s Band,” “Help On The Way,” “Slipknot!” and “Franklin’s Tower.” Meanwhile, Hart’s immersive experiments for the nightly “Drums” > “Space” late-show interlude continue to evolve, and Weir consistently brings a wizened worldliness to late-era Garcia ballads like “Standing on the Moon.”

But at this point, how Dead & Company plays isn’t what makes a weekend like this August’s in Golden Gate Park possible – it’s the strength of the Dead’s unparalleled songbook, and the passion of the Deadhead community.

As far as what any of this means for the future of Weir and Hart, or the future of Dead & Company, or the future of the Grateful Dead’s music in general, the question remains open. In 2023, Dead & Company embarked on its final tour, and has accordingly stayed off the road, only playing Sphere and these three Golden Gate Park shows. But the appetite for live Grateful Dead music is seemingly as high as it has ever been – just ask any of the fans at Golden Gate Park who were attending their first Dead show this weekend. The 77-year-old Weir seems uninterested in hanging it up – “What great musician ever retires?” he posed to Billboard in December – and even when the day eventually arrives where he’s off the road, there’s a rising cadre of Gen X and Millennial musicians, among them Mayer, Simpson and Strings, who are prepared to carry the music forward, should they want to.

But this weekend, Weir reiterated to fans that they can still expect plenty more from him. During a set break on Saturday, pre-recorded videos played, featuring interview clips of Weir, Hart, Kreutzmann, Lesh and Garcia talking about the Dead’s origins, community and influence. Weir, sitting in a lotus pose with a guitar perched next to him, explained his wishes for this monumental 60th anniversary: “What do I hope for the 60th? Add another 10 years. I got nothing better to do.”

Legions of Deadheads feel exactly the same way. 

Cardi B and Stefon Diggs are still going strong. After being hit with rumors of a possible split, the rapper and NFL star put those claims to rest with a raunchy exchange on Instagram over the weekend.

Ahead of her gig hosting WWE’s SummerSlam, Cardi posted a photo to IG on Aug. 1 showing off her new Liem Homme outfit.

Diggs hopped into the comments section with a series of tongue emojis. “* snifffs BBL,” he wrote. The comment went viral on social media, compiling more than 31,000 likes as of press time.

Cardi flirted back at her man: “@stefondiggs that’s how I got you stuck.”

The exchange played into a false rumor that had previously picked up steam on social media, which allegedly found Diggs saying that Cardi’s BBL “smelled bad.” That doesn’t seem to be the case, as the couple had some fun with the misleading claims.

According to Complex, the Grammy-winning rapper addressed the bogus claims in an X Spaces. “First of all, I don’t know who made that up. But b—h, that’s you,” she said. “That’s on you, b—h. That could never be me… B—h, I was a f—king stripper, you had to smell good all the time … I was raised by women.”

Cardi B was unbothered and in her glory while hosting WWE’s SummerSlam at MetLife Stadium on Saturday night (Aug. 2). The Bronx native stepped to the ring with a hard-hitting theme song that could land on her Am I the Drama? sophomore album, which is slated to arrive on Sept. 19.

Diggs and Cardi B have been dating since the early part of 2025. They confirmed their relationship when appearing courtside at a New York Knicks game in May.