Italian sportstyle brand FILA has reconnected with New York City-based KROST for their second collaborative release around the Renno silhouette. After dropping their initial KROST x FILA Renno design in a grey/white mix of suede, mesh, and nylon materials with polished recycled leather, the two have teamed up again to deliver an impressive sophomore effort in this burgeoning partnership.

At the forefront of the brand’s modern lifestyle footwear offerings, the FILA Renno appears with ample co-branding hits; the KROST label is seen on the flap hanging off the lace-collar and the embroidered tongue logo, with the brand’s “Support Your Friends” mantra via the heel-strip detailing and on the tongue back. The stitching on the exterior covers the toe-guard and heel, achieving a sashiko-style aesthetic via the color combination and embroidery. The chunky midsole, which houses the FILA Energized® cushioning, is kept in a soothing white, matching the lacing, recycled interior lining, and recycled leather overlay logo hits.

10% of every purchase from the KROST x FILA Renno will be donated to Good Sports, in an effort to help support the millions of kids across America that do not have access to sporting gear and equipment.

The KROST x FILA Renno is available now through krostnewyork.com for $118.

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When the 64th annual Grammy nominations are announced in a livestream on Nov. 23, two singles are all but certain to be in the running for record of the year: Olivia Rodrigo’s breakthrough smash “Drivers License” and Silk Sonic’s R&B throwback “Leave the Door Open.”

Both are exquisitely designed singles that were also smash hits. “Drivers License” logged eight consecutive weeks at No. 1 on the Billboard Hot 100; “Leave the Door Open” spent two nonconsecutive weeks on top.

But what will join them in the record of the year finals? Voters had plenty of choices: A total of 1,172 singles are vying for the eight nomination slots.

For the first time in 27 years, the final choices in each of the Big Four categories — album, record and song of the year plus best new artist — will be made by the roughly 12,000 voting members of the Recording Academy. The Academy disbanded all of its nominations review committees, including the one that determined the finalists in the Big Four categories. (The members of that committee had been empowered to select anything they wanted from the voters’ top 20 choices.)

How will the Academy’s decision to send its committees packing impact the nominations? Highly commercial singles such as BTS’ “Butter” and Ed Sheeran’s “Bad Habits” may have a better chance with regular voters than they would have with the committee, which sometimes tended to be snooty about such commercial fare. The committee passed over BTS’ “Dynamite” for a record of the year nod last year and Sheeran’s megahit “Shape of You” for a nod in the top category four years ago.

Regular voters may also be more inclined to vote for live versions of hits where the studio versions aren’t eligible. Live versions of Måneskin’s “Beggin’,” Glass Animals’ “Heat Waves” and 24kGoldn’s “Mood (featuring iann dior) are entered this year because the studio versions were released prior to the Sept. 1, 2020, start of the eligibility year. The committee didn’t give record of the year nominations to live recordings of Train’s “Hey, Soul Sister,” Adele’s “Set Fire to the Rain” or Pharrell’s “Happy,” but all those live recordings went on to win Grammys in performance categories. Regular voters don’t seem to notice or care about that “(Live)” designation.

Justin Bieber is a top contender with two hits: “Peaches” (which features Daniel Caesar and GIVĒON) and “Stay” (a collab with The Kid LAROI). Both could receive record of the year nods, or just one could, or neither could. But Bieber won’t have three record of the year contenders. Though he’s featured on a hit remix of Wizkid’s “Essence” (which also features Tems), he isn’t credited on the version that was entered in this category.

GIVĒON, Cardi B, SZA and Doja Cat are in a similar situation. They could also each receive two record of the year nods this year, combining lead and featured credits, or one, or none.

Five songs that were performed on the 63rd annual Grammy Awards telecast in March are eligible for record of the year nods this year. They are Silk Sonic’s “Leave the Door Open,” the Bad Bunny/Jhay Cortez collab “Dákiti,” Taylor Swift’s “Willow,” Cardi B’s “Up” and Megan Thee Stallion’s “Body.” (The latter three songs were performed in medleys.)

Adele’s “Easy on Me,” which has Grammy written all over it, was released after the Sept. 30, 2021, eligibility cut-off. Dua Lipa’s “Levitating” isn’t eligible because it was featured on an album that won a Grammy last year. The Weeknd, snubbed in last year’s Grammy nominations, didn’t submit any of his own records in this category, though he is featured on one entered recording: Kanye West’s “Hurricane,” which also features Lil Baby.

So which eight singles are most likely to wind up with record of the year nods? Here are our best bets, followed by eight top alternates and then 20 longer-shot possibilities. They’re listed alphabetically by artist within each section. We also show what performance category the track is entered in on the Grammy ballot. (Nominations in those performance categories are not assured. This just shows where they’re competing.)

The eight likely nominees:

BTS, “Butter”: This slickly produced smash topped the Hot 100 for 10 weeks, longer than any other single in the eligibility period. It would be a historic nomination: the first K-pop hit to land a record of the year nod. This is BTS’ only entry in the category. “Life Goes On,” “Permission to Dance” and “My Universe,” a collab with Coldplay, all of which also topped the Hot 100, are not entered. (That was a smart move. Otherwise, BTS might have split its votes four ways.) Performance category: best pop duo/group performance.

Doja Cat feat. SZA, “Kiss Me More”: This silky smash, which climbed as high as No. 3 on the Hot 100, could bring a second record of the year nod to both artists. Doja Cat was nominated last year for “Say So”; SZA was a finalist three years ago for “All the Stars,” a collab with Kendrick Lamar. If “Kiss Me More” is nominated, this would be the second year in a row that an all-female collab has made the finals. The Megan Thee Stallion/Beyoncé pairing “Savage” was nominated last year. This would mark the first time in Grammy history that all-female collabs have been nominated in the top category in back-to-back years. Performance category: best pop duo/group performance.

Billie Eilish, “Happier Than Ever”: This hit, which builds from a gentle, ukulele-strumming opening to crunching pop/rock, has climbed as high as No. 11 on the Hot 100. This would be Eilish’s third consecutive year with a record of the year nod. She won two years ago with “Bad Guy” and won again last year with “Everything I Wanted.” Eilish would become just the fifth artist in Grammy history to land record of the year nods three or more years running. Frank Sinatra leads with a four-year streak (1958-61). Roberta Flack (1972-74), Steve Winwood (1986-88) and Post Malone (2018-20) each had three-year streaks. Performance category: best pop solo performance.

Lil Nas X, “Montero (Call Me by Your Name)”: Be honest: When the chart-busting “Old Town Road” was nominated in this category two years ago, did you think Lil Nas X would ever make it back to the record of the year finals? He’s going to. This single, which entered the Hot 100 at No. 1 in April, is nearly as much a sure thing as the Rodrigo and Silk Sonic smashes. This is Lil Nas X’s only entry in the category. “Industry Baby,” a collab with Jack Harlow which also topped the Hot 100, isn’t entered. Performance category: best pop solo performance.

Måneskin, “Beggin’ (Live)”: This muscular hit is such a striking and distinctive single, it could land a nomination even though it has yet to crack the top 10 on the Hot 100. (It has climbed as high as No. 13.) Måneskin would be the first rock band to land a record of the year nod since Imagine Dragons scored eight years ago with “Radioactive.” (The Grammys classified Twenty One Pilots” “Stressed Out,” a 2016 record of the year nominee, as pop.) Performance category: best rock performance.

Olivia Rodrigo, “Drivers License”: Rodrigo, 18, would be one of the youngest female solo stars ever nominated in this category. Lorde and Eilish were each 17 when they were nominated for “Royals” and “Bad Guy,” respectively. Eilish and Monica were each 18 when they were nominated for “Everything I Wanted” and “The Boy Is Mine” (a collab with Brandy), respectively. This is Rodrigo’s only entry in the category. “Good 4 U,” which, like “Drivers License,” entered the Hot 100 at No. 1, isn’t entered. Performance category: best pop solo performance.

Silk Sonic, “Leave the Door Open”: This would be Bruno Mars’ sixth nomination in this category and Anderson .Paak’s first. A sixth nod would put Mars in rarefied company. Only Sinatra and Beyoncé have had that many nominations in this category. (Sinatra had seven, a total Beyoncé matched last year with double nods for “Savage” and “Black Parade.”) Mars, who was previously nominated for record of the year for collabs with B.o.B and Mark Ronson, would become just the third artist in Grammy history to be nominated in this category with three collabs. The first two were Jay-Z (with Beyoncé, Rihanna and Alicia Keys) and Rihanna (with Jay-Z, Eminem and Drake). Performance category: best R&B performance.

Wizkid feat. Tems, “Essence”: This mellow, sexy track is precisely the kind of record the committee would have tried to make room for. The question now is whether it has been a big enough hit for regular voters to have discovered it. (It has climbed as high as No. 9 on the Hot 100.) The hit is likely to be the first winner in the new best global music performance category. Performance category: best global music performance.

The eight top alternates:

Justin Bieber feat. Daniel Caesar & GIVĒON, “Peaches.” Performance category: best R&B performance.

GIVĒON, “Heartbreak Anniversary.” Performance category: best R&B performance.

Ariana Grande, “Positions.” Performance category: best pop solo performance.

H.E.R., “Fight for You.” Performance category: best traditional R&B performance.

The Kid LAROI & Justin Bieber, “Stay.” Performance category: none.

Ed Sheeran, “Bad Habits.” Performance category: best pop solo performance.

Taylor Swift, “Willow.” Performance category: best pop solo performance.

Kali Uchis, “”Telepatía.” Performance category: best pop solo performance.

20 more singles that have a good chance:

Bad Bunny feat. Jhay Cortez, “Dákiti.” Performance category: none.

Cardi B, “Up.” Performance category: best rap performance.

Brandi Carlile, “Right on Time.” Performance category: best pop solo performance.

Luke Combs, “Forever After All.” Performance category: best country solo performance.

Glass Animals, “Heat Wave” (Live). Performance category: best pop duo/group performance.

Mickey Guyton, “Remember Her Name.” Performance category: best country solo performance.

Halsey, “I Am Not a Woman, I’m a God.” Performance category: best pop solo performance.

Walker Hayes, “Fancy Like.” Performance category: best country solo performance.

Lizzo feat. Cardi B, “Rumors.” Performance category: best pop duo/group performance.

Kacey Musgraves, “Camera Roll.” Performance category: best country solo performance.

Normani feat. Cardi B, “Wild Side.” Performance category: best R&B performance.

Carly Pearce, “29.” Performance category: best country solo performance.

Polo G, “Rapstar.” Performance category: best rap performance.

Saweetie feat. Doja Cat, “Best Friend.” Performance category: best melodic rap performance.

Travis Scott feat. Young Thug & M.I.A., “Franchise.” Performance category: best melodic rap performance.

Bruce Springsteen, “Letter to You.” Performance category: best rock performance.

Jazmine Sullivan, “Pick Up Your Feelings.” Performance category: best R&B performance.

SZA, “Good Days.” Performance category: best R&B performance.

24kGoldn feat. iann dior, “Mood” (Live). Performance category: best pop duo/group performance.

Kanye West feat. The Weeknd & Lil Baby, “Hurricane.” Performance category: best melodic rap performance.

Postscript: We focused on just 36 singles here. That leaves 1,136 singles on the master eligibility list that we didn’t even mention. Keep that in mind the next time someone says “It’s an honor just to be nominated.” That’s not an empty platitude; it’s the truth.

Watch previously unseen footage of Oasis performing ‘Wonderwall’ from the Saturday night of their iconic 1996 Knebworth concerts.

READ MORE: ‘Oasis Knebworth 1996’ review: an era-defining gig that will live forever

The footage is taken from ‘Oasis Knebworth 1996’ which is released this Friday (November 19). Released to mark the 25th anniversary of the band’s two legendary August 1996 shows, the film features never-before-seen archive concert and backstage footage from the gigs, with additional interviews with the band and concert organisers.

It became the highest-grossing documentary of 2021 when it was released in cinemas in September, and this home release includes full recordings of both 20-song concerts.

The band have previously released footage of ‘Some Might Say’ and ‘Champagne Supernova’. Check out Oasis performing ‘Wonderwall’ below:

An audio version of the performance has also appeared on streaming services. It will form part of a live album, also called ‘Oasis Knebworth 1996’, which is released digitally, on CD and triple LP on November 19 via Big Brother Recordings. You can pre-order here.

‘Oasis Knebworth 1996’ is produced by Black Dog Films, with both Noel and Liam Gallagher serving as executive producers.

“Knebworth for me was the Woodstock of the 90’s,” Liam said in a statement. “It was all about the music and the people. I can’t remember much about it, but I’ll never forget it. It was Biblical.”

Noel added: “I can’t believe we never played ‘Rock ‘n’ Roll Star!’”

Last month, Liam Gallagher announced he would be playing the biggest solo show of his career at Knebworth Park on June 4, 2022, with support from Kasabian, Michael Kiwanuka, Fat White Family and Goat Girl.

He was then forced to announce a second solo Knebworth Park show due to “phenomenal demand”. After both shows sold out, Gallagher took to social media to thank his fans.

He said: “My 2 Knebworth gigs, Friday and Saturday are now sold out. Absolutely blown away by the love and support. We believe in One Another see you there, C’MON YOU KNOW LG x”

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Neighbourhood Festival has announced a one-off show with Miles Kane as the headliner.

READ MORE: Soundtrack Of My Life: Miles Kane

Kane appeared at the 2021 edition of Neighbourhood Festival after the 2020 event was delayed due to COVID-19. Now the singer has announced his return to Warrington, with a headline show at Warrington Parr Hall on January 29.

Support for the show comes from Brooke Combe, who made waves earlier this year with her cover of Arctic Monkey‘s ‘Why’d You Only Call Me When You’re High?’. Red Rum Club and Seb Lowe will also be appearing at the Neighbourhood Presents gig.

Tickets go on general sale Friday (November 19) and will be available here. People who pre-order Kane’s new album ‘Change The Show’ will get access to a pre-sale on November 18.

Speaking about the show, Kane said: “Great venue! Great bands! Night of your life!”

Kane’s new album ‘Change The Show’ is due for release January 21. “This album was born out of an intense period of self-reflection; having all this unexpected time on my hands,” Kane explained of working amid the coronavirus crisis throughout the last 18 months.

“I wrote songs about big highs, big lows, daydreams, true friends and deep feelings. I learnt to let the future unfold of its own accord, while staying true to myself and that has led to what feels to me like a really uplifting album!”

It’ll be followed by a huge tour of the UK in January and February, with this new concert at Warrington Parr Hall now the second date of the run.

As for Neighbourhood Festival, the event has already announced its lineup for the 2022 edition, which takes place in Victoria Park next May.

Courteeners, Kasabian and Blossoms are all set to headline the two-day event with DMA’s, Becky Hill, Tom Grennan, Pale Waves, The Lathums, The Snuts and Wet Leg also appearing.

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If you’re excited about the ongoing revival of Nike ACG’s most recognizable sneaker, then here’s even more good news: the original “Trail End Brown” colorway is slated to return soon. Seen here in official images, this Air Mowabb is back in its most recognizable form, but with the addition of pull-tabs on the neoprene ankle and the miniature Swoosh detailing that we first saw in Olivia Kim’s 2019 Air Mowabb drop.

Joining the likes of the “Birch” and “Twine” mainstays and newer offerings like the Off Noir and Limestone, this Air Mowabb arrives at the perfect seasonal juncture as the Autumn season approaches the start of winter. True Mowabb fans might remember the small-batch retro that came in 2015 when the Trail End Brown was made available exclusively at sneaker boutiques. Thankfully, a wide release is coming at an expected MSRP of $160.

Check the store list ahead; these are releasing on November 18th in Europe, with a US release TBD.

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Though it’s unknown whether we’ll ever see another music project from G-Dragon, there’s at least solace in the artist’s Nike collaborations. Come this December, the two will reunite for an entirely original shoe — the Kwondo 1 — which presents ideas unique from the Air Force 1 “PARA-NOISE” before it.

Teased both by close friends and the Big Bang leader himself, the Kwondo 1 is an all-white design that seems to borrow from many outside influences. For starters, the brogue detailing that runs replete through the upper is a direct nod to the sartorial, likening the pair to classic dress shoes. Below, the sole proffers a slight platform and a clean exterior that’s not at all dissimilar to the Margom soles used on luxury sneakers. And finally, the fringe-less kiltie covers the lace unit, acting both as a shield and a stage for the PEACEMINUSONE logo. Additional branding is found on the lace tips, insole, and the heel tab as well.

Enjoy a close-up look at G-Dragon’s latest offering here and sit tight as we await the December 3rd release.

In other news, have you seen the Nike ACG Mowabb Trail End Brown?

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Among the more unique concepts of Jordan Brand’s Holiday 2021 line-up is this Air Jordan 3 “Camo”, catapulting off the infamous Flight Jacket thematic concocted by Undefeated and the Air Jordan 4. With a dark olive green and orange accent as the base, this Air Jordan 3 is draped in a patchwork of camouflage prints covering a wide variety of military patterns. Scattered among the patterns are a series of army-themed hues of olive and brown, with suede, canvas, and twill adding a textural variety to this already eclectic design.

Furthermore, the patterns and colors and mixed about in a “What The” style arrangement, with orange satin covering the rear face of the tongue. Finally, the heel panel is covered in adhesive fabrics, with detachable patches allowing you to switch from the Jumpman to the Nike Air. Three lace options of tan, orange, and black will come attached in the throwback-style shoebox.

Currently, a release date is expected for November 29th aka Cyber Monday; stay tuned for official confirmation.

In other Jordan news, check out the official images of the Jordan 11 “Cool Grey”.

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When Frank Ray visited the Grand Ole Opry for the first time in 2017, his manager, Oscar Chavira, made the newcomer a promise.

“During Bobby Osborne’s ‘Rocky Top’ performance, I leaned over to Oscar and told him the goal was to play in that circle,” says Ray, referencing the round of wood from the Grand Ole Opry stage at the Ryman Auditorium that was sealed into the new stage when the Opry moved to its new location in 1974. “And he promised me that we could reach that goal, as long as we never lost the ambition.”

Now, four years later, that promise has been fulfilled — on Nov. 6, Ray made his Grand Ole Opry debut. “Something truly magical happened to me in that circle,” Ray tells Billboard of his debut performance. “It was a wave of emotions with this sort of haunting presence that gave me the chills! Complete with a standing ovation in the second half of the last song?! I mean c’mon! I couldn’t have scripted it any better than that.”

In June, the BBR Music Group/Stoney Creek Records artist released his debut single, “Streetlights,” a potent mix of modern pop-country with flashes of horns, Latin-influenced guitar work and Spanish-language lyrics—a jaunty track that sounds perfectly at home on country radio while paying homage to his Hispanic heritage. Ray, who is signed as a songwriter to Spirit Music Nashville/Fluid Music Revolution, penned “Streetlights” alongside fellow Spirit Music Nashville writer Bobby Hamrick and songwriter-producer/Spirit Music Nashville CEO Frank Rogers.

A law enforcement officer-turned-country singer, Ray followed “Streetlights” with “Country’d Look Good On You,” a fresh take on a timeworn tale of a country boy set on bringing an uptown girl into his world. The track — penned by Cole Taylor, Derek George, Monty Criswell and Taylor Phillips — sits at No. 39 on Billboard’s Country Airplay chart.

Ray, Billboard’s November Rookie of the Month, revealed to Billboard what drew him to record “Country’d Look Good on You,” and discussed the first album he ever bought and his favorite holiday tradition.

“Country’d Look Good On You” is rising up the country charts. What do you recall about first hearing this song, and why did it resonate with you?

The lyrics are rooted in the country music imagery that we know and love but the vibe is pretty sultry. It’s not like anything I’ve ever heard. Someone best described it to me as “It’s as though Luther Vandross sang ‘Big Green Tractor’” and honestly that analogy is giving me way too much credit but the I love that so much! That song is very much my style and the writers knew that about me so it didn’t take long for that song to find its way to me.

You are in the studio working on new music. How do you feel you are evolving as an artist with your new music?

Making new music is always a blast. But this album is going to be different because I’ve really come into my own unique style. It’s also my major label debut album and in some fashion it’s the album that introduces me into the mainstream country world. It couldn’t have come at a better time because I’m confident in every single song we’ve crafted or chosen. Aside from a great friendship, my publisher and producer, Frank Rogers, and I have developed a great musical relationship. He knows me and understands what I want this body of work to sound like. We’re swinging for the fences right out the gate with this one!

You previously worked in law enforcement before pursuing music full-time. What was the turning point for you, that made you realize you could make a career as an artist?

Working in law enforcement for a decade of my life was difficult to step away from. I was invested. But it wasn’t my life’s passion and everybody knew that. I honestly didn’t know I could make a good living playing music because I had never tried. I’m a terrible businessman. I also didn’t want to try it because my youngest daughter was only three months old at the time. I needed the steady paycheck and benefits. But after my wife saw my face light up after playing the big stage opening for Keith Urban, she pushed me to leave my job and go for it. It was a massive risk that doesn’t really pay off for a lot of people who try it. But man when it works, it really works.

What was the first piece of music you bought for yourself, and what medium was it on?

The first CD I ever bought myself was Lonestar’s I’m Already There album. Obviously I had CDs and stuff that my parents had bought me before that, but that one was the one I got with my own money from picking watermelons one summer in Columbus, New Mexico.

If you could see any artist in concert, who would it be?

I’ve never seen a Bruno Mars concert. That’s one I would absolutely love to experience. I hear it’s pretty epic.

What TV series have you watched all the way through multiple times?

I’ve watched The Office about three times now. Never gets old. I also kind of hate that I do that because it reminds me that I’ll never be as good as Jim. No man will ever be.

What is one of your favorite song lyrics by another artist and why?

My good friend Shy Carter just dropped an album and the song “The Rest of Us” has a special hook. The lyric goes “thank God for people like you who never give up, on the rest of us.” That song has got some honest songwriting and a great message.

What piece of advice would you give to your younger self?

I would tell my younger self to learn how to play more instruments. I love the creative process of making music and I just wish I could lay down the idea rather than having to hum something to get my idea across.

What is at the top of your career bucket list?

I don’t know that I prioritize one goal over another. Each moment and accomplishment holds its own special place in my heart and I try to live in that moment. Having a long career in music, doing what I love and providing for my family is all I can ask for.

Since we are heading into the holiday season, what is your favorite holiday tradition?

My favorite holiday tradition is having posole Christmas morning. That counts right? Eating? It’s just comfort food and perfect for when the cold weather sets in. I also enjoy that my wife gets our family matching pajamas that we stay in all day. Posole and pajamas. Sounds like a song to be written.

Songwriter-producer Jesse Frasure has been named songwriter of the year at this year’s BMI Country Awards, marking his second time receiving the honor (he previously won the same award in 2018). Frasure co-wrote five of the year’s most-performed songs, including “Almost Maybes,” “Hole in the Bottle,” “One Big Country Song,” “One Thing Right” and “What’s Your Country Song.”

BMI celebrated its 69th annual BMI Country Awards on Monday (Nov. 15) via a virtual event, revealing this year’s top winners through a social media rollout.

“One of Them Girls,” featuring BMI writers Dallas Davidson and Ben Johnson and recorded by Lee Brice, was named song of the year. The song spent three weeks at No. 1 on Billboard’s Country Airplay chart. This marks Davidson’s 30th BMI Country award, and Johnson’s very first BMI Country award.

The publisher of the year category marked a historic tie. For the first time in 33 years, the award went to both Sony Music Publishing and to Warner Chappell Music. Together, the two publishing companies represented a combined total of 36 of this year’s BMI Country award-winning songs. Sony’s winning songs included “I Called Mama,” “Lovin’ on You” and more, while Warner Chappell’s winning titles included “I Hope You’re Happy Now,” “One Night Standards,” and more.

“Songwriters and publishers are the lifeblood of our business and our Nashville community, and it is an honor to represent and award our members every year,” said Clay Bradley, vice president of creative at BMI’s Nashville office. “We are thrilled to celebrate the phenomenal songwriters and publishers whose talent and hard work continue to propel our genre to new heights. We look forward to inviting you all back into our BMI home in 2022.”

In addition to the evening’s top winners, BMI honored the 50 most-performed country songs of the year, including hits such as “Bluebird,” “Heartless” and “The Good Ones.” This year’s winners also included 24 first-time BMI Country award recipients, such as Ashley McBryde, Parker McCollum and Maddie & Tae’s Taylor Kerr. Also among the winners are Miranda Lambert, Michael Hardy, Natalie Hemby, Shy Carter, Luke Combs, Kane Brown and more.

Harry Styles is taking the next natural step in his career: He’s dabbling in the beauty industry, much like his peers Ariana Grande, Billie Eilish and more. In an interview with Dazed magazine published on Monday (Nov. 15), the “Watermelon Sugar” singer opened up about his forthcoming beauty line, Pleasing, and also discussed his time in One Direction and how he’s grown since then.

While applying one of the products from the forthcoming line, titled the Pleasing Pen — an eye and lip serum that helps with tired-looking eyes — Styles revealed the idea for his beauty line will be kicking off with nail polishes.

“It’s starting with nail polish, because that was kind of the birth of what it was for,” the singer shared. “Me seeing a color on a flower or a wallpaper or something and thinking, ‘Oh, I wanna put that on my nails.’ It was a fun little project, but during the pandemic, and when we eventually named it Pleasing, it felt like it was so much more than nail polish. I’ve always found that the moments in my life which have brought me the most joy are the small ones, whether it be, you know, the end of the night under the stars or a bite of food, or sitting with your friends thinking, ‘Oh, I’m never gonna forget this.’ It’s always those moments that I find have the longest-lasting effect on me, in terms of sparking something wonderful in me. I really think that the essence of Pleasing is finding those little moments of joy and showing them to people.”

Styles’ Pleasing line will start off with a small launch and will release items piece by piece. Later on, fans can expect to see a Pearlescent Illuminating serum, Pleasing Pen Matte lip oil and Perfect Pearl nail polish, which the 27-year old promises to have as small of a carbon footprint as possible. Aside from putting out quality products into the world, Styles is hoping to foster a welcoming environment among his fans.

“I also think that what this can become is so much more than just products you can buy. I think it’s about giving, and giving back,” he added. “I am blessed to have fans who are so supportive of me, who believe in freedom and who have created this safe space for each other. Pleasing is really for them. That feeling of community is kind of what we would like Pleasing to (reflect).”

Speaking about his time in One Direction, Styles revealed that he was taken aback by the success the group was able to achieve so early on in their careers. “I was 16 [when One Direction started]. I just kind of finished school and didn’t really know what it was that was happening,” he explained. “Everything was really new and exciting and I didn’t know how long everything was gonna last. It kind of became like, ‘Whoa, how long can we keep this going?’ because I really didn’t expect any of this to happen.”

He continued, “There was a time when I was younger, and I was in the band, when I would have been afraid for everything to have stopped. I didn’t necessarily know who I was if I wasn’t in the band. Now, the idea of people going, ‘We don’t like your music any more, go away’ doesn’t scare me. I think there was a time when it did. It gives me the freedom to kind of go, ‘Great!’ I’m not working from a place of fear. I’m working from a place of wanting to work stuff out, and try different things.”

Styles’ most recent album, 2019’s Fine Line, hit No. 1 on the Billboard 200. The singer is currently promoting the album with his Love On Tour; the series of concert dates are set to wrap on Nov. 28 at UBS Arena in Belmont Park, N.Y.

Last weekend’s Day N Vegas music festival boasted one of the most impressive lineups of the year. From Kendrick Lamar’s artful performance highlighting his decadelong legacy to Doja Cat’s showstopping set, proving herself as one of the most dynamic pop performers of the moment, the three-day musical experience had something for everyone.

But most noteworthy of all were the female R&B acts, delivering flawless vocal performances and captivating fans through their soul-baring serenades. While some fans were left wondering why a female act wasn’t selected to fill Travis Scott’s open slot, these powerful women performers slayed the stage all three days, reminding us why the genre remains an undeniable musical force. From Ari Lennox and Jazmine Sullivan’s powerhouse vocals, to SZA and Victoria Monet’s captivating dance moves, here are some of our favorite performances from this year’s female R&B acts.

Ari Lennox

Standing tall in a pair of strappy heels and draped in a flowy white dress with high slits, Ari Lennox captivated the audience during her vibey evening set. The relatable singer performed cuts from her 2016 debut EP, Pho, all the way to her latest single “Pressure,” made alongside R&B legends Jermaine Dupri, Bryan-Michael Cox and Johnta Austin. During her performance of “Backseat,” she brought out fellow Dreamville signee Cozz and sang an emotional rendition of “Whipped Cream,” which Lennox calls a “healing” song to perform. During the sensual “Up Late,” Lennox’s pitch-perfect vocals and thick vibrato took center stage, as the songstress serenaded an audience ready to receive everything she was serving up.

Jazmine Sullivan

Known primarily for her otherworldly voice and melodies, Jazmine Sullivan’s “Pick Up Your Feelings” reverberated throughout the audience and beyond as she opened her Day N Vegas set. The performance doubled as a karaoke night, with much of the audience knowing every word to Sullivan’s setlist, including songs she released more than a decade ago. The “Girl Like Me” singer flashed a smile from ear to ear, shining brighter than her ankle-length iridescent trench coat. “All my crazy bi—es, make some noise,” she yelled, before transitioning into “Bust Your Windows.” Near the middle of her set, Sullivan offered a beautifully nostalgic rendition of The Fugees’ “Killing Me Softly” alongside her backup singers, before transitioning back into “Holding You Down (Goin’ in Circles).” The top-notch vocalist saved the best for last, closing out the set with her 2008 Missy Elliott-assisted single “Need U Bad.”

SZA

SZA has been working hard. The “Good Days” singer delivered a brilliant performance to an open-armed audience, who showered the songstress with love throughout her time onstage. The set drew a noteworthy crowd, causing festival organizers and SZA herself to have to issue multiple reminders for fans to step back due to overcrowding so she could continue serenading festival attendees safely. At one point, she debated performing “Love Galore,” her single alongside Travis Scott, finally saying “f— it” and singing the track, sans Travis verse, which was replaced by a verse of her own. During the hourlong show, SZA’s curious personality warmed fans, as she shared relatable anecdotes and at one point flashed her band a soul-snatching stare when they started her next song too early, reminding us of all the reasons we love her.

Victoria Monet

Victoria Monet is a trending topic, thanks to her first ever festival performance. The “Ass Like That” singer delivered vocals, moves and energy, receiving all her flowers from in-person fans and the Internet. During a choreo break, she and her dancers gave a crowd-pleasing performance to Trillville featuring Cutty’s “Some Cut,” before transitioning into her 2020 single “Dive.”

Teyana Taylor

On Sunday night, Teyana Taylor reminded festivalgoers why she’s one of the most energetic performers in the game. The multi-hyphenate artist was one of the final acts of the night, sharing a bittersweet performance marking her final tour before retirement. She didn’t bring daughter Junie out onstage, but Taylor and her dancers entranced the audience through flawless choreography, as her band executed seamless renditions of the Harlem native’s musical portfolio.

Two years removed from its magnificent finish in the 2019 Southeast Asian (SEA) Games, the Philippine national track and field team is dead set on sending only the strongest lineup possible to the resumption of the 11-nation sportsfest next year in Hanoi. The Philippine Athletics Track and Field Association (Patafa) made sure that only the […]

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