Some jackets feel like fashion. Others feel like milestones. Jeff Hamilton’s NBA All-Star Weekend creation is both.

Hamilton isn’t just a designer. He’s a cultural historian, a storyteller and a longtime ambassador for basketball style. From Michael Jordan to Kobe Bryant, to Drake and Fat Joe, his jackets have always been more than apparel: They’re trophies, moments frozen in leather and thread.

This 3-Point Contest jacket leans into Hamilton’s signature approach. The Los Angeles skyline stretches across the back, honoring the All-Star stage, while subtle nods to “the 3” and the concept of the assist are embroidered with painstaking detail. Every stitch is handmade, carrying the slight imperfections that make Hamilton’s work feel alive. “I want people to understand the full process… from point A to point B,” Hamilton explains. “There’s beauty in imperfection… Human touch can’t be replaced. That feeling—that slight difference in a stitch, that’s what makes it real.”

The color scheme pays tribute to State Farm’s branding, but Hamilton balances that with his own artistic vision. Inside, a limited-edition plaque explains the inspiration behind the jacket, so whether Lillard wears it on stage, frames it in his trophy room, or simply admires it, the story is clear: This isn’t just a jacket — it’s a celebration of skill, legacy and culture.

Hamilton sees the parallels between basketball and music, two forces that have shaped global style.

“Basketball became the engine of culture. Michael Jordan is the No. 1 ambassador. Streetwear went global because of the NBA. Allen Iverson pushed streetwear so far the league had to change the dress code. Culture is power.”

For Damian Lillard, winning the contest three times places him among legends like Larry Bird. For Hamilton, the jacket represents decades of devotion, authenticity and artistry distilled into a wearable trophy.

The timing couldn’t be more intentional. Hamilton isn’t chasing trends — he’s creating moments, and this piece cements his place in basketball history while honoring the champion who earned it.

So where does that leave us?

For me, the Jeff Hamilton NBA 3-Point Contest jacket is a Flex. Not because it’s limited, not because it’s a one-of-one, but because it’s intentional, meaningful and unmistakably iconic. Every detail, from the skyline to the plaque, to the handmade stitches, tells a story worth wearing, framing and remembering.

Now it’s your call: Flex, Trade or Fade?

Flex: You love it and would wear it.

Trade: You’d buy it to resell or trade for something else.

Fade: Not your style at all.

Lana Del Rey is still cooking up her next album, Stove, but on Tuesday (Feb. 17), she gave fans a little taste by serving up single “White Feather Hawk Tail Deer Hunter.”

Cowritten with her husband, Jeremy Dufrene — whom she married in September 2024 — the whimsical track finds the singer gushing over her love and devotion for her partner in a slightly eerie way. “I know you wish you had a man like him, it’s such a bummer/ When I met him, like an arrow, like a bird in the heart, like a sparrow,” she sings over teetering strings. “We’re a match, he’s just in my bone marrow.”

“And I wanted to know if I could use your stove/ To cook somethin’ up for you ’cause you are,” she continues. “Positively voodoo, everything that you do/ Did you know exactly how magical you are?”

The creation of “White Feather Hawk Tail Deer Hunter” was a family affair overall, with Del Rey’s sister Chuck Grant and brother-in-law Jason Pickens also collaborating on its lyrics. Jack Antonoff, the alt-pop hitmaker’s frequent collaborator, produced and helped compose the track.

When she first announced that she’d be releasing the song earlier in February, Del Rey called it her “favorite” song from Stove. “This is the one I’ve been waiting for,” she added at the time, noting that she thinks the long awaited album will be ready to drop in about three months.

The new album era has been a long time coming for Del Rey, who first announced in January 2024 at the Billboard x NMPA Songwriter Awards that she was working on a country record. Its lead single, “Henry, Come On,” arrived in April 2025, back when the project’s working title was The Right Person Will Stay. She later postponed the album and renamed it Stove.

The vocalist last dropped an album in 2023, with that year’s Did You Know That There’s a Tunnel Under Ocean Blvd reaching No. 3 on the Billboard 200.

Listen to “White Feather Hawk Tail Deer Hunter” below.

The Backstreet Boys are headed back to Las Vegas’ Sphere for another six-pack of shows in their Into the Millennium residency run. The Live Nation-promoted summer dates will find Nick Carter, Howie Dorough, AJ McLean, Kevin Richardson and Brian Littrell taking the stage a the immersive Sin City venue again on July 16, 17, 18, 23, 24 and 25.

BSB launched their residency at the Sphere last July as the first pop act to headline the group and, according to a release announcing the new gigs, have played to more than 575,000 fans over 35 sold-out dates so far. The show paying homage to their 1999 Millennium album has found fans showing up in all-white outfits in homage to that LP’s iconic cover.

Tickets for the newly added dates will first be available through the BSB Fan Club pre-sale beginning on Feb. 24 at 9 a.m. PT, followed by an artist pre-sale starting at 9 a.m. PT on Feb. 25; fans can sign up for the artist pre-sale here now through Sunday (Feb. 22) at 10 p.m. PT. No codes are needed for the artist pre-sale, with access tied to the user’s Ticketmaster account. A general on-sale will kick off on Feb. 27 at 9 a.m. PT here.

An immersive fan activation one, BSB Terminal, will also return to the Venetian Resort in Las Vegas in conjunction with the new dates. The airport-themed activation recently won a Clio Music Award Silver in recognition of excellence in music marketing and fan engagement.

The boy band will next take the stage at the Bottle Rock Festival in Napa, Calif. on May 24 before their Vegas return, which will be followed by a 10-show run at Merkur Spiel-Arena in Dusseldorf, Germany in September and early October.

Jelly Roll recently took home a trio of Grammys for his music, including his best contemporary country album-winning project Beautifully Broken and best country duo/group performance for his Shaboozey collab “Amen,” but he will soon earn another accolade — this time for his devotion to humanitarian causes.

The Country Radio Broadcasters announced that Jelly Roll will be the recipient of this year’s artist humanitarian award, which will be presented during the 2026 Country Radio Seminar, set for March 18-20 in Nashville.

Jelly Roll — who has notched notching eight Billboard Country Airplay No. 1 hits and a Billboard 200 No. 1 debut with his album Beautifully Broken — has been devoted to giving back and helping causes around addiction recovery and mental health.

The artist humanitarian award was established in 1990 and honors country artists whose philanthropic efforts have improved the effectiveness and impact of the causes they support. Other artists previously recognized with the artist humanitarian award include Eric Church, Luke Combs, Carrie Underwood, Kane Brown and Kenny Chesney.

Jelly Roll, who himself spent time in a Nashville juvenile detention center as a youth before becoming an arena-headlining artist and multi-award winner, regularly visits jails and detention centers, speaking with inmates and delivering a message of hope and encouragement. He also previously teamed up with songwriter Ashley Gorley and the Onsite Foundation to develop the Creatives Support Network, which provides mental health resources to creatives in the songwriting community. In 2024, Jelly Roll also attended the groundbreaking ceremony for a new youth center in Nashville.

The country star previously helped close out Country Radio Seminar’s 2025 sessions, as a featured speaker alongside his fellow country hitmaker Eric Church.

It’s a decades-old conversation: When fans see a coach bus outside a concert venue, some of them are bound to wonder if the artist they’re planning to see that night is in there and, if so, what they’re doing. Increasingly, there’s a good bet they’re working with a couple of Nashville songwriters to create new material.

Thomas Rhett’s current collaboration with Jordan Davis, “Ain’t a Bad Life”? Written somewhere in the Dakotas. Jelly Roll’s “I Am Not Okay”? Penned while the bus was traveling on an interstate in the Carolinas. Lainey Wilson’s “Somewhere Over Laredo”? Finished on her bus in Montana with co-writers Dallas Wilson and Trannie Anderson after an initial start by Andy Albert.

“We will write songs anywhere,” Wilson says.

Artists co-write the majority of their own singles in modern country music. If songwriters want to get in on the action, the best way is to meet the artists in their natural habitat—and that means writing on the road.

“I would say 75% of my No. 1 songs have been written on the bus or on some sort of writing retreat,” notes Corey Crowder, who co-authored the current Nate Smith/Tyler Hubbard single, “After Midnight,” on Hubbard’s bus in 2023. “I’ve definitely had them where I wrote it in a writing room, but there’s something about not being on Music Row. There’s not really anything to do other than sit and write songs. And there’s something about watching somebody perform and then writing in that headspace.”

Hubbard’s duo, Florida Georgia Line, didn’t necessarily invent the idea of writing on tour, but they gave it a good jolt during the 2010s. They scheduled writing into their day on numerous trips, sometimes conducting two simultaneous writing sessions—one in the front room, the other in the back—on the same bus. It meant one less business item they had to wedge into their time at home after returning to Nashville following a weekend run.

“It certainly made life a bit easier when we compartmentalized and wrote songs while we were on tour instead of trying to do it only in town—especially as I started growing a family and having kids and needing to spend time with the family while I was in town,” Hubbard says. “It worked really well. And even now, it works great. You’ve got a lot of time to kill on the road, so we write songs and hang out.”

Hanging out is an extra benefit. Typically, when publishers book co-writes for their composers in Nashville, the appointment is focused on work. The writers may hit it off, but it also might be one of two or three writing sessions for the day. There’s not much time for bonding once the song is finished.

Not so on the bus, where they go through the mundane details of daily living in a road environment—sleeping in a bunk bed, acclimating to a new backstage area, grabbing a beer after the concert. Interactions in those settings create more of a shared experience.

“I’ve slept 500 nights in those beds,” says Ashley Gorley, whose road successes include “I Am Not Okay” and “You Should Be Here.” “It’s funny to think back about all those times, going out and trying to get to know artists.”

It’s not for everybody. Between soundcheck, meet-and-greets and scheduled meal times—not to mention unplanned hurdles or interviews to advance future tour dates—artists often encounter a lot of start-and-stop on the road. It’s further complicated by the rigors of traveling. Touring can be physically exhausting, and artists need to be in top shape when they hit the stage.

“It can be very draining,” says Dan + Shay vocalist Shay Mooney. “I don’t know how people do it, honestly. Songwriters, if they’re not performing that night, that’s probably a different thing. But I think when you’re the artist-writer, and you’ve got a show to put on that night, that takes precedent. It’s tough to do.”

One aspect that songwriters particularly appreciate is the change in scenery. Instead of a familiar writing room on Music Row, they get to see other parts of the country, different rooms and the vibe of an artist’s fan base.

“There’s something special about being able to play a show, see a reaction from an audience, take that energy, see what is connecting and try to channel that into a song,” George Birge says.

But, as one veteran songwriter puts it, the trend toward going out on tour with artists has made writing country songs even more of a “young man’s game.” As writers’ personal lives evolve—they get married, have babies, get up early to take the kids to school—the late nights and drinking associated with road life become less attractive.

Artists are “ready to rock ’n’ roll when they come off the stage,” songwriter Neil Thrasher says, noting that writing on tour has always been uncomfortable. “I’m ready to write the next day at noon, and they’re sleeping. So, I could never get anything going.”

Ultimately, the inconvenience is highly rewarding if it yields a hit, and plenty have emerged from the bus in the last decade or so, including Eric Church’s “Talladega,” Cole Swindell’s “Forever to Me,” Dustin Lynch’s “Hell of a Night,” Lady A’s “Bartender” and Old Dominion’s “Song for Another Time.”

In the end, going out for a weekend with an artist is a dance of compatibility. Hygiene, manners, personality traits, patience, respect for the band and crew, and passion all matter.

“You get invited out on the road by an artist based on [if] they feel comfortable with you,” says Anderson, who saw the road-finished “Somewhere Over Laredo” compete for a Grammy this year. “Do they want to give you a bunk and have you in their personal space? We’re really thankful that Lainey doesn’t mind us in her personal space.”