Twelve straight hours of loud guitars are coming to Lansing. ROCK LANSING 2026 invades Jackson Field in Lansing, Michigan on Saturday, August 1, with two stages running rock, metal and high-energy performances from 11:00 AM to 11:00 PM.
A powerhouse lineup leads the way, headed by rock heavyweights Nonpoint, Powerman 5000, Soil and DED. Organizers are calling this the biggest and loudest edition of the festival to date.
ROCK LANSING has quickly become one of the Midwest’s must-attend independent music festivals, pulling together national touring acts and rising regional talent for a day-long celebration of crushing riffs and unforgettable live sets. The bill runs deep, from the aggressive grooves of Nonpoint to the industrial-fueled energy of Powerman 5000, the hard-hitting anthems of Soil, and the modern rock aggression of DED.
The festival keeps its focus on emerging artists too, giving fans the chance to discover the next generation of rock and metal alongside established names. The two stages sit side by side with a 5-minute changeover between bands, so the music flows nearly non-stop all day.
There’s plenty beyond the music. ROCK LANSING brings the community atmosphere that turned it into a Midwest destination event, with food vendors, merchandise and artist interactions. This year adds a new wrinkle, the “Tattoo You” area sponsored by Vivid Ink, featuring more than 20 tattoo artists showcasing their work and inking fans on-site.
A snowy Sunday in the Netherlands changed everything. Dutch singer-songwriter Noble is entering an exciting new chapter with her latest single “Ugly Heart,” an empowering, upbeat country anthem that shows off a bold new side of her artistry.
Born and raised in the Netherlands, Noble felt drawn to storytelling through song from a very young age. She first stepped into the spotlight as a teenager when she reached the semi-finals of The Voice Kids Belgium, and she’s been developing her craft as a songwriter and performer ever since.
In 2022 she released her debut cinematic pop-rock album ‘Silence,’ featuring standout tracks “All I Wanted” and “Creeping,” which have gathered more than 800,000 combined streams. As her songwriting evolved, she moved toward a folk-pop sound on her EP ‘True Calling,’ a deeply personal project that became the catalyst for discovering her true home in country and folk music.
On May 8 she introduced that new direction with “chasing space,” a dreamy country-folk single that bridged her into the evolving sound, earning warm support from outlets including Triple J, Lefuture Wave and Caesar Live N Loud.
Now comes “Ugly Heart,” a spirited, unapologetic anthem about self-respect, boundaries and rejecting superficiality. “When I went into the studio with my producer Paul Aiden, we started with a blank canvas as we usually do,” Noble says. “I wanted to create something more upbeat and empowering. Paul started playing a guitar riff that I instantly loved, and before we knew it, we had the foundation of the song. While improvising melodies and lyrics, I found myself writing about setting boundaries and calling out people who value status and material things over genuine connection.”
Inspired in part by Louis Theroux’s documentary The Manosphere, “Ugly Heart” takes aim at toxic attitudes and the growing culture of performative masculinity. “It’s a song that tells certain men that women aren’t interested in them because of money or power,” she explains. “Real connection comes from authenticity, empathy, and emotional depth. ‘Ugly Heart’ is about recognizing when someone lacks those qualities and walking away.”
The single hits with real spark and conviction, a confident statement from a writer who sounds fully at home in her new lane. Originally set for June 12, its launch moved forward after an unexpected radio debut on ABC Country Australia on May 25, followed by support from ABC Radio, Triple J and Radio Australia on May 30. Days later, on June 1, “chasing space” also made its Triple J debut.
The move into country has been years in the making. “When I made True Calling, I was searching for who I was both as a person and as an artist,” Noble reflects. “Looking back now, I realize that project was helping me discover my true identity.” The turning point arrived that snowy afternoon when she wrote her first country song. “I completely fell in love with it,” she says. “I started listening to artists like Kacey Musgraves, Shania Twain, and Ella Langley, and it felt like an entirely new world opened up. For the first time, I feel completely aligned with who I am and the music I love creating.”
Brendon Urie knew how to throw a finale. This full concert recording from Panic! At The Disco’s ‘Viva Las Vengeance’ tour, filmed at the Intuit Dome in Inglewood in 2022 and titled “Everybody Needs A Place To Go,” catches the band at the height of its theatrical powers, with a full backing band, a horn section, and a complete in-sequence run through their final album bookended by greatest hits like “Say Amen (Saturday Night),” “I Write Sins Not Tragedies,” “Death Of A Bachelor” and “High Hopes.”
Memory becomes a soundscape. Chicago’s own multihyphenate artist Sparklmami just released her debut album ‘in this body’ via Verve Records / slowplay. You can listen now.
She first opened the door to this world through the impactful 2024 singles “fajas” and “running,” early glimpses of the vivid emotional and sonic universe she expands across the full record, alongside recent singles “no te vayas” and “quisiera.”
‘in this body’ runs on Sparklmami’s own imagination. She mines her psyche and conjures surreal imagery to make sense of childhood memories, viewing them now with a refreshed adult perspective, each one a portrait of a moment in her life. The stories unfold through a dreamlike soundscape shaped by the music of her upbringing, from the glimmering jazz of 1970s Brazil to the Mexican boleros that filled her childhood home. The album moves like a radio dial scanning through the soundtrack of her life, a meditation on identity and the familial, cultural and geographic influences that shaped her and her art.
That openness shaped how the record was made. Sparklmami and her band improvised freely and built songs together, with each player bringing ideas to the table. Eddie Burns (executive producer, drums), William Corduroy (executive producer, bass), Alec Trickett (percussion), Josh Jessen (keys, synths) and Kenneth Leftridge Jr. (saxophone) brought the music to life, guided by Sparklmami as the album’s audacious conductor. She also drew on a wider community, with contributions from Nico Segal, Alex Santilli, Raphael Olivier, Adlai Reinhart and Chris Misch.
The album shimmers with warmth, curiosity and real adventurousness, the sound of an artist building a world entirely her own.
Merging improvisation with her love of visual art proved revelatory while she worked on the live graphic score. Before music, Sparklmami earned her BFA from the University of Illinois at Chicago, where her work explored memory and identity through dioramas of her childhood home and green screen recreations of the telenovelas she grew up watching. She carried that visual practice into live performance, directing the visuals for “no te vayas” and “quisiera” herself.
The album arrives after recent shows opening for UK powerhouse Joy Crookes and Spanish star rusowsky in Chicago. She has a full slate of summer dates ahead, including a hometown show supporting Patrice Rushen as part of Chicago’s Millennium Park Summer Music Series, headlining nights in Brooklyn and LA, and a set at the COLORS: Tones of London showcase in September.
Tracklist:
“no te vayas”
“fajas”
“vaga”
“running”
“quisiera”
“penso en voce”
“grounded”
“it was 5 am”
“in this body”
Upcoming Live Dates:
June 25, Chicago, IL, Millennium Park Summer Music Series (supporting Patrice Rushen)
July 8, Brooklyn, NY, Baby’s All Right
July 22, Los Angeles, CA, Moroccan Lounge (headlining show as part of Jazz Is Dead)
September 2, New York, NY, SummerStage in Central Park (DJ set at Verve Records’ 70th anniversary concert)
A young musician once dreamed of an orchestra. Now she’s given that dream to her younger self. Revered today for her multi-award-winning scores for film and TV, including Chernobyl, Joker and Tár, Hildur Guðnadóttir released her debut album ‘Mount A’ in September 2006. 20 years on, the Icelandic composer is celebrating the anniversary by reimagining some of her earliest music.
Her new Deutsche Grammophon album ‘This Will Be Us’ gathers orchestral versions of eight tracks that first appeared on ‘Mount A,’ ‘Without Sinking’ and ‘Saman,’ alongside two newly written pieces. Guðnadóttir plays solo cello, performing with the Deutsches Symphonie-Orchester Berlin under conductor Robert Ames. She also produced the album, which was recorded, mixed and mastered by her long-time collaborator Francesco Donadello.
‘This Will Be Us’ arrives October 23, 2026, with liner notes by Guðnadóttir and filmmaker Sarah Polley. She performs at a special launch event at the Berlin Philharmonie on October 25, and to mark the anniversary, DG reissues the three earlier albums as LPs on July 3, a first vinyl release for ‘Mount A.’
Guðnadóttir grew up making music with others, in choirs, bands and orchestras. “That world meant everything to me,” she recalls. “But I felt I needed some space to hear my own thoughts.” She recorded ‘Mount A’ alone with her cello, and her friend Skúli Sverrisson had to persuade her to share the work with the outside world. The album came out under the pseudonym “Lost in Hildurness,” a nickname friends gave her because she was so often lost in her own world.
Sverrisson, fellow composer Jóhann Jóhannsson and her father Guðni Franzson joined her on later albums. “Even though the music on these records is deeply personal,” she says, “my closest friends and family have always been essential to my having the courage to keep playing and to share the music at all.”
That courage carried her to the front rank of contemporary composers. Her accolades include two Grammy Awards for Chernobyl and Joker, an Academy Award for Joker, an Emmy for Chernobyl and a Golden Globe for Joker. She has since written acclaimed scores for Tár, Women Talking, A Haunting in Venice, Hedda, 28 Years Later: The Bone Temple and The Bride, while her choral and orchestral work The Fact of the Matter premiered at the 2022 BBC Proms.
The 20th anniversary of ‘Mount A’ offered a moment to take stock. “Seeing that number on the horizon felt like a good moment to pause,” she says. “When I was trying to be a one-person string orchestra, I always dreamed of having more people playing with me. I decided to give that young person the anniversary gift of hearing her music played by an orchestra.”
The reinvented tracks glow with new depth and space, music that breathes differently with a full orchestra behind it. As Sarah Polley writes in her album notes, longtime fans will recognize many of these pieces, but here they take on new life, an expansive scope, and a sense of fellowship with others, the work of someone who listens long enough to hear.
On June 25th, 1967, The Beatles walked into Studio One at Abbey Road Studios in London and sent a message to the world. Broadcast live as part of the BBC’s “Our World,” the first international satellite television broadcast of their song, “All You Need Is Love” reached an estimated 400 million people around the globe. For a few extraordinary minutes, the world was watching together.
Decades later in 2009 lifelong fan Faith Cohen decided this day deserved to be commemorated. From that belief, Global Beatles Day was born. A fan-made, fan-run celebration dedicated to the band, their music, and a message that continues to resonate across generations and around the world: love is all you need.
From tribute concerts in Tokyo to Beatles-themed exhibitions in New York City, singalongs in Buenos Aires, and fan gatherings in Liverpool, Global Beatles Day has continued to grow organically. Its growth has been built on an enduring love for John Lennon, Paul McCartney, George Harrison and Ringo Starr and their message, and evolved into an annual event embraced by fans spanning generations and continents.
Now, in a major milestone for the celebration, Apple Corps Ltd, the company founded by The Beatles to manage their creative and business ventures, has formally acknowledged Global Beatles Day.
On June 25th, alongside online and in-person events around the world that celebrate the band, The
Beatles will also release a colorized version of their BBC “Our World” performance of “All You Need Is Love” for free on YouTube. The first time the iconic performance has been made available online, it will celebrate the iconic performance’s anniversary, mark Global Beatles Day, and give fans around the world the chance to relive that spectacular, global moment from 1967 and share their reaction in the live chat.
Writing to Faith Cohen this week, Apple Corps CEO Tom Greene praised the fan-led initiative, writing: “More than ever, the message of The Beatles, and of ‘All You Need Is Love’ speaks to something vital for community, connection, and the power of bringing people together. That is what makes Global Beatles Day so special. It asks nothing more than for people, wherever they are, to stop, listen, and share a little joy.”
The recognition feels fitting for a band whose enduring impact remains unparalleled.
The Beatles remain one of the most successful and influential acts in history. More than five decades after their split, their music continues to resonate across generations, from fans who lived through Beatlemania in the 1960s to new audiences discovering “Hey Jude” and “Let It Be” through streaming and social media or “Two of Us,” currently used in the hit film “Project Hail Mary.” Beyond record sales, they reshaped fashion, youth culture, songwriting and album production, sparked the “British Invasion” in America, and redefined popular music with groundbreaking albums like Sgt. Pepper’s Lonely Hearts Club Band. Their legacy continues to draw millions of visitors to landmarks such as Abbey Road Studios, where fans still flock to recreate the iconic Abbey Road crossing photo. In an announcement made earlier this month 3 Savile Row, the location of their iconic rooftop concert, is to be made into the first official fan experience, opening in 2027. Looking ahead, an eagerly anticipated four-film Beatles cinematic event is set for release in April 2028 through Sony Pictures Entertainment and Neal Street Productions. The project marks the first time Apple Corps Ltd. and The Beatles have granted full life story and music rights for a scripted film. Directed by Sam Mendes, it will star Harris Dickinson (John Lennon), Barry Keoghan (Ringo Starr), Paul Mescal (Paul McCartney) and Joseph Quinn (George Harrison).
Global Beatles Day started as a simple idea that has become a global movement built on joy, togetherness and connection, values that feel increasingly relevant today. And on June 25th, millions of fans worldwide are expected to do exactly what Global Beatles Day encourages: celebrating The Beatles, their music, and a message that continues to resonate across generations and around the world: love is all you need.
Sign up to be part of the Global Beatles Day movement HERE
Sometimes the best songs point straight back home. Multi-Platinum singer, songwriter and producer Dylan Gossett unveiled his new single “Honeysuckle” today via Big Loud Texas / Mercury Records. You can listen now.
While his 2025 debut album ‘Westward’ chronicled the whirlwind of becoming one of Texas Country’s most compelling new voices on the road, “Honeysuckle” finds the Austin native circling back to his roots and reflecting on home, love and the relationships that matter most. The song marks a more personal, intimate direction in his writing.
Gossett wrote it on the tour bus following his monumental 2025 Stagecoach debut. The track began as an escape from the California desert and grew into one of his most distinctly Texas songs yet, full of vivid lines drawn from the sunsets he watches over his property in Wimberley, Texas. He built it as a love song to his wife, singing about a Southern sweet, Texas drawl that takes him home.
Earlier this spring he dropped the deeply personal “My Boy,” celebrating the birth of his first child and dedicating it to his growing family.
The new single glows with warmth and homespun detail, the sound of a writer settling comfortably into his own story.
Gossett’s rise has been remarkable. He has nearly 1.5 billion streams across his catalog, and his breakout single “Coal” recently picked up a 2x Platinum certification in the United States, along with Gold in the U.K., Platinum in Australia, and 2x Platinum in both Canada and Ireland. “Coal” marked his first entry on the Spotify U.S. Top 200, the Billboard Hot 100 and the U.K. Official Singles Chart Top 100, and broke into the top 5 of the Spotify Viral 50 charts in the U.S. and globally. His single “Beneath Oak Trees” recently went RIAA Gold. Spotify and Amazon tagged him an Artist To Watch in 2024, MusicRow named him to its Next Big Thing Class of 2025, and he has sold over 200,000 tickets worldwide.
The 27-year-old has packed a lot into a few years, with a Grand Ole Opry debut, festival sets at Stagecoach, SXSW, CMA Fest and Austin City Limits, and support slots for Noah Kahan and Morgan Wallen.
Upcoming Tour Dates:
June 6, Boulder, CO, Folsom Field (Mumford & Sons)
June 8, Fort Worth, TX, Dickies Arena (Mumford & Sons)
June 9, Rogers, AR, Walmart Arkansas Music Pavilion (Mumford & Sons)
June 11, Chicago, IL, Wrigley Field (Mumford & Sons)
June 13, Toronto, ON, Rogers Stadium (Mumford & Sons)
June 14, Burgettstown, PA, The Pavilion at Star Lake (Mumford & Sons)
June 16, Bangor, ME, Maine Savings Amphitheater (Mumford & Sons)
June 18, Syracuse, NY, Empower FCU Amphitheater at Lakeview (Mumford & Sons)
June 19, Bristow, VA, Jiffy Lube Live (Mumford & Sons)
June 20, Hershey, PA, Hershey Park Stadium (Mumford & Sons)
June 22, Boston, MA, Fenway Park (Mumford & Sons)
June 27, Glasgow, UK, Bellahouston Park
June 28, Chelmsford, UK, Hylands Park Chelmsford
June 30, Leeds, UK, Millennium Square
July 2, Rotselaar, Flanders, Rock Werchter
July 3, Dublin, IE, Iveagh Gardens
July 5, Belfast, UK, Custom House Square
July 17, Jackson, WY, Snow King Mountain
July 18, Big Sky, MT, Big Sky PBR
Aug 16, Sioux Falls, SD, Denny Sanford Premier Center (The Red Clay Strays)
Aug 18, Grand Forks, ND, Alerus Center (The Red Clay Strays)
Aug 19, Bismarck, ND, Bismarck Event Center (The Red Clay Strays)
Aug 22, Missoula, MT, Adams Center (The Red Clay Strays)
Aug 28, Lubbock, TX, Cook’s Garage (Charles Wesley Godwin)
Aug 29, New Braunfels, TX, Whitewater Amphitheater (Charles Wesley Godwin)
Sept 2, West Valley City, UT, Maverik Center (The Red Clay Strays)
Sept 4, Stateline, NV, Lake Tahoe Outdoor Amphitheater (The Red Clay Strays)
Sept 11, Sacramento, CA, Golden State Arena (The Red Clay Strays)
Sept 12, Ontario, CA, Toyota Arena (The Red Clay Strays)
Sept 16, San Diego, CA, Pechanga Arena (The Red Clay Strays)
Sept 17, Phoenix, AZ, PHX Arena (The Red Clay Strays)
Sept 23, Baton Rouge, LA, Texas Club
Sept 26, Nashville, TN, The Pinnacle (Charles Wesley Godwin)
Sept 29, New York, NY, The Rooftop at Pier 17 (Charles Wesley Godwin)
Oct 1, Raleigh, NC, Red Hat Amphitheater (Charles Wesley Godwin)
Oct 2, Asheville, NC, Hellbender (Charles Wesley Godwin)
Oct 16, College Station, TX, Farmer’s Fest
Nov 20-22, St. Petersburg, FL, St. Pete Country Fest
Dec 3, Perth, AUS, Ice Cream Factory
Dec 5, Brisbane, AUS, Fortitude Music Hall
Dec 6, Sydney, AUS, On The Steps At Sydney Opera House Forecourt
A studio became the refuge. Globally acclaimed singer-songwriter Ellie Goulding returns with her new single “Black Prada Dress,” arriving alongside news of her highly anticipated sixth studio album ‘I Know Too Much,’ due September 4. You can listen now.
She premiered the track during her set at BBC Radio 1’s Big Weekend over the bank holiday, and clips spread fast across social media. On Sunday, June 7, Ellie returns to “Later… with Jools Holland” to perform the single, a full-circle moment for an artist who first appeared on the show in 2009 ahead of her debut album.
“Black Prada Dress” digs into the tension between perception and reality, a caustic, self-aware portrait of the fractured selves people build to survive, perform and protect themselves, unravelling in real time. Ellie wrote the song and album executive producer Jack Rochon produced it. She discovered Rochon on TikTok while he was still relatively unknown, trusting the same instinct for emerging talent that led her to producer Starsmith early in her own career, and the pair shaped the album together over the past couple of years.
“‘Black Prada Dress’ really sets the tone for I Know Too Much,” Ellie says. “The album came from the idea that maybe we can know too much. There is a certain kind of freedom in the ease of not knowing. This album is a collection of songs that represent a crossroads in my life where I realized what the freedom of not knowing has gifted me in the past, yet a time when I am at the precipice of understanding the true power in knowing. Through the chaos of this great change, I went to my comfort zone and found my refuge in the studio. My initial instinct was I didn’t know where it was all going, but I just knew I needed to be in the studio. Writing a song has always been my best form of therapy.”
The single arrives with the sharp, emotionally precise songwriting that has defined her catalogue, a striking opening statement for the era ahead.
Ellie’s numbers are staggering. She’s one of the most successful artists of the 21st century, with over 55 billion streams globally and more than 44 million albums sold. Among the top five most-streamed British female artists in the world, she holds the UK record for the most number 1 albums by a British female artist, tied with Adele, along with the most UK Singles Chart entries of any British female solo artist in history.
Her catalogue stays remarkably alive online. “Starry Eyed” recently returned to the UK Official Charts after hitting number 1 on TikTok earlier this year, underscoring her standing as one of pop’s most enduring voices. Her reach extends through collaborations with Calvin Harris, Kygo, Skrillex, Diplo and Major Lazer, and her songs have been sampled by artists including Drake and Jay-Z.
Sisterhood comes with backup. GRAMMY-nominated trio FLO just released their new single and video “Don’t Break Her Heart,” lifted from their forthcoming album ‘Therapy At The Club,’ out July 24 via Island Records. You can listen now.
The track reunites FLO with producer Julian Bunetta and songwriter Steph Jones, who worked with the group on lead single “Leak It.” “Don’t Break Her Heart” plays as an ode to friendship and sisterhood, with the trio warning potential lovers to treat their girls right. Director Troy Roscoe turns the video into a playful caper, casting FLO as an investigative agency for women seeking answers as they take on a case to expose an unfaithful man.
“DBHH is our favourite sisterhood anthem,” FLO said. “It really encapsulates our love for each other and the lengths we are willing to go to protect the hearts of our sisters.”
The single follows the announcement of ‘Therapy At The Club,’ out next month. The album reimagines the club as a site of confession, release and self-possession across the emotional arc of a night out, from pre-game to morning after. Leaning into dark, euphoric R&B and pop with diaristic storytelling, the record explores desire, heartbreak, confidence and healing in real time. FLO wrote it alongside Amy Allen, Steph Jones, Julian Bunetta and Boy Matthews, with contributions from previous collaborators Skippz, Oak Felder and Sevyn Streeter, plus extensive songwriting and production credits from the trio themselves.
“We’re incredibly proud to finally share Therapy at the Club, our sophomore album with the world,” FLO said. “It’s a body of work that feels super personal to us, it’s been a labour of love. For us, the club is more than just a night out, it’s like therapy. I mean, where else do you feel more understood than in a girls bathroom on a night out, that’s the vibe. We’ve been very hands on with the writing and creation of this project alongside our very special collaborators, and that’s made it even more meaningful to us. This album represents where we are right now, honest, evolving, and unafraid to feel everything. We really hope you love it.”
The track glows with attitude and warmth, a confident showcase for three voices that lock together effortlessly.
Last month’s announcement arrived with a cinematic album trailer and the title track “Therapy At The Club,” first performed on their acclaimed NPR Tiny Desk set. That followed lead single “Leak It,” which became FLO’s highest-charting solo single in the UK to date and gathered over 9 million views on its music video in under four weeks.
The past 12 months have rewritten the record books for the British pop-R&B trio. Their debut album ‘Access All Areas’ earned a nomination for Best Progressive R&B Album at the 2026 GRAMMY Awards, the first GRAMMY nomination for a British girl group in 20 years. They performed at the 2026 MOBO Awards and won their first MOBO for Best R&B/Soul Act, and their headline Access All Areas Tour became the biggest US headline run by a British girl group in nearly two decades, alongside sold-out shows across the UK and Europe.
Four songs, stripped to their bones and built back up. Award-winning singer-songwriter Holly Humberstone just released ‘it’s a real Cruel World,’ a strikingly intimate EP that reimagines four standout tracks from her critically acclaimed second album ‘Cruel World.’ The collection offers fresh versions of fan favorites “White Noise,” “Red Chevy,” the title track “Cruel World,” and “To Love Somebody,” her biggest-ever single launch, putting her singular songwriting and unmistakable voice front and center.
The release lands during a landmark stretch for Holly. Over the past few months she’s delivered striking performances on “Later… with Jools Holland,” the season one finale of SNL UK and “The Tonight Show Starring Jimmy Fallon,” and taken the stage at Coachella and Radio 1’s Biggest Weekend, cementing her status as one of Britain’s most compelling live artists.
In April she released ‘Cruel World,’ which debuted at number 4 on the UK Albums Chart and has since gathered more than 83 million streams. A richly detailed exploration of love, longing and self-discovery, the album traces the fine line between pain and pleasure, mapping the emotional terrain of modern relationships with razor-sharp lyricism and expansive, cinematic production.
Place has always anchored Holly’s storytelling. From her breakthrough EP ‘Falling Asleep At The Wheel,’ a portrait of a girl growing up in a “haunted house” in Grantham, through ‘The Walls Are Way Too Thin’ and her number 3 debut album ‘Paint My Bedroom Black,’ she documented the dislocation of leaving home in fragments of hotel rooms, late-night messages and new cities. Now 26, Holly has built a home of her own in South-East London, restoring a dilapidated house alongside her sisters and best friend Scarlett.
These new versions glow with warmth and quiet precision, the sound of a writer fully at home in her own songs. The album also draws deeply on love, romantic, platonic and feminine, written through daily studio sessions with collaborator Rob Milton, and shaped by years on the road supporting the likes of Sam Fender, Olivia Rodrigo and Taylor Swift.
Holly’s run of honors runs deep. She earned an Ivor Novello nomination for her debut EP and won the BRIT Rising Star award in 2022, performing “London Is Lonely” live to millions at the BRIT Awards that year. This summer she plays festivals including British Summer Time, Reading & Leeds, Mad Cool and Governors Ball, and she supports Gracie Abrams at the Kia Forum in Los Angeles this December.
