Jay-Z returned to the Roots Picnic stage after being away from the festival since 2019. He appeared in a noticeably new look. The rapper, who has been known for wearing his signature dreadlocks in recent years, stepped out with a combed-out afro while headlining the festival alongside The Roots.

His afro was neatly shaped and combed out, offering a cleaner look compared to the freeform locs he had been seen with over the years. The performance took place at the Belmont Plateau venue in Philadelphia.

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Dressed in an all-black outfit, Jay-Z performed on stage with live backing from The Roots, delivering a headline set that featured guest appearances from Bilal, Jazmine Sullivan, State Property, and Meek Mill. He opened his set with ‘Hovi Baby’ and an unreleased freestyle, which appeared to address recent controversies surrounding him online.

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Some lyrics were linked to the ongoing conversations involving Drake following recent ICEMAN lyrics that referenced him. The freestyle was also aimed at broader criticism directed at him, including commentary tied to his long-running brand, which some speculated could be a response to Tory Lanez and his father.

Ahead of his Roots Picnic appearance, the rapper made a surprise performance at the Foundry the night before, which was attended by Beyoncé and Dave Chappelle.

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He reminded fans why he’s still considered one of the greatest rappers. With three sold-out Yankee Stadium shows already lined up, many see this performance as the start of something bigger.

Kanye West released a new song titled “Father,” on March 28, 2026, featuring Travis Scott. The track was directed by his wife Bianca Censori, which is the third song from his twelfth studio album “Bully.”

“Father” infused gospel elements with heavy drums and bass. The song opens with a vocal sample from gospel singer Johnnie Frierson. West uses his verse to describe his new state of mind, while Scott follows with a faster pace and gave a brief reference to Nike, thanks to his association with the shoe brand. 

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A day before “Bully” was released, “Father” was revealed at a listening party in California, accompanied by a music video. The video took place inside a church with Kanye dressed in a gray suit and cowboy boots. Other attendees in the church included elderly women and nuns, who are seen in the background.

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As the video continues, two astronauts arrive and unmask West, revealing what looks like an alien face before they carry him out of the church. Travis Scott then appears during a wedding scene involving two women.

The video combines both sci-fi elements, such as aliens and astronauts, with religious imagery. It also includes a background figure who resembles Michael Jackson but is  later confirmed as an impersonator named Fabio Jackson.

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The song is part of the album “Bully,” which had a delayed release before arriving on streaming platforms. A few days before the album dropped, a Beats Electronics advert featuring Travis Scott resurfaced online. The advert was originally released in December 2025, and towards the end, a short snippet of an unreleased track was heard, believed to be “Father.”

West and Scott have long maintained a working relationship with each other, dating back to the 2012 compilation album “Cruel Summer.” Since then, both artists have worked together on several songs. In 2025, their relationship became strained following a series of public statements and online activity. West also accused Scott of taking credit for work from past recording sessions. They later settled their differences in November, when West made a surprise appearance at Scott’s concert in Japan, performing on stage together.

Charlie Puth’s “Home”, created in collaboration with Hikaru Utada, is accompanied by a music video that centres on physical separation and emotional absence.

Directed by Hunter Moreno, the video is set almost entirely inside a large, sparsely furnished house, with both artists shown moving through the space alone. There is no direct interaction between them at any point in the video.

The narrative is minimal. Puth appears seated or walking through different rooms, often framed in isolation. Utada appears in a similar manner occupying separate areas that mirror his environment. The use of a single location emphasises the idea of shared absence rather than connection.

Lighting is kept low and natural, with no dramatic shifts. The camera work avoids rapid movement, relying instead on steady shots and slow transitions. This keeps the pacing even and avoids visual tension or shifts in direction.

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The central theme is longing tied to distance. The house reflects the idea, with its emptiness suggesting absence of the other person.

The video does not introduce secondary characters, subplots, or external settings. Every scene returns to the same interior environment maintaining a contained structure.

The editing follows the tempo of the track, with no abrupt cuts or changes in rhythm. Each sequence lingers, prioritising stillness over progression. This keeps the focus on mood rather than narrative development.

There are no visual effects or stylised overlays used. Wardrobe remains simple and neutral, with no emphasis placed on costume as a storytelling element.

The video is a direct extension of the song’s subject matter. It does not introduce additional interpretation beyond what is already present in the lyrics, instead presenting a literal depiction of distance through space, repetition, and isolation.