During a recent show in California, the singer yelled "Fuck ICE" and "Free Palestine"

Hayley Williams performs on Dec. 15, 2025 in New York City.

Hayley Williams has drawn the ire of President Donald Trump’s Department of Homeland Security.

When performing her Ego Death at a Bachelorette Party track “Ice in My OJ,” the singer shouted “Fuck ICE” and “Free Palestine” during her stop in Chula Vista, California, over the weekend. The declarations have become a staple at her concerts since the launch of the Hayley Williams Show in September, which includes her pre-”True Believer” onstage statement that “the greatest threat to American democracy is Christian nationalism.”

Fox News reached out to a DHS spokesperson for comment on Williams’ ICE remarks following her show. “America is grateful all the time for our federal law enforcement officers who keep us safe,” the spokesperson said in a statement. “We suggest Ms. Williams to thank them for their service, not belittle their sacrifice.”

On Monday, Williams took to her Instagram Stories, posting a screenshot of DHS’ statement alongside her own suggestion: “And may I suggest all Nazi bitches suck on my fat dick.”

A DHS rep did not immediately respond to Rolling Stone‘s request for comment.

The Paramore frontwoman is among the stacked headliners slated for the 2027 edition of Primavera Sound Barcelona in Spain. It takes place at Barcelona’s Parc del Fòrum from June 3 through June 5 and includes Doechii, Phoebe Bridgers, Fontaines D.C., FKA twigs, Turnstile, Massive Attack, Robyn, and more artists on the top of the roster.

Williams released her most recent solo album, Ego Death at a Bachelorette Party, last year. In August, six months after Williams and producer Daniel James launched their new band, Power Snatch, with EP1, the duo dropped EP2 on Bandcamp.

Elvis Costello is finally releasing some of his earliest music in a fantastic new box set.

Elvis Costello made his instant-classic debut, 1977’s My Aim Is True, in just over 24 hours, while he still had a day job as a computer operator. But as Costello discusses in the new episode of Rolling Stone Music Now, the music on the album only hinted at what he was up to in his earliest years as an artist — all of which is finally revealed on his just-released new box set, the five-disc My Aim Is True (49th Anniversary Edition). Alongside a remaster of the album, the set includes The Blue Print, acoustic recordings from 1975 and 1976; demos and outtakes, including the country songs he kept under wraps at the time; live recordings that trace the birth of the Attractions; and a 2007 San Francisco benefit concert where he’s backed by the musicians from the original sessions.

In the Rolling Stone Music Now interview, Costello breaks down the box’s long-buried early recordings, and goes deep on the making of My Aim Is True, including the real story behind “Alison,” and much more. To hear the whole episode, listen on Apple Podcasts or Spotify, or just press play above. Here are some highlights from the discussion:

Costello started writing “(The Angels Wanna Wear My) Red Shoes” on a train to his mother’s house, then ran upstairs to find a guitar before he could forget it. “I was on my way to visit my mother, and the song came into my head,” he says. “There were no tape recorders or anything like that that you carried around in your pocket, no phone, no way of memorizing it other than through repetition. So I had to make my way as swiftly as possible to my old house, and I said hello to my mum, kissed my mum on the cheek, and ran upstairs and found this old battered guitar that was on top of the wardrobe, and sat there for about an hour until I had it drilled into my brain and I wouldn’t lose it.” As for where the red shoes came from: “I have no clue. I just figured they were something that didn’t feature in my wardrobe, and those angels would definitely want them.”

Costello almost released his earliest recordings 35 years ago, then backed off. “I cannot for the life of me think why I felt they revealed too much, which is why they were never released until now,” Costello says of the 1975 and 1976 recordings on The Blue Print. “I was on the verge of releasing them like 35 years ago, and then I thought, ‘No, … everybody will see.’ It was like showing your pictures, you know, in clothes that you now know don’t suit you.” He hears them differently now. “They just sound like somebody learning, and there should be nothing to be embarrassed about that. Everybody has to start somewhere. I would be delighted if some younger writers listened to those songs and it gave them any confidence in what they were doing, because you can hear the ambition to do something, and it isn’t quite formed.”

When his label, Stiff Records, told Costello they were changing his name, he thought it was a prank. “They were the ones that held the cards,” he says. “It was a modest company, but I didn’t have any company except that one. So I went along with it.” The label’s photo shoots, he says, “kinda played up my ordinariness, you know, my unfashionable clothes, and the glasses became Superman glasses, you know, Clark Kent glasses or Buddy Holly or Phil Silvers.”

Costello never bought the New Wave label. “I never felt part of any gang,” he says. “I hated the whole New Wave thing. It was completely made up. It was just journalists trying to explain bands that had energy and a little edge, but were something different than punk, which in itself was a term borrowed from another culture.” He also rejects what he calls “the big book of history version” of 1977, “that punk sort of swept everything in its path, and that just isn’t true.” “Most of the other great groups were struggling down there in the 30s and 40s,” he says, “because the charts were completely full of disco records or Fleetwood Mac or Rod Stewart singing a song from 10, 12 years ago already.” Once he and the Attractions started turning up on TV, the exposure didn’t always help. “When people got a look at us, the record usually went down the charts the next week,” he says. “I’m not being falsely modest.… That was the way it was.”

Costello now regrets being rude about Linda Ronstadt’s hit cover of “Alison.” “It was on a very big hit record by Linda Ronstadt,” he says. “And not a version that I initially was very polite about. But that really wasn’t Linda’s singing. It was more the arrangement … seemed very, very much of its location, which was Los Angeles, and I was just allergic to that sound. And I really feel embarrassed now that I was ever so rude about it, ’cause … that I would be chosen in the company of Lowell George and Warren Zevon and Smokey Robinson … and Buddy Holly, all the people that Linda chose, was a tremendous compliment, and I just didn’t know how to take it gracefully, frankly.”

Asked whether he had more in common with the Ramones or the Muppets, Costello picks the latter. Around the time My Aim Is True came out, the Ramones and the Muppets were in the Top 20 at the same time. “It’s up to us to decide which is which,” Costello says. “The Ramones were just a thing. They were just fantastic.… But the Muppets are the Muppets, man. The Muppets had great songwriters, too. Paul Williams.” His own Muppet counterpart: “I was closer to Oscar the Grouch, actually, initially, and then I gradually was working towards Sam the Eagle as time went on. I tell you, I sang with Kermit, and it’s the most extraordinary thing.”

Download and subscribe to Rolling Stone Music Now, hosted by Brian Hiatt, on Apple Podcasts or Spotify (or wherever you get your podcasts). Check out 11 years’ worth of episodes in the archive, including in-depth interviews with Mariah Carey, Bruce Springsteen, Questlove, Halsey, Neil Young, Snoop Dogg, Brandi Carlile, Phoebe Bridgers, Rick Ross, Alicia Keys, the National, Ice Cube, Taylor Hawkins, Willow, Keith Richards, Robert Plant, Dua Lipa, Killer Mike, Julian Casablancas, Sheryl Crow, Johnny Marr, Scott Weiland, Liam Gallagher, Alice Cooper, Fleetwood Mac, Elvis Costello, John Legend, Donald Fagen, Charlie Puth, Phil Collins, Justin Townes Earle, Stephen Malkmus, Sebastian Bach, Tom Petty, Eddie Van Halen, Kelly Clarkson, Pete Townshend, Bob Seger, the Zombies, and Gary Clark Jr. And look for dozens of episodes featuring genre-spanning discussions, debates, and explainers with Rolling Stone’s critics and reporters.

Welcome to our weekly rundown of the best new music — featuring big singles, key tracks from our favorite albums, and more. This week, Irish rockers Fontaines D.C. drop a spectral, trip-hop-inspired single; Miranda Lambert toasts to a bright future on a glistening highlight from her 10th album; and Quavo teams up with Pharrell, A$AP Rocky, and Tyler, the Creator for a bombastic posse cut. Plus, new tunes from Victoria Monét, Drake, Michael Kiwanuka, Stevie Wonder, and Lil Nas X.

Fontaines D.C., “Tongue” (YouTube)

Miranda Lambert, “To Everything” (YouTube)

Quavo, Pharrell Williams, Tyler, The Creator, A$AP Rocky, “Baby Breath” (YouTube)

Victoria Monét feat. SZA, “See You in My Dreams” (YouTube)

Drake feat. Don Toliver, “Solar Eclipse” (YouTube)

Stevie Wonder, “It’s Easier” (YouTube)

Yung Miami, “F You” (YouTube)

Megan Thee Stallion, “Tina Tuesday Freestyle” (YouTube)

Michael Kiwanuka, “Summer Clothes” (YouTube)

Meshell Ndegeocello feat. Destin Conrad, Moses Sumney, “The Closer I Get to You” (YouTube)

Lil Nas X, “World’s Greatest!” (YouTube)

Holly Humberstone, “Too Cute to Be Lonely” (YouTube)

Bob Weir, “Stuck Inside of Mobile With the Memphis Blues Again (Live at The Saenger Theatre, 4/19/17)” (YouTube)

Rachel Chinouriri, “Broken Chair” (YouTube)

Romy Mars, “The Rage” (YouTube)

Hannah Cohen, Robert Lester Folsom, “Music and Dreams” (YouTube)

Greg Freeman, “Totaled” (YouTube)

Emma Ogier, “Hands Tied” (YouTube)

Ryley Walker, “Carrier” (YouTube)

Common People, “Shapeshift” (YouTube)

Earfzilla, “Vintage Vuitton” (YouTube)

Kaeto, “Propane” (YouTube)

Klein, “Bridge the Gap” (YouTube)

Boyg1rl, “DJ Travella” (YouTube)

Vatican Jail, “DVSL” (YouTube)

Sasha Keable, “Options” (YouTube)

Soulidified, “Man Ain’t Me (YouTube)

Noah Kahan at Rolling Stone Stateside Festival on July 4, 2026 in Kingston, NY.

Noah Kahan has released his contribution to the upcoming The Hunger Games: Sunrise on the Reaping soundtrack, “Draw You Out.”

The song may be one of the most compelling tracks to be included in the list of Hunger Games soundtracks that include the likes of Grammy-winning “Safe & Sound” by Taylor Swift featuring The Civil Wars for Songs from District 12 and Beyond and Olivia Rodrigo’s “Can’t Catch Me Now” for The Ballad of Songbirds & Snakes.

On “Draw You Out,” Kahan delivers the aching chorus: “I carry you on with me/I promised you I would, and I do/And I float around/Show up unannounced in the places that you knew.”

Kahan, a self-professed fan of The Hunger Games author Suzanne Collins’ work, shared a post to social media prior to the new track’s release. “This is something I’ve always wanted to do and I am so grateful for the opportunity to write for this moving film, having adored the works of art by Suzanne Collins,” wrote Kahan. “I was already totally connected and inspired by the tragic yet hopeful story of Haymitch and Lenore Dove, and writing a song about the purpose, grief and perseverance through pain that they exemplify was an experience I’ll always be grateful for.”

The singer-songwriter added, “This is an incredible film, and I am so honored to be a small part of it.”

Sunrise on the Reaping, which released in March last year, serves as a prequel to the original trilogy and marks the fifth book in the series, following The Hunger Games, Catching Fire, Mockingjay, and The Ballad of Songbirds and Snakes.

The story follows a young Haymitch Abernathy — who was a mentor in the original Hunger Games novels and was portrayed by Woody Harrelson in the first four films — and his tragic story as he participates in the 50th Hunger Games.

“Draw You Out” reunites Kahan with Aaron Dessner, who co-wrote and co-produced the track at Dessner’s Long Pond Studio in New York and Nashville’s Gold Pacific Studios and East Iris Studios. The Hunger Games: Sunrise on the Reaping (The Album) is executive produced by Dave Cobb and is set to arrive Nov. 13, one week before the film debuts in theaters on Nov. 20.

The Backstreet Boys are bringing their Millennium era back to Canada, with a four-show residency Toronto, planned for Rogers Centre in February 2027.

The group announced Friday that Into The Millennium – Homecoming: Live in Canada will take place February 12, 13, 19 and 20, and will be the band’s only North American stadium shows of 2027.

“Canada was one of the first places to embrace us, and the love and support we’ve received from our fans there has meant so much from the very beginning,” Brian Littrell said in a statement. “Coming back feels incredibly special. It is a chance for all of us to celebrate the memories we’ve made together and create some new ones.”

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The Backstreet Boys broke through globally at the end of the '90s, with Canadian audiences among their earliest major supporters. More than three decades later, the group is bringing a show built around the album that helped define its global peak.

The Toronto concerts will revisit Millennium, the 1999 blockbuster featuring “I Want It That Way,” “Larger Than Life” and “Everybody (Backstreet’s Back)”.

The shows follow the band’s ongoing Into the Millennium run at Sphere in Las Vegas and its 10-show Homecoming stadium residency in Düsseldorf, Germany. The current production has brought back elements of the original Into the Millennium Tour, including the band’s entrance on hoverboards.

Toronto will also get its own Backstreet Boys fan destination. The Backstreet Boys YYZ Terminal will be an Millennium-inspired pop-up featuring official merchandise, photo opportunities and fan events throughout the residency.

Rogers customers can access the first presale October 5 at 10 a.m. ET, while sales for the general public open October 9 at 10 a.m. ET through Ticketmaster.

After weeks of requests from fans, Drake has finally released some of the songs from his ''not-so-short film'' project Fear of Missing Out. On Friday, October 2, the Toronto rapper expanded his 2026 album HABIBTI with four previously unreleased tracks featured in FOMO, his self-funded film that premiered online September 15. The expanded edition, titled HABIBTI (FOMO), brings the album from 11 to 15 tracks.

The new material includes “Quebec,” which first appeared in FOMO before receiving a standalone visual last month.

Also included is “Cold Shoulder,” a collaboration with Don Toliver and Yebba, which debuted in the film alongside a video shot at Canada’s Wonderland.

Drake also officially released “Classic PT2,” an expanded follow-up to “Classic” from the original HABIBTI, as well as “Solar Eclipse,” his collaboration with Don Toliver built around Ella Langley’s “Choosin’ Texas.” The latter had been teased before FOMO and arrives with its new title on the streaming release.

The release follows weeks of speculation about whether the songs previewed in FOMO would receive official releases. Drake had previously told fans that some of the music from the film was coming to streaming, while cautioning that not everything featured in the project would necessarily be released.