Atlanta duo Homixide Gang have unleashed their long-awaited album Homixide Lifestyle 2.
Out now via Opium/Interscope Records (Aug. 1), the 25-track project expands on Meechie and Beno!’s signature rage-rap chaos while carving out a sharper and more sonically evolved identity. The album includes collaborations with fellow Opium labelmates Ken Carson (“PB&J”) and Destroy Lonely (“Shopping Bags”), as well as features from Homixide Mali on “Sober” and R5 Homixide on “GVNGANATI.”
The project is stacked with high-profile producers, including Pi’erre Bourne, ATL Jacob, Maaly Raw, Section 8, Wakeup F1LTHY, DJ Moon, and Bugz Ronin. Bourne produced the fan-favorite single “Free Agents,” which has already garnered over 1 million YouTube views, and co-produced “VICE CITY,” which arrived alongside a new music video on Friday. The video dropped at 1 p.m. ET and continues the duo’s hyper-stylized visual world.
Other early standouts include the explosive “5G,” which samples Smashing Pumpkins’ 1993 alternative rock hit “Cherub Rock” and morphs it into a distorted, high-tempo track driven by escalating tension and an aggressive drop. Tracks like “WATCH OUT!,” “CALL ON ME” and “VILLAIN” double down on their unfiltered, frenetic energy, while moments like “SOUL-FLY” and “JOHNNY CAGE” pull from darker Southern hip-hop textures to mark a new era of sonic experimentation for the duo.
The release of Homixide Lifestyle 2 follows a steady build over the past year. In 2024, Homixide Gang dropped the I5U5WE5 project, which included collaborations with Lil Yachty (“SIDE EFFExT”) and standout tracks like “R50” and “HI-VOLTAGE.”
They also completed a sold-out run of five shows in China — performing in 1,500-capacity venues as some of the first Opium-signed artists to tour the country — and capped off the year with appearances at Rolling Loud Miami and ComplexCon.
The new album arrives after months of teases, with Homixide Gang previewing unreleased tracks at major festivals including Rolling Loud California and Summer Smash Festival in Chicago.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-01 07:09:232025-08-01 07:09:23Homixide Gang Return With 25-Track Album ‘Homixide Lifestyle 2’: Stream It Now
Australian surf-rockers Skegss are back in the triple j studio, putting their own fuzzed-out spin on Sheryl Crow’s 1996 hit “If It Makes You Happy” for the latest installment ofLike A Version.
The Byron Bay trio reimagined the alt-country classic through their signature laidback lens, dialing up the distortion while keeping the song’s emotional core intact. The cover arrives hot on the heels of their recent Australian headline tour, with the band riding high on fan momentum after wrapping their winter run of shows.
Skegss frontman Ben Reed shared the inspiration behind the cover, pointing to a mix of nostalgia and admiration. “I like her lyrics, she always seems to have fun, comical lyrics,” he said during the studio session. “She’s got that country-esque storytelling, she paints a good picture, but has a lot of fun with it… She’s a real clever lyricist.”
While brainstorming cover options proved tricky — especially following their memorable 2019 Like A Version debut with Pixies’ “Here Comes Your Man” — Reed recalled his sisters playing “If It Makes You Happy” on repeat in the early 2000s. After jamming the song once in rehearsal, the band knew they had their pick.
In addition to the Sheryl Crow tribute, Skegss also performed their original track “Ain’t for the Faint” live in-studio, bringing their infectious energy to the new cut.
First released in 1996 as the lead single from Crow’s self-titled sophomore album, “If It Makes You Happy” became one of the singer’s signature songs, peaking at No. 10 on the Billboard Hot 100 and winning Best Female Rock Vocal Performance at the 1997 Grammy Awards.
Skegss’ cover adds a raw, sun-drenched twist to the song’s alt-rock roots, earning praise from fans who flooded triple j’s YouTube comments calling it “an instant classic” and “exactly what Like A Version was made for.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-01 05:24:572025-08-01 05:24:57Skegss Cover Sheryl Crow’s ‘If It Makes You Happy’ for ‘Like A Version’
After a strategic hiatus in 2024, the South Australia-based Harvest Rock Festival is back this October with support from the state government and an expanded vision.
Harvest Rock Festival will return to Adelaide in October 2025 following a one-year break, organisers confirmed on Thursday (Aug. 1), marking a strategic continuation of the city’s efforts to position itself as a premier destination for culturally-driven, multi-day music events.
Set for Oct. 25–26, the two-day event will once again be staged at Murlawirrapurka and Ityamai-Itpina / Rymill and King Rodney Parks in the Adelaide CBD. The 2025 edition is presented by Secret Sounds—one of Australia’s leading festival and touring companies—alongside Kicks Entertainment and Live Nation, in collaboration with the South Australian Government via the South Australian Tourism Commission (SATC).
Organisers are framing the festival’s return as a significant cultural and economic driver, with Tourism Minister Zoe Bettison stating that Harvest Rock has already contributed AU$34.5 million across its 2022 and 2023 editions.
“Held in 2022 and 2023, Harvest Rock has contributed a combined $34.5 million to the State’s economy. We continue to see the impact major events like this deliver to our economy, while reinforcing our State’s reputation as the ultimate destination for bucket-list events – whether you are a sports fan, art lover, foodie, or just enjoy a good festival,” Bettison said in a statement.
In addition to attracting international headliners—such as Jack White, Beck, Jamiroquai, Sam Fender, and The Black Crowes in past years—the festival has doubled as a platform for South Australian culinary and creative exports, combining live music with wine, food, and art experiences designed to appeal to both local and interstate visitors.
Harvest Rock Festival Director Ryan Sabet described the 2025 edition as part of a long-term strategy to integrate large-scale live entertainment with regional cultural capital. “We’re thrilled to see Harvest Rock return to its Adelaide home to deliver a festival that brings global stadium-sized artists to South Australia, while also championing the region’s world-class food, wine and culture for interstate guests. Harvest Rock not only drives tourism and benefits local businesses, but offers a unique festival experience for all ages across the local community and beyond.”
Only one act—Adelaide rock duo Teenage Joans—has been announced so far, with the full lineup due to drop on Aug. 12. Pre-sale tickets open Aug. 19, with general onsale following Aug. 20.
Since its 2022 debut, Harvest Rock has positioned itself as a key player in the mid-size boutique festival market, offering a city-based alternative to Australia’s increasingly competitive national festival circuit.
Harvest Rock’s return comes amid a volatile year for Australia’s live music sector, with multiple national festivals cancelling or scaling back operations due to rising costs, insurance pressures, and post-pandemic market fatigue. Its 2025 re-entry—backed by government funding and a proven tourism yield—positions it as one of the few boutique events with both brand momentum and institutional support heading into the next financial year.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-01 05:04:402025-08-01 05:04:40Australia’s Harvest Rock Festival to Return to Adelaide in 2025 After Hiatus
Reneé Rapp isn’t holding anything back on her new album Bite Me, released today (Aug. 1) via Interscope.
On her new album, the Sex Lives of College Girls alum leaves behind the heartbreak ballads of Snow Angel and leans full tilt into raucous pop rebellion. Over 12 tracks and 33 minutes, Rapp trades vulnerability for attitude, letting her inner chaos take the wheel as she sings about sex, fame, parties, and the power dynamics that come with them.
The album reunites her with Snow Angel executive producer Alexander 23, and brings in heavyweight collaborators including Omer Fedi, Ryan Tedder, Julian Bunetta, and Carter Lang. Together, they craft a sound that draws from ’90s alt-rock, early 2000s pop-punk, and glammy synth-pop — all while centering Rapp’s unfiltered voice.
Lead single “Leave Me Alone” set the tone back in May, combining punchy guitars with lyrical confrontation. Follow-ups “Mad” and “Why Is She Still Here?” further fueled anticipation, with Rapp balancing aggression and playfulness across themes of obsession, resentment and messy intimacy.
The project also features her real-life partner, Towa Bird, on the disco-tinged standout “At Least I’m Hot,” where the two flirt over a funky guitar line in one of the album’s lighter moments.
In a recent AP interview, Rapp said of the album, “I wanted to love this. I wanted to be able to walk away from this and be so proud of myself and impressed, no matter what anybody else thought.”
“That intention, and also wanting to prove it to myself, was really grueling,” Rapp told The Associated Press. “And also really fun.”
While Snow Angel dealt in emotional fallout, Bite Me thrives in the aftermath — messy, unbothered, and unapologetically loud. From the snarling opener “I Can’t Have You Around Me” to the closing piano ballad “That’s So Funny,” Rapp makes it clear she’s not interested in being palatable.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-01 04:21:382025-08-01 04:21:38Reneé Rapp Unleashes Riotous Second Album ‘Bite Me’: Stream It Now
Crowded House are heading back on the road in Australia this October and November, but this time, fans can expect something a little more intimate.
The legendary band have announced their Australia Tour 2025 – Pop Up Shows, a rare run of performances in smaller venues that will bring their catalogue of iconic songs to fans up close.
Trading arenas for atmospheric theatres and halls, the tour will visit Cairns, Townsville, Brisbane, Sydney, Melbourne, Byron Bay, and Hobart.
Presented by Live Nation and Triple M, the limited-capacity run kicks off Oct. 8 at Cairns Convention Centre and wraps Nov. 26 at Hobart’s MyState Bank Arena.
Tickets will be available through multiple presales, including the Private Universe Artist presale (Aug. 5 at 12 p.m. to Aug. 7 at 12 p.m.), a CommBank Yello Mastercard presale (Aug. 5–7), a Crowded House Mailing List presale (Aug. 7–8), and a Live Nation presale (Aug. 7–8). General public onsale begins Friday, Aug. 8 at 2 p.m. via livenation.com.au.
The tour follows the band’s sold-out 2024 run in support of their eighth studio album Gravity Stairs, and marks another chapter in a storied career spanning nearly four decades. Crowded House have sold more than 15 million records globally, with their self-titled 1986 debut spawning classics like “Don’t Dream It’s Over” and “Something So Strong.” The band has received 13 ARIA Awards, a Brit Award, and an MTV VMA, and has been streamed billions of times.
Fronted by Neil Finn and co-founder Nick Seymour, the band’s current lineup came together in 2020 and released Dreamers Are Waiting in 2021. Finn’s 2018 stint with Fleetwood Mac introduced him to a new generation of fans before returning to lead Crowded House into a new era.
Crowded House Australia Tour 2025 – Pop Up Shows:
Oct. 8 — Cairns Convention Centre, Cairns Oct. 9 — Townsville Entertainment & Convention Centre, Townsville Oct. 14 — Fortitude Music Hall, Brisbane Oct. 22 — State Theatre, Sydney Oct. 29 — Palais Theatre, Melbourne Nov. 18 — The Green Room, Byron Bay Nov. 26 — MyState Bank Arena, Hobart
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He also echoed Tyler, the Creator’s sentiments about wanting people to dance again without the pressure of being perceived behind screens. “PUT THE PHONES DOWN TOO!!!!! DANCE AGAIN!! PARTY AGAIN!! HAVE FUN AGAIN!!!!” Metro wrote on X on Wednesday (July 30).
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The Atlanta-bred hitmaker has been busy this year helming tracks on other artists’ Billboard 200-topping albums, including The Weeknd’s Hurry Up Tomorrow, Playboi Carti’s MUSIC and JACKBOYS’ second album. He also made a small cameo during the nightclub scene in The Weeknd’s first feature film that shares the same name of his latest album.
A Futuristic Summa arrives one year after Metro and Future’s chart-topping LPs We Don’t Trust You and We Still Don’t Trust You. The former scored a Grammy nod for best rap album, while the title track for the latter, featuring The Weeknd, earned a nomination for best melodic rap performance. “Like That” with Kendrick Lamar from We Don’t Trust You was also nominated for best rap song and best rap performance.
Listen to Metro Boomin’s A Futuristic Summa below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-01 04:08:512025-08-01 04:08:51Metro Boomin Turns Up the Temperature With ‘A Futuristic Summa’ Mixtape: Stream It Now
Saweetie Summer is in full effect with her new EP Hella Pressure out Friday (Aug. 1) via Warner Records.
The five-track project includes the J White Did It-produced single “Boffum” and four new tracks: “Pressure,” “Twinz,” “I Need Some Inspo” and “Superstars” with the K-pop girl group TWICE.
“They say pressure makes diamonds. Baby, I was born one. The name is Diamonté for a reason,” she said in a press release. “The pressure never crushed me. It crowned me.”
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The rapper kicked off her debut headlining Australian tour on Wednesday (July 30) in Perth, which continues with shows in Brisbane tonight and Melbourne tomorrow night before wrapping in Sydney on Monday, Aug. 4.
Hella Pressure serves as an appetizer to the Grammy-nominated Bay Area MC’s long-awaited, much-delayed debut album Pretty Bitch Music, which she told Billboardin February is “coming this year. I feel like it will really encompass who I’ve grown into over these past couple of years. Lots of stories to tell.” She explained the delay in her Allure cover story last year. “To me, music is sacred. It’s coming from your spirit. You can’t just go finish an album in a week. That’s why it’s taking me so long,” the Icy Girl said at the time.
Prior to the release of Hella Pressure, Saweetie released a handful of singles and collaborations this year, including “Cuttin Up” with OHGEESY, “That Girl” with Paul Russell, “Locos” with Santa Fe Klan and “Shake It Fast.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-01 04:08:502025-08-01 04:08:50Saweetie Applies ‘Hella Pressure’ With Her New EP: Stream It Now
Demi Lovato is back in the mainstream music game, with the star’s first pop song in three years, “Fast,” released today (Aug. 1).
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Over a club-ready, EDM-tinged beat, Lovato returns to the form of past Billboard Hot 100 hits such as “Cool for the Summer” and “Really Don’t Care” on “Fast,” singing, “I wanna go fast/ I wanna go hard/ I wanna go anywhere, anywhere you are.”
The track arrives after weeks of the musician teasing a return to pop music years after holding a “funeral” for her songs in the genre. Since 2022, Lovato has strictly released rock music, starting with 2022 album Holy Fvck and followed by Revamped, a compilation of the musician’s past pop hits reimagined as rock anthems.
According to a recent report from Rolling Stone, “Fast” is just the precursor for a full album of new pop music Lovato is preparing. The publication says that the vocalist is readying a “celebratory dance-pop” album informed by the singer’s romance with husband Jordan “Jutes” Lutes.
The publication also spoke to their producer on the upcoming project, Zhone, who said, “This album is about letting inhibitions go, and we had so much fun making this music!”
To promote her pop homecoming, Lovato also recently revisited another important piece of the past: The Bigg Chill, a.k.a. the frozen yogurt shop the Camp Rock alum previously visited in 2021 and made headlines for slamming as “toxic” because of its calorie-count displays. The singer apologized for slamming the store at the time, but now amends have truly been made with Lovato posting a video of their dessert run and writing, “love you bigg chill.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-01 04:01:232025-08-01 04:01:23Demi Lovato Makes ‘Fast’ Return to Pop Music With New Single: Stream It Now
TWICE are officially bringing their <THIS IS FOR> world tour to Australia this November, with four arena shows locked in for Sydney and Melbourne.
The newly announced Australian leg will kick off at Sydney’s Qudos Bank Arena with back-to-back shows on Nov. 1 and 2, before heading south to Rod Laver Arena in Melbourne for two more nights on Nov. 8 and 9. All shows will feature 360-degree staging, designed to immerse fans from every angle — a key part of the group’s new tour production concept.
Presented by JYP Entertainment and promoted by Live Nation, the Australian dates are part of TWICE’s sixth world tour, which launched in South Korea last month following the July 11 release of their fourth full-length album, THIS IS FOR. The nine-member K-pop group are also set to headline Lollapalooza Chicago on Aug. 2 as they continue to expand their global reach.
Presale tickets for the Australian shows will be available to My Live Nation members beginning Thursday, Aug. 7 at 10 a.m. local time. General public tickets will go on sale Friday, Aug. 8 at 11 a.m. via livenation.com.au.
The <THIS IS FOR> tour follows TWICE’s record-setting <READY TO BE> world tour, which wrapped in 2024 after playing to more than 1.5 million fans across 51 shows in 27 cities. The group’s global influence continues to rise, recently becoming the first foreign female act to perform at Japan’s Nissan Stadium and the first K-pop girl group to headline stadiums in North America, including SoFi Stadium and MetLife Stadium.
Formed in 2015 under JYP Entertainment, TWICE have become one of K-pop’s most successful acts, with over 20 million cumulative album sales across Korea and Japan. They’ve landed on the Billboard 200 and Hot 100, earned multiple RIAA Gold certifications, and received the “Breakthrough Award” at the 2023 Billboard Women in Music Awards.
TWICE <THIS IS FOR> Australia Tour Dates 2025:
Nov. 1 — Qudos Bank Arena, Sydney Nov. 2 — Qudos Bank Arena, Sydney Nov. 8 — Rod Laver Arena, Melbourne Nov. 9 — Rod Laver Arena, Melbourne
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Universal Music Group (UMG) reported strong streaming and publishing growth on Thursday (July 31), with total revenue reaching 2.98 billion euros ($3.38 billion), up 4.5% in constant currency (which excludes losses from foreign currency changes). That was less than half the first quarter’s growth rate of 9.5%, and some parts of UMG’s business — namely physical music and merchandise — didn’t compare well to the prior-year quarter.
Here are some key takeaways from UMG’s second quarter earnings release and a conference call with executives.
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Streaming Growth Hit the Target
Streaming growth is the financial metric that tends to attract the most attention in earnings results, and for good reason. Streaming accounted for about 70% of UMG’s recorded music revenue in the second quarter, and subscription revenue is the single most important determinant of the health of the music business.
UMG’s recorded music division maintained strong subscription growth of 8.5% (in constant currency) in the second quarter, well within its target 8% to 10% range and comparable to the 9.3% growth rate in the first quarter (also in constant currency). The 8.5% growth also compares well to 2024’s quarterly subscription growth rates of, in order, 12.5%, 6.9%, 8.2% and 9.0% (all in constant currency).
It’s important to note that UMG’s subscription results don’t reflect its latest licensing deals with Spotify and Amazon, COO Boyd Muir said during UMG’s earnings call on Thursday (July 31), which allow UMG to influence price increases through its setting of wholesale rates. In the second quarter, growth came mostly from an increase in the number of subscribers, while price increases played a smaller role, according to Muir.
Ad-supported streaming revenue improved 9.1% in constant currency, although as reported (which takes foreign exchange into account), the quarterly numbers haven’t improved much recently. From broadcast radio to satellite radio and streaming, advertising revenues have disappointed in recent quarters. Spotify said as much on Tuesday (July 29): “We’ve simply been moving too slowly,” CEO Daniel Ek said of Spotify’s advertising business during the company’s earnings call.
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UMG’s publishing division doesn’t break out subscription revenue, but its digital revenue, which includes all streaming income, jumped 16.2% to 351 million euros ($398 million) and accounted for 62% of total publishing revenue.
Foreign exchange made the numbers look worse
UMG’s total revenue in the second quarter grew 4.5% in constant currency but just 1.6% as reported. Billboard’s article on UMG’s earnings went to lengths to differentiate between “as reported” and “in constant currency” results. That’s because looking only at numbers as reported would give the reader a warped sense of UMG’s performance. By converting results to constant currency, UMG removed the effects of a weakened U.S. dollar.
Thanks to the uncertainties created by President Trump’s tariff policies and Trump’s criticism of the U.S. Federal Reserve, it’s been a rough year for the dollar. In 2025, the euro has lost 9.3% of its value against the dollar and was once down 12.3%. Those changes add nuance to financial results for companies such as UMG, which reports in euros and receives a large portion of its business from the U.S.
Still, while a 4.5% growth rate beats 1.6%, it was less than half the 9.5% growth in the previous quarter and the 9.6% growth in the second quarter of 2024.
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Superfan products are delayed, but they’re coming
Labels want to target superfans, but other than Tencent Music Entertainment, streaming services have yet to launch tiers aimed at those high-value customers. Alex Norström, Spotify’s chief business officer, explained the wait on Tuesday when he mentioned the “very high value standards” Spotify has for new products. “We’re making progress for sure, but it’s taking time,” he said.
The topic also came up during UMG’s earnings call, and executives provided a similar message. “Getting the product right is more important to us than launching it too early,” said CEO Lucian Grainge, while Michael Nash, executive vp of digital strategy, said that UMG is “encouraged” by its conversations with streaming services and “deeply engaged with all of our key partners, including Spotify.” But each company is going to move at its own pace. “These partners have product roadmaps and business development requirements around execution, which impact their timing,” Nash added.
Superfan tiers have become a hot topic because they could be a boost for both streaming services and rights holders. UMG’s internal research suggests that 20% of subscribers would upgrade to a superfan tier. And short of constant price increases for all customers, using superfan tiers to generate more revenue from a subset of subscribers is a feasible way to support the revenue growth that companies and investors want to see.
UMG’s Downtown acquisition “will pass” the European Commission review
Grainge sounded confident that UMG’s acquisition of Downtown Music Holdings will receive a green light from European Commission regulators, who are currently reviewing the deal. The way Grainge and UMG see it, UMG’s bid for Downtown is fundamentally different from its 2012 acquisition of EMI Music’s recorded music division, which reduced the number of major label groups from four to three. “Because the combined company will help support the growth and success of independent labels, and there are artists everywhere in what is a very highly competitive artist services space with more than 100 companies, we remain confident that the transaction will pass that review and will be completed before the end of the year,” Grainge said.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-08-01 03:01:272025-08-01 03:01:27Universal Music Group’s Q2 2025 Earnings: What You Should Know
