It’s hard to think of a more polarizing female figure in rock music than Courtney Love, but in a new documentary coming soon, the industry’s resident antiheroine is taking back control of the narrative that surrounds her.

As revealed Wednesday (Dec. 10) by Variety, the Hole frontwoman will be the subject of an Edward Lovelace- and James Hall-directed look into her life and cultural influence titled Antiheroine. It will screen at the Sundance Film Festival, which is scheduled for Jan. 22 through Feb. 1 in Park City and Salt Lake City, Utah.

“Singer, songwriter and actor Courtney Love has long had an impact on rock and pop culture,” a description reads. “Now sober and set to release new music for the first time in over a decade, Courtney is ready to reveal her story, unfiltered and unapologetic.”

According to the publication, Antiheroine has been in the works for “some time” and shows Love at home in London, where she moved a few years ago. Michael Stipe, Melissa Auf der Maur, Eric Erlandson, Billie Joe Armstrong, Patty Schemel and Butch Walker will also make cameos in the film.

“Courtney has waited a long time to tell her story, in her own words,” said producer Julia Nottingham of Dorothy St Pictures, which also spearheaded Pamela, a Love Story. “As a child of the ’90s, I was always curious about Courtney, a woman who often appeared to be defined by her husband, Kurt Cobain. We made this film because Courtney’s story is bigger than the headlines. It’s raw, complicated and deeply human.”

As Nottingham pointed out, Love has long been heavily associated with Cobain. She was married to the late Nirvana frontman for two years up until his death in 1994, and shares a daughter, Frances Bean, with him.

But beyond her personal life — which was also marked by widely publicized substance abuse issues — Love was a highly influential figure in the burgeoning grunge scene of the 1990s, forming Hole in 1989. The band released four studio albums, all of which charted on the Billboard 200, and scored three hits on the Billboard Hot 100: “Doll Parts,” “Celebrity Skin” and “Malibu.”

Love is also known for her work as a soloist as well as her acting career. Her notable films include The People vs. Larry Flynt, Man on the Moon and Trapped.

With an unmistakable presence and unwavering self-expression, HWASA has always carved her name clearly onstage. From the very beginning of her career, she refused to confine herself to any mold, choosing instead to charge straight into music with complete emotional honesty. Her powerful vocals, bold performances, and unfiltered sincerity have collectively defined her as one of the industry’s most formidable female artists.

HWASA first debuted as a member of the four-member girl group MAMAMOO, where she helped shape the group’s signature live-centered performances and genre-fluid musical spectrum. Praised as a “group you can trust with your ears,” MAMAMOO built its reputation on the organic chemistry of its members — and within that framework, HWASA steadily developed her own unmistakable vocal color and presence. As a solo artist, she pushed that identity even further. From “Twit” and “Maria” to “I Love My Body,” “I’m a B,” and “NA,” her music has consistently delivered raw reflections of her real struggles, emotions, and inner voice — honesty that has resonated deeply with listeners. Vulnerability and confidence, anxiety and boldness, softness and strength all coexist within her. On stage, she is daring; before music, she is unconditionally honest. That is HWASA.

Then on Oct. 15 this year, she released the ballad “Good Goodbye.” Choosing quiet restraint over explosive energy, the song avoided the fast-burn formula of typical hit singles and instead found its way slowly into people’s hearts. The result was historic: “Good Goodbye” debuted at No. 43 on the Billboard Global 200 and simultaneously claimed the first-ever No. 1 in the history of the Billboard Korea Hot 100. Yet HWASA remembers the achievement less by its numbers than by its emotional response. When listeners tell her, “I didn’t know a goodbye could feel this gentle,” or “This reminded me of a moment from my own life,” those reactions become the song’s truest destination.

How is she receiving this special moment? And what emotional texture did she hope to deliver through “Good Goodbye”? We hear it directly in her own words.

“Good Goodbye” reached No. 1 in the very first week of the Billboard Korea Hot 100’s launch. How do you feel about that achievement?

First of all, it’s such an honor, and I’m incredibly grateful. The timing aligned perfectly, and I became the very first No. 1 artist on Billboard Korea’s newly launched Hot 100 chart. I think anything that becomes a “first” always carries a special meaning. So I’m receiving this moment with even more gratitude and happiness.

Why do you think this song has been resonating so strongly with listeners?

Honestly, I never expected it to go this far. But from what I keep hearing around me, it seems like many people really connected with the song. Usually when we think about breakups, we only imagine sad ones. But people tell me that this song reminded them of a “good” farewell they once experienced, or that those who are approaching a breakup — or have already gone through one — felt, “So a goodbye can be this gentle too.”

I once said that I hoped this song could become a source of comfort for someone, and it feels like that wish has become reality. That makes me happier than anything. Beyond the No. 1 itself, the fact that people are finding comfort and strength through this song alone already makes me feel completely fulfilled.

If you had to describe the identity of your music in just one phrase, what would it be?

I don’t think I can confidently say that I fully understand myself yet. But I do know that the moments that inspire me the most are when happiness and sadness coexist — when I feel extremely happy but there’s still a trace of sadness, or when I’m deeply sad but somehow still feel a sense of warmth. Inspiration can come from everyday life so easily, but the moments that move me the most are always when those two emotions overlap. Those feelings resonate with me the strongest, and they naturally find their way into my music. I think the essence of my music reflects that emotional texture.

Following the song’s resurgence domestically, it’s now receiving attention on global charts including Billboard. Are there any plans for international activities?

If there’s an opportunity to meet fans, I’ll always give my absolute best. Wherever there are people who are waiting for my music and sending me love, I want to go to them as soon as I can. There aren’t any fully confirmed or concrete plans yet, but whenever a good opportunity comes, I’ll run straight toward it.

Lastly, do you have a message you’d like to share with Billboard readers?

I think I can honestly say that I’m a Billboard fan myself. As someone who genuinely loves Billboard, the fact that a Korea chart now exists already makes me incredibly happy. Thank you so much for showing so much love to “Good Goodbye,” and to me as an artist. I also want to send my love and support to everyone in the Korean music scene. I don’t know how big of a role I can play within this industry, but even if it’s just a small part, I will always do my very best to contribute. I’ll continue to work even harder.

After a full decade, Beyoncé will finally make her grand return to the Met Gala steps.

On Wednesday (Dec. 10), Vogue announced that the most-awarded artist in Grammy history would co-chair the 2026 Met Gala, alongside Oscar winner Nicole Kidman and three-time Olympic gold medalist Venus Williams. Given its “costume art” theme, Beyoncé is a natural selection for next year’s gala. A 2016 CFDA Fashion Icon honoree, Queen Bey doused the world silver with her Renaissance World Tour, turned millions into cowboys with her Cowboy Carter Tour, and shifted the paradigm of on-stage performance wear in popular music with her signature high-fashion leotards.

Though she’s opted for the WACO Wearable Art Gala, hosted annually by her New York Times-bestselling mother Tina Knowles, in recent years, Beyoncé has delivered seven iconic Met Gala looks since her first appearance in 2008. That year, she graced the carpet in a strapless, blush pink gown by Armani Privé. She returned three years later for the 2011 festivities in a regal black Emilio Pucci gown that kicked off four consecutive dark-toned fits. In 2012, just a few months after giving birth to Blue Ivy, Queen Bey donned a lacy, black-purple ombré number courtesy of Givenchy, the fashion house that would design each of her subsequent Met Gala gowns. After delivering a fiery, belted look for 2013’s “punk” theme, Beyoncé showed up in a stunning, semi-sheer, funeral-esque number in 2014, the same year as that notorious elevator moment.

For 2015’s “China: Through the Looking Glass” theme, everyone’s favorite “Alien Superstar” shut down the red carpet with what’s arguably her most iconic Met Gala of all time: a bejeweled, skin-tone, see-through gown complete with an instantly memorable high blonde ponytail. Finally, 2016 marked the music icon’s last Met Gala appearance, where she played into the Southern Gothic themes of that year’s Lemonade LP with exaggerated shoulders, dark eye makeup and a skin-tight, pearl-encrusted dress.

Click through the gallery to check out all of Beyoncé’s Met Gala looks over the years.

Australian favorite HAAi made her way across the U.S. and Mexico this past August and September, playing festivals like Arc in Chicago and Portola in San Francisco before closing out the run with a Sept. 21 set at Philadelphia’s beloved indie fest Making Time, a performance she nearly missed due a flight delay.

But the artist and festival organizers wouldn’t let it go down that way, with Making Time founder Dave P extending the fest’s hours to literally make time for HAAi.

Rushing from the Philadelphia airport to the venue at the city’s Fort Mifflin, the producer born Teneil Throssell put an exclamation point on the day with a hour-and-forty-minute set she constructed from shimmering, textural productions that included tracks by Yesca, Redeyes, Ciara (via an edit of “Goodies” you can hear at the 28-minute mark of the mix below), Audiojack, The Poison Control Center, Tom VR, Skeptic, a sublime ending with an edit of 1972’s “The Four Horsemen” by Greek band Aphrodite’s Child, along with HAAi’s own work. Listen to the complete set below.

She had plenty of new material to pull from, as the set happened just weeks before the release of her second studio album Humanise, out Oct. 10 via Mute and including 17-tracks with collaborations incluing Jon Hopkins and the Trans Voices Choir. Earlier this month, Humanise track “Stitches” got a rework from Romy, a longtime friend and previous collaborator of Haai’s, with the pair previously working together on their 2022 collaborative single with Fred again.., “Lights Out.”

Empire of the Sun have announced a mighty lineup for the debut edition of the group’s Chrysalis festival, happening this May 14-16.

The bill includes three Empire of the Sun sets, a DJ set from Disclosure, legendary weirdos The Flaming Lips, avant-garde pop duo Magdalena Bay, indie artist Del Water Gap, DJ Tennis and more, with performances happening across three stages. See the complete phase one lineup below, with more artists to be announced in the coming months.

Chrysalis will happen at at the The Sculpture Gardens in the beachside town of Puerto Los Cabos and is being produced in partnership with 100x Hospitality. In addition to the music, the event will offer yoga, meditation and other wellness programs along with optional off-site excursions to the local, desert and beyond. Tickets are available here.

“Chrysalis is about imagination and rebirth,” Empire of the Sun’s Luke Steele says in a statement. “This festival is designed to be spirit immersive – where people leave transformed. The festival’s story focuses on the circle of symbols – the door, the egg, key, wings and bell. It’s in the Chrysalis that these symbols communicate to us like a secret language – The Door, the threshold. The Key, the revelation. The Bell, awakening. Wings, the future self and The Egg, beginnings.”

Later in May, Empire of the Sun will also headline Lightning in a Bottle, happening May 20-24 in Southern California. These shows follow the 2024 release of the fourth Empire of the Sun studio album, Ask That God. Late last month, the group also released a remix of its 2013 classic “Alive” by Brazilian producer Alok.