Ariana Grande’s Petal era has officially commenced.

On Friday (May 29), the Grammy-winning superstar released “Hate That I Made You Love Me,” the lead single from her forthcoming eighth studio album, Petal.

“I know that I will find my way from you like flowers from a tomb,” the vocal powerhouse croons on her new single, which was co-produced by Max Martin, ILYA and Grande herself. Listed as the second track on Petal, “Hate That I Made You Love Me” also marks Grande’s first non-soundtrack single since 2025’s “Twilight Zone.”

Grande first announced Petal via her official Instagram page on April 28, later describing the 12-track set as “little feral.” “It’s definitely from a place I’ve been maybe too shy or polite to tap into before,” she said in a video clip. “This kind of just feels like, ‘F–k it.’” Petal is set to arrive on July 31 through Grande’s BabyDoll Music imprint label, exclusively licensed to Republic Records. The new album drops in the middle of her Eternal Sunshine Tour, which kicks off on June 8 in Oakland, Calif., and wraps with 10 shows at London’s O2 Arena in September.

On Wednesday (May 27), Grande shared a creepy new teaser for the official music video for “Hate That I Made You Love Me.” The clip opened with Weapons actor Justin Long peering into the rearview mirror, slightly adjusting it to reveal Grande’s piercing brown eyes staring back at his frightened face. The full video is set to premiere on Monday, June 1 at 8 a.m. PT.

Petal is the official follow-up to Grande’s last LP, Eternal Sunshine, which debuted atop the Billboard 200 in 2024 and spawned a pair of Billboard Hot 100 chart-toppers in “Yes, And?” and “We Can’t Be Friends.” Notably, the album returned to the top of the Billboard 200 the following year after the release of its Brighter Days Ahead deluxe edition, which spawned the Hot 100 top 20 hit “Twilight Zone” (No. 18).

Since that album’s release, Grande joined fellow Oscar-nominated actress Cynthia Erivo in leading the Wicked and Wicked: For Good soundtracks, which both reached No. 2 on the Hot 100. At this year’s Grammys (Feb. 1), the two multihyphenates won best pop duo/group performance for their instant-classic rendition of “Defying Gravity.” Grande will return to the silver screen this fall with Focker-in-Law, alongside Robert DeNiro and Ben Stiller.

Stream “Hate That I Made You Love Me” now.

David May, a two-time Grammy Award-winning producer and long-time executive with Warner Music Group, passed away April 13 in Nashville, TN, at the age of 68. May died of natural causes, reps say.

In the studio, May was blessed with creative vision, deep technical expertise and a knack for archival preservation, and he used those gifts to pursue new audio formats and for mastering.

During his lifetime, May worked closely with many notable artists, including Metallica, Eric Clapton, Neil Young, Josh Groban, R.E.M., Cream, Green Day, Stevie Nicks, Led Zeppelin, Eagles, Linda Ronstadt, Michael Bublé, and George Harrison, for projects that ranged from studio sessions to live arena performances.

In 1998, May won his first Grammy for best long form music video (or best music film) for Alanis Morissette’s Jagged Little Pill, Live. Ten years later, in 2008, he received his second in the same category for Madonna’s The Confessions Tour concert film, presented at the Grammys 50th anniversary show. He was also nominated for best music film in 2007 for his work on Madonna’s “I’m Going To Tell You A Secret.”

May began his career as a recording engineer in the 1970s at Pasha Studios. Like so many music industry professionals who rose to the very top, May had a brief stint in the mailroom at Warner Records. An opportunity opened up for an industry expert with great ears to consult on a Madonna project. May didn’t drop the ball.

With experience and a passion for music and production, he’d go on to focus on live concerts and MTV promo videos from 1987 to 2010, serving in a full-time capacity in the Warner Records/Rhino Entertainment A&R and video department.  In 2010, he left the label to form Delixandra Music, an independent productions and consulting firm that has worked with Universal Music Group, Warner Records, Rhino, Iconic Artists Group, and others.

As a recording artist and songwriter, May released several original albums and successfully landed syncs on a slew of TV shows, including American Horror Story, The Sinner, Cold Case, and Brothers & Sisters.

May is survived by his wife Michelle (Dupuis); daughter Alex (Julius Francis), and daughter Devin (Tim Casey).

Those wishing to make a donation in his name are encouraged to do so at the Young Musicians’ Foundation in Los Angeles, CA, as well as Siloam Health in Nashville, TN, both of which provide care and education for underserved communities, or a charity of your choice.

John Farnham will be saluted with an all-star concert in Melbourne this September, which promises to shine a light both on his storied songbook and cancer, which Jack has battled with in recent years.

Rod Laver Arena will host The Songs Of John Farnham: A Living Legend The Celebration on Sunday, Sept. 20, featuring 120 artists and musicians, and raising funds for Head and Neck Cancer Australia.

Among those performers are Keith Urban, Tina Arena, Jimmy Barnes, Kate Ceberano, Ross Wilson, Human Nature, Richard Marx, Jessica Mauboy and Jon Stevens, with Celine Dion and Hugh Jackman joining in via satellite.

On the night, Farnham’s longtime musical director Chong Lim will lead the John Farnham Band, alongside a 38-piece orchestra and choir, “delivering a rich, powerful sound befitting the catalogue that has defined generations,” reps say.

“I’ve been incredibly lucky to spend my life doing what I love, and even luckier to have Australians embrace my music the way they have,” comments Farnham in a statement. “This night isn’t about me — it’s about giving something back and supporting a cause that means a great deal to me.”

Farnham personally invited each artist appearing at the show, and he has a record-breaking connection with the 15,000-capacity Rod Laver Arena, part of the Melbourne Park complex. He has performed at the Olympic Park venue on 94 occasions, doing so to more than 1 million total fans.

“The fact that so many extraordinary artists from around the world have so generously agreed to be part of this night is incredibly humbling and says far more about the spirit behind this event than it does about me,” he continues. “I hope everyone has a great night. Just enjoy the music and have a laugh too.”

With 1986’s Whispering Jack, Farnham became a comeback king, and a homegrown pop superstar. The Sony Music release spent 25 weeks at No. 1, en route to shifting more than one million copies, becoming the first domestic LP to do so. It remains the highest-selling album ever in Australia by a local talent.

Whispering Jack houses Farnham’s signature song, “You’re The Voice,” a top 10 hit in the U.K. and, four decades on, the unofficial anthem of Australia.

The legendary, ARIA Hall of Fame-inducted singer faced his toughest comeback yet, when he underwent major surgery to remove a cancerous growth in August 2022. Since then, he has made only a handful of rare public appearances, and in 2024 October was heard for the first time in more than two years by way of an audiobook excerpt for his memoir.

The singer was the subject of a 2023 documentary, John Farnham: Finding the Voice, which became the all-time highest-grossing Australian music documentary in these parts, and a musical on that classic album is in the works.

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The one-off Melbourne concert is produced by Tony Cochrane and Thea Jeanes-Cochrane of Cochrane Entertainment Collective and Paul Dainty of TEG Dainty.

“John Farnham is truly one of the great voices of the world,” explains Celine Dion, who is both a fan of, and a collaborator with, the Aussie legend. “I have such beautiful memories of the time we shared on stage together — his generosity, his humor, and that incredible voice that fills your heart the moment you hear it. It’s such an honor and a privilege for me to be included to celebrate the extraordinary legacy John has given to music. He’s an iconic artist, and he’s also a deeply special human being.  I know his songs will continue to live in people’s hearts for generations to come.”

Tickets are on sale from Tuesday, June 2 at 10am AEST from Ticketek.

WIENER NEUSTADT, Austria (AP) — An Austrian court on Thursday convicted a man of planning to attack a Taylor Swift concert in Vienna nearly two years ago. He was sentenced to 15 years in prison.

The state court in Wiener Neustadt, south of the capital, found the 21-year-old defendant, an Austrian citizen known only as Beran A. in line with Austrian privacy rules, guilty on multiple charges including those related to the concert.

The concert plot was thwarted, but Austrian authorities still canceled Swift’s three performances in August 2024.

His defense attorney said Beran A. admitted to the charges related to the concert plot during the opening day of the trial last month.

In brief final words to the court before it adjourned to consider a verdict on Thursday, Beran A. said: “I would just like to say that I am sorry.”

Beran A. allegedly planned to target people outside the Ernst Happel Stadium with knives or homemade explosives. Tens of thousands of Taylor Swift fans had traveled to Austria to attend the performances of the American singer’s record-setting Eras Tour. Devastated by the cancellations, many gathered in central Vienna to trade friendship bracelets and commiserate.

Beran A. also allegedly networked with members of the Islamic State group ahead of the planned attack. Prosecutors have said they discussed purchasing weapons and making bombs, and that the defendant also sought to illegally buy weapons in the days ahead of the performance, as well as swearing allegiance to the militant group.

Authorities searched his apartment on Aug. 7, 2024, and found bomb-making materials. The concerts were scheduled to begin the next day.

“Having our Vienna shows canceled was devastating,” Swift wrote in a statement posted to Instagram two weeks later. “The reason for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”

He was tried alongside Arda K., another 21-year-old whose full name also has not been made public. They, along with a third man, Hasan E., who was arrested and remains in pretrial detention in Saudi Arabia, allegedly planned to carry out simultaneous attacks in Saudi Arabia, Turkey and the United Arab Emirates during Ramadan 2024 in the name of IS.

Only Beran A. was charged in connection with the concert plot. The two defendants were found guilty of charges including traveling and training for terrorist purposes, and being part of a terrorist organization, the Austria Press Agency reported.

The court also found the pair guilty of contributing to attempted murder, a charge linked to Hasan E.’s alleged stabbing of a security officer in Mecca in March 2024. Hasan E. also attacked and wounded three other officers and a woman before he was arrested, according to prosecutors.

Beran A. and Arda K. did not carry out their alleged plans in the UAE and Turkey. Beran A. returned to Vienna and later allegedly began plotting to attack the Swift concert there.

Arda K. was given a 12-year sentence. The two men listened stoically to the verdict and the sentencing, APA reported.

Beran A.’s lawyer, Anna Mair, said after the verdict that she would discuss with her client in the coming days whether to accept the verdict.

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In a smartphone market dominated by thousand-dollar flagships, Nothing has carved out a lane that feels intentional. It’s a brand that lives at the intersection of tech, fashion and culture; one that doesn’t just make devices, but statements.

If you know Nothing, chances are you’re either tapped into tech, plugged into style, or just someone who appreciates design that stands out.

With no flagship release in 2026, likely a response to rising component costs and a volatile market, Nothing instead shifts focus to something more strategic: the creator economy. Enter the Nothing Phone (4a) Pro, a premium mid-range device that the company says is “made for the creatives,” positioning it as a more accessible alternative to today’s $999 smartphones.

As someone who shoots concerts, interviews artists and is constantly creating on the go with a phone that costs $1,400, I wanted to see if I could find a mid-range phone for people who wanted to go all in with content creation or join the creator economy. For many, the only thing preventing them from shooting content is the inability to find a fairly affordable device.

Enter the Nothing Phone. Starting at $499 and topping out at $599, the Nothing Phone (4a) Pro is a phone that shouldn’t be slept on. Nothing has never been about blending in, and the Phone (4a) Pro continues that philosophy. It’s designed to be seen and start conversations.

I pulled this out while shooting in the city, and within minutes someone stopped me to ask what phone it was and why it had a huge screen in the back. That doesn’t happen with other devices.

Nothing describes its look as a “signature transparent design.” Notifications, timers, battery levels, even custom app alerts can all live on the back of the device. In addition to a red recording light, reminiscent of old cameras. Nothing says the upgraded Glyph Matrix is designed to “keep your focus on real life rather than a cluttered display,” using light patterns to surface notifications and key information. 

It’s not just functional, it’s social. Pull this phone out in public and people will ask about it. For creators who thrive on connection, whether you’re shooting man-on-the-street interviews or just building community, that matters more than you’d think.

The 6.83-inch AMOLED display is big, bright and crisp. With a 2,800×1,260 resolution and an adaptive refresh rate ranging from 30Hz to 144Hz, everything from editing clips to reviewing footage feels smooth. It’s a display built for content consumption and creation.

Peak brightness hits 5,000 nits, “making it Nothing’s brightest screen yet,” per the brand, with a more practical 1,600 nits outdoors, meaning you can confidently shoot, edit and review content even in harsh lighting conditions.

Running Android 16 with Nothing OS 4.1, the software experience is clean, minimal and genuinely refreshing.

Nothing’s UI doesn’t try to overwhelm you, it simplifies. The widget system in particular stands out, offering tools that feel tailored for real use, not just aesthetics. It’s one of those rare Android skins where you find yourself wishing other phones borrowed more from it. Nothing OS 4.1 actually feels thoughtful. Even better: Three years of Android updates and six years of security patches give this device real longevity.

Powered by the Snapdragon 7 Gen 4, the Phone (4a) Pro sits firmly in mid-range territory — but consistently punches above its weight, “offering 27% faster CPU, 30% improved graphics, and 65% stronger AI capabilities,” according to the brand.

The 256GB model with 12GB of RAM handled everything I threw at it. Lightroom ran smoothly for photo edits between shoots and CapCut was reliable for video work. Just don’t expect workstation-level performance; this isn’t built to replace your laptop, but it’s more than capable for on-the-go creation. Either way the performance is more than enough for creators.

Nothing says the Phone (4a) Pro “takes photography to new heights,” pairing a 50MP main sensor from Sony, a 50MP periscope telephoto (3.5x optical zoom) and an 8MP ultrawide.

The Sony main sensor is the star of the show. As someone who shoots on Sony Alpha cameras, there’s a familiarity in how this sensor handles color, detail and dynamic range. This Mariah the Scientist clip was recorded with the 50MP periscope telephoto.

For real-world use cases, concert footage, interviews, street content, the results are impressive. Skin tones are more or less pretty natural and the dynamic range holds up in challenging lighting.

Performance lighting is usually where some phones fall apart, but this held up better than I expected, all the flashing and moving lights didn’t throw the phone off. Video is clean and reliable, though not groundbreaking, we have 4K at 30fps (main + telephoto), 1080p at 60fps and HDR across all modes. The ultrawide is serviceable, but clearly the weakest lens.

One standout feature is the 7x in-sensor zoom, which holds detail surprisingly well — especially useful when capturing performances from a distance. This isn’t a cinema camera in your pocket, but it doesn’t need to be. For creators who shoot and then edit, it absolutely gets the job done.

There are thoughtful touches here that directly benefit creators. The Glyph system can act as a rear viewfinder for selfies and videos, or even display a countdown timer, small features that actually improve how you shoot. Battery life is solid. Thanks to the 5,080mAh battery, it comfortably lasts a full day with moderate to heavy use.

One issue I ran into was the occasional issues with external microphones in the native camera app. There were a few moments where I had mics plugged in and the camera app bugged out, which is the kind of thing that matters when you’re in the middle of capturing a moment you can’t redo. It’s likely fixable via software, but for serious work, I’d recommend using a dedicated video app like Blackmagic Camera anyway.

If you’re a creator trying to take things seriously without dropping a thousand dollars on a phone, this is one of the easiest recommendations I can make.

It won’t replace high-end gear, and it has its limitations — camera flexibility, ultrawide performance and a few software quirks — but at this price point, those trade-offs feel fair. What you’re getting is a phone that shoots content that looks professional, especially for platforms like TikTok and Instagram, and tech that stands out in a sea of identical devices.

And most importantly, it makes creating feel accessible.

The Nothing Phone (4a) Pro has official been added to my arsenal, especially since my main phone is starting to run out of space. For anyone looking to step into the growing creator economy, especially within music and culture, the Nothing Phone (4a) Pro is one of the most compelling entry points right now.

Nothing’s ecosystem approach continues with the Headphone (a), priced at $199, which is the perfect companion piece.

The design matches Nothing’s transparent aesthetic, making them as much a fashion piece as a functional one. Controls, meantime, are a standout; physical inputs “integrated directly into the ear cups, the Roller, Paddle, and Button provide a precise and effortless way to adjust volume, navigate media, and switch ANC modes.”

Sound quality is strong, and the ANC holds up even in loud environments. I’ve been using these on NYC trains, editing clips, perfecting audio and the ANC blocking out the subway alone makes them worth it.

Transparency mode could be better, and while they don’t quite match the sound of the Headphone (1), they still deliver excellent value. Still, coupled with the Phone (4a) Pro, this is a duo that content creators and social media users will want to get to know.