Bob Dylan revisited a deep cut from his catalog at his Saturday night (June 6) show at the Chateau Ste Michelle Winery in Woodinville, Washington, performing The Basement Tapes track “You Ain’t Goin’ Nowhere” for the first time in 14 years.

The legendary songwriter opened the show with the 1967 song, last played live in 2012, with guitarists Doug Lancio and Bob Britt providing light backing vocals.

While the cut itself has long enjoyed a second life through cover versions — most notably by The Byrds, who took their 1968 rendition to No. 74 on the Billboard Hot 100, and Tom Petty and the Heartbreakers — Dylan himself has rarely returned to it onstage.

The performances are the latest signs of Dylan continuing to mine his vast back catalog on the Rough and Rowdy Ways Tour, which has now stretched on for more than five years since its launch in late 2021. Over the weekend, Dylan extended the tour into late 2026 with additional North American dates. He has previously surprised audiences across this run with similar excursions, including a cover of The Pogues’ “A Rainy Night in Soho” in tribute to the late Shane MacGowan during a Dublin show in November 2024, and a performance of a traditional folk ballad at an Irish show that hadn’t been heard from him in 34 years.

Dylan’s chart legacy is among the most consequential in music history. He has placed 11 albums in the top 10 of the Billboard 200, including two No. 1 entries — Together Through Life (2009) and Modern Times (2006) — while singles including “Like a Rolling Stone,” which peaked at No. 2 on the Billboard Hot 100 in 1965, and “Rainy Day Women #12 & 35,” which reached No. 2 in 1966, remain among the most influential rock recordings ever to chart.

He also recently contributed a co-written song to Willie Nelson’s new album Dream Chaser, released in May 2026, and was reported last year to be working on new music with members of his touring band in Albany, New York.

Five years after he first headlined New York City’s Governor’s Ball, A$AP Rocky returned in his full glory for a rousing finale on Sunday night (June 7). And though he spent part of his weekend cheering the Knicks onto their second consecutive 2026 NBA Finals victory, Rocky put down the jersey, picked up the microphone, and locked back into superstar rapper mode for his career-spanning set.

After Saturday night’s flash thunderstorm cut the night short — STRAY KIDS’ set was bumped two hours earlier; Blood Orange eventually rescheduled for Sunday, and Kali Uchis and Amyl and the Sniffers had sets canceled — Rocky’s finale had to make up for circumstances he had no control over.

“I came to get disrespectful,” proclaimed the Grammy-nominated rap star as he lorded over the packed festival crowd from an elevated onstage platform. Armed with a bullhorn-microphone and sporting an off-white AWGE tee, white-and-black balaclava and light wash blue jeans (which he later pulled down to reveal a “Harlem” waistband), Rocky came ready to start a riot. What exactly he was rioting against (or for?) was still unclear by the close of his set, but at least the multihyphenate reminded audiences why he has one of the strongest aesthetic eyes in his entire genre.

Originally set for an 8:45 p.m. ET start time, Rocky didn’t take the stage until a little after 9:00 p.m., closing out a festival that was notably light on hip-hop acts (just five played across the fest’s three days) and homegrown headliners. He exacerbated that delay with increasingly clunky transitions that left the crowd literally in the dark without so much as an instrumental track playing in the background — but when things clicked, Rocky harnessed some truly irresistible energy.

Serving as the de facto NYC stop for his ongoing Don’t Be Dumb Tour — which kicked off on May 27 at Chicago’s United Center — Rocky anchored his headlining performance with his latest LP, drawing on its frenetic, expansive and still-polished energy. Don’t Be Dumb, his first studio album in nearly eight years, debuted atop the Billboard 200 in January, spawning Billboard Hot 100 hits like “Stay Here 4 Life” (No. 23, with Brent Faiyaz), “Helicopter” (No. 24), “Stole Ya Flow” (No. 33) and “Punk Rocky” (No. 56).

It would take Rocky nearly nine songs to finally play something outside of the Don’t Be Dumb era, but the raucous energy of that album’s songs made for a lively first half of his set. He kicked things off with the scathing “Stole Ya Flow,” before transitioning into “Helicopter” and “Trunks” to maintain that, well, riotous energy. Clipse may have given a live rapping masterclass during the set just an hour prior, but Rocky was more concerned with using his master of ceremonies status to call for both mosh pits and for people to take off their shirts and wave them in the air “like a helicopter.”

Comprised of American flags — with his face superimposed on them, no less — and a massive Don’t Be Dumb-branded helicopter, in addition to warring “riotters” (dressed in all white) and SWAT “personnel” (dressed in all back), Rocky’s Gov Ball stage explicitly drew from U.S. military aesthetics. And Rocky’s bullhorn-microphone only emphasized those visual notes, with the Harlem MC moving more like a commanding officer than a rap superstar at the beginning of his set. That militant energy couldn’t save him from production cutting his mic as he approached the 10:00 p.m. ET curfew with seemingly no haste.

While the transitions certainly dragged, Rocky made up for it during moments like “A$AP Forever,” when the SWAT team followed him down the runway, nailing each image the choreography demanded. Other times, like during “Punk Rocky,” the staging felt a bit nonsensical. How do you play a song called “Punk Rocky” and not have your band front and center for its duration? Like any good festival headliner, however, Rocky knew that one surprise guest or song could remedy those inconsistencies. While he didn’t tap Rihanna, though she enjoyed the show in the crowd alongside JENNIE, Rocky did call up Dominican rapper Tokischa for the live performance debut of “Flackito Jodye,” their saucy, dembow-infused Don’t Be Dumb collaboration. As she ripped through her verse and popped her butt for good measure as Rocky’s sole guest (and surprise) of the night, Corona Park turned into Uptown for a split second.

After spending the bulk of his set playing Don’t Be Dumb, Rocky transitioned into “Praise the Lord,” seemingly kicking off a retrospective section that would span his generation-defining career. While he did find time to fit in “Peso,” “Fashion Killa,” “Wassup” and “Purple Swag,” Rocky’s set was ultimately cut short, with his mic’s audio getting pulled as he was gearing up to follow “Jukebox Joints.” Once it was clear that he wouldn’t be able to charm or pressure festival producers to extend his set, Rocky tossed his gloves and wave cap into the office, right before he attempted to unscrew the microphone from the bullhorn. Once that proved unfeasible, Rocky lobbed the entire contraption into the audience and walked off stage without another word.

Given the day had already been slightly delayed due to weather (Slayyyter’s set was notably postponed earlier that afternoon), Rocky should have at least gotten ten minutes extra to tear through signature hits like “1 Train,” “No Limit” and “F—kin’ Problems,” none of which he got the chance to perform. Between that debacle and the eyebrow-raising lack of hip-hop on the lineup, this year’s Gov Ball finale didn’t quite live up to the downright euphoric mood established by the Knicks’ two consecutive NBA Finals victories. Nonetheless, Rocky turned up for his city, and they beamed that energy right back to him.

Fans who weren’t able to make Rocky’s Gov Ball set can still catch him on his Don’t Be Dumb Tour. After hitting Baltimore’s CFG Bank Arena for the next stop (June 8), Rocky’s latest trek will take him to major cities across the U.S. and Canada, before concluding on July 11 at Newark’s Prudential Center. The tour’s European leg will commence on Aug. 25 at Brussels’ ING Arena, and visit iconic metropolises like Milan, Copenhagen and Paris, before coming to a close on Oct. 11 at Athens’ Telekom Center.

See A$AP Rocky’s setlist at the 2026 Governor’s Ball below.

Morgan Wallen‘s Still the Problem Tour added another headline-making moment to its run on Friday night (June 5), when the country superstar grabbed a cellphone out of a security guard’s hand mid-performance and flung it across the stage at Pittsburgh’s Acrisure Stadium.

Video of the incident, posted to TikTok by user jcroo419 and rapidly circulated on social media, shows the guard holding up a phone while recording Wallen perform — reportedly at the request of a fan who had passed the device forward in the hopes the guard would hand it to the singer.

Instead, Wallen gestured toward the phone, walked away, then returned, removed it from the guard’s hand and dramatically launched it across the stage. “I get it… security should be doing security things, but…,” the user captioned the clip. Billboard has reached out to representatives for Wallen for comment.

@jcroo419

Well that just happened… Amy gave her phone to the lady to hand to Morgan Wallen and he launched it. I get it… security should be doing security things, but….

♬ الصوت الأصلي – وحيد

The phone-throwing came at the end of a turbulent week on the road for the I’m the Problem tour. Just days earlier, Wallen experienced an onstage meltdown during his Denver show, when his piano appeared to malfunction during a performance of “Sand in My Boots,” forcing him to finish the song a cappella. He then walked back to the piano, shoved it about a foot, and flipped it over — breaking it on the stage.

The next day, Wallen posted a TikTok video addressing the moment, showing himself at a new piano. “Hey, I just want you to know that right now this piano is working,” he said. “That’s what they told me last night, too.”

Wallen also abruptly canceled his Saturday show in Pittsburgh, citing high winds and stage safety concerns rather than the swirling “nonsense” speculation about his behavior.

“My team walked on the bus and told me they had been consulting with local officials and that I should cancel my show in Pittsburgh tonight,” he explained in a video posted to his Instagram Stories. “They said that there was going to be strong winds in the area… I’ve been seeing a lot of nonsense about me that is simply not true, and I just wanted to clear the air.”

The Pittsburgh phone moment is the latest in a string of headline-grabbing incidents tied to Wallen’s chart-dominating 2026. His current album I’m the Problem, released in May 2025, debuted at No. 1 on the Billboard 200 with the largest streaming week ever for a country album, and produced the Billboard Hot 100 No. 1 hit “I’m the Problem.”

He had previously topped the Hot 100 in 2024 with “I Had Some Help” featuring Post Malone, which spent six weeks at the summit. One Thing at a Time (2023) spent 19 weeks at No. 1 on the Billboard 200, one of the longest-running chart-toppers of the streaming era.

The Still the Problem Tour continues across the U.S. throughout the summer.

Tony Awards host P!nk brought an iconic pop culture reference from 25 years ago to 2026’s ceremony, opening the televised show with a leading lady-themed remake of “Lady Marmalade.” Megan Thee Stallion, who recently took an early exit from her run in Moulin Rouge, took the stage next to P!nk in her Broadway costume and reworked Lil’ Kim’s rap from the 2001 pop supergroup single during Sunday night’s (June 7) lively performance.

The parody of “Lady Marmalade” (based on the song P!nk once recorded with Lil’ Kim, Christina Aguilera and Mya) was referred to as “Leading Lady Marmalade,” and had P!nk highlighting several of Broadway’s best in the tune’s “gitchie, gitchie” chorus.

Lea Michele, who wasn’t nominated for an award this year, also joined in for a cameo to hit Xtina’s big vocal note from the original “Lady Marmalade,” but swapped in a fitting lyric, all things considered: “We don’t do it for the awards.”

June Squibb, nominated in the best performance by an actress in a featured role in a play and seated in the front row at Radio City Music Hall, also had a scene-stealing moment. When the mic was pointed her way, Squibb — who’s the oldest acting nominee in Tony Awards history — quipped to the tune of “Mocha Chocolata, ya-ya“: “All the parts I’ve played, I’ve slayed ’em.”

Backed by a full-stage ensemble that included familiar faces like Broadway’s Dylan Mulvaney, Shoshana Bean, Neil Patrick Harris and more, the opening number ended with a soaring “Welcome to the Tony Awards!” from P!nk.

Harris, who’s had several turns hosting the awards ceremony himself, had helped P!nk lead into the “Leading Lady Marmalade” scene after the pop star first made an entrance spinning in the air, dressed as Peter Pan.

P!nk had hinted at a “wild” Tony Awards opening number in interviews in the days leading up to this year’s ceremony. Without spoiling the “Lady Marmalade” nod, P!nk told Broadway.com, “It’s just a full-blown ridiculous celebration. I told them my one caveat was that immediately as soon as I step onto the stage, I have to make fun of myself, and make it absolutely just about fun and celebrating everyone.”

Follow a complete list of the 2026 Tony Awards winners, updating live as they’re announced, here.