Doechii performs at Osheaga 2025 in Montreal.
Charlotte Rainville @jailli
The more you watch of Lana Del Rey supposedly going country, the more apparent how ridiculous any talk of her pivoting to any genre really is.
For 15 years now, LDR has essentially been a genre unto herself: a unique and borderline-illogical blending of obviously classic influences with some game-changingly modern sensibilities, one that mostly befuddled critics and radio and the charts early on, even as she was inarguably becoming one of the most important pop stars of her generation. She’s been wildly influential without ever being less than unmistakable; no matter what sonic, thematic or characteristic elements other artists may borrow from her, none of them would ever risk being taken for Lana herself. This is all to say: no matter what style of music she’s making, Lana Del Rey has one genre and that’s “Lana Del Rey.”
But of course, Lana did lean into The Stagecoach of It All while making her debut performance at the Indio, Calif. country festival on Friday (Apr. 25). Singing in a white dress in front of a set of an idyllic-looking rural house at dusk, she looked like she walked on stage straight from an old Loretta Lynn album cover. Early on, she brought out George Birge — himself a Saturday performer at the festival — to duet on his current hit “Cowboy Songs,” an extremely country radio-friendly song Del Rey says she can’t get enough of. (You can certainly imagine a Lanafied version of the chorus, though it was strange to hear her singing on such a zippy and muscular hook in 2025.) And of course, she invoked two all-time genre classics during the show by covering Tammy Wynette’s “Stand by Your Man” (“You can’t do this set without it”), and then closing the proceedings with a family singalong to John Denver’s “Take Me Home, Country Roads,” a recent entry into the LDR cover canon.
But the new songs? Country-ish in their tempo and in some of their thematic content (and occasional lyrics about “all these country singers”), perhaps, but not in any way that feels at a remove from what she’s done her whole career: Lana has long centered the emotional abandon and cinematic sway of country in her songs. You could hear that even in some of the crowd-elating classics Lana performed in the midst of her Grand Ole Opry moment — tweak a couple lyrics and add some banjo and “Ride” is basically a The Chicks single; turn down the sex and turn up the sarcasm and “Video Games” could’ve been penned by Kacey Musgraves. Nothing about the stately balladry and gender-role explorations of songs like set-opening duo “Husband of Mine” and “Henry, Come On” felt without precedent in her catalog; she could have introduced them as deep cuts from Blue Banisters or Chemtrails Over the Country Club and many of her fans probably would’ve bought it.
If there was a pronounced difference with Del Rey in Country Mode on Friday night, it was that she seemed… maybe more polite and unassuming than we’re used to her being? Watching her express her very sincere-seeming gratitude at being invited to Stagecoach, and about the size and passion of her Friday night crowd, it was very easy to forget that she was once a highly divisive figure in popular music, one prone to controversy in both her lyrics and public statements. There was no trace of any of that in the smiling, hostly, happy-to-be-here performer who took the stage on Friday night.
Well, almost none. If you missed a little of the unpredictability and ostentatiousness that characterized early-years Lana Del Rey– and still informed highlights from her work up until this decade — then you probably loved “57.5,” a shuffling new song referring to her number (in millions) of monthly listeners on Spotify, which also includes a bridge which begins with LDR proclaiming “I kissed Morgan Wallen” and going on to advise listeners against going ATVing with him. It takes a lot of “yes, really” to explain, but it was still probably the best of the new songs that she debuted: some real country s–t, but more importantly, pure Lana through and through, in a way no other artist or genre could ever totally capture.
Osheaga has a knack for booking budding superstars right as they blow up. Last year, it was Chappell Roan. This year, it was Doechii.
The Grammy-winning, Florida-born rapper took the stage on the first night of the Montreal music festival on Friday (Aug. 1), and it felt like a star-making performance. The Killers headlined the mainstage, but unlike Chappell Roan, who played for 40,000 people at 3:30 in the afternoon last year, Doechii did have the honor of closing out the festival on the secondary Forest Stage.
Her set was pushed back slightly to start at 10:10 p.m., meaning she was the final performer of the night before the noise curfew at 11 p.m. And for those who wanted to catch both acts, The Killers made it easy by playing their belt-along favorite “Mr. Brightside” as their first song and packing the first hour of their two-hour, 9:10 p.m. set with hits.
Doechii’s stage set was decked out to fit her Swamp Princess persona, covered in greenery and a large, elevated swampy platform for her to stand on. The crowd was packed in, so the fans stuck at the back still had a visual feast. “I look good from the nosebleeds,” she rapped from her 2025 hit “Nosebleeds,” and this show proved it.
Doechii performs at Osheaga 2025 in Montreal.
Charlotte Rainville @jailli
For a full hour, Doechii kept the energy up. She rapped a mile a minute, all live with almost no reliance on a backing track. She showed off her full skill set, from pure hip-hop to sung R&B/pop hooks, and comedic banter to thought-out stagecraft. She brought unbridled charisma, taking time to dance and twerk and show off some vogue moves as well. She showed off a reverence for classic hip-hop, rapping over Wu-Tang’s “C.R.E.A.M.,” and later screaming over a distorted guitar sample — almost veering towards nu-metal. She showed she can do it all.
The audience stayed captivated, rapping along and matching her energy throughout. It was Doechii’s first time in Canada, and you could tell she was impressed by the reaction. “As an artist, you can get so much hate and negativity,” she said. “Then you go out in real life and see your real fans.”
She took some time to thank her gay fans, her female fans, and the fans who brought their boyfriends. “If your boyfriend hates female rappers, then leave him immediately,” she said.
Seeing all the phones out, she seized her moment. “Ya’ll can’t be scared to stand up for what you believe in, you can’t be scared to say what matters,” she said. “Free Palestine.”
Doechii performs at Osheaga 2025 in Montreal.
Charlotte Rainville @jailli
Doechii broke out her biggest hit, the Billboard Hot 100 top-10 charting “Anxiety,” and thanked all her fans for streaming it. The “Somebody That I Used To Know” sampling song is a bit of an outlier in her catalogue, but it’s a viral TikTok favourite, and she’s found a way to fit it perfectly into her set. After playing the song, she thanked Gotye for approving the sample.
The true highlight of the set was “Denial Is a River.” The song, which features Doechii rapping with her internal monologue, took on a whole new call-and-response dimension with fans chanting along to every word.
It felt like she was still just getting started when, midway through the next song, the beat cut out. “F— that, they cut me off!” she yelled. She put her thumbs down, inciting the crowd to boo, then threw her hands up. “Whatever,” she said, walking off the stage.
Unfortunately, Osheaga has a hard 11 p.m. noise curfew. It’s clear the next time she’s back, she’ll have to have a longer headliner-length set.
Doechii performs tonight (Aug. 2) at Lollapalooza in Chicago, where she’s teased a special guest. If Osheaga was anything to go by, her set will likely be all over social media soon.
This article originally appeared on Billboard Canada.
Olivia Rodrigo was joined by surprise guest Weezer during her headlining set at Lollapalooza 2025.
On Friday (Aug. 1), the 22-year-old pop superstar made her debut on the second day of the Chicago music festival at Grant Park. Toward the end of her evening set, she surprised the crowd by inviting Weezer to join her on stage.
In a fan-captured video on TikTok, Rodrigo shared with the crowd that Weezer was the first band she ever saw live.
“You always remember your first concert. It’s a very, very special moment,” the “Drivers License” singer said. “I remember my first concert. It was a very memorable night. I watched this incredible band and I am so over the moon, because that incredible band is actually here tonight to play a few songs. Will you please say hello to Weezer?”
Weezer then joined Rodrigo for performances of their classic hits “Buddy Holly” and “Say It Ain’t So,” both from the group’s 1994 self-titled album. She played guitar and harmonized alongside frontman Rivers Cuomo during the collaboration. Check out clips from the performances here and here on X.
This marked Weezer’s first Lollapalooza performance since they headlined alongside Widespread Panic in 2005.
This isn’t the first time Rodrigo has brought out surprise guests during her recent festival appearances. She recently invited David Byrne onstage at New York’s Governors Ball to perform Talking Heads’ 1983 hit “Burning Down the House,” and welcomed The Cure’s Robert Smith at this year’s Glastonbury Festival to perform “Friday I’m In Love” and “Just Like Heaven.”
During her Lolla set on Saturday, Rodrigo opened with “Obsessed” and “Ballad of a Homeschooled Girl,” and also performed hits including “Driver’s License,” “Traitor,” “Bad Idea, Right?” and “Love Is Embarrassing.”
The Chicago festival continues Saturday (Aug. 2) with headliners Rüfüs Du Sol and TWICE, followed by closers Sabrina Carpenter and A$AP Rocky on Sunday.
Kelly Osbourne is paying tribute to her father, Ozzy Osbourne, just days after his funeral.
On Friday (Aug. 1), the 40-year-old TV personality shared an NSFW photo on her Instagram Story in memory of the rock legend, who passed away on July 22 at the age of 76.
The outdoor image featured a beautiful display of purple flowers arranged to spell out “Ozzy F—ing Osbourne,” set beside a serene pond surrounded by a rolling hill and trees.
In a second post, Kelly shared a heartfelt clip from The Osbournes, the MTV reality series that aired from 2002 to 2005. The snippet shows Ozzy lying in bed with his wife, Sharon Osbourne, offering words of wisdom.
“Listen, all you got to worry about is getting through today,” the Black Sabbath frontman says. “That’s all you got to worry about.”
Just days earlier, Kelly attended her father’s funeral procession in his hometown of Birmingham, England, where fans flooded the streets to pay their respects. Sharon, along with Ozzy’s other children — Aimeé and Jack — laid flowers at the Black Sabbath Bridge, which had been covered with tributes from mourners.
Shortly after Ozzy’s passing, Kelly posted another emotional tribute to her Instagram Story on July 24. “I feel unhappy I am so sad,” she wrote. “I lost the best friend I ever had,” the Fashion Police alum added, along with a heartbroken emoji. Her words echoed lyrics from Black Sabbath’s ballad “Changes,” which she and her father released as a duet in 2003.
Ozzy Osbourne died at age 76, just weeks after performing his final concert. His family confirmed the news in a joint statement. “It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning,” they wrote. “He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time.”
Just a month before his death, Kelly had honored her dad on Father’s Day with an Instagram post that included a slideshow of Ozzy spending time with her young son, Sidney, whom she shares with fiancé Sid Wilson.
“Happy Father’s Day daddy,” she wrote at the time. “I love you more than anyone or anything in the world! I am so proud to be your daughter and Beyond honored to watch you be the best #Papa in the world to my son!”
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