During the funeral service, Pearl Jam frontman Eddie Vedder joined Markéta Irglová for a performance of Hansard’s The Song of Good Hope. Irglová was Hansard’s longtime collaborator in The Swell Season and shared his Academy Award win for Falling Slowly, the song they wrote for the 2007 film Once.

Bono also addressed the congregation and shared a recorded message from Patti Smith. He later recited lyrics from U2’s Beautiful Day, with those inside the cathedral joining him.

The service brought together several well-known musicians and actors, including The Edge, Hozier, Imelda May, Steve Coogan and Chris O’Dowd. Hansard was remembered for his work with The Frames, his international solo career and his annual Christmas Eve performances supporting homeless charities in Dublin.

In announcing the project, the band confirmed that longtime member Joe Hahn directed the documentary. Unshatter combines candid interviews, archival material, studio footage, and performances from sold-out concerts, including the group’s 2024 shows in São Paulo, Brazil.

The story begins with Linkin Park’s studio sessions in 2022 and continues through the creation and release of From Zero. The album introduced vocalist Emily Armstrong and drummer Colin Brittain as the group entered a new chapter following the death of Chester Bennington in 2017.

The trailer shows the musicians discussing the difficulty of moving forward while respecting the band’s history. It also includes footage of fans, memorial artwork honoring Bennington, rehearsals, and large-scale live performances.

Hahn said the project originally began as a concert film before the team realized a broader story was developing. Tickets are expected to go on sale August 13.

The movie follows three high school friends who believe their band has been invited to open for Green Day on New Year’s Eve. They head to Los Angeles, only to discover that the opportunity may not be what they expected.

Although the main characters and central storyline are fictional, the band said the film captures the humor, confusion, and determination that defined their early career. Green Day also serves as producers and appears in the movie.

The project looks back at a period before the group’s major breakthrough, when touring meant limited money, improvised plans, and close quarters. Nimrods turns those memories into a story about friendship, ambition, and chasing an unlikely dream.

During a recent discussion about artists he respects, Collins recalled watching Swift perform White Horse in 2010. He said the performance caught his attention and showed the emotional control and songwriting ability that would later define her career.

Swift has since grown from a successful country singer into one of the world’s biggest pop stars. Her albums, tours, and re-recording projects have reached audiences across generations, while her songwriting remains central to her appeal.

Collins said he believes Swift has earned her position through talent, consistency, and years of work. His comments add another respected voice to the long list of musicians who have recognized her influence on modern music.

The praise also highlights how established artists often notice potential before a career reaches its full scale. For Collins, that early performance offered a clear sign of the artist Swift would eventually become.

The performance will mark Kelly’s first show in the area in decades. Event details describe the concert as a rare chance to see him in a smaller setting, far removed from the larger theaters and festival stages he has regularly played throughout his career.

Kings Cross holds a notable place in Kelly’s musical history. The area is referenced in his song From St Kilda to Kings Cross, which reflects on travel, distance, and life between Melbourne and Sydney. His return gives the concert an added sense of history without changing its focus as a live music event.

The one-off appearance is expected to draw longtime fans familiar with Kelly’s catalog, along with listeners interested in seeing one of Australia’s best-known songwriters in a more personal venue.

The project’s official announcement describes the collaboration as a response to suffering, displacement, and public indifference. Miari added new Arabic lyrics and melodies, while Waters contributed additional English verses focused on human rights and the value of every life.

Titled Comfortably Numb Re-Imagined, the recording changes the original refrain into a refusal to become numb to events unfolding around the world. Its arrangement uses piano, strings, percussion, and layered vocals instead of recreating the familiar sound of Pink Floyd’s 1979 recording.

An accompanying film combines studio scenes with black-and-white footage captured in Gaza. Proceeds from the release will support urgent aid provided by the Palestine Children’s Relief Fund.

Waters said he hopes listeners will eventually view the song as prophetic. Miari has described the collaboration as a way to share the experiences of her people through music.

Singapore authorities said two members displayed a Palestinian flag onstage, while one musician shouted Free Palestine. The country restricts the public display of foreign flags and political symbols without prior approval. Officials issued stern warnings to the two performers and barred them from re-entering Singapore.

The band said large sections of the audience had also chanted Free Palestine before and after the performance. Massive Attack described the crowd’s response as spontaneous and said the group had not expected the flag display to violate local law.

Authorities also said future applications for the band to perform in Singapore would not be approved. Massive Attack expressed disappointment with the response while thanking local fans for their welcome. The group has a long record of publicly supporting Palestinian rights and freedom of expression.

The event also marked a significant moment for SB19, who became the first Filipino act to perform at Lollapalooza. Their appearance reflected the festival’s increasingly international lineup and the wider global reach of Filipino pop music.

Sombr added another surprise by welcoming 5 Seconds of Summer during his set. Together, they performed the band’s fan favorite She Looks So Perfect, creating an energetic singalong across the crowd.

Elsewhere, Chicago native John Summit returned for a major hometown performance, while Olivia Dean brought a polished, understated presence to the stage. JENNIE previewed new music, adding fresh material to a weekend that balanced familiar hits with unexpected moments.

During the performance, Cave introduced Minogue before the pair sang “Where the Wild Roses Grow,” their dark 1995 duet. The surprise drew an enthusiastic response from the crowd, which numbered about 50,000 people.

The appearance brought the two Australian artists together more than three decades after the song was originally released. Featured on Nick Cave and the Bad Seeds’ album “Murder Ballads,” the track became one of Cave’s best-known collaborations and showed a different side of Minogue’s music at the height of her pop career.

The Brighton concert was Nick Cave and the Bad Seeds’ only scheduled UK performance of 2026. It also served as a major homecoming event for Cave, who lived in the Brighton area for many years.

Minogue’s arrival added a rare collaborative moment to a set that covered several decades of the band’s catalog, including material from its more recent releases.

During the 17-song show at Grant Park, the band welcomed Yungblud for Luna, a track from the 1993 album Siamese Dream. The British singer had performed his own festival set earlier that evening and described the collaboration onstage as a dream come true.

Later in the performance, Billy Corgan introduced Olivia Rodrigo as a special guest. She joined the group for Thirty-Three, with Corgan accompanying her on acoustic guitar. The song originally appeared on the band’s 1995 double album Mellon Collie and the Infinite Sadness.

The set also included longtime favorites such as 1979, Disarm and Tonight, Tonight, alongside newer material.

Former touring bassist Melissa Auf der Maur returned for the closing song, The Everlasting Gaze. Her appearance added another connection to the band’s past and completed a headline performance built around its history, current lineup and influence on younger artists.