Lana Del Rey is giving fans an update on music from her long-delayed country album.

On Saturday (Feb. 7), the 40-year-old singer-songwriter took to social media to tease the title and release date of her “favorite” track from the upcoming project, Stove.

“I just wanted to make a little message and let you know that my new single, my favorite song [from the new album] — this is the one I’ve been waiting for,” Del Rey said in a video shared to her Instagram Story.

“’White Feather Hawk Tail Deer Hunter’ is coming out on the 17th,” she added, without specifying the month, though it’s presumably February.

The songstress noted that she worked on the track with producers Drew Erickson and Jack Antonoff, who “finally found that magical chord that I was missing.” The song was co-written with her husband, Jeremy Dufrene, her brother-in-law, and her sister Caroline “Chuck” Grant, with mixing handled by Dean Reid and Laura Sisk.

“There’s so many bits and phrases thrown in by other people,” Del Rey said in the black-and-white clip.

She also revealed that a music video for “White Feather Hawk Tail Deer Hunter” has already been made.

“We made the video, like just ourselves,” she said. “But still, it takes hours and hours of editing and downloading, uploading — all that.”

As for her upcoming 10th album, Del Rey suggested it could arrive in the next few months.

“I know, you’re asking about the record,” she said. “But honestly, soon. ‘Cause vinyl takes three months, so three months plus two weeks. It could be give or take a bit less than that.”

Del Rey first teased her country album in January 2024 at the Billboard x NMPA Songwriter Awards, announcing that it would be titled Lasso and set for a September 2024 release. “We’re going country!” she declared. “It’s happening.”

She released the album’s first single, “Henry, Come On,” in April 2025, at which point the set’s title had changed to The Right Person Will Stay. Originally scheduled for release in May, Del Rey postponed the set and later renamed the album Stove.

“They were more autobiographical than I thought, and that took more time,” she told W in August 2025, when the album was pushed to this year.

“The majority of the album will have a country flair. Eight years ago, when I was looking to make a country record, no one else was thinking about country. Now everyone is going country! I’ve asked myself, Should I retire all my snakeskin boots? Should I put my cowboy hats in storage?”

The Winter Olympics of Milano Cortina 2026 are the major event that perpetuates Milan’s renewed international momentum, which began more than a decade ago with Expo 2015. They are also a strategic opportunity for Italy in a geopolitical context where international relations are rapidly changing and are also at stake in symbolic events such as sporting ones, as well as in the host country’s ability to manage them at best.

This is why on Friday night (Feb. 6), all eyes were on the Opening Ceremony of Milano Cortina 2026, which took place across the various venues of this edition of the Games — Cortina d’Ampezzo, Predazzo and Livigno — but centered at Milan’s San Siro Stadium, with a three-and-a-half-hour megashow created by Balich Wonder Studio, specialized in the creative direction of major events and with extensive expertise in Olympic ceremonies.

The show revolved around the concept of harmony, as well as Italianness.

“The Opening Ceremony is not just an exercise in technology or spectacle,” Marco Balich stated before the event. “It is, above all, a story told through people and emotions. In a complex world, we want to convey a message of harmony, beauty, and peace that can speak to everyone.”

Among the highly anticipated musical guests were Mariah Carey, Laura Pausini and Andrea Bocelli. In addition, the evening’s musical component included the participation of over 500 musicians who composed the original soundtracks.

The schedule began in the afternoon at the iconic Teatro Alla Scala, home to the official Red Carpet. Many protagonists of past editions of the Olympics passed by, from American snowboarder Shaun White (three-time gold medalist) to Dutch figure skating champion Irene Schouten. Icons from a wide range of fields, from cinema to fashion, were also present: Jeff Goldblum, Donatella Versace, Stanley Tucci and Marisa Tomei.

The music artists are those who catch our attention. Sunghoon of ENHYPEN had already distinguished himself as a torchbearer. At the Scala Theatre, he’s dressed very elegant, in a black suit and white shirt.

“Both athletes and K-Pop artists have the goal to make the fans happy and enjoy the event,” he says, having practiced figure skating competitively for 10 years. “When I was an athlete, my dream was to participate in the Olympics. Being here as an artist feels different but I’m also very honored.”

Also making an almost unexpected appearance is Usher, who talks about relationship between music and sport. “Music and sports go hand in hand. Music, for example, is very important in figure skating. But for the most part, it ultimately gives the athletes a soundtrack that helps to compel and push through,” he says.

The Opening Ceremony of Milano Cortina 2026 begins at 8 p.m. sharp with choreographic performances: 70 dancers from the Academy of Teatro Alla Scala reinterpret the myth of Cupid and Psyche. The shades of white and the chiaroscuro of the clothes, which recall the art of the neoclassical sculptor Antonio Canova, are then transformed into an explosion of color accompanied by the music of Italian classical composers Giuseppe Verdi, Giacomo Puccini and Gioachino Rossini.

After a tribute to Italian creativity, it’s time for one of the evening’s stars, Mariah Carey. The diva, center stage and surrounded by dancers, sings a cover of Domenico Modugno’s classic “Nel Blu, Dipinto di Blu” (also commonly known as “Volare”), completely rearranged and enriched with her famous high notes. This is followed by a hit song from her repertoire, “Nothing Is Impossible.”

The President of the Italian Republic, Sergio Mattarella, and the President of the International Olympic Committee, Kirsty Coventry, take their seats in the grandstand. A heartfelt tribute to Giorgio Armani follows. The king of Italian fashion passed away last September. Models parade wearing his creations, colored in green, white, and red, like the national flag.

Then it’s time for another highly anticipated star, Laura Pausini. Under the Italian flag, the pop star sings the national anthem. The long parade of athletes follows (over an hour), from Greece (traditionally first) to Italy, the host country. The crowd boos as the Israeli flag passes by and applauds the Ukrainian team with vigor.

Then it’s time for the institutional speeches. Giovanni Malagò, President of the Milano Cortina Foundation, takes the floor first.

“I love my country, I love sports. I’ve never been as proud to be Italian as I am tonight,” he says. “To the athletes I say: this is your time. Your years of dedication, the courage to dream, the determination to push the boundaries… These Games belong to you. During a time in which the world is so divided by conflicts, your very presence demonstrates that another world is possible. Unity, respect, harmony.”

After him, Kirsty Coventry speaks, still addressing the athletes.
“Through you, we see the very best of ourselves,” she says. “You remind us that we can be brave, that we can be kind. When we see se an athlete stumble and find the strength to rise, we’re all reminded that we can do the same. When we see athletes embrace at the finish line, we’re reminded that we can choose respect. No matter where we come from, we all know this spirit.”

Also present at the San Siro Stadium is the actress Charlize Theron, Messenger of Peace of the United Nations, who reads a monologue inspired by a speech by Nelson Mandela. “Peace is not just the absence of conflict,” the actress says. “Peace is the creation of an environment where all can flourish, regardless of race, color, creed, religion, gender, class, caste or any other social markers of difference.”

The arrival of the Olympic flame at the San Siro Stadium is accompanied by the notes of another synonymous with Italianness, “Nessun dorma,” from Puccini’s opera “Turandot,” performed by the world-famous tenor Andrea Bocelli. The flame reaches the stage just as he reaches the highest note of the piece.

Immediately afterward, it’s the turn of rapper Ghali, perhaps the most controversial guest at the Opening Ceremony of Milano Cortina 2026 due to his pro-Palestine stance. He claims he was prevented from singing the national anthem and from speaking in Arabic. And the television broadcast never mentions him by name or features him in close-up.

Yet, in its simplicity, his performance is one of the most touching.

Accompanied by a white-clad dance troupe, Ghali recites in three languages (Italian, French and English) the poem “Promemoria” by Italian children’s writer Gianni Rodari, with its simple yet powerful message against conflicts: “There are things you should never do/ Neither by day nor by night/ Neither by sea nor by land/ For example, war.”

After the athletes’ official oaths, the Olympic Braziers get lit simultaneously in Milan and Cortina. The 2026 Winter Olympics officially begin.

This article originally appeared on Billboard Italy.

Swedish pop icon Robyn will return to Australia in November 2026 for her first run of headline shows in the country in fourteen years.

The tour marks Robyn’s first Australian performances since 2012, when she last visited the region during the Body Talk era, including an appearance at Parklife Festival. This time, the artist will play two arena shows: Sydney’s Qudos Bank Arena on Nov. 21 and Melbourne’s Rod Laver Arena on Nov. 24.

The Australian dates arrive as part of Robyn’s first major global tour since 2019 and coincide with the rollout of her forthcoming album Sexistential, due March 27. The record follows 2018’s Honey and represents her first full-length release in eight years.

Robyn recently previewed the project with singles “Talk To Me” and “Sexistential,” following earlier track “Dopamine.” In announcing the album last month, she described its emotional tone as a return inward after years of exploration. “It’s like a spaceship coming through the atmosphere at a really high speed and crash landing,” she said in a statement. “That’s how I felt — like I’d been searching too far out into space, and now I’m crashing back into myself.”

Known for pairing club-ready production with deeply introspective songwriting, Robyn’s influence on modern pop and electronic music has remained enduring. Her Body Talk trilogy (2010) helped redefine dance-pop in the 2010s, producing era-defining tracks including “Dancing On My Own,” “Call Your Girlfriend” and “Indestructible.” Though she has toured selectively in recent years, the upcoming run represents her largest slate of headline shows since before the pandemic.

The tour announcement follows news that Robyn will open select European dates for Harry Styles in Amsterdam later this year, further signaling an active new chapter in her career.

Tickets for the Australian shows will be available via multiple pre-sale windows. Mastercard cardholders can access pre-sale tickets beginning Feb. 11 at 10 a.m. local time, followed by a Live Nation Members pre-sale on Feb. 12 at 11 a.m. local time. General public tickets go on sale Feb. 13 at 12 p.m. local time.

Additional international tour dates across Europe and North America are expected to be announced.

Swedish pop icon Robyn will return to Australia in November 2026 for her first run of headline shows in the country in fourteen years.

The tour marks Robyn’s first Australian performances since 2012, when she last visited the region during the Body Talk era, including an appearance at Parklife Festival. This time, the artist will play two arena shows: Sydney’s Qudos Bank Arena on Nov. 21 and Melbourne’s Rod Laver Arena on Nov. 24.

The Australian dates arrive as part of Robyn’s first major global tour since 2019 and coincide with the rollout of her forthcoming album Sexistential, due March 27. The record follows 2018’s Honey and represents her first full-length release in eight years.

Robyn recently previewed the project with singles “Talk To Me” and “Sexistential,” following earlier track “Dopamine.” In announcing the album last month, she described its emotional tone as a return inward after years of exploration. “It’s like a spaceship coming through the atmosphere at a really high speed and crash landing,” she said in a statement. “That’s how I felt — like I’d been searching too far out into space, and now I’m crashing back into myself.”

Known for pairing club-ready production with deeply introspective songwriting, Robyn’s influence on modern pop and electronic music has remained enduring. Her Body Talk trilogy (2010) helped redefine dance-pop in the 2010s, producing era-defining tracks including “Dancing On My Own,” “Call Your Girlfriend” and “Indestructible.” Though she has toured selectively in recent years, the upcoming run represents her largest slate of headline shows since before the pandemic.

The tour announcement follows news that Robyn will open select European dates for Harry Styles in Amsterdam later this year, further signaling an active new chapter in her career.

Tickets for the Australian shows will be available via multiple pre-sale windows. Mastercard cardholders can access pre-sale tickets beginning Feb. 11 at 10 a.m. local time, followed by a Live Nation Members pre-sale on Feb. 12 at 11 a.m. local time. General public tickets go on sale Feb. 13 at 12 p.m. local time.

Additional international tour dates across Europe and North America are expected to be announced.

Bad Bunny is focused less on spectacle and more on feeling as he prepares to headline the Apple Music Super Bowl LX Halftime Show.

In a new interview with Access Hollywood’s Scott Evans, the global superstar, whose real name is Benito Antonio Martínez Ocasio, opened up about the mindset behind his highly anticipated halftime performance, reflecting on his journey from bagging groceries to one of the biggest stages in the world.

“I just want to be there,” Bad Bunny said when asked how he’s feeling in the final days before the show. “I’m just ready to do it. I want to feel it. I want people to watch it and enjoy it.”

Selecting the setlist for the halftime performance proved to be one of the biggest challenges. “That was tough,” he admitted. “Even for my shows on tour, it’s hard to pick 30 or 40 songs. So imagine for 30 minutes. It was very hard. The selection process was very intense.”

Rather than focusing on hits alone, Bad Bunny said he approached the show as a storytelling exercise. “I had a vision about the story, the mood, and the feelings that I want to put on that show,” he explained. “I want people to feel happiness and joy. I want to make people dance. I want to make them feel proud and think that everything is possible.”

The interview also revisited where Bad Bunny was just a decade ago. In 2016, he was working at a grocery store while making beats on the side — a reality he says still shapes his perspective.

“That’s true. I was working in a grocery store, making beats at the same time,” he said. “Broke, with a lot of dreams and goals. And now I’m still dreaming. I’m still enjoying this. I’m still doing this with the same passion and the same love as the first day, before I got popular or successful.”

When the call came confirming he would headline the Super Bowl halftime show, Bad Bunny said he was at the gym — and didn’t tell anyone right away. “Nobody,” he said when asked who he called first. “Not even my mom and dad. I always keep everything secret until I know it’s official.”

Fresh off the 2026 Grammy Awards, where he added three more trophies to his career total, Bad Bunny also shared a moment with Lady Gaga that stuck with him. “She said, ‘I love you,’” he recalled. “And I was like, ‘I love you too.’ I always get very emotional when I see her. I admire her a lot.”

As for what he hopes audiences take away once his time on stage ends, Bad Bunny kept it simple. “That I’m an honest artist. That I’m myself. That I don’t act to be anything that I’m not,” he said. “That I’m proud of who I am and where I come from. The music is universal. You can connect heart to heart with a song, even without lyrics.”

He added: “I’m just a normal guy that makes music.”

Bad Bunny will headline the Apple Music Super Bowl LX Halftime Show on Sunday, Feb. 8, during Super Bowl LX, airing on NBC and Peacock.

Just one day after a California legislator introduced a proposal that would cap concert ticket resale prices at 10% above face value, a New York lawmaker followed suit with an even stricter bill that aims to completely outlaw markups on the secondary market.

New York state senator James Skoufis proposed the ban as part of a Friday (Feb. 6) amendment to the Affordable Concert Act, an already-pending bill. Introduced in May 2025, the Affordable Concert Act would create licensing requirements for ticket resellers and outlaw speculative ticketing — the controversial practice of resellers listing tickets they don’t have yet.

First reported by The Hollywood Reporter, Skoufis’ Friday amendment to that bill would also make it illegal for brokers to resell tickets for New York live music events above face value, meaning secondary ticket prices would max out at the cost of the original ticket, plus fees from the primary ticketing source. Sporting event tickets are not covered by the proposed legislation.

“New Yorkers are sick and tired of the nightmarish process it takes to simply go see their favorite artist,” wrote Skoufis in a social media post Friday. “My bill, The Affordable Concert Act, caps all resale concert tickets at face value, among many other much-needed reforms. It’s time for state government to step up and protect fans.”

The New York amendment was brought up just one day after California state assemblyman Matt Haney introduced a spot bill (that is, an initial proposal still requiring more legal guidance) that would cap concert resale ticket prices in the Golden State at 10% above face value. Like New York, California already had a pending bill that aims to ban speculative ticketing.

So far, Maine is the only U.S. state to have a law governing ticket resale prices on the books — a 10% cap passed in 2025. Other U.S. states, such as Washington, have introduced similar legislative proposals. On a national level, Donald Trump-allied artist Kid Rock advocated for nationwide resale price caps during his testimony on Capitol Hill last week.

“I’m a capitalist, I’m a deregulation guy, but there’s no other way around this but to put a price cap on this,” Rock told members of the Senate Committee on Commerce, Science and Transportation on Jan. 28.  

Secondary ticket price caps are on the books in numerous European countries and Australia. The U.K. announced plans for a resale markup ban of its own this past November.