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Embrace the laid-back summer vibe with a classic pair of jean shorts. Whether you’re hitting the beach or lounging in your backyard, these versatile shorts are must-have for every occasion. From high waisted shorts to mid-rise jean shorts, there is something for everyone.

If you’re seeking comfort and style, this is a perfect go-to choice. Get ready to stay chic and comfortable all summer long. Scroll down to select your favorites and level up your wardrobe with the perfect pair of short jeans.

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For those looking for an affordable yet comfortable and stylish option, consider these Mini Jean Shorts from Walmart. With its butt-lifting design, these shorts not only enhance your curves but also provide a comfortable fit for all-day wear.

Change up your denim shorts style with these Sidefeel Highwasted Stretchy Summer Shorts. These shorts feature a button-fly design, making them stylish and easy to pair with anything.

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For those looking for a high-rise fitted jean shorts, consider these Levi’s shorts from Target. These are perfect for relaxing weekend or running errands anytime anywhere. It comes in all sizes and colors, varying from black to different shades of blue.

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The first week of July has been lit up with firework displays and, as usual, a shimmering batch of new music releases from several different artists.

Leading the charge is Zach Bryan, whose highly anticipated new album The Great American Bar Scene dropped Thursday (July 4), fittingly timed for the United States’ most patriotic day of pub drinking. The rootsy, 19-track effort features collaborations with Bruce Springsteen and John Mayer as well as previously released singles “Pink Skies,” “Purple Gas,” “Better Days” and “Memphis; The Blues” feat. John Moreland.

Also taking advantage of the Independence Day theme is Kesha, who aptly dropped her first song as an independent artist — as in, free from her contract with Dr. Luke’s Kemosabe Records — on the Fourth. “Joyride” — a topsy-turvy, summer-ready dance track — finds the California native embracing the signature sound that made her a star in the late 2000s.

The week was also marked by a couple all-star collaborations, with Lana Del Rey and Quavo releasing their much-teased duet “Tough” — along with a dreamy music video — and Eminem hyping fans up for his fast-approaching new album The Death of Slim Shady by teaming up with Big Sean and BabyTron on “Tobey.” Plus, Morgan Wallen shared new single “Lies Lies Lies” to commemorate the one-year anniversary of his record One Thing at a Time, while Childish Gambino dropped “Lithonia” ahead of his upcoming final album, Bando Stone & the New World, which arrives July 19.

Whether you reside in the Land of the Free or elsewhere, you have the right to vote for your favorite piece of new music released this week. Tell us your pick by casting your ballot below.

Glastonbury Festival took place at Worthy Farm in Somerset in South West England this past weekend (June 28-30), headlined by Dua Lipa, Coldplay and SZA. The festival is inarguably the pinnacle of the U.K.’s festival season as 200,000 fans head to the British countryside for a varied lineup. SEVENTEEN, Burna Boy, Camila Cabello, Avril Lavigne and Shania Twain all performed on the bill, alongside emerging names like The Last Dinner Party, Kneecap, English Teacher and more.

Talk has already turned to next year’s edition. Festival boss Emily Eavis has confirmed that she’s already in conversation with artists for next year’s lineup, and that they’ll take their traditional fallow year in 2026. These are the acts that are potentially in contention to headline the 2025 edition.

Oasis

Talk of the Gallagher brothers reuniting is now a fixture in the chatter around potential headliners. The group – helmed by brothers Noel and Liam – headlined once (in 2004) prior to their acrimonious split in 2009, though there’s a sense of unfinished business. Both have performed at the festival in recent years: Noel warmed up the crowd for Paul McCartney before his epic 2022 slot, while Liam took a similar slot in 2019. This summer, Liam embarked on a sold-out U.K. tour for the 30th anniversary of Oasis’ debut album, Definitely Maybe. The pair recently denied a report that suggested shows were imminent, but it’s the rumor that just won’t go away.

Taylor Swift

Similarly, it feels as if Taylor Swift is at some point destined to headline the Pyramid Stage. Swift was due to take top billing in 2020 alongside Paul McCartney and Kendrick Lamar before COVID put touring on hold. Post-pandemic, Swift returned with her blockbuster The Eras Tour. Given that the festival’s fees are famously low, and that the Eras run concludes in December 2024, a return could be tricky to negotiate.

Harry Styles

It’s perhaps a shock to learn that Harry Styles hasn’t topped the bill for Glastonbury yet. His former band One Direction never got the invite and, as it stands, the 30-year-old has yet to perform at Worthy Farm. That could change, though: a new album is reportedly in production, his first since 2022’s Billboard 200-topping Harry’s House. There were rumors he would make an appearance during Shania Twain’s Legends slot in 2024, but perhaps he’s holding out for next year….

Sam Fender

For the past decade, opportunities for British artists to ascend to headliner status at Glastonbury have been slim. If there’s a queue forming, however, Sam Fender would be at the front of it. The Newcastle-born musician’s second album Seventeen Going Under went to No. 1 on the U.K.’s Official Album Charts, and last summer he played a huge show at St. James Park, his home city’s soccer stadium. In 2022, he played before headliner Billie Eilish on the Pyramid Stage. With album three due later this year, this could be the moment.

Raye

Similarly, only a handful of women – Florence + The Machine, Adele, Billie Eilish, Dua Lipa and SZA – have headlined the festival in recent history, something Eavis is keen to rectify. Raye is a perfect option. The British artist had a global hit in 2023 with “Escapism,” feat. 070 Shake, which landed at No. 22 on the Billboard Hot 100 — and she scooped up a record-breaking six Brit Awards in February 2024. She headlined her first festival at BBC Radio 1’s Big Weekend in May and the trajectory suggests Glasto could be next.

Madonna

Madonna was heavily rumored to take the Sunday headline slot in 2024 until negotiations reportedly broke down over a performance fee. The Celebration Tour – which grossed a remarkable $225.4 million, per Billboard Boxscore – wrapped in May 2024, but a show out of her touring cycle may be more manageable and achievable.

Rihanna

The Barbadian star has also flirted with a performance at the festival and has been heavily rumored in the past. In 2023, it was reported that she had to withdraw from the lineup due to the impending birth of her second child with husband A$AP Rocky. There were more whispers earlier this year, but with new music seemingly further away from what Navy stans would like to imagine, perhaps 2025 is more likely.

Olivia Rodrigo

The “Drivers License” singer is currently in the midst of her GUTS World Tour, which wraps in Australia this October. It would be a quick turnaround to get back on the road for June 2025 with a new record, but given how successful her last Glastonbury appearance was in 2022, she may well fancy heading back to Worthy Farm sooner rather than later.

Dave

U.K. rap has enjoyed considerable success at the festival in recent years. In 2019, Stormzy became the first from the scene to headline the festival. That same year, Dave went viral when he brought up audience member ‘Alex from Glasto’ for a scene-stealing appearance on the mic. The U.K. artist has enjoyed considerable commercial and critical success with his two records (2019’s Psychodrama and 2021’s We’re All Alone In This Together), and his joint single “Sprinter” with Central Cee is the longest-running rap No. 1 on the U.K. Singles Chart. If a third album materializes before next summer, consider him a shoo-in.

Fred again..

By the time 2025’s edition rolls around, an electronic act will not have headlined the Pyramid Stage for two decades, stretching back to Basement Jaxx’s slot in 2005. Whether that’s through a lack of viable acts or reluctance from the festival, Fred again..’s popularity suggests a clear path to bring dance music back to the main stage. His 2023 set on The Other Stage drew one of the festival’s biggest ever crowds and his secret sets at the 2024 edition caused areas to be shut down hours in advance. He headlined Coachella’s second weekend with Skrillex and Four Tet in 2023 and performed a solo set at Los Angeles’ 77,500-capacity Coliseum last month, suggesting he’s more than up for the challenge.

Benson Boone has become the latest male pop star to enter the scene, and to celebrate his recent success, Billboard is diving into his musical journey in the latest installment of Billboard Explains.

The Monroe, Wash., native discovered his love for music when his friend asked him to join their group for a Battle of the Bands competition. He went on to audition for American Idol, where he received a standing ovation from the judges.

However, he ultimately decided to drop out of the competition to pursue his music career and signed to Imagine Dragons’ lead singer Dan Reynolds’ label, Night Street Records.

On the Billboard charts, Boone debuted at No. 33 on the Emerging Artists chart in October 2021. His first Hot 100 track, “Ghost Town,” entered the chart at No. 100.

His biggest hit to date is “Beautiful Things,” which went viral on TikTok and debuted at No. 15 on the Hot 100, and later peaked at No. 2. It topped the Streaming Songs chart and the Pop Airplay chart.

Check out Benson Boone’s full musical journey in the clip above.

After the video, catch up on more Billboard Explains videos and learn about Stray Kids’ chart success, Peso Pluma and the Mexican music boom, the role record labels play, origins of hip-hop, how Beyoncé arrived at Renaissance, the evolution of girl groups, BBMAs, NFTs, SXSW, the magic of boy bands, American Music Awards, the Billboard Latin Music Awards, the Hot 100 chart, how R&B/hip-hop became the biggest genre in the U.S., how festivals book their lineups, Billie Eilish’s formula for success, the history of rap battles, nonbinary awareness in music, the Billboard Music Awards, the Free Britney movement, rise of K-pop in the U.S., why Taylor Swift is re-recording her first six albums, the boom of hit all-female collaborations, how Grammy nominees and winners are chosen, why songwriters are selling their publishing catalogs, how the Super Bowl halftime show is booked and more.

There’s not many Ukrainian Jewish people walking around Brooklyn that can be taken seriously when it comes to carving out a legitimate rap career.

Your Old Droog — Droog means close friend in Russian — has repeatedly defied the odds to get to this point a decade into his career as an independent artist, which finds him still dishing out boom-bap raps and catering to a lane that’s a dying breed as far as mainstream hip-hop goes.

Do a quick Google search for Droog (born Dmitry Kutsenko) interviews, and you’ll notice there aren’t many since he made waves on the scene about a decade ago — when rap fans ran with a conspiracy theory he was actually Nas undercover.

The early days of preumss caused him to lose faith in the media — but he’s willing to give it another shot in support of his latest alb Movie, which arrived on June 21.

“I got tired of journalists twisting my words,” he tells Billboard. “I got PTSD from early on in my career where you think you’re having a good conversation with somebody and the article comes out, ‘Your Old Droog is still not Nas!’”

Growing up, whenever Droog would see a supernatural stunt in a film, his parents would reply in Russian, “Movie!” He bottled that energy up to get his Martin Scorsese on and direct his own blockbuster with this album.

The 35-year-old has compiled quite the Rolodex of collaborators over his career, as he connects on this album with producers like king of the underground Madlib, Conductor Williams and the legendary Roc-A-Fella orchestrator Just Blaze. Yasiin Bey and Method Man also pop up as special guests for lyrical sparring sessions throughout the 47-minute expedition.

Check out our interview below with Your Old Droog, as he speaks on his definition of success, working with Madlib and the idea of celebrity in America.

Who are some of your favorite storytellers — whether they be directors, rappers?

Scarface as far as rapping goes — Slick Rick. As far as movies go, Martin Scorsese, Quentin Tarantino, Brian De Palma — all the greats. A nobody could tell a great story. Just like an average person. 

How do you measure success for your album? What metrics are you using?

Personally, I try not to get too caught up in the metrics, because you could go crazy. Comparison is the thief of joy. I don’t think numbers always tell the full story. I am successful when I made the album, or even before I did. The definition of success — I was listening to a self-help thing, it’s the progressive realization of a worthy ideal. I think I’m doing that. 

Do you feel like you’re preserving an old-guard in rap and a part of rap that isn’t pushed in mainstream as much?

Not at all. I don’t think I’m championing an old sound or old aesthetic. I still rap the same way on the rap I grew up on. In that sense, maybe I’m preserving what I appreciate about hip-hop. What raised me. But I don’t set out to be like, “Yo, we’re bringing 2003 back!” When I came out they were calling me a “’90s revivalist.” I appreciate ’90s music, but I was a child. I wasn’t knee-deep into hip-hop yet. Early 2000s was more my era. 

Right — and the whole thing that came out saying you were Nas ghostwriting that EP.

You know journalists, they rehash talking points and it sounds cool. ’90s rap! Like I remember when Joey Bada$$ came out, the aesthetic was a little ’90s. I don’t think my aesthetic was ever ’90s. A lot of it has to do with maybe that’s one of the more recent times New York rap was at the forefront. The heyday and golden era so to speak. So that’s what people tend to point to. 

You said Kendrick Lamar being the top rapper gives you hope for storytelling lyricism. Seeing his run that he’s been on, does that inspire you?

It was a little complicated, because I’m trying to release music and dudes are dropping diss tracks back-to-back. So we gotta kinda wait this out, but those guys are heavyweights in the game so you gotta give them that respect. I think it’s good for the cultural, period, as long as it doesn’t spill out in the street. At the end of the day, these guys are using words and it’s good for lyricism. 

Kendrick Lamar being the biggest rapper in the game gives me hope for storytellers and #lyricism

— YOD (@YourOldDroog) June 22, 2024

How did you link up with Mos Def on “Care Free?” I loved [that] you said, “I got a free verse like Ye in ’03.” That was funny. 

I heard through a few people he was a fan of mine. We ended up meeting when he had a show at Brooklyn Steel a few years ago. We met and he was showing me love that I almost forgot to fan out myself. A business partner passed my number to him and I get this weird text from an international number and lo and behold it’s Yasiin. Just understanding my story and my side of Brooklyn and being Ukrainian, that’s something he appreciates. Just a great dude. 

How was working with Madlib and Conductor on this album if you could compare and contrast those experiences?

Both excellent producers. Madlib is a crazy legend and Conductor is still coming up. He’s killing it, but Madlib is near the father of this underground. They’re both similar and easy to work with. They understand what I should be lending vocals to. They understand my voice and my writing. There’s really not too much to talk about, since they know what to send over. 

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Working with Just Blaze harkens back to what we were talking about with the early 2000s era. 

Yeah, that’s the era I’m bringing back. [Laughs.] Just, I’ve known him for a while. I always wanted to rhyme over a Just Blaze beat. That’s something we did coming up. It’s something else to have a Just Blaze beat. He doesn’t really talk on records like that and he did the vocals on the interlude. 

On “Success & Power,” you said, “Don’t talk about Jews, that’s how Ye screwed up.” As a Jewish person, what’s your relationship with Ye’s music and has it changed?

I always had a love and hate. I didn’t love everything he did musically. Just to see him unravel in the public was really sad. To me, that was wordplay and a spin on his line. I like to have fun and not take myself too seriously, but I think there’s a lot of truth in that line too. He’s talented, but in recent years I guess I stopped caring [about his music]. I respect the line about the bleached a–hole. Musically, he’s a genius. 

You had an interview in skits on your album. I feel like you haven’t done much press for recent albums. Was that intentional? 

There came a point I realized I didn’t need to do press. If you get it you understand it and that’s fine. I had no hope in the journalistic profession as far as hip-hop. I don’t think there was a good landscape at the time. I was like, “I’m gonna make music for myself and my supporters.” There were writers that did it get it too, though. 

My favorite record that I related to was “Grandmother’s Lessons.” Talk about your relationship with your grandma.

If you go through my music, I always mention my grandmothers. That’s a different type of love, if you’re fortunate enough to experience it. That’s like a mother on steroids. When I wrote it, I wasn’t even thinking about who else might like it. It’s just a song that I needed to write. That was enough for me. To get the feedback that I’ve been receiving, people are hitting me up telling me they shed tears to that song or their grandma is alive and they’re appreciating her more. That’s probably the best feedback you could ask for. 

“Crescent Moon” has a ton of NBA references. Talk about your relationship with hoops growing up and meeting Dirk Nowitzki. 

That was dope. When he tells me “all the best,” I take it literally. That’s Dirk. He’s cool as hell. I’m a Dallas Mavericks fan. Growing up, you dream of doing it professionally until you realize you’re not good enough or you smoking too much weed and you can’t really play ball like that. Basketball is life for me. When the playoffs are on, I can barely do anything else. It’s a big part of my life. I rap about whatever I’m interested in. Something in the back of my mind — any trivia or any basketball player type of thing. My high school didn’t have a basketball team. We just smoked marijuana, cut class and things of that nature. 

How did you become a Dallas Mavericks fan? What did you think of the run to the NBA Finals this year? That was pretty special for it all to click. 

I told Dirk the same thing. It was 2006 in the Finals and I kinda thought they got jerked by the refs. Part of me wanted to see them comeback and win. It took five years for them to get back and I just stayed on the bandwagon after that. Nobody expected them to go this far [this season]. I can’t be as upset as I was in 2006. It’s a different type of feeling and a different team. I’m excited for the future. 

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Why did you sample that Jay-Z interview?

I feel like the placement of it was important because it’s right before “How Do You Do It?” That story that I tell on that song is so uniquely mind that I feel like nobody else could write it. That’s the sentiment I got from his quote. I want to do something that a Ukrainian Jewish immigrant could talk about.

Just trying to fit this mold — like preserving the value of something, but you don’t have to dress up a certain era. You could pay homage in the right way. It doesn’t have to be readily apparent to people. You don’t have to throw hoodies on and hang out with [Olde English] 40s. 

You’re not gonna get the jeans out with all the NBA teams on them. 

Nah, not even the Denver Nugget jeans on. My son got the drip. I grew up during that time. Usually when I see people paying [homage] to it, they’re nostalgic for an era they didn’t live in. I was around for that time. It wasn’t that great. Let’s move on.

I read your Variety interview and you were like, “How’d we go from having celebrities like Sammy Davis Jr. to Khloe Kardashian?” What do you think about the evolution of celebrity?

I don’t even know what it means anymore. Everybody’s a star. And I’m not s–tting on her. The dude could just be super poppin’. I didn’t know who Mr. Beast was. I think it was harder to be famous and you were famous for a real reason in those days. Sammy Davis Jr. is a legend. I think I watched a documentary and that stuck out in my mind. Following his work and talk show appearances, there’s never gonna be a person like that in American pop culture. Reality TV became a thing, I understand how things play out. 

Going off that within rap, I feel like the young generation’s stars aren’t as big compared to when we were growing up with Jay-Z, Eminem, Kanye West. Do you see that the same with the landscape of rap?

I think that goes back to the point I had about media. Certain things aren’t in place for there to be stars. No disrespect to the interviewers, I see flyers where the interviewer’s name is bigger than the artist and that doesn’t even make sense. These people are building their brands at the same time. You have journalists who want to be rappers. If the guy covering you wants to be famous, where does that leave you? They don’t have a stake in it. It’s a free-for-all.

What does it even mean to be a rap star these days? You saw what happened to Pop Smoke. People don’t want to see you do well, it’s sad. Do you even want to be a star on that level? Do you want what comes with that?

Jim Jones always says rappers have the most dangerous job in America. 

Dudes is hating on you before you even make it, so imagine when you are that guy. People are literally seething. 

What’s your advice for upcoming independent artists in how they can navigate the business?

Everybody’s not cut out to be an independent artist, but some of us are left with no choice. You gotta just go for it. You gotta release the music. You gotta be strategic too. You gotta understand where you’re at in your career, and where you’re tryna go. I think independent is the way to move. I work best without somebody standing over me telling me what to do. I got into this profession so I wouldn’t have to work, so I’m definitely not doing that. Maybe some people like being told what to do, but I don’t think you need to get in the music game [for that]. You could just go to McDonald’s.