The Rolling Stones have confirmed their 25th studio album, Foreign Tongues, will include a cover of Amy Winehouse’s “You Know I’m No Good.” Guitarist Ronnie Wood revealed the track during an appearance on The Tonight Show in early May, as the band shared details of the record ahead of its July 10, 2026 release via Polydor/Universal. Foreign Tongues was recorded quickly at Metropolis Studios in West London, produced by Andrew Watt, and comprises 14 tracks including lead single “In The Stars” and the blues-tinged “Rough And Twisted.” The project features high-profile guest contributions from Paul McCartney, Robert Smith, Steve Winwood and a posthumous credit to late drummer Charlie Watts. The album follows 2023’s Hackney Diamonds, which charted highly and won the Stones a Grammy. The band has indicated no immediate large-scale tour is planned for 2026 after previously scrapping UK and European stadium dates late last year.

Frankie Valli, 92, announced on May 29 that he is canceling all remaining concert dates for 2026 to focus on his health, posting the decision on the band’s Instagram account. The cancellations affect dates on The Last Encores farewell tour, which began in October 2023 and had been extended through late 2026. According to Variety and Ticketmaster, nine dates were marked as canceled, including June 26 in Scottsdale, Ariz., June 28 in Anaheim, Calif., and a July 17 date in Newark, with shows scheduled through November. Valli’s representative, Victoria Varela, told Variety the team chose to cancel rather than postpone so fans could obtain refunds rather than remain in limbo. Varela said Valli intends to devote roughly six months to his health and will consider returning to perform in 2027. The singer last performed Feb. 22 at the Pechanga Resort Casino in Temecula, Calif. Media reports noted prior online concern about Valli’s age and stage appearances but also recalled his long legacy and recent lifetime achievement recognition from the recording industry.

Universal Music Group’s board on May 29 unanimously rejected an unsolicited takeover proposal from Bill Ackman’s Pershing Square, saying the April 7 offer “fundamentally and materially undervalues UMG” and is not in the best interests of the company, its shareholders, artists, songwriters, employees or other stakeholders. Pershing Square had proposed a cash-and-stock transaction valuing UMG at about €30.40 per share, roughly €55.7 billion (about $64–65 billion by published estimates). The board said it reached its decision after review with external financial and legal advisers and after hearing from major shareholders, including the Bolloré Group, which holds about 28% and publicly urged rejection days earlier. UMG highlighted recent corporate moves to boost shareholder value — expanding a share buyback programme, plans to sell half its Spotify stake and commitments to enhanced financial disclosure — and reiterated plans to pursue a U.S. listing. Ackman and Pershing Square, who were significant investors in UMG from 2021 and for a time had a board seat, did not immediately comment.

London-based singer-songwriter Samuel Smith, 49, who was diagnosed with Parkinson’s disease in 2020, used generative AI tools to complete his second album, The Art of Letting Go, after the illness eroded his ability to play guitar. For the instrumental track “Horizon” Smith hummed melodies into his phone and uploaded the recordings to AI music platforms such as Suno and Udio to generate demo arrangements. He says the synthetic demos — produced after dozens or even hundreds of attempts and extensive editing — were never intended for the final mix but served to communicate his musical vision to session players. The album, produced by Grammy-winner Matt Rollings, features established roots and bluegrass musicians including Jerry Douglas, Alison Brown, Stuart Duncan, Bryan Sutton, Viktor Krauss, Jonatha Brooke, Glen Phillips and a guitar duet with Julian Lage, captured during a brief studio reprieve in Smith’s symptoms. The story joins wider industry debate: major labels sued Suno and Udio in 2024 over training data, though Universal later settled with Udio and Warner struck a deal with Suno. Experts say AI tools can expand access for musicians with disabilities while raising copyright and ethical questions.

A U.S. federal judge has reinstated the full $75,000 civil verdict won last December by rapper Megan Thee Stallion against gossip blogger Milagro Gramz (Milagro Cooper), ruling that Gramz was acting as a paid agent of Tory Lanez (Daystar Peterson) and his father when she published three defamatory statements. In a decision issued May 29, 2026, Chief U.S. District Judge Cecilia M. Altonaga reversed an earlier ruling that had partially set aside the award on procedural grounds tied to pre-suit notice protections for media defendants. The judge found trial evidence showing payments from the Petersons, preferential access to information, and assistance provided to Lanez’s criminal defense amounted to Gramz being “commissioned” to publish the statements, removing the requirement for advance notice. The jury had awarded damages for defamation, intentional infliction of emotional distress and amplification of a sexually explicit deepfake. Lanez is serving a 10-year sentence for shooting Megan in 2020. Gramz, now representing herself, denies being paid; the court declined to issue an injunction barring further posts and left questions about attorneys’ fees and post-trial motions open pending appeal.

Soundgarden guitarist Kim Thayil has published an excerpt from his memoir, A Screaming Life: Into the Superunknown with Soundgarden and Beyond, recounting how he learned of bandmate Chris Cornell’s death on May 18, 2017. The preview, shared by Rolling Stone on May 29 ahead of the book’s June 9 release via William Morrow, describes the band leaving Detroit after a Fox Theatre show en route to Rock on the Range in Columbus, Ohio when members saw social media reports of Cornell’s death. Thayil writes of initial disbelief, the confirmation that Cornell died by suicide in a hotel room, and his lingering guilt — “I feel like I let Chris down” — for not recognising warning signs. Other outlets (Louder Sound, Metal Injection) have carried the excerpt and reported that Thayil, bassist Ben Shepherd and drummer Matt Cameron are finishing a collection of unreleased songs built around Cornell’s final demo recordings, material that had been the subject of a long-running legal dispute with Cornell’s estate.