This weekend, the annual Head In The Clouds festival is kicking off in Los Angeles. With lots of major acts spread across the two days, there is something for all the fans attending. Here is what to know about the 2023 set times.
On Saturday, doors open at 12 p.m. and performances kick off at the same time with DJ Triple XL on the Honda Double Happiness stage. Warren Hue starts on the 88rising stage at 1:35 p.m. and B will be at the Eternal Energy Dance Tent at 1:45. Then, later in the afternoon, Rina Sawayama is on from 4:45-5:30 p.m. (88 Rising stage), then Akini Jing holds the other Honda stage at 5:30-6 p.m.
As the night goes on, others not to miss include Phum Viphurit (Honda) and Autograf (Eternal Energy) at 7, Zedd (88 Rising) at 7:30, Tokimonsta (Eternal Energy) at 8:35, Rich Brian (88) at 8:45, Keith Ape (Honda) at 9:25, and finally, Jackson Wang closing out the main stage at 10:05 p.m..
Sunday’s schedule follows a similar format for doors and starting performances. Performances on the 88 Rising stage include Løren at 1:25, Zion.T at 4:40, XG at 5:50, Yoasobi at 6:55, Niki at 8:05, and the festival finale with Tiger JK, Yoonmirae, Masiwei, KnowKnow, and more.
On the Honda stage in the evening, Lyn Lapid starts at 5:20, followed by GrentPerez at 6:25, and Eyedress from 7:30-8:05 p.m..
Check out the complete Head In The Clouds set times for 2023 above.
With the release of his new album, Utopia, Scott attempted to temporarily put the pending case behind him. However, one song references the incident, which has reopen the devastating wounds for one of the Astroworld victim’s family. According to TMZ, lawyer Bob Hilliard, representing the family of the late Ezra Blount called out Scott for being insensitive.
“For an artist making his living with music, these are stunningly tone-deaf comments about this preventable tragedy that took so many lives and injured so many,” Blount told the outlet.
The stanza in question appears in Scott’s song “My Eyes,” where Scott rapped, “I replay them nights, and right by my side, all I see is a sea of people that ride with me / If they just knew what Scotty would do to jump off the stage and save him a child.”
Blount’s family believes the line is an attempt by Scott to reframe the public’s view of him. In December 2021, Scott sat down for an interview with Charlamagne Tha God to discuss the tragedy. “I went through something, and I feel like fans went through something, and people’s parents went through something, and it really hurts,” he said. “It hurts the community. It hurts the city. There’s been a lot of thoughts, a lot of feelings, a lot of grieving, and just trying to wrap my head around it.”
Since then, Scott hasn’t released any other public statement related to the 2021 Astroworld Festival.
So far, Rolling Loud Miami 2023 has been full of shocking on-stage moments. On Saturday, July 22, headliner Travis Scott did something relatively low-key: He simply revealed his album Utopia‘s forthcoming release date.
Nearing the end of Scott’s set, the date July 28, 2023, flashed on the screen being him. One person on Twitter commented on the revelation, writing, “I need Utopia bad @trvisXX .” Scott replied, “Meet me here on Monday. We shall eat sooooonnn,” implying that more information would be shared on June 24.
But that wasn’t the only thing revealed during Scott’s set. He also played the trailer for his upcoming A24 film, Circus Maximus, which will also debut on the same day. So far, details about the movie have been largely kept from the public.
Utopia has been years in the making. On Friday, June 21, Scott dropped the first track from the album, “KPop,” which features Bad Bunny and The Weeknd.
Hidden within the official video for the record were hint that when Scott does hit the road to support that album, it will be on a grand scale, which is to say stadiums only. In addition to the tour, Scott’s team is working to host a special concert outside of the Pyramids of Giza in Egypt.
To be specific, social media went nuts over the performer’s “iconic” entrance. As Sexyy Red headed to the stage dressed, it wasn’t her jeweled bra that caught people’s eyes. It was her pretending to walk two men on leashes as if they were animals that shocked viewers. While the festival dubbed the entrance “Iconic,” after uploading the clip on Instagram, their followers had something else to say about it.
“J Balvin did this and got in trouble. She does this and nothing,” wrote one.
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Another wrote, “Something about Black men and chains.”
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Someone else wrote, “So when NLE Choppa walked her and Suki like dogs in his video, the narrative was ‘Black women gotta do better.’ But now, since it’s Black men, it’s just disrespectful, and every Black man in the world isn’t included? Interesting.”
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Although people online were overwhelmingly against the act, there were several people that didn’t take issue with it. One such person wrote, “That’s hard. All y’all saying those dudes are lame is just hating because this is a show. It’s called a performance, just like acting. If you don’t do it, someone else will. If I was them, I would be proud of my moment.”
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Another wrote, “Not y’all kink shaming. BDSM is a thing, folks.”
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Another agreed, writing, “I know we all still traumatized from slavery and antiblackness and all, but y’all never heard of a Dominatrix? ”
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This isn’t the first time one of Sexyy Red’s performances was declared inappropriate — not that such furor has impacted her live bookings.
Broccoli City Festival returned in 2023 with plays to take over a summer weekend, a change from its usual spring presence. The showcase, which was known to open its doors in May, opted to push things back to July this time around. Rumor has it that this change was done with the hopes of avoiding any rain delays that the spring season might have to offer. Unfortunately, Mother Nature proved to be the superior force as the weather played a role on both days of the festival this year.
This year’s showcase was headlined by Lil Uzi Vert, Jazmine Sullivan, and Brent Faiyaz, artists, who in recent years, have reached new heights in their careers. Behind them were slated performances from Asake, Rema, Chlöe, Coco Jones, Kodak Black, Mariah The Scientist, Ice Spice, City Girls, Keke Palmer, Saucy Santana, GloRilla, Lola Brooke, and more – and that was just the main stage. A smaller stage housed performances from Foggieraw, Ryan Trey, OG Bobby Billions, LaRussell, and others. Add in activations for some fun throughout the festival and food options throughout the outskirts of Washington D.C.’s RFK Stadium, and you have all the ingredients to put on a successful showcase.
So now that the weekend is over, let’s take a look back at the highs and lows of the 2023 Broccoli City Festival.
HIGH: Afrobeats
On the performance side of things, afrobeats was the winner at this year’s Broccoli City Festival. The genre was only presented by two artists for the weekend, Rema and Asake, but they put on a show to remember through their sets. On day one was Rema who arrived to perform highlights from his discography like “Holiday,” “Charm,” “Soundgasm,” “Dumebi,” “Bounce,” and of course, the record-breaking “Calm Down.” Rema was nothing short of charismatic and energetic on the Broccoli Stage as he consistently flashed a smile to the crowd while showing off his slick dance as his live band ripped through the instrumentals of his song. If you need to be convinced to go to a Rema show, his Broccoli City Festival set made a very convincing argument.
On day two, the afrobeats energy was brought forth by Asake who made interactions with the crowd a priority during his. He spent nearly half of his set by the front row barricade and in the open space that divided the VIP and general admission sections. There was even a point where he entered the general admission crowd from the back and worked his way to the front through them, which provided an up close and personal experience for his biggest fans. Asake pierced through beloved records like “Terminator,” “Sungba,” and “Joha,” before debuting records from his new album Work Of Art.
Rema and Asake went above and beyond to put on a show in their respective sets, and it’s for that reason that afrobeats gets the crown as the winner of this year’s Broccoli City Festival.
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LOW: Logistics
This year’s Broccoli City Festival had some logistical flaws throughout the weekend that affected the overall experience of the weekend. First, fans who had to pick up their wristbands through will call at the festival were subjected to a wait that lasted over an hour in many cases. Broccoli City officials did apologize for the wait and promised changes for day two. Things at the entry point did seem to run smoother on day two, but then again, most attendees already had their wristbands by that point.
Some other issues included an insufficient amount of water cooling and fan stations throughout the festivals. Both days experienced temperatures into the 90s, but the cooling and fan stations were few in number. Though, the main stage security team made sure to supply water to the crowd which hopefully helped a bit.
HIGH: Day Two
Day two of Broccoli City Festival was by far the best day of this year’s showcase. The performers were on point from start to finish. There was the previously-mentioned stellar performance from Asake and there was Coco Jones who earned herself a viral moment by performing “Rain On Me” as raindrops poured from the sky. Kodak Black and GloRilla satisfied hip-hop lovers with their performances and OG Bobby Billions and Ryan Trey impressed with their sets at the smaller City Stage. Things moved smoother on a logistical end as fans were able to get into the festival without issue, and unlike day two, the weather cooperated to allow for the festival to go through from start to finish without interruption. As the saying goes, it’s not how you start but how you finish.
LOW: Heat & Humidity
This isn’t much to blame on Broccoli City Festival itself, but my goodness the heat and humidity was serious on both days of the festival. A towel at least was needed, but attendees who brought personal fans (especially the ones with water mist), were in the best position to defend themselves. The sun relentlessly beaming above us and the humidity standing beside made it a bit difficult to enjoy what the festival had to offer. Frequent water breaks were needed as were any and all things to stay cool and hydrated. The plus side here was with the festival getting underway at 2 p.m. each day, a bit later than other festivals, there were fewer hours of peak sunlight to endure before the sun, along with the heat and humidity, made its way out of our presence for the day.
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HIGH: Brent Faiyaz, The Hometown Hero
I must say, I was thoroughly impressed with Brent Faiyaz’s set to close the festival weekend. The singer, who along with Broccoli City calls the DMV home, stepped out to use the weekend showcase as the kickoff moment for his F*ck The World, It’s A Wasteland Tour. For the most part, Brent stuck to records from F*ck The World and Wasteland, though he did reach back into his discography for older and more one-off releases. From start to finish, Brent’s vocals were fully present for his performance and they were rarely drowned out by a backing track. He also opted for a live band that only amplified the experience that had its tone and mood set by onstage visuals that fit perfectly with the theme of Wasteland. Brent didn’t keep this moment to himself either, he made sure to share the stage with fellow DMV artists Joony and Tre’Armani as they joined him for performances of “FYTB” and “Addictions.” If Broccoli City was a dress rehearsal for Brent’s F*ck The World, It’s A Wasteland Tour, then I suggest you do what you can to get tickets.
LOW: Small Stage
The main action at Broccoli City Festival year took place at the Broccoli Stage. All the big names brought their best through performances there, but there were still a number of acts worth paying attention to at the City Stage, the festival’s smaller stage. Foggieraw was there to perform his beloved track “Pslam 62” while Ryan Trey performed fan favorites and even brought out Mariah The Scientist! Other names like OG Bobby Billions delivered solid sets as TiaCorine and Lola Brooke also highlighted performances at this stage. With all that being said, the City Stage could have had a better set up for these performances. It wasn’t the most inviting display, which would’ve been a nice quality to reel in fans to discover a new artist. The canopy that sat over the stage and audience space was certainly clutch for the rain, but more could’ve been added to the experience to make it more presentable.
Final Thought:
Broccoli City Festival was a hectic weekend, but in the end, it was a satisfying showcase. Strong performances from Asake, Rema, Ice Spice, Brent Faiyaz, Chloe Bailey, Coco Jones, and others made it all worthwhile — especially when the dastardly sun set for the day or was at least covered by clouds. Some improvements are definitely in store for the next edition of the festival, but the highs and lows of Broccoli City shouldn’t deter you from checking out their next showcase, especially if the necessary changes are made.
Later this week, Splendour In The Grass music festival kicks off in Australia. As the event spans four days, here is everything to know about the set times for this year.
Starting on Thursday, July 20, things kick off at noon with The Gatling Gun performing at Bryon Bay Brewery. Throughout the afternoon, Lila Swain (on the Smirnoff stage) and Kira Sunday (Red Bull Unforeseen) both play at 4 p.m.. Juups follows behind on the Smirnoff stage at 6 p.m., as DJ Cheq (Red Bull) and Nic Holland (Rainbow Bar) start at the same time. On the World Stage, Trouble San DJs play from 5 p.m. until midnight.
However, Friday is when things really kick off. Some acts not to miss on this day include Claire Rosinkranz at 3 p.m. at the GW McLennan Tent, Sudan Archives on the Mix Up Stage from 5:30 to 6:15, J Balvin at the Ampitheatre from 9 to 10, and Lizzo following after him on the same stage — with her performance happening from 10:45 p.m. until midnight.
On Saturday, the Ampitheatre features Benee at 4:15 p.m., King Gizzard & The Lizard Wizard at 5:45, Sam Fender at 7:15, Yeah Yeah Yeahs at 8:45, and Flume closing things out on the stage from 10:30 to midnight. Other key acts include Jeremy Zucker at 6 and Arlo Parks at 9 — both playing at GW McLennan Tent. There are also DJ acts that continue until 2 a.m. — in case the party doesn’t want to stop.
For the final day on Sunday, Tove Lo takes the Ampitheatre at 6 p.m., followed later by Mumford & Sons at 10:45. Iann Dior plays the Mix Up Stage at 8:45. Over at the GW McLennan tent, fans can also catch 100 Gecs from 10-11 p.m..
Check out the complete Splendour In The Grass schedule here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
London’s Finsbury Park will be jammed packed with music lovers thanks to the 2023 Wireless Festival. The outdoor event will take place starting today (July 7) and run until Sunday (July 9), with performances from various international acts. Playboi Carti (July 7), Travis Scott (July 8), and D-Block Europe (July 9) will serve as headliners across the weekend.
A host of other big names across drill, grime, rap, and R&B will grace the stage on one of the billed dates. Notable names include 50 Cent, Metro Boomin, Lil Yachty, Lil Durk, Latto, GloRilla, Ice Spice, Headie One, Bryson Tiller, FLO, and Lola Brooke. With several dozen acts set to grace one of the festival’s many stages, we’ve gathered the listed set times for some of the most anticipated performances.
View the full performance schedule below. All times are in local London time p.m.
Friday, July 7
Playboi Carti – 9:05 – Main Stage
Coco & Breezy – 8 – Casa Bacardí
Lilo – 8 – Red Bull Stage
Meekz – 7:45 – Amazon Music +44 Stage
Yeat – 7:40 – Main Stage
Jael – 7 – Casa Bacardí
Homixide Gang – 6:45 – Amazon Music +44 stage
Metro Boomin – 6:35 – Main Stage
Janelle Wynter – 6 – Red Bull Stage
Mia Koden – 6 – Casa Bacardí
Latto – 5:50 – Amazon Music +44 Stage
Lancey Foux – 5:40 – Main Stage
Jay Knox – 5:30 – VIP Village
Lola Brooke – 5:05 – Amazon Music +44 Stage
Ice Spice – 5 – Main Stage
Saturday, July 8
Travis Scott – 9:05 – Main Stage
Latecomer – 8 – Red Bull Stage
Taylah Elaine – 7:30 – Casa Bacardí
Lucki – 7:05 – Amazon Music +44 Stage
Lil Yachty – 7:05 – Main Stage
Hank K – 6:15 – Casa Bacardí
Emma Korantema – 6 – Red Bull Stage
Headie One – 5:50 – Main Stage
Mariah The Scientist – 5:50 – Amazon Music +44 Stage
Laelo Black – 5 – Casa Bacardí
Clavish – 4:35 – Amazon Music +44 Stage
Bryson Tiller – 4:35 – Main Stage
Joey Bada$$ – 3:20 – Main Stage
NLE Choppa – 3:20 – Amazon Music +44 Stage
Bambii – 3 – Casa Bacardí
Zack Fox – 2:15 – Amazon Music +44 stage
FLO – 2:10 – Main Stage
Sunday, July 9
D-Block Europe – 8:15 – Main Stage
Cvss – 8 – Red Bull Stage
Kilimanjar0 – 6:45 – Casa Bacardí
K-Trap – 6:40 – Amazon Music +44 Stage
50 Cent – 6:35 – Main Stage
Lil Durk – 5:10 – Main Stage
GloRilla – 5:10 – Amazon Music +44 Stage
Popcaan – 4:05 – Main Stage
Lil TJay – 3 – Main Stage
Black Sherif – 3 – Amazon Music +44 Stage
TiaCorine – 1:10 – Amazon Music +44 Stage
The set times are estimated and subject to change. Download the official Wireless Festival mobile app here to stay up-to-date with the performance schedule.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Madrid’s Mad Cool music festival kicks off tomorrow — and will run until Saturday, July 8th. With a stacked lineup across several stages, here is what attendees need to know about the set times.
On Thursday, King Princess and Selah Sue will kick things off, with performances on different stages at 5:50 p.m. At 7 p.m. on the Madrid Is Life stage, The Offspring will play. Raye will perform an hour later on the Ouigo stage. Shortly after at 8:20 p.m., The 1975 will be on the Region Of Madrid stage. Later in the evening, fans can catch Lizzo at 9:40 (Madrid Is Life), Robbie Williams at 11:15 (Mad Cool), Rina Sawayama at 11:30 (Region Of Madrid), Lil Nas X at 12:55 a.m. (Madrid Is Life), and Franz Ferdinand at 1:00 a.m. after Sawayama.
For Friday, some key acts to catch include Angel Olsen at 6:55 p.m., Sam Smith at 8:05, Queens Of The Stone Age at 9:40, Mumford & Sons at 11:10, The Black Keys at 12:50 a.m., and Rüfüs Du Sol at 12:55 a.m..
Then, on Mad Cool’s final day on Saturday, there is still a lot going on. Sylvan Esso (6 p.m.), Liam Gallagher (8:15 p.m.), and Red Hot Chili Peppers (10:55 p.m.) will all be on the main Mad Cool stage. M.I.A. (9:35 p.m.) and The Prodigy (12:50 a.m.) will play the Madrid Is Life stage. Ava Max (11:20 p.m.) and Jamie XX (12:55 a.m.) are also helping close out the festival on the Region Of Madrid stage.
View the full Mad Cool set times below.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Denmark’s popular and annual Roskilde Festival is wrapping up its final day of performances tomorrow. After attendees were able to catch various major acts, including Rosalía, Lil Nas X, Rina Sawayama, Blur, and more, since last Sunday — there is still much to look forward to on the closing lineup.
Here is what to know about the final day Roskilde set times for 2023.
At 11:30 a.m., Resonerende Rum opens the festival on the Platform stage. Throughout the afternoon, there is a blend of Danish acts (Saint Clara at 1:15 p.m., Sofie Birch at 1:30) and others from the US and UK, including Black Country, New Road at 3:15 p.m., Weyes Blood and Militarie Gun both at 4, and Caroline Polachek performing at 5:30.
Then, as the night continues, UK musician Loyle Carner plays at 9:30 on the Arena stage, followed by Mariki at 10:30 p.m. on the Platform stage. One of the festival’s key performers to close out is Lizzo, who festival attendees can catch at 11 p.m. on the Orange stage.
After midnight, Perturbator, Wargasm, Lyra Valenza, First Hate, and more play on various stages, The last set of the night starts at 2 a.m., although it’s unclear how early into the morning each of the closing acts will go.
For a complete list of set times for all final-day Roskilde 2023 performers, visit their official website here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Jazz thrives in cities with history: New Orleans, New York, Los Angeles, Chicago. These cities are also places where you’d expect a new festival to pop up and have success, taking full advantage of a post-pandemic hunger for live music. The California iteration of the Blue Note Jazz Fest, now in its second year, is hundreds of miles away from these hubs for the genre, tucked between the beautiful peaks and canyons of Napa Valley.
This year’s Blue Note, sharing a name with the legendary label it’s created by, is centered around a lineup that pays tribute to the 50th anniversary of Hip-Hop. Mary J. Blige, Nas, and Chance the Rapper are in the headliner spots, with sets from Ari Lennox, Smino, De La Soul, Bilal, Lalah Hathaway, and a host of other greats across the Black music space who are all connected to, influenced by, and champions of hip-hop.
Hip-hop’s birth can be directly traced back to the Bronx in 1973, where turntables and spoken word collided. By the ’80s, its reach had gone far beyond the borough; artists began to reach for more complicated beats and lyrics that represented a complex image of the Black experience. Jazz samples built the bones for many of these songs, while the Jazz ethos built the attitude. Artists like Rakim & Eric B. and A Tribe Called Quest are the golden standard of this period: music that is urgent, frenetic, skillful. Created for and by Black people.
After inspiration from jazz fell out of fashion through the ’90s and early 2000s, its direct connection to hip-hop came back to center in a big way with To Pimp A Butterfly, the 2015 project that’s widely considered Kendrick Lamar’s best effort. It’s a dense, cerebral album layered with live jazz so complex that sometimes it’s hard to tell where the horns and drums end and the rapping begins. Despite its ambitious and politically-charged format, it was a monumental, critically acclaimed statement from rap’s newest visionary.
Robert Glasper, the jazz producer and pianist, was instrumental in many aspects of TPAB, from its jazz-centered concept, to writing and session playing for the album’s keyboards and synths. The record became a modern statement of excellence in every corner of music that it touched. Kendrick was elevated to great status, and brought those who were critical to the record’s creation with him into that arena, including Glasper. From that moment on, he became a connecting figure between modern jazz and hip-hop. Glasper is, without a doubt, taking up the mantle of being jazz’s most prolific and present leader.
Robert Glasper’s history with Blue Note is direct: he’s had an annual residency at their club in New York for years. Once the West Coast concept for a festival was solidified, Blue Note label head Steve Bensusan tapped Glasper personally to help him curate the lineup and get his network of West Coast jazz friends and collaborators onboard. Many of the same artists he’s performed with during his residencies and on his records are slated to make appearances at this year’s fest, all contributing to the small-world feel of the lineup.
“The club becomes the engine which then drives some of the other concerts or events that we produce in that market,” Bensusan explained to me while on-site at Silverado Resort a couple months ahead of the fest. After opening a club in Napa in 2019, then hosting a successful outdoor series and big-stage events, a festival was the next big step to conquer the music market in wine country.
The Napa version of Blue Note is designed to be more intimate than its East Coast sister event, which has existed since 2011. In Napa, attendees have the chance to experience multiple stages and genres on mid-sized grounds, without the overwhelming setup and crowds of most other festivals. This setup creates an experience where the music is central, and artists are more likely to be on top of their game and feed from one another’s energy.
With Glasper’s influence, Blue Note Napa is a gathering ground for new West Coast icons like Glasper, Terrace Martin, and Anderson .Paak to assemble, while giving shine to legends like George Clinton, Madlib, and Bobby McFerrin. Even though many of the festival’s acts aren’t straight-ahead jazz artists, the legacy of its name implies a certain air of musicianship that needs to be lived up to.
“Most of the time on the festival stage, you go see that one artist and that’s what you see, that’s what the festival is,” Glasper told us last year ahead of the festival’s first outing. “This one’s gonna be more cross-pollination, with a family-oriented kind of vibe. It’s smaller than most festivals on purpose,” he continued.
This year’s celebration of hip-hop is an important milestone, where the modern prestige of jazz and the acknowledgment of hip-hop as essential are both celebrated. Glasper himself explained it best: “There are so many amazing artists and trailblazers [in Black music] and to have them all in one festival represents so much and represents how free the music can be.”
Blue Note has the potential to be much more than a festival – the lineup alone can stand as music history: tracing the evolution of Black music at a time when it’s more present than ever in mainstream consciousness. Jazz is often considered prestige music, inaccessible to people who are young and disconnected from its history. Expertly curated lineups focused on a multi-generational slate of artists, like Blue Note Jazz Festival Napa, have the potential to connect the dots between all Black genres and make their relevance more apparent than ever.
.” Scott replied, “Meet me here on Monday. We shall eat sooooonnn,” implying that more information would be shared on June 24. 
”
