Sydney genre-benders Shady Nasty have teamed up with electronic powerhouses Fred again.. and KETTAMA on their latest single, “Air Maxes.”

Released today (July 7) via Steel City Dance Discs, the collaboration finds the post-punk trio leaning into textured synths and ambient tension while staying true to their signature edge.

“Air Maxes” arrives in two distinct forms: the slow-burning, meditative “Air Maxes (Ambient)” and a pulsating, dancefloor-ready rework by Irish DJ/producer KETTAMA. The project also features additional production from Fred again.., whose influence on the global electronic scene has been impossible to ignore following his chart-topping Actual Life series and recent collaborations with artists like Skrillex and Romy.

After sharing the stage at HAZARD Festival in Sydney last January, Shady Nasty and KETTAMA jumped into a last-minute studio session where “Air Maxes” was born. The demo landed in the hands of Fred again.., who added his finesse to the final track.

On the track, Shady Nasty swap jagged guitars for ethereal synths and atmospheric production. Frontman Kevin Stathis delivers haunting lines like, “I need to be a doctor, not a popstar,” reflecting on themes of ambition, burnout, and the duality of real and imagined lives.

“‘Air Maxes’ is about losing sight of your ambition,” the band explained in a statement. “Grinding toward something with no clear finish line can leave you wondering what might’ve happened if you’d taken a different path. Sometimes you need to hop in the whip and smoke the streets out just to remember why you’re putting in the hours. And sometimes, you need your mates to remind you to keep your head screwed on.”

The new single arrives just months after the release of Shady Nasty’s long-awaited debut album, TREK, produced by Kim Moyes of The Presets. Trek also saw the group selling out shows across Sydney, Brisbane and Melbourne. Now, Shady Nasty are gearing up to take their live show on the road again, announcing a fresh run of dates in August and their first-ever headline shows in New Zealand this September.

Local support will come from Heaven, MyRapScene and more. Tickets are on sale now via shadynasty.online.

Shady Nasty 2025 Australia & New Zealand Tour Dates

Manchester’s Radar Festival is seeing a growing wave of artist withdrawals in the wake of Bob Vylan’s controversial Glastonbury performance and subsequent removal from the Manchester event’s lineup.

The latest act to announce their exit is Dublin metalcore band Hero In Error, who announced on Instagram that they would no longer perform at the independent event, set to run through July 6 at Manchester’s O2 Victoria Warehouse. “We will not be performing at Radar Festival this weekend,” they began in a statement.

“After speaking with Radar’s organisers, it’s clear they’re facing the same pressures that many de-platformed artists are currently experiencing. They are good people, and it’s evident they stand for progressive ideals.”

They continued, “Both they and the artists being targeted are caught in a wider effort to deflect attention from the reality of what’s happening. We respect the work Radar has done, but we believe that stepping back from this year’s event is the right decision at this time.”

Their departure follows similar moves from The Scratch and ĠENN, who also withdrew over the weekend in protest of Bob Vylan’s removal. Meanwhile, The Scratch shared their own message with fans, explaining their decision to withdraw as an act of solidarity.

“The censorship and de-platforming of artists speaking out against the ongoing genocide in Gaza is greasy, dangerous and must be challenged,” they wrote. “To be clear, this decision is not a criticism of Radar Festival. We understand it was an incredibly difficult and complex situation. This is about showing solidarity with Bob Vylan and any artist who may face similar treatment in the future.”

They continued, “Shadowy government influence and wealthy lobbying groups should not be allowed to dictate who is given a platform and what can be said on it. This situation will only worsen unless we, as artists, support one another and take action.”

ĠENN echoed a similar sentiment, citing concerns about “bullying, censorship, and strong-arming” directed at Bob Vylan and Radar Festival.

“As a minority on pretty much every line-up, and with a relatively modest platform, we considered whether we could use our physical presence to speak against the bullying, censorship, and strong-arming demonstrated towards the likes of both Bob Vylan and Radar,” the band said. “For our safety and sanity, we’ve made the final decision to pull out from performing at Radar this weekend.”

“Our fight should not be focused on the policing of those who are trying to spread awareness within their means. This is a distraction from a wider picture. Pressure needs to be placed on those who are instigating the censorship of a genocide happening in real time.”

Bob Vylan were pulled from Radar earlier this week after leading chants of “death to the IDF” during their Glastonbury set on June 28. The duo also criticised the BBC, the U.S. and U.K. governments, and more, sparking widespread backlash. Glastonbury organisers said the chants “crossed a line,” calling it “anti-Semitism, hate speech or incitement to violence.”

In the days since, Bob Vylan have been dropped by their agency, lost multiple international festival slots, and had their U.S. visas revoked. The duo maintain that their remarks were not calling for harm to any group but rather “the dismantling of a violent military machine.”

Radar Festival organiser Catherine Jackson-Smith has been vocal about the pressure placed on the event, saying it was “categorically one of the most horrendous professional discussions I’ve ever had” to remove Bob Vylan. “I cannot express clearly enough that I wanted Bob Vylan to perform at our festival,” she told the Two Promoters One Pod podcast but revealed the decision was made to avoid jeopardising the festival’s entire Saturday program.

Meanwhile, Massive Attack and other artists including Amyl and The Sniffers and Soft Play have publicly supported Bob Vylan, urging the media to focus on “what is happening daily to the people of Gaza” rather than silencing artists who speak out.

Radar Festival has yet to confirm a replacement for Bob Vylan’s headline slot.

On July 5 and 6, BLACKPINK launched their Deadline World Tour with a solo concert held at the Goyang Sports Complex.

Marking their first full-group performance in 2 years and 8 months, this show was more than just a comeback—it was the beginning of a brand new chapter in their history. As the first K-pop girl group to perform solo at the Goyang Main Stadium, the concert set a new milestone.

This tour reaffirmed why BLACKPINK is widely regarded as K-pop legends. Kicking off with “Kill This Love,” the concert was filled with explosive energy from start to finish.

The highlight of the night was the live premiere of their brand-new track “Jump,” which sent tens of thousands of fans into a frenzy. The powerful sound and choreography underscored how BLACKPINK’s musical world continues to evolve.

Each of the four members has spent the past years honing their skills through solo activities in the global market, and they brought that growth to the stage with individual performances that showcased their unique styles and artistry.

What made this concert even more meaningful was the members’ direct involvement in every aspect of production—from stage design to choreography, sets, and props—creating an experience that felt deeply personal and authentic to fans. The show encapsulated BLACKPINK’s musical journey so far, while also hinting at the exciting future ahead.

Joining the group on stage were world-class band sessions and dancers who have worked with global pop icons like Lady Gaga and Ariana Grande, enhancing the performance with dynamic and fresh energy.

Supported by a top-tier creative team from Korea and beyond, the show struck a perfect balance between cutting-edge production and emotional resonance, transforming it from a concert into a true cultural experience.

And this is only the beginning. With 31 shows planned across 16 cities around the world, the DEADLINE tour marks the start of BLACKPINK’s next era. Expectations are already sky-high—and once again, BLACKPINK is poised to raise the bar for what K-pop can be on the global stage.

‘블랙핑크 인 유어 에리어!’ 블랙핑크가 돌아왔다. 월드투어 ‘DEADLINE’ 고양에서 성대한 개막

지난 7월 5일과 6일, 블랙핑크는 고양종합운동장에서 단독 콘서트 ‘BLACKPINK WORLD TOUR DEADLINE IN GOYANG’을 열고, 2년 8개월 만의 전 세계 팬들과의 새로운 여정을 시작했다. K-팝 걸그룹 최초로 고양종합운동장 주경기장에 입성한 이번 공연은, 단순한 컴백이 아닌 새로운 K-POP 역사의 첫 장이었다.

이번 투어는 블랙핑크가 왜 ‘K-팝 레전드’로 불리는지를 다시금 입증한 자리였다. 첫 곡 ‘Kill This Love’를 시작으로, 무대는 압도적인 에너지로 채워졌으며, 공연의 하이라이트는 단연 이번 콘서트에서 처음 공개된 신곡 “Jump”였다. 이 곡은 무대를 찾은 수만 명의 팬들을 열광시켰고, 블랙핑크의 음악 세계가 여전히 진화 중임을 강하게 각인시켰다.

네 멤버는 각자 개인 활동을 통해 글로벌 시장에서 활약하며 역량을 끌어올렸고, 이번 콘서트에서 멤버별 솔로 무대를 선보이며 각자의 개성과 음악성을 녹여냈다. 특히 무대 연출, 세트, 안무, 소품에 이르기까지 멤버들이 직접 제작에 참여해 더욱 진정성 있는 무대를 완성했다는 점이 팬들에게 깊은 감동을 선사했다. 공연 전체는 블랙핑크의 음악 여정을 집약한 동시에, 그들이 앞으로 보여줄 미래를 암시하는 무대로 꾸려졌다.

이번 공연에는 레이디 가가, 아리아나 그란데 등 글로벌 팝스타와 함께 작업한 최정상급 밴드 세션과 댄서들이 합류해 역동적이면서도 신선한 퍼포먼스를 완성시켰다. 국내외 최정상의 스태프가 참여한 무대는 기술과 감성이 조화를 이루며, 단순한 공연을 넘어 하나의 문화적 경험으로 자리매김했다.

이제 시작일 뿐이다. 고양을 출발점으로 전 세계 16개 도시에서 31회차 공연이 예정된 DEADLINE 투어는, 블랙핑크가 펼쳐나갈 ‘새로운 시대의 이야기’를 예고하고 있다. 팬들의 기대는 이미 최고조에 달했으며, 블랙핑크는 그 기대를 넘어서는 무대로 또 한 번 K-팝의 기준을 다시 쓰고 있다.

The KPop Demon Hunters soundtrack surges 8-3 in its second week on the Billboard 200 albums chart (dated July 12), becoming the highest-charting soundtrack of 2025. Previously among soundtracks in 2025, Wicked reached a No. 4 high in January, after debuting and peaking at No. 2 in December 2024.

Further, KPop Demon Hunters becomes the highest-charting soundtrack to an animated film since Encanto spent nine weeks at No. 1 in 2022.

KPop Demon Hunters premiered on June 20 on Netflix alongside its soundtrack. In the tracking week ending June 29, KPop Demon Hunters jumped 6-2 in its second week on Netflix’s Top 10 Movies in United States chart.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 12, 2025-dated chart will be posted in full on Billboard‘s website on July 8.

In the tracking week ending July 3, the KPop Demon Hunters album earned 62,000 equivalent album units (up 97%), according to Luminate. Of that sum, SEA units comprise 56,000 (up 108%, equaling 77.42 million on-demand official streams of the set’s songs — it jumps 10-2 on Top Streaming Albums), album sales comprise 4,500 (up 31%, it’s pushed down 18-22 on Top Album Sales) and TEA units comprise 1,500 (up 24%).

The set’s haul of 77.42 million streams for its songs is the largest streaming week for a soundtrack in nearly two years — since the Barbie soundtrack claimed 79.32 million on the Aug. 19, 2023-dated chart (its third week on the chart).

Lana Del Rey‘s gone from singing “Diet Pepsi” in her car to on her stage at Wembley Stadium — inviting opener Addison Rae back out to perform alongside her at her July 3-4 London concerts.

Lana took verse one of Addison’s single — with its lyrics about her ripped blue jeans, cherry red lips and body that’s “a work of art you’d die to see,” all of which wouldn’t sound out of place in the earlier years of LDR’s own discography — and Addison joined in on the “untouched, XO, young lust, let’s go” pre-chorus, with the two vocalists coming together on the hook: “When we drive in your car, I’m your baby/ Losing all my innocence in the backseat/ Say you love, say you love, say you love me/ Losing all my innocence in the backsеat.”

“Sooo good!!” Lana herself commented on a video of their duet that had been posted by a fan on Instagram after the London gigs.

The pair also sang Lana’s new ditty “57.5,” an earworm she’d debuted at Stagecoach that walks the line between owning her brand of fame and finding the humor in just how many millions of fellow melancholic music lovers must be out there — with a nod for country fans to catch. (Watch a clip captured by the same Wembley concertgoer on Instagram here.)

“I still talk to Jesus, yes/ But I still call up psychics when I need advice/ I still fly commercial/ You need an autograph? S—, I don’t mind/ If you want the secret to success, I suggest showing up in a Ross dress,” she sings in verse one, referencing the time she told red carpet correspondents she bought her Grammys dress at the mall, before launching into a campy, catchy chorus: “I got 57.5 million listeners on Spotify/ Roger Miller made ’em laugh/ I guess some folks still like to cry/ I ain’t got a man, but maybe one of them is a fan of mine/ In that 57.5 million listeners on Spotify.”

“@honeymoon I will never forget this,” Addison wrote in an Instagram post recapping her momentous weekend sharing the stage with Lana. “Thank you so much to the most beautiful divine woman, heart, soul, mind… Lana. I am the happiest and luckiest girl on earth. Being next to you is spiritual.” Ladybug, infinity and bouquet emojis were used in Lana’s honor.

“Thank you @honeymoon. You are forever,” she added in another post from London, topping off this comment with a swan emoji.

Before announcing Addison as an opening act or or heading overseas for tour, Lana uploaded an Instagram Story that captured the sweet reaction she’d had upon vibing to “Diet Pepsi” while driving her car, hand over her mouth and eyes tearing up.

“Diet Pepsi” was released as the first single from Addison’s eponymous debut album, Addison, and was the influencer-turned-pop newcomer’s first to chart on the Billboard Hot 100, in fall 2024. By the time of Addison‘s the album’s release last month, the set saw a No. 4 launch on Billboard 200.

Addison Rae was among a trio of opening acts announced just ahead of Lana Del Rey’s U.K. and Ireland stadium run, a short stint of five shows. While the “Headphones On” singer got the gig with Lana in London, London Grammar performed in Cardiff and BANKS joined the tour in Glasgow, Liverpool and Dublin.

It’s a wrap for Lana’s tour, leaving fans to now await the unveiling of her 10th studio album, formerly known as Lasso and The Right Person Will Stay at different points of time. Its original release date was delayed to an as-yet-unknown date, and the project’s current working title has not been publicly confirmed, but fans have so far heard the songs “Henry, Come On” and “Bluebird,” both available on streaming services — as well as live renditions of “Stars Fell on Alabama,” “Quiet in the South” and the aforementioned “57.5,” all assumed album tracks.

Addison has her debut headlining tour to look forward to, with dates across select cities in Europe, North America and Australia spanning August through November.