Latest news with #Boy
Hypebeast
6 days ago
- Entertainment
- Hypebeast
LEGO Unveils Game Boy Model Set with Interchangeable Classic Games
Summary LEGOis reviving handheld gaming nostalgia with its latest release: a near-life-size brick-built replica of the originalNintendoGame Boy. Announced today, the 421-piece LEGO Game Boy model celebrates the iconic handheld's legacy with faithful details, including the A and B buttons, +Control Pad, contrast dial and even a functional Game Pak slot. The set includes two interchangeable brick-built cartridges —The Legend of Zelda: Link's AwakeningandSuper MarioLand— as well as swappable screens that replicate each game's look, along with the classic Nintendo start screen. Designed for adult builders and retro gaming fans alike, the set combines creative building with a deep sense of nostalgia. Step-by-step instructions make it accessible for newcomers too. The LEGO Game Boy is available for pre-order now and officially launches on October 1, 2025. Priced at $60 USD, the Game Boy set will be sold through LEGO stores, select global retailers and LEGO'sofficial site.
USA Today
23-07-2025
- Entertainment
- USA Today
Ranking Tyler, the Creator's 9 albums, including Don't Tap the Glass
With Monday's surprise release of Don't Tap the Glass, rapper Tyler, the Creator kept his unreal album run alive with a pulse-pounding club album meant to stupid-dance along to with all your friends. Tyler Okonma came up with the groundbreaking Odd Future music collective that boasted supreme talents like Frank Ocean, Earl Sweatshirt, Casey Veggies and Jasper Dolphin, among many other standouts. His career stared out with so much promise, but also... so many trigger warnings. His early music needs the context of when it was created, as some of its lyrics welcome any problematic -isms you'd like to apply. Tyler's early career established him as one of rap's unafraid shock jocks, and he courted plenty of controversy for some of his most upsetting lyrical content. However, around 2015, Okonma started to shed his more aggressive tendencies, and his music richened and richened as he shared more and more of his heart. To listen to the early material is to understand it's not the artist he is now. He's grown up and then some. However, Tyler never lost his edge, far from it. His rapping got progressively better as he ditched the shock-and-awe of his earlier material without abandoning the promise of his best early bars. In 2025, Okonma stands tall as one of the most creative, dynamic musicians of his generation. His transformation has been genuinely thrilling to follow, as the Goblin turned into a Flower Boy right before our very eyes. His genius and soul shine through everything he does now. As we all hit the dance floor and go wild for Tyler, the Creator's latest, let's rank his nine albums so far as to how they all stack up with each other. Very NSFW language to follow. 9. Bastard Okonma considers Bastard an album, so we'll include it. The album is a difficult balance of Tyler's radiant potential and his jaw-dropping offensiveness. Some of the most aggressive lyrics pour out of Bastard like sour milk on a hot sidewalk, replete with objectively grotesque imagery from a bewilderingly disturbed anti-protagonist. If you accept depiction does not equal endorsement as much as it represents a horrifying fever dream of, as Pitchfork described, "shock art." There's an innocence even still hidden in the crevices, one of an artist still finding his legs and not even past the first chapter of a much more enriching career trajectory. It's his weakest album by default, but "Pigs Fly" is a decent teaser for the artist Okonma evolves into... eventually. Yes, Bastard, like Goblin and Wolf, requires content advisories aplenty and a generous read on the most vile bars Tyler packs within, but like those other two early projects, you can at least map out Okonma's strengths. 8. Goblin Okonma told GQ back in 2018 that he regards Goblin as "horrible," which might be a bit harsh on his breakthrough album that established him as the rap game's unapologetic prankster-provocateur. "Yonkers" is the best distillation of his early Eminem-style shock jabs mixed with his growly, haunting flow. Goblin, for better or worse, confirmed Okonma's place as one of the genuine early stars of the 2010s. When Kendrick Lamar called Okonma out on his seminal "Control" verse on the list of the rappers wished to obliterate in 2013, it confirmed the hype for Odd Future's impish wonder was real and formidable. Goblin felt like an arsenic-laced screed from the depth of Hell with brass-knuckle verve on the delivery, one Okonma would soon scribble all over and reframe with class with his later, better albums. Sure, you might leave Goblin horribly offended, but it's hard not to still Okonma's grit on the mic. He belonged. However, "She," his Frank Ocean collaboration, hinted to the more sensitive side of Okonma's persona that would soon explode in vibrant color. 7. Wolf Released at the height of Adult Swim's prank-sensation Loiter Squad, Wolf is the grand finale for Okonma's edgelord fury and probably a crucial text to how The Lonely Island spoofed him in Popstar: Never Stop Never Stopping with Chris Redd's Hunter the Hungry. Okonma embraced more vibrancy in the production with Wolf, with "Tamale" a great example of him mixing his patented mock-mischief with a ranger of a beat. Wolf also finds Okonma finally looking inwardly in ways that would soon define him as an artist. "Colossus" finds Tyler grappling with his fame as some of his fans approach him at Six Flags for a selfie when he just wants to ride a roller coaster and buy a churro. It's Okonma's spiky answer to Eminem's "Stan," and it's a stunner in writing and delivery in how fandom evolved in 2010s from the eyes of someone getting more recognized than ever. All these years later, Wolf plays like the final frontier for an artist yet to discover his brilliant second gear. It's still a compelling rap album with some insane highs, but it's also inherently flawed in the way Tyler's early work was. However, even if some of the lyrics haven't aged well, it's a testament to talent that it's still pretty dang good. 6. Don't Tap the Glass Less than a year after dropping the stone-cold masterpiece that was Chromakopia, Okonma didn't owe the world a Four Loko-fueled banger of a rap-house album. However, Don't Tap the Glass only comes from an artist at the absolute peak of their power. Okonma wrote that he wanted the album to help people loosen up a bit in a culture where we hold ourselves back from having fun at risk of being judged. Don't Tap the Glass isn't meant to be dissected as much as it's meant to be danced to, and the production is as free and innovative as Okonma has been in his career so far without sacrificing his sonic hallmarks. If you want to hear Tyler spit, "Don't Tap That Glass / Tweakin'" and "Stop Playing with Me" scratch the itch. If you just want to vibe to Tyler in roller rink-mode, "Ring Ring Ring" and "Don't You Worry Baby" take care of that. Sure, it's not one of his best albums by his lofty standards, but it's a sun-kissed, high-living joy ride with disco-ball dopamine flow. 5. Call Me If You Get Lost This might be controversial, as Call Me If You Get Lost remains one of the defining rap albums of the decade. A brisk victory lap after 2019's Igor, with DJ Drama guiding us through an eclectic gallery of Tyler rapping over some of the best beats of his career and a murder's row of guest verses at his disposal. The way Call Me If You Get Lost moves stands as some of the most staggering pacing of Okonma's discography. In an era where most artists are ditching the art of the album in favor of song-stuffed streaming buffets, Tyler gave us his most concise and arguably the most confident album of his career so far. He'd softened significantly since the Goblin days, yes, but remained sharp as ever. Tyler, we needed you, and you turned the noise up. This album is a magnificent jaunt for an artist at the height of his powers. 4. Cherry Bomb Cherry Bomb gets better and better as time goes on. The artist Tyler, the Creator is today finally clicked into place with Cherry Bomb, an electric pounding heart-engine with guitar riffs, Charlie Wilson crooning over one of Okonma's best songs in his catalog and an irresistible buoyancy of an artist finally ready to come into his own. Sure, Flower Boy was the official declaration of Okonma's completed metamorphosis, but Cherry Bomb took us into the kitchen and let us watch Tyler cook his new persona up with explosive risks and unrelenting passion. It's supremely underrated as what it portends for Okonma's career, and it's got some of his most exciting creative choices. It's more experimental than Flower Boy, and he's still dusting off a wee bit of the cringe from the Wolf trilogy days. However, Cherry Bomb remains a tube of Mentos in a Diet Coke liter. It's a jubilant mess of unbridled energy, an apocalyptic rager of an artist in free-falling, truly fearless reinvention. 3. Flower Boy Flower Boy is the arrival. It's arguably one of the most consequential albums for modern hip-hop, and the fully fleshed transformation of Tyler, the Creator from talented troll to whimsical, lovestruck rap auteur. Okonma breaks his heart wide open for an intensely personal album about self-discovery and the romance intertwined. Some of the songs on Flower Boy play as revelatory for the artist Tyler was a few discs prior, tender to the ears and warming to the soul. The lighter tough unquestionably made him a better rapper, too, with "I Ain't Got Time!" and "Who Dat Boy" blistering examples of laser-focused delivery and jolt-force lyricism. If you got used to the brash Tyler, the Creator, Flower Boy hit with the kind of grounded shock that lasts. It's an album that grows on you the more you listen to it. Okonma blossoms into the artist he was meant to be with Flower Boy, completely unencumbered with his rusted switchblade angst. It's an act of artistic elevation, for him and us. 2. Chromakopia Chromakopia is one of the best albums of the 2020s. Here, Tyler is in full command of his new self and fully prepared to dole out his earned wisdom while also popping our ear holes with sucker-punch rap classics. "Noid" stands as the album's statement track, one where Okonma deals with the unending stardom that has followed him since his music became fully accessible. It's a gripping dive into the universal psychosis of the outside world looking in on the chosen few. The astounding track works perfectly as a spine-chilling anthem for that funny feeling many of us had in late 2024, that "Goodfellas Henry Hill watching the helicopters" paranoia of a new age creeping up right behind us with and without waring. Tyler taking a pulse check of his newfound acclaim gave us one of his most singularly riveting works to date, one full of empathy and bravado. Features from Schoolboy Q, GloRilla, Sexyy Red, Lil Wayne and particularly Doechii add even more life to what may well be Okonma's most balanced album between his joyous surge rapping and his soulful ballads. It's a special album that crash landed to Earth during such an uneasy time, meeting the moment with unreal might. 1. Igor If Flower Boy was Tyler, the Creator breaking his heart open, Igor is him fully giving it to his audience for good... even if we just wind up being friends. Igor is an unbelievable mode shift for Okonma, a bare-soul love letter to "the one" that ends in friend-zone tragedy. "Earfquake" is Tyler's masterpiece, a bold declaration of affection as deep as the Grand Canyon and as moving as a rushing river after a hard rain. Charlie Wilson's backing vocals will give you goosebumps, as will the fact that Tyler can take your whole breath away with a song with exactly no rapping. The song is even more remarkable when you consider where we started with Okonma, as the vulnerability to plead with his beloved to the world not to leave him would've been unheard of a decade prior when Bastard hit Odd Future's Tumblr profile. This is Tyler's "Channel Orange," and it's just as extraordinary. By the end of it, you're emotionally spent and thoroughly stunned. It's a perfect album.
NDTV
21-07-2025
- NDTV
Woman Duped Of Rs 1.11 lakh Over Sextortion Threat In Maharashtra's Thane
Thane: A person has allegedly extorted Rs 1.11 lakh from a 23-year-old woman in Maharashtra's Thane district after blackmailing her with her objectionable video, police said on Monday. A case has been registered in this connection against the unidentified person, they said. The woman, while browsing Instagram reels on July 8, came across a post titled 'UK Marriage Bureau' and clicked on a link given with it, which promised to help users make friends. "The link opened in a WhatsApp chat with a contact named Rahul UK (UK Boy)," an official from Kashimira police station said. The victim then messaged on the number, initiating a conversation with a man that quickly developed into a friendship. During their online interactions, both of them exchanged personal information. The man later asked the woman strip on a video call and recorded it without her knowledge. "Within a minute of her stripping, the video call switched off," the official said. Subsequently, the man informed the woman that he was coming to Mumbai and would meet her. However, on July 11, he called her claiming he had landed in Mumbai but was "caught by airport authorities and needed to be saved," the official said. The man then demanded money from her. When the victim expressed her inability to transfer funds, he sent her the video he had recorded when she stripped, the official said. Following this, the man began to blackmail the woman, threatening to share the video online if she did not transfer the money, the police said. The victim transferred Rs 1,11,000 into different accounts on more than 30 occasions through digital payment methods, the official said. "After the money was transferred, she tried to contact him, but the man was no longer reachable," he said. The woman later blocked his number and after discussions with her family members, filed a complaint with the Kashimira police. The police registered a First Information Report (FIR) on July 18 against the fraudster under sections 318(4) (cheating) and 308 (extortion) of the Bharatiya Nyaya Sanhita, the official said, adding a probe was on into the case.
Elle
18-07-2025
- Entertainment
- Elle
FLETCHER Knows You're Mad About ‘Boy'
Up until this moment, some could distill FLETCHER's brand into two words: chaotic and queer. She's not afraid to be messy in her music, and her shows are typically filled with LGBTQ+ fans, specifically lesbians and queer women. Her 2022 single 'Becky's So Hot' exploded on TikTok and Reddit after the singer called out her ex-girlfriend's new girlfriend by name, associating the 31-year-old pop star with drama. 'When I would be on tour, my videographer would go out and ask, 'What's one word to describe FLETCHER?' she says. ''Chaos' was the most-used word.' Now, the singer, whose real name is Cari Fletcher, is embarking on a new era. Yes, she still has a little chaos in her, and yes, she is unapologetically queer; but on her new record Would You Still Love Me If You Really Knew Me?, out today, Fletcher is showing a softer, more tender version of herself. 'For a long time, when people would come to a show, I felt like I had to give them this epic experience,' she says. 'Meeting the love of their life, getting back together with their ex, having a threesome with new hot people they just met, or getting fucked up. That started to feel like it was at the expense of my own [experience]. I can't give you that kind of party anymore. I want to have a different kind of party right now.' The 'party' is comprised of 12 introspective and eye-opening tracks where the New Jersey native lets everyone in. Her music has always been autobiographical, but this record has a different kind of rawness. She's not always singing about relationships; she's detailing her challenges in the music industry and the evolution of her sexuality. The last track, 'Would You Still Love Me?' ends on a spoken word and asks herself and her fans some tough questions: 'Would I still love me, even if you don't? / Will I be okay not ever knowing the answer to that?' These questions feel especially relevant given the lead single, 'Boy,' which sparked a firestorm upon its release. Fletcher, who has written love song after love song about women, reveals she smooched a man on the track. In tandem, she also archived some of her former, sapphic posts on Instagram, signaling she was about to release new music. The queer singer's comment section exploded, especially as the song came right at the beginning of Pride month. Interview magazine even published an article criticizing her and other famous queer women for 'coming out' with a male-female relationship and for 'self-victimizing.' Fletcher sees and hears the outrage, but she stands firm in her queer identity and in creating welcoming spaces for her LGBTQ+ fans. On this record, she is undeniably herself. This is her life. She's on her own journey with her sexuality, as many of us are. 'I'm queer 'til the day that I die,' she says. 'No matter where I'm at, no matter who I'm kissing, that's never changing, and I'm so proud of every version of me and all of my magic, all of my chaos, all of my softness.' Below, Fletcher opens up about the making of her new album, Would You Still Love Me If You Really Knew Me?. I think I do. I think my music, albums, and art have always been really heart on my sleeve. Open a random page of my diary, and if I'm writing it to my myself, I've been willing to write it to the world. I think there's a new layer here, because a lot of my music in the past has been so focused on my relationship to being in relationship. Love has been my greatest muse. I am a Pisces, have four planets in Pisces, and have mostly water signs in my chart. I feel so much, and I just am such a lover. This is the first record that's not an album full of love songs. All of it is how I experience myself as an artist, as a public person, and it explores my relationship to so many different facets of who I am. For that reason, this album feels like the most personal one. I didn't know that it would be possible for FLETCHER to share an even deeper layer, but this record does that. I played sports growing up. I would be referred to as 'Fletcher,' and so it eventually became my artist's name. I had so much anxiety growing up as a little kid and really struggled with mental health and OCD, and was navigating a lot of sensitivity that I channeled into music. If I was having a panic attack or nerves before I would get on stage, FLETCHER would just allow me to go out there and be this bad bitch. She embodied these superhero qualities and these quirks that Cari had. I am FLETCHER—however, [there are] parts of me [that are] softer, tender, vulnerable, or anxious, that I felt like needed protection. FLETCHER would be this embodiment of the toughness that I needed. Last year was just one of the most challenging years of my life. I was on the road for most of the year, and I was processing so much around my mental health, physical health, and my relationship to being on [tour]. This album came from a place of desperation for me to express all of the things that I was feeling and to see myself. Music has always been the medium for me to process really complicated, challenging emotions. When the world isn't seeing me because I'm not sharing the depth of what I'm going through, music has always been the, 'Okay, at least I know I can get this in a song, and if I can get this in a song, then I can decide to share the parts of the story I want to share here.' This album came from a place of needing to see myself, hold myself, and express what I needed to express. It just poured out of me so quickly. I had a few ideas for what I wanted to say and what I wanted to write when I was at the end of my tour last year, and when I got off the road in the fall and through the beginning of this year it all was just like, 'Whew.' On this record, there's not a single extra song. Everything that I wrote is everything that's on the album. I wrote 12 songs, and all 12 are here. This album really explores my complicated relationship with the music industry, with being an artist, and with being a public person. There has been such a level of overthinking that I have experienced over the years, which I think so many artists face. There's intention with everything, but then it crosses a certain line. You're overthinking your art. I just was like, 'I refuse to do that to myself this time around. I just want to create what it is and not overthink it. Most of the songs on the album are just my demo day-one scratch vocals. There's an undone-ness and there's a rawness that I've never been able to capture before. You've talked a lot about how hard touring has been for you. Will you tour again? I think this whole record is really just about me creating space for myself. I love creating music. I love singing. However, it has gotten so woven into becoming a really complicated relationship for me, because it doesn't feel like it gets to just be about me writing music. It doesn't feel like it just gets to be about me sharing my songs. There are so many other layers of the industry, of parasocial fan relationships, of all these different layers that have really complicated it. Somewhere along the line, over the years, I've lost my love for creating music. I know I'll sing for people again, but I just am giving myself a beat to feel the release of this album. I always release a project and then I'm either already on the road when the album comes out or I'm immediately touring it after, and I just wanted this one to be different. It was a song that I really wanted to come at the front end of my album campaign. I could have hidden it in the context of a larger track list or larger story. I knew if I put that on the album, that would be the only thing people talked about, when in reality, that is only a very, very, very, very small portion of what it is that I have been processing … I was really nervous and really scared about releasing 'Boy,' but my entire career all I have ever preached to people was to unapologetically be themselves, express themselves, and share who they are in any given moment. Oh, girl. I've been on such a journey. Such a journey with the internet, such a journey with social media, such a journey with self-trust, such a journey with self-love, such a journey with letting go of this idea of needing the whole world to love me, to accept me. I have some strange trust in the way that everything has unfolded my entire life. So, it's been beautiful, too. It's been painful, it's been confusing, it's been hard, and I also feel like I'm growing so much. Thank you. All of my romantic relationships over the last 10 years have been with women, and so it's what I've written my music about. It's what my stories have been about. I've always just written from a place of wanting to capture what I'm going through and what I'm experiencing. My music has been about my life and also my queer experience. This song, 'Boy,' is not something that I see outside of that. It's just another way of [thinking] like, 'Wow, what does this mean for my journey? What does this mean for my life? What does this mean for my career?' If I am writing something, it's because I needed to hear it, which means that somebody else does too. To have fans reach out and share their own fear with the discovery or the evolution of their own process, it's been really beautiful for me to connect with other queer people who are navigating their journeys. Every time I've released an album, I always sort of clear my Instagram as an indication of new music coming out and a new chapter of my life. So, I did that with this album. It was my 10-year anniversary of releasing music on June 17, so my plan was to bring back 10 years of FLETCHER. I am so proud of all of the women that I have been, every version of me, the entire journey, and there is no erasure of my sapphic identity. I released a song back in 2022 called 'For Cari,' and I think just for a long time, I've been wanting for all of the parts of me to be seen. The whole point is for us to evolve, and this album is a permission slip for evolution, whether that's about a career or a job or a relationship or whatever it is in your life that you need to give yourself the permission to change from, that's what this record is. All the comments that I've been seeing, and the frustration, anger, hatred, and the outright harassment I've been receiving, the criticism, the backlash, the feedback, whatever, all the things you want to call it, everybody is very entitled to their experience, to their feelings, and to their emotion. I see you and you're valid. Also, I see me, and I'm valid. My experience is valid. There's no right or wrong here. You are correct for yourself, right? Rock on with your bad self. [Amid] so much fear and hatred and pain, I believe that it's possible to live in a world where people can respect each other, see each other's sides, and have compassion, empathy, and understanding for the very nuanced and complicated journey that all of us are on in life. I do hope for more grace for each other within the community, within the LGBTQ+ community, and also with the world at large. From the minute my career launched, there's been chaos. I really started to get momentum was when I released my song 'Undrunk' in 2019. I was playing shows and doing radio tours, the song was charting on radio, and I was supposed to go on tour with Niall Horan and Lewis Capaldi. Then, COVID struck and everything shut down. I was facing so much fear in that time, as we were collectively. From the beginning, I was really struggling with figuring out how to show up as a person on the internet and share my heart [with] the industry and the music business and the record labels. And then COVID happens, I'm off for a while, and then I come back. I'm playing an insane number of shows through 2022, and my body starts to just shut down on me. I later find out that I was diagnosed with Lyme disease. There's just been so much over the course of my career, and then with 'Becky's So Hot' and then all these songs, I felt like my brand really starts to become affiliated with this word 'chaos.' There's so much more to me than the fact that I am chaotic. When I started this, I was 20 years old. I'm now 31. I really just wanted to capture an album, even aesthetically, that puts forward these softer, more tender, more vulnerable parts of me. It's why I'm standing in a field with flowers and a dress because I'm like, 'Bitch, I just need to touch grass and ground and regulate my nervous system.' I think people's journeys with their sexuality and with their queerness is their own. For some people, it is fluid and it ebbs and flows and it shifts, and other people, it's fixed and it never does. I don't know what six months from now holds for me. I don't know what a year from now holds for me. I don't know what 10 years from now holds for me. All I know is that I am a queer woman. I'm a queer person. I will be to the day I die. Queerness has been such a gift for me to look at everything with such an open heart and open mind. It's become this lens that I get to view life through, and I bring it into every relationship. Every person in partnership with me experiences this openness and curiosity and this questioning of gender norms and gender roles. What's challenging is when [sexuality] becomes connected to someone's brand. You create this entire world that's built off people only experiencing you in one way, which brings into question this idea of how we put people up on pedestals, how we relate to their brand, and then marketing these different components. I've written music, I've had songs that have male pronouns in them, but those have not been the focus of my career, because that's not been the focus of my life. I'm just honoring my heart. If people don't fuck with that, that's cool. I don't need you to, because that's just for me. This interview has been edited and condensed for clarity.
Time Out
10-07-2025
- Entertainment
- Time Out
Wireless 2025: ultimate guide to line-up, stage times, tickets and dates
The biggest hip-hop festival in Europe is back in London this weekend for some major 20th birthday celebrations. More than 15,000 people will be descending on north London over the coming days to seemegastar Drake headline every single day of Wireless 2025, joined by a strong lineup of special guests. If you're a Champagne Papi fan, you'd be a fool to miss this — it's the first time that he's performed in the UK in six years, and the first time any artist has headlined three days of a major festival. When the star last headlined Wireless (for its 10th birthday), Drizzy told the audience that it was his 'favourite crowd ever'. So let's hope that means he spoils us with an extra special show this time round. If you're planning to be there, here's all the important information you need ahead of the event. When is Wireless 2025? This year, Wireless is happening from Friday, July 11 to Sunday, July 13. Where is Wireless 2025? Wireless is being held at north London's Finsbury Park, which has been its home for the last 10 years. When do gates open? The festival will open at 1.30pm on Friday and 11am on Saturday and Sunday. Who are the headliners for Wireless 2025? Drake, Drake and... Drake. Yep, the rap star is the first artist ever to headline every single day of a festival. Each day he'll do a different setlist and bring on special guests, including PartyNextDoor and Burna Boy. Full Wireless 2025 lineup Here's the full list of acts that'll be playing to Finsbury Park over the weekend. Set times haven't been announced just yet. Friday July 11 2025 Main Stage Drake Summer Walker PartyNextDoor Leon Thomas KWN Odeal DJ AG Old Spice Stage Roy Woods Sailorr Karri Nippa Kamilla Rose Saturday July 12 2025 Main Stage Drake Boy Better Know TBA BigXthaPlug Lancey Foux Nemzz DJ AG Old Spice Stage Fimiguerrero Sahbabii Len Chy Cartier YT Kenny Allstar Sunday July 13 2025 Main Stage Drake Vybz Kartel Burna Boy Popcaan Spice Masicka DJ AG Old Spice Stage Uncle Waffles Darkoo Odumodublvck Skeete Izzy Bossy Can I still buy tickets for Wireless 2025? Yes, you can. There are still a limited number of tickets available on Ticketmaster. You can get a single day ticket for £190, a two-day pass for £320 or a full three-day pass for £475. There are some single VIP passes still going, too. You can get one of those for £253. Wireless 2025 festival site map How to get to the festival Train Finsbury Park station is served by National Rail trains that pick passengers up at London stops including Moorgate, Old Street, Highbury and Islington, Alexandra Palace, Farringdon, City Thameslink, London Blackfriars, London Bridge, London St Pancras and London Kings Cross. Tube You can get the Piccadilly line to Manor House Station or the Piccadilly or Victoria line to Finsbury Park Underground Station. At the end of the night, there will be a managed queue system in place for both stations, so expect to be standing around for a while. Bus Local buses 4, 19, 29, 106, 141, 153, 210,236, 253, 254, 259, 279, 341, W3, and W7 all stop nearby Finsbury Park. After the festival has ended, you can get night buses N19, N29, N253, and N279. Just keep in mind that there will likely be some road closures and diversions in place for the event, so keep an eye out for updates. Taxis There'll be a black cab rank close to the site. Bag policy and banned items You can find a full guide to all the forbidden items at Wireless 2025 here. Weather forecast London is going to be very, very hot when Drake comes to town. Make sure to stay hydrated and sun protected. Friday, July 11 – highs of 32C, lows of 23C with clear skies all day. Saturday, July 12 – highs of 30C, lows of 23C with clear skies all day. Sunday, July 13 – highs of 30C, lows of 21C with clear skies all day. The best music festivals in London for 2025.
