Toronto’s summer festival calendar just got a major upgrade. All Things Go Festival has announced the lineup for its 2026 Toronto edition, returning June 6–7 to RBC Amphitheatre with a stacked, thoughtfully curated bill and one of its most fan-friendly features intact: no overlapping set times.
Saturday is headlined by Kesha and Toronto favorites The Beaches, joined by Rachel Chinouriri, Holly Humberstone, Sofia Camara, and Bella Kay. Sunday brings another heavy-hitting lineup led by Lorde and Wet Leg, alongside Del Water Gap, Jade Lemac, Momma, and Flower Face.
Beyond the music, All Things Go has built its reputation around community and inclusion, centering female, LGBTQ+, gender-expansive, and marginalized artists long before it became a trend. The festival again partners with Live Nation Women, reinforcing its commitment to representation both onstage and behind the scenes. With praise from outlets like Billboard Canada and NOW Toronto, and a growing presence beyond its DC and New York roots, the Toronto edition continues to feel like a natural expansion rather than a corporate copy-paste.
Fan Presale begins Thursday, February 5 at 10am ET, with general on-sale following Friday, February 6 at 10am ET. Tickets are expected to move fast. For fans who want a weekend of great music without impossible schedule choices, All Things Go Toronto 2026 is shaping up to be one of the most satisfying festival experiences of the summer.
Broken Social Scene have announced the May 8, 2026 release of their new album Remember The Humans via Arts & Crafts. Marking their first new studio album in nearly a decade, the LP reunites the Toronto collective with producer David Newfeld, who helmed their breakthrough You Forgot It in People (2002) and self-titled 2005 album. Across the 12 tracks the arrangements are dense and enveloping – a lattice of horns, guitars, voices, and electronics – yet melody always remains sovereign, refusing to be swallowed by the sheer sound. When the music drifts towards abstraction, a grounding bass line arrives to anchor the listener, reminding us always that there are human hands on the controls and that, however artful, this is still rock and roll.
This sensibility crystallizes in Remember The Humans’ opening track and lead single “Not Around Anymore,” where Broken Social Scene’s co-founder Kevin Drew incants about the disappearance of possibility in a world where “it’s all gone away.” But the nostalgia hinted at by the lyrics is gently resisted by the music: by invoking a past that has vanished, the song unexpectedly floods the present with a glow that rivals the very greatness being lamented.
The video for the song was directed by Jordan D Allen, Rachel McLean and Kevin Drew.
In addition to the new music, Broken Social Scene, Metric & Stars have announced the All The Feelings North American Tour, promoted by Live Nation. A celebration of lifelong friendship and creative communion amongst the Toronto legends, the tour kicks off in Austin at the Moody Theatre on June 8th and ends with a glorious homecoming at RBC Amphitheatre in Toronto on August 7th. Highlights include The Greek Theatre in Los Angeles on June 16th, The Brooklyn Paramount in Brooklyn on July 30th and The Ryman Auditorium in Nashville on August 4th. All dates are listed below. Tickets are on-sale Friday, February 6 at 10am local and will be available here.
Remember the Humans was shaped by reunion and loss in equal measure. When Drew and Newfeld reconnected after nearly 20 years apart, one hangout became what they call “a hurricane of fun.” During the recording, both lost their mothers – a shared grief that drew them closer. As Newfeld recalls, “our moms would have wanted us to do this, and get it right after 20 years of not working together.”
As ever, Broken Social Scene operates less as a band than as a community and songs evolve by ceding control to whoever can best carry them forward in the moment. Drew may be the designated driver, but collaborators on Remember the Humans, including Hannah Georgas, Lisa Lobsinger, and Feist, step into the foreground throughout the record, shaping songs with a sense of collective authorship that has always defined the group’s ethos.
The songs work because no one fully commands them. But this is where Newfeld matters most. As BSS’s Charles Spearin puts it, “his production suits the chaos of our songwriting so well…he’s got a childlike energy that is really contagious, when you get a piece of music that he loves, Oh my God, he’s bouncing like a little boy.”
The same unruly energy that keeps a band young can also trap it in its own past. Yet on Remember the Humans, Broken Social Scene have evolved with a deep sense of intention. It is the sound of a band deepening rather than reinventing, exploring the emotional implications of forms they’ve spent twenty years shaping. “There’s a different kind of honesty in this record,” says Spearin, “we’ve had success, we’ve lost friends, we’ve lost parents, we’re at this ‘what happens next?’ stage in life.” Remember the Humans is adult music in the best sense: contradictory, wounded, expansive – hopeful in a way that feels earned rather than declared. And it is also, in its refusal of control and its embrace of the ungovernable, a testament to something increasingly rare: art that is not optimized, not streamlined, not strategic.
BSS’s own evolution mirrors something happening outside it. After years of oversaturation and noise, the culture itself seems to have looped back to a craving for the raw, the communal, and the unguarded. The conditions that made You Forgot It in People feel necessary in 2002 have, in altered form, returned in 2026. According to Drew, “in 2026, you’re going to see a lot of resurgence of people going back to the roots of who they are, because things in their lifetime have gotten quite lost. I think we’ve let each other down, and I think it’s art that always tries to prevail, and tries to get us back on track.”
In a culture defined by abstraction and distance, Broken Social Scene have made a record that insists on the analog fact of human presence. It asks, gently, but insistently, that we remember each other, that we remember the human.
BROKEN SOCIAL SCENE TOUR DATES:
6/8 – Moody Amphitheater – Austin, TX 6/9 – South Side Ballroom – Dallas, TX 6/11 – Fillmore Auditorium – Denver, CO 6/13 – Sandy Amphitheater – Sandy, UT 6/16 – The Greek Theatre – Los Angeles, CA 6/17 – Arizona Financial Theatre – Phoenix, AZ 6/19 – Cal Coast Credit Union Open Air Theatre – San Diego, CA 6/21 – The Masonic – San Francisco, CA 6/24 – Hayden Homes Amphitheater – Bend, OR 7/24 – Byline Bank Aragon Ballroom – Chicago, IL 7/25 – Fox Theatre – Detroit, MI 7/27 – MGM Music Hall at Fenway – Boston, MA 7/28 – The Met – Philadelphia, PA 7/30 – Brooklyn Paramount – Brooklyn, NY 8/1 – The Anthem – Washington, DC 8/3 – Tabernacle – Atlanta, GA 8/4 – Ryman Auditorium – Nashville, TN 8/7 – RBC Amphitheatre – Toronto, ON
Music and sports cross paths more than you think. Sometimes it’s clever wordplay, sometimes it’s a wild brag, and sometimes it’s just an artist showing off how deep their sports knowledge runs. Here are 10 impressive athlete name-drops hiding in famous lyrics.
Chance the Rapper — “Eternal” Claiming to outshine Stephen Curry from beyond the arc is a bold move. That confidence is half the fun.
Billy Joel — “We Didn’t Start the Fire” Joe DiMaggio gets immortalized alongside world history. Baseball legends age well in pop songs.
Ice Cube — “It Was a Good Day” Triple-doubles and Michael Jordan comparisons don’t get more iconic than this.
Beastie Boys — “Sure Shot” A deep baseball pull with Rod Carew. Nerdy, unexpected, and very Beastie Boys.
Dr. Dre & Snoop Dogg — “Nuthin’ but a ‘G’ Thang” “Real deal Holyfield” made Evander Holyfield part of rap vocabulary forever.
John Fogerty — “Centerfield” Willie Mays, Ty Cobb, and DiMaggio all in one song. Baseball poetry at its peak.
Lil Wayne — “D.O.A.” Wayne stacks sports metaphors with Deion Sanders energy. Flashy references for a flashy rapper.
Eminem — “Fly Away” Brett Favre gets pulled into a lyric that’s chaotic in the most Eminem way.
Kendrick Lamar — “Go DJ” Bars referencing O.J. Simpson and Scottie Pippen land with razor-sharp precision.
Childish Gambino — “Two Weeks” Comparing himself to Tiger Woods at his peak says everything about confidence levels.
FX is revisiting one of America’s most scrutinized romances with Love Story: John F. Kennedy Jr. & Carolyn Bessette, the first chapter in Ryan Murphy’s new anthology project. The newly released trailer offers an intimate look at the early spark between John F. Kennedy Jr. and Carolyn Bessette, from their first meeting to the romance that quickly became public property. Paul Kelly steps into the role of JFK Jr., while Sarah Pidgeon portrays Bessette as poised, guarded, and increasingly overwhelmed by sudden fame.
Rather than glamorizing the couple outright, the series appears focused on the cost of living inside a modern fairy tale. As their relationship deepens, so does the pressure of constant attention, expectation, and intrusion. The trailer suggests a story less about celebrity romance and more about the quiet strain behind it, especially for Bessette, whose private life became a national fixation almost overnight. Premiering February 12 on FX and Hulu, the nine-episode series aims to reframe a familiar story through a more human lens, asking what it really means to fall in love when the world refuses to look away.
After nearly seven years on daytime television, Kelly Clarkson has confirmed that The Kelly Clarkson Show will come to an end following its seventh season.
Clarkson announced the news on February 2, calling it a deeply personal decision rooted in family, healing, and the need to step away from a demanding daily schedule. While the show will continue airing new episodes through fall 2026, this season will be her last as host.
“This was not an easy decision — but this season will be my last,” Clarkson wrote in an Instagram post. She explained that leaving the show will allow her to prioritize her children, River Rose, 11, and Remy Alexander, 9, during what she described as an important chapter in their lives.
The decision comes less than a year after the death of her former husband, Brandon Blackstock, who passed away at 48 following a three-year battle with skin cancer. The loss marked a profound turning point for Clarkson and her family.
Still, she made one thing clear: this is not a farewell to the spotlight.
“This isn’t goodbye,” she wrote. “I’ll still be making music, playing shows here and there, and you may catch me on The Voice from time to time.”
Since its debut in 2019, The Kelly Clarkson Show carved out a unique place in daytime TV. It wasn’t flashy or confrontational. Instead, it leaned into sincerity, humor, and empathy.
The show became especially beloved for its “Kellyoke” opening segments, where Clarkson reinterpreted songs across genres, reminding viewers that before she was a talk show host, she was one of the most powerful vocalists of her generation.
The series also balanced celebrity interviews with stories from everyday people, often spotlighting teachers, first responders, and unsung community heroes.
Over its run, the show earned 24 Daytime Emmy Awards, including multiple wins for Outstanding Daytime Talk Series and Outstanding Talk Show Host.
Originally produced in Los Angeles, the show relocated to New York City ahead of its fifth season. Clarkson later admitted the move was necessary for her personal well-being.
That reset seemed to breathe new life into the show, even as Clarkson privately navigated major personal struggles.
Production on Season 7 will continue as planned, with Clarkson hosting most episodes and a handful of guest hosts filling in later this year. NBCUniversal has not announced a finale date, but confirmed episodes will air through fall 2026.
As for Clarkson herself, she’s already filmed episodes of The Voice’s upcoming “Battle of Champions” season and continues to hint at future music projects.
For now, though, she’s choosing something rare in entertainment: stepping back at the height of success.
And after nearly seven years of giving audiences her voice, her energy, and her honesty every weekday, it feels like a decision she’s earned.
The passing of Chuck Negron marks the end of an era. As the unmistakable voice behind some of the biggest hits of the late 60s and early 70s, Negron helped make Three Dog Night one of the most successful American groups of their time. But his life went far beyond the radio staples everyone knows.
Here are 20 lesser-known facts that paint a fuller picture of the man behind the voice.
He grew up in the Bronx, not California, after being born in Manhattan in 1942.
His father was a Puerto Rican nightclub singer, which shaped his early exposure to music.
Chuck had a twin sister, Nancy, who shared much of his early childhood.
As a kid, he lived in a Bronx daycare mansion that he later described as an “orphanage,” complete with a pool and gym.
Before music took over, basketball was his first serious passion.
He was recruited to play college basketball in California before pursuing music full time.
He sang in local doo-wop groups as a teenager.
“One” was recorded in a single take and became Three Dog Night’s first million-selling record.
Despite the band’s success, Three Dog Night was often criticized for not writing their own songs.
Chuck sang lead on more Three Dog Night hits than any other member.
His heroin addiction began at the height of the band’s fame in the early 1970s.
At his lowest point, he estimated spending up to $3,000 a day on drugs.
He dropped out of more than 30 rehab programs before finally getting clean in 1991.
His recovery became deeply tied to faith, which he credited with saving his life.
He wrote a brutally honest autobiography, Three Dog Nightmare, detailing his rise and fall.
He later dedicated time to speaking at rehab centers and hepatitis conventions.
Chuck released multiple solo albums, including live recordings and a Christmas record.
He appeared on the A&E series Intervention in 2006, focusing on his family’s struggles.
He secretly used oxygen-delivery glasses onstage to manage COPD without audiences noticing.
Shortly before his death, he reconciled with bandmate Danny Hutton after decades of estrangement.
Chuck Negron’s story is one of extraordinary talent, hard-earned survival, and second chances. His voice carried joy, heartbreak, and vulnerability into millions of homes, and his honesty later helped others fighting the same battles he faced.
Long after the charts fade, those songs — and the man who sang them — will still be heard.
News does not move in cycles anymore-it moves in moments.
Breaking events reach audiences through push notifications, social feeds, and algorithm-driven discovery long before readers open a full article. In this environment, speed is not only a distribution advantage; it directly shapes how stories are perceived.
Yet many news organizations still rely on static visuals to accompany fast-moving stories. While photography remains essential, still images increasingly struggle to meet the expectations of motion-first consumption.
This tension is pushing news media toward new visual workflows-ones that prioritize immediacy, clarity, and adaptability.
The Attention Gap in Modern News Consumption
Audience behavior has changed faster than newsroom processes.
Today’s readers:
Scroll rapidly through feeds
Spend seconds-not minutes-deciding what to engage with
Respond more strongly to movement than to static layouts
A single image often flashes past unnoticed. Motion, however, introduces sequence and context, giving information time to register.
For news platforms competing in crowded digital spaces, motion is no longer decorative. It has become a functional infrastructure for attention.
Why Traditional Video Production Can’t Match Breaking News
Despite video’s effectiveness, conventional production workflows are poorly suited to real-time reporting.
They depend on:
Footage availability
Editing capacity
Longer turnaround times
During early-stage or developing stories, these requirements are often unrealistic. Newsrooms face a choice: wait for polished video or publish quickly with limited visual engagement.
This is where Image to Video AI becomes relevant-not as a replacement for journalism, but as a bridge between speed and comprehension. By transforming existing images into short motion sequences, platforms like videoplus.ai help publishers deliver visual context without delaying publication.
Motion as Context, Not Sensationalism
Motion in news media is frequently misunderstood as spectacle.
In practice, its value lies in explanation.
Simple image-to-video transformations can:
Show progression over time
Highlight key visual details
Improve clarity on mobile screens
Fit naturally into motion-driven feeds
When used responsibly, motion enhances understanding rather than exaggeration. It reorganizes information instead of dramatizing it.
Visual Identity and Human Presence in News
Another growing challenge in digital news is differentiation.
As stories circulate across platforms, visuals often become detached from their original source. Human presence-faces, expressions, identity cues-helps restore recognition and trust.
This is where AI Face Swap technologies play a role in controlled, ethical contexts. For example, news organizations and media creators can use face-based visual tools to:
Standardize presenter-led explainers
Localize visual narratives without reshooting
Maintain consistent on-screen identity across formats
When applied transparently and responsibly, these tools support continuity rather than manipulation.
Platform Algorithms Reward Motion-Even for Journalism
Distribution realities cannot be ignored.
Motion-based content typically receives:
Higher dwell time
Stronger algorithmic prioritization
Greater shareability
This affects which stories surface-and which disappear.
Image-to-video workflows allow newsrooms to adapt to these mechanics without altering editorial substance. The story remains the same; the presentation evolves.
Speed Without Losing Credibility
A common concern is whether faster visual formats undermine journalistic integrity.
The distinction lies in intent.
When motion is derived from verified imagery and used to clarify-not embellish-facts, it strengthens credibility. Visual AI does not invent stories; it reshapes how they are delivered.
For modern newsrooms, the challenge is no longer choosing between speed and trust-but designing systems that support both.
Conclusion: The Future of News Is Faster to Understand
The evolution of news media is not about abandoning articles or photography.
It is about aligning form with behavior.
By turning images into motion and using visual identity tools thoughtfully, news organizations can communicate more clearly in environments defined by speed.
In a world where attention is fleeting and stories unfold in real time, the most impactful journalism will not be louder-it will be easier to grasp.
And increasingly, that clarity begins with how visuals move.
Data and information are provided for informational purposes only, and are not intended for investment or other purposes.
Blur drummer and founding member Dave Rowntree has released ‘No One You Know’, a photo book featuring hundreds of never-before-seen images from the band’s early years. The collection captures intimate behind-the-scenes moments with singer Damon Albarn, guitarist Graham Coxon, bassist Alex James, and Rowntree himself during the thrilling first stages of their rise. Published on February 3rd with a foreword by Rowntree and detailed memory quotes attached to each image, the book documents what it was really like to be in a young band when everything felt new and fresh. The photographs span Blur’s debut tours of America and Japan, studio sessions in the UK, tour bus games, backstage moments, hotel room antics, video shoots, and time spent with fans and friends.
‘No One You Know’ offers a unique visual insight into one of Britain’s most successful bands from one of the only four people who experienced it firsthand. Rowntree brought his camera to every early adventure, capturing close-up personal pictures that reveal the romantic energy of those vital first years. The book stands as a one-of-a-kind document of a band at the beginning of their journey, before fame changed everything. At $99, the collection preserves a crucial period in British rock history through the eyes of someone who lived it.
Reba McEntire took the Grammy stage on February 1st with a breathtaking performance of “Trailblazer (Dream Chaser Version)”, her first time performing at the ceremony. The special rendition – released via MCA – featured Grammy-winning singer-songwriter Brandy Clark, who rewrote the track and co-produced it with McEntire, and Grammy-winning artist Lukas Nelson. The multi-generational collaboration honored the legacy of recently lost members of the creative community. McEntire told Entertainment Tonight before the show, “I got a lot of friends up there on that big screen. My son, Brandon Blackstock, we let him go to heaven in August, and so we’re gonna be celebrating him tonight also. We’ll miss ’em, and we’re hopin’ to be with ’em again someday soon.”
The stripped-down acoustic performance showcased McEntire’s signature vocal power alongside Clark and Nelson, blending classic country with contemporary edge. Originally penned by Clark, Miranda Lambert, and Lainey Wilson, and produced by McEntire alongside Tony Brown, “Trailblazer” has earned McEntire her 18th career Grammy nomination for Best Country Duo/Group Performance. The moment demonstrated why McEntire remains one of country music’s most enduring voices, capable of delivering performances that connect emotionally while honoring those who shaped the creative community.
Grammy-nominated artist Jamal Roberts has released “Head Up”, a new single that pairs amapiano grooves with unflinching honesty about resilience. The track arrives via BMG and features production from RyKeyz, who has worked with Bebe Rexha, H.E.R., and Chris Brown. Written by Eskeerdo and Marcus Durand Lomax – whose credits include Justin Bieber, Teddy Swims, Miley Cyrus, and Zara Larrson – the song builds on what made Roberts an American Idol winner. His voice carries the emotional weight that turns a dance track into something genuinely moving. When he sings about perseverance, it lands because his delivery makes you believe every word.
The lyrics cut through without overcomplicating things. Roberts sings, “Everyone’s alive, but not everyone lives,” delivering one of the track’s sharpest moments with clarity and conviction. The chorus keeps it direct: “Keep your head up… the sun has been gone but it’s coming back around.” The release follows Roberts’ first Grammy nomination in the Best Gospel Performance/Song category for “Still (Live)”, his collaboration with Jonathan McReynolds. Recent appearances on The Kelly Clarkson Show, a performance during the National College Football Championship, and a set at the Grammy Museum prove Roberts is building real momentum with music that connects beyond the surface
