
Next Level Wedding Entertainment Trends That Will Guarantee a Show-Stopping Celebration
We spoke to eight wedding experts and artists to help you find the most exciting entertainment trends to consider embracing for your big day. Bookmark this guide to learn the most innovative ways to entertain your guests!
Instead of choosing a DJ or a musician, why not embrace the best of both worlds? Couples are opting for hybrid music productions that help create a lively and dynamic ambiance that cater to varied musical tastes.
'One of the more recent trends we've noticed is the development of a hybrid music production,' declares Daniel Scocco, DJ and founder of Baroque Agency. 'Rather than creating a dilemma among the choice of live bands or a DJ, modern weddings have been adopting a hybrid set, including both forms of entertainment. With the DJ acting as the true maestro of the party, they're backed by a group of real instruments and musicians.'
When it comes to the type of musician to support the DJ, instrumentalists such as electric violinists, modern saxophonists, and harpists have become very popular.
'Violin has always been a popular instrument for wedding ceremonies, but recently, couples have been asking to include electric violin for their dance parties,' adds Natalie Wiegand, a Venice-based electric violinist, founder of ViolinVibez and co-founder of duo Elektric Heart. 'I typically coordinate with the wedding DJ to do a surprise performance (or a few) throughout the evening. Live instruments are a great way to make the dance party even more interactive and special.'
One standout entertainment trend is the inclusion of live wedding painters. It adds a nostalgic, romantic charm to the celebration and the final painting becomes a keepsake for the couple.
'Live wedding painters capture moments in real-time—whether it's the couple's first dance or the ceremony itself—onto canvas as guests watch the artwork come to life,' states Reshma Ramaiah, director of US operations and co-founder of Resh&Co. 'More than just entertainment, it's an emotional experience for everyone present, and guests love witnessing a unique piece of art unfolding before their eyes.'
More weddings are featuring awe-inspiring performances by speciality artists such as acrobatic dancers, magicians, and themed greeters.
'While specialty entertainment is certainly not taking the place of musical entertainment, couples are embracing immersive and personalized entertainment. Popular talents include themed greeters, fire dancers for beach celebrations, living statues, musical enhancements, and even acts such as magicians,' mentions Brittny Drye, wedding expert and editor-in-chief of Love Inc. Magazine. 'To keep it from feeling forced, select specialty acts with intention. And timing is key. You don't want to pile one right after the other. Sprinkle them throughout the evening. Your guests will appreciate the surprise and delight.'
For destination weddings, couples are choosing local performers and celebratory rituals to entertain their guests.
'As a unique experience for wedding receptions, we offer the Kagami Biraki ceremony,' says Mariko Isono, wedding planner for Park Hyatt Kyoto, 'In ancient Japan, warriors performed the Kagami Biraki ceremony to raise morale and inspire each other before heading to battle. This ritual involves the lid of a sake barrel ceremonially broken open with wooden mallets, symbolizing a new beginning and good fortune. After the lid is broken, the sake is shared with all guests in a communal celebration.'
Firework displays are being elevated with high-tech drone shows, crafting a spectacular display for guests.
'Custom drone shows are a big wedding entertainment trend right now. Recent wedding guests had a drone show with over 100 synchronized drones that created the brides and groom's alma matters, puppies, and personal passions in the sky over the resort – it was truly jaw-dropping,' remarks Pamela Wolter, director of sales at The Resort at Pelican Hill.
Couples today don't just want a dance floor. They want a multi-sensory journey where music and visual storytelling come together to showcase their love story in real time.
'One trend we're especially excited about is a hologram act, curated to be truly one-of-a-kind and irreplaceable. This 3D visual experience is meticulously choreographed to stay in perfect sync with audio and lighting, creating a surreal, immersive performance that leaves guests in awe. It's not just entertainment, it's a moment of magic,' says DJ AJ (Arjun Shah).
Brides and grooms who love music festivals are creating a festival-like experience for their guests. They are spending on elaborate light and sound systems to craft a 'wedding rave' ambiance.
'Another trend I've noticed has been to create your own 'wedding rave.' I've seen couples splurge on big lighting and laser setups and also requesting the DJs move away from more traditional wedding DJ playlists to play more dance tracks or fun remixes of their favorite songs,' adds electric violinist Natalie Wiegand.
'Last year, I was DJing a wedding in Palm Springs for a couple who love house and techno music. They mentioned that they were big fans of the Boiler Room series. So, we decided to get creative and turned the whole dancefloor into a Boiler Room-like set up with the DJ console in the middle of the dancefloor and guests all around it,' says Zorawar Shukla, DJ and CEO of Desi Beat Collective. 'They even streamed it live for all their friends and family around the world. It was truly a one-of-a-kind experience!'
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Chicago Tribune
10 hours ago
- Chicago Tribune
Blind models work the runway at fashion show for the visually impaired
Brenda Nicholson waited in the Nordstrom fitting room, listening intently as the staff described the colors, textures and cut of the outfits hanging on a rack. She typically gravitates toward clothing with pops of color, but this time Nicholson selected a gold, mesh-embroidered dress that cut down to her ankles. She chose the outfit based on the staff's vivid description and the way it felt when she touched the material. When a partially blind model's eyes can't help, she must rely on her other senses — touch and hearing, in this case — to help ready her for the runway. Nicholson was one of 10 visually impaired models who walked in the Beautiful Lives Fashion Show earlier this month at the CD Peacock Mansion in Oak Brook. The inaugural event celebrated the idea that everyone can enjoy clothing — even if they experience it in a different way than most. 'Good fashion feels like the textures that send tingling sensations through your fingers,' said Beautiful Lives Project co-founder Bryce Weiler, who has been blind since birth. 'Textures mean something.' The show's models were students at the Chicago-based Illinois Center of Rehabilitation and Education-Wood, which offers vocational and life skills training for blind and visually impaired adults. Students can receive instruction on everything from cooking and computers to reading braille and crossing eight-lane streets. The event gave many participants their first exposure to modeling — something several said they had never considered. 'Is the runway ready for me?' model Monty Rogers, who lost his sight more than three years ago, asked his fellow models. Rogers said he has always had a sense of style. Prior to selecting his runway outfit, he wore a patterned kilt with 'pride colors' and knee-high socks. A former telephone engineer and photographer, Rogers motioned to his outfit: 'I still have aesthetics,' he said. Rogers, who feels almost all his clothes before buying, selected jeans and a striped, navy blue sweater with a soft jacket. The sweater's collar, lifted and distinct from the sweater's main material, framed his neck, which was accessorized with a thin chain. 'I'm blind as hell and I'm still a fashionista,' he said. In a 'vacation vibe' salmon shirt with khaki pants, Lawrence Lacy made his runway debut alongside experienced model Jennifer Cruz, the reigning Mrs. Illinois International 2025. Moments before walking, Lacy, who's blind, gave Cruz tips on one aspect of runway modeling that she had never encountered: how to be his guide. On a daily basis, Lacy said he uses the application 'Be My Eyes,' to assist in planning outfits. The app helps users who are blind or have low vision by providing visual descriptions of daily tasks such as navigating unfamiliar surroundings and explaining the color of an object. From his clothing needs, Lacy uses the 'Be My Eyes' to match outfits to a hanger, including specifics, 'like the color (patches) on his socks,' he said. Prior to the show, runway walkers filled out surveys, describing the styles, textures, feelings and colors they wanted to showcase most. The show's organizer, 16–year-old Aria Holtzman, then worked with the Nordstrom staff to select outfits that matched the model's personal style. 'A lot of models wanted patterns,' Holtzman said. Holtzman also accessorized the outfits with shoes and jewelry, borrowed from CD Peacock, to complete the looks. The Hinsdale teen, who is beginning her junior year at Culver Academies in Indiana, came up with the idea for the show after attending a summer camp at Vogue's New York office. She came home inspired to make fashion accessible for everyone regardless of their abilities or medical conditions. With the support of her father — CD Peacock Chairman Steven Holtzman — she teamed up with Weiler and the Beautiful Lives Project. Along with Beautiful Lives Project co-founders Weiler and Michael Gudino, Holtzman worked with CD Peacock interior designers to make sure the event space resembled a runway and was clear of obstacles that could prove difficult for models and spectators as they moved around the mansion's first floor. She also ensured the 6-foot-wide runway was wide enough for both the models and their escorts. With just 39 days to put on the show, Holtzman wrote the script and served as the evening's emcee. She also encouraged the models to make their own personalized introductions before they headed down the runway. After Holtzman introduced Lacy, he took the microphone and offered a short message of appreciation. He thanked the ICRE-W program and the Beautiful Lives Project for 'transforming me into the person you see before you.' 'Just know that anything that you love, that gets a little help, you can be a part of,' he told the audience. Rogers, during his runway walk, sang a rendition of 'Feeling Good' to the spectators' delight. 'Monty lives his life knowing that the only thing he can't do is see, ' Holtzman told the audience. But Roger wasn't the only model with a talent to display. Nicholson, who lives in downstate Bellview, was the night's last model, concluding her walk with a dance to Rebirth Brass Band's 'Do Whatcha Wanna.' Before her stepping onto the runway, organizers reminded her of the song's six-minute duration, 'I can do it,' she said without hesitation. Nicholson substituted her white cane for a translucent umbrella as the music played. The audience rhythmically clapped to keep the beat. Although the music was cut off by applause before the full song could end, Nicholson said she 'was born dancing to this.' She could do it in her sleep, she said. The models kept their Nordstrom clothing, which had been purchased for them by the Holtzman family. Although this is the first fashion show the Beautiful Lives Project participated in, Weiler said he hopes for other opportunities like it. 'We are surrounded by people who want to help (others) live out their dreams,' he said. 'To help you to find employment, and to say that there are no barriers that can hold someone back with a disability.'

Hypebeast
a day ago
- Hypebeast
The Slow Death of the Contemporary Art Gallery
The contemporary art gallery as we know it is dying. In cities like New York and Los Angeles, dedicated spaces that once buzzed with foot traffic and formal openings are now struggling with rising rents and changing expectations. The old model, where a gallery does everything for its artists, feels like it's falling apart. Big gallery chains, the ones built on endless art fairs, multiple cities and huge rosters of artists, are losing their grip. Last month, Tim Blum announced he would close his Blum & Poe galleries in L.A. and Tokyo and even stop plans for a new one in Tribeca. He was blunt about the reason: 'This is not about the market. This is about the system,'he told ARTnews, pointing out that collectors have more power than ever to negotiate. His decision echoes a wider feeling across the industry with many giving up on the idea of building giant gallery empires. You can see this shift happening at major events. The latestArt Baselconfirmed that galleries are showing more mid-priced work, not just the massive, ultra-expensive pieces they once counted on. A recentreport from Art Basel and UBSshowed that while the overall art market shrank last year, the number of actual sales went up. It's a clear signal that the business is no longer just about a small group of big spenders, it's now about reaching a wider audience at lower price points. 'The old model was built on scarcity and prestige. The new one runs on access and attention.' A significant force behind this change is the shifting demand for different types of art. The once-dominant 'blue-chip' artists, masters whose work commanded staggering prices, are no longer the only game in town. Collectors are increasingly turning their attention to 'red-chip' artists, a new class of talents whose value is built on viral hype and cultural relevance rather than institutional endorsement. These artists are attractive for two main reasons: their work is often more accessible and affordable, and it brings fresh, diverse cultural perspectives that feel relevant and exciting to a global audience. This hunger for new voices and unconventional methods is reshaping the market. A key example isOlaolu Slawn, a London-based artist who sold out his solo show,I present to you, Slawn, at the Saatchi Yates gallery in 2024 by creating and selling 1,000 individual, more accessible pieces, an approach that challenges the fine art world's focus on scarcity and prestige. A separate but related trend sees celebrities entering the art market with their own work, often commanding high prices based on their fame. Actor Adrien Brody is a notable example. His art, which he described is about celebrating the little nuances in life has sold for significant amounts, as per a convo withInterview Magazine. For instance, a painting he created of Marilyn Monroe was sold at a Cannes gala auction for $425,000 USD, illustrating how star power can directly translate into commercial value. However, his work has drawn sharp criticism from the industry, with critics often labeling it as kitschy and derivative. One critic writing forARTnewsdescribed his work as having a 'faux naïve aesthetic' and 'mediocre production value,' while others have accused him of cheaply appropriating the styles of Jean-Michel Basquiat and Andy Warhol. As the old guard shrinks, smaller galleries are finding new ways to thrive. In New York,Tiwa Galleryshows self-taught artists in a relaxed space, rejecting flashy Landddcombines Latin American crafts with immersive events. In L.A.,Marta galleryblends art and design right into everyday life. These new spaces care more about quiet, genuine connection than putting on a spectacle. Retail is also becoming a new kind of gallery. Stores like South Korea's Gentle Monster and London's Dover Street Market are blurring the lines between art and commerce, transforming shopping into an immersive cultural experience. Gentle Monster's stores are famous for their fantastical, ever-changing installations, from surreal kinetic sculptures to robotic figures that draw in visitors who are just as interested in the art as they are in the eyewear. Dover Street Market, founded by Comme des Garçons's Rei Kawakubo, is a 'beautiful chaos' where each brand and artist is given a dedicated space to create a unique installation, turning the store into a constantly evolving exhibition. By blending high-end retail with cutting-edge art and design these spaces offer a new kind of public access to creativity, making the gallery experience a part of a commercial transaction rather than a separate cultural outing. 'If your space is fueled by DJs and cocktails, maybe it isn't really a gallery anymore.' It's clear that going to a gallery is no longer the only way to see or buy art. Today, buyers can just scroll on their phones and purchase work directly from studios or social media. This instant access has replaced the slow dance of white-cube shows and champagne previews. Some galleries are trying to keep up, creating online art drops and hosting pop-ups in different retail spaces. But others are pushing back, as one veteran gallerist puts it: if your space is fueled by DJs and cocktails, maybe it isn't really a gallery anymore. Art isn't disappearing. It's just moving, becoming more accessible and less tied to one physical location. The old model was built on scarcity and prestige. The new one runs on access and attention. The question isn't whether galleries will survive, but which ones can change fast enough to matter.

Cosmopolitan
a day ago
- Cosmopolitan
New Chappell Roan Book Dissects How She Loves Drag Culture
Chappell Roan is about to hit cities on a pop-up tour, but before she graces a stage near you, it's time to talk about a key component of her super-stardom: the art of drag. In an excerpt from a new Chappell Roan book out October 7, Chappell Roan: The Rise of a Midwest Princess, writer J'na Jefferson dissects the ways in which drag has influenced Chappell's stage persona. But first! Here is more about the book: To pre-order the book, click on the retailer or your choice: AMAZON BARNES & NOBLE BOOKS-A-MILLION BOOKSHOP HUDSON BOOKSELLERS POWELL'S Drag as an art form goes way back—dating to the dawn of theater in Ancient Greece. However, the growing visibility of drag over recent decades—in film, on screen, and on stage—has given today's queer artists, including Doechii and Troye Sivan, more freedom to weave its influence into their music. Chappell Roan, who describes herself as a 'singer/songwriter/performer/drag queen,' occupies a unique space as both a wildly successful pop star and a purveyor of drag's spirit. Her music, aesthetic, and outspoken nature are deeply drag-infused, as she uses her platform to entertain, inspire, and amplify marginalized voices. Her elevation of this once-underground culture into mainstream pop is also reshaping the queer direction of 21st-century pop music. 'I've always noticed when someone is using drag as a prop versus drag as a castmate,' Hanukah Lewinsky, a drag performer in New York City, explains of Chappell's appreciation for the drag community, which has been proudly reciprocated. 'There have been artists [in the past] who have had drag queens on stage, and [the queens] haven't been paid, they don't get tagged, they don't get any recognition.' 'When Chappell has drag queens with her,' Lewinsky adds, 'it's 'this is so-and-so, this is where you can find their art, this is where you can find what they do.' We're her co-stars.' Lewinsky is among the performers who replaced Chappell at the 2024 All Things Go Music Festival after Chappell pulled out of her set for health reasons. The last-minute set, dubbed 'Queens of the Dancefloor' by festival coordinators, was curated by NYC-based drag star Beaujangless the night before the event, and included several drag performers, such as legendary queen Kevin Aviance, festive background dancers, and DJ B-Roc of The Knocks. 'Drag queens are used to getting something ready that's very exciting, very quickly,' Lewinsky said. The queens stood in for the singer, lip-syncing and dancing to a slew of Chappell songs for about 45 minutes. 'The crowd really loved it—in that moment and online. The general consensus felt like we were able to add something exciting and new to that day,' explains Lewinsky. 'It was by far the coolest experience of my life thus far. Just that I got to do it to music that I love, for an artist that I love, with such close friends, it was 10/10. I wouldn't change it for the world,' Lewinsky says. Though Chappell's music reflects her queerness and affinity for drag, drag's influence on the music industry is hardly new. In the 1930s, 'Pansy' performer Jean Malin recorded songs referencing queer identity; while in the '50s, rock pioneer (and former drag queen) Little Richard's flamboyant stage persona paved the way for future LGBTQ+ performers. David Bowie's experimental sound, costumes, and theatrics were key in pivoting pop in a queer direction. Elton John's 'lifelong love affair' with drag and a friendship with Divine encouraged the Rocket Man's over-the-top costumes. In the 2010s, rapper Nicki Minaj embraced drag elements, notably with her alter ego 'Roman Zolanski,' which toyed with gender norms. Chappell is continuing a tradition set in motion long before her reign. 'Pop and rock specifically have always been informed by queer culture, and drag is also part of that conversation,' explains Elyssa Maxx Goodman, the author of Glitter and Concrete: A Cultural History of Drag in New York City. '[Chappell's rise] has the possibility of continuing drag's presence in mainstream culture.' Chappell's discography is a proclamation of her queer identity, using drag-inspired themes to amplify self-discovery, empowerment, and resistance. 'Pink Pony Club' celebrates queerness while exploring somberness, creating a drag-evoking emotional juxtaposition. 'Femininomenon' flips the script, proudly embracing queer sexuality. She blends pop with elements of country, alt-rock, and folk (at times in the same song) mirroring how drag fuses high art with low culture. This art form has long challenged boundaries, not only of gender but also of music, bringing power to Chappell's work. Pop has used drag to create visual spectacles rooted in queer resistance and celebration. Through bold, avant-garde makeup and costumes—like her signature white face paint, a nod to her hometown's homophobes who called queer kids 'clowns'—Chappell is helping normalize drag's aesthetics. 'The people in my hometown would call gay people 'clowns.' That's why I actually wear white face [drag makeup], because of how those people called us clowns. I was like, 'Bitch I'll show you a clown,'' she said to an audience in Manchester. Goodman notes that Chappell highlights femme drag, a style in which women or nonbinary people dress in drag, popularized by performers like Fauxnique and Crimson Kitty. Chappell's drag-heavy aesthetic in her music videos and live performances adds to her allure. In the 'My Kink Is Karma' video, she plays a lingerie-clad devil/clown, a nod to the apparently queer character HIM from The Powerpuff Girls. She also frequently uses blue eyeshadow, a deliberate tribute to the sex workers and drag queens who have been unfairly demonized. As Chappell put it in Faces of Music, a documentary series sponsored by Sephora: 'Blue eyeshadow is so stigmatized…and it's all connected to why I picked it.' 'Drag and drag aesthetics have long been part of how pop musicians visually connect to their audiences,' Goodman says, referencing Cher's Bob Mackie costumes, Madonna's Marie Antoinette–inspired outfit at the 1990 MTV VMAs, and Lady Gaga's early career looks, including her 2011 drag king persona 'Jo Calderone.' Chappell's stage presence is bold and playful, drawing from drag's performative theatrics where every move tells a story. This allows her to explore both lighthearted and darker themes, reflecting drag's ability to blend cheek and earnestness. And she uses her live performances to advocate for LGBTQ+ rights and visibility. At the 2024 Governors Ball music festival, Chappell called for 'freedom for all oppressed people' while dressed as the Statue of Liberty. A week later, at the Kentuckiana Pride celebration, she performed in full drag, paying tribute to legendary queen Divine and her iconic role in the 1972 film Pink Flamingos. 'I feel like any time [Chappell has] a big platform, she lets people know that drag is here to stay,' New York City queen Mo'Riah says about Chappell's commitment to drag. Like Lewinsky, Mo'Riah was one of the performers asked to dance in Chappell's place at All Things Go, a moment she says made her 'feel like Beyoncé,' adding that Chappell 'always stands up for [drag queens.]' '[Chappell's] touchstone comes at a time where there's a very odd turn back to 'We don't want anything that's out of line,'' Lewinsky notes of the tepid climate Chappell is finding her success in, where queer and trans rights hang in the balance and are even under direct attack. 'It would be so easy for someone to fit into what society deems appropriate, but it's nice to have someone who says, 'Fuck that, we're not going to tailor ourselves for what you deem is right or acceptable.' It's very energizing.' Lewinsky, who uses she/her pronouns while in drag, also performed during the New York stop of Chappell's Midwest Princess Tour. Chappell supported local drag acts by having them open for her during these shows, sharing the spotlight with performers who've been an integral part of her artistic journey. 'The first time I ever saw Chappell is when she came to one of my weekly gigs at Pieces,' the popular West Village gay bar, Mo'Riah adds. 'She even stayed after and watched the other show after ours. It's clear she loves drag, and she loves the community and the art of it, I think that's beautiful.' Unlike artists who may incorporate drag aesthetics without nourishing deeper ties to the community, Chappell's integration feels genuine. She's part of a wave of queer artists who aren't just referencing drag—they're making it a core part of their artistic DNA. Her drag persona is theatrical, but it's also authentic. '[Drag] just feels like freedom,' Chappell says in Sephora's Faces of Music. 'It lights up something in my brain, it's just pure serotonin.' — By J'na Jefferson, Chappell Roan: The Rise of a Midwest Princess Chappell Roan: The Rise of a Midwest Princess by Jennifer Keishin Armstrong, Dibs Baer, Patrick Crowley, Izzy Grinspan, J'na Jefferson, Ilana Kaplan, and Samantha Olson will be released by Hearst Home Books on October 7, 2025. To preorder the book, click on the retailer of your choice: AMAZON BARNES & NOBLE BOOKS-A-MILLION BOOKSHOP HUDSON BOOKSELLERS POWELL'S Disclosure: Hearst Magazines is the parent company of Hearst Home Books and Cosmopolitan.