He paired the sneakers with black sweatpants, a black tee, and a cap. This collaboration first released back in March 2023 as Tiffany’s debut sneaker. Nike and Tiffany & Co. worked together on the design.

The shoe uses a black suede upper with subtle luxury touches throughout. A Tiffany Blue Swoosh runs along the side of each shoe. The tongue features Tiffany’s cursive branding above a soft leather lining.

A sterling silver piece sits on the heel, adding a premium detail. Extra laces came included in yellow, white, and Tiffany Blue. Everything shipped inside a co-branded Tiffany Blue box at release.

The shoe drew inspiration from “Breakfast at Tiffany’s” and its opening scene. It also nodded to the Air Force 1’s roots in New York City. That connection tied both brands back to their shared New York identity.

Fanatics Fest brought Bridges into a much more relaxed setting than usual. Wearing a well known collaboration fit right into that laid-back appearance. It’s a small detail, but one longtime sneaker fans clearly noticed.

Read More: First In-Hand Images Of The Air Jordan 4 Retro “White Laser” Surface

Mikal Bridges At Fanatics Fest

This Air Force 1 leans on subtle details rather than bold branding. Premium black suede forms the base of the entire upper. The Tiffany Blue Swoosh stands out as the shoe’s most recognizable feature.

Silver hardware on the heel nods to Tiffany’s long history with sterling silver. The heel piece includes laser-etched branding tied to both companies. Inside, a black leather lining keeps the design consistent throughout. Multiple lace options let wearers switch up the shoe’s overall look.

The collaboration marked Tiffany’s first-ever sneaker release with any brand. It also became one of Nike’s more talked-about luxury team-ups in recent years. Since its 2023 release, the shoe has remained a popular pickup among collectors. Seeing it worn casually, like Bridges did, keeps that popularity visible.

Read More: Future “The Real Me” Review

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Over the past 25 years, CDG has touched everything from obscure Nike runners and transparent Dunks to deconstructed Air Max models and, most recently, the Air Jordan 11, a silhouette that had never been handed to an outside collaborator before.

The label’s approach has always been the same: take an iconic silhouette, strip it back, and let the design details do the talking. These are the 15 best Comme des Garcons sneakers ever made.

Read More: Post Malone Teases Hip-Hop Return & Gets Flamed Immediately

15. CDG x Nike Zoom Haven

The Zoom Haven is where everything started. Released in 1999 as part of Nike’s experimental Alpha Project line, it was the first collaboration between Junya Watanabe and Nike, and by extension, the first real handshake between CDG and the sneaker world.

The silhouette itself was unconventional even by Nike’s standards, with its aggressive tread and technical build. It sits at #15, not because it’s forgettable, but because everything it started eventually got done better.

14. CDG x Nike Night Track

The Night Track is one of the cleaner entries in the CDG x Nike catalog. Its all-black build mixes satin and patent leather textures across a slim, low-profile silhouette that doesn’t try too hard.

The CDG branding sits quietly on the heel, which is exactly the right call for a shoe this understated. It rewards people who actually look closely rather than those who need a logo to tell them something is worth noticing.

13. CDG x Nike Waffle Racer

The Waffle Racer is a shoe that CDG has returned to more than once, and for good reason. The silhouette’s low, flat profile and vintage running aesthetic give CDG’s minimal design language the right amount of space to breathe.

The all-black suede build with the frayed CDG Swoosh detail is the standout version, keeping everything tonal while adding just enough texture to hold attention. A quiet shoe that earns its place on the list.

12. CDG x Nike Shox

This is the most unhinged entry on the list, and it works completely. CDG took the already-maximalist Nike Shox TL and added a gold chain draped across the upper, turning a chunky technical runner into something that reads more like a fashion accessory than a sneaker.

The all-black base keeps it from going fully off the rails. It’s the kind of swing that only CDG could take and actually land.

11. CDG x Nike Foamposite One

The Foamposite is already one of the most sculptural shoes Nike has ever made, and CDG leaned directly into that. The collaboration added concentric circle embossing across the entire molded upper, giving the shoe an almost hypnotic surface texture that’s unlike anything else in either brand’s catalog.

Overall, it’s all black from top to bottom with a small white CDG logo on the toe. One of the most visually striking collabs in the entire lineup.

10. CDG x Nike Air Max 97

The Air Max 97’s wavy lines and full-length Air unit already make it one of Nike’s most distinctive silhouettes. CDG wrapped the upper in a grey velvet-like material that completely transforms the shoe’s texture while keeping the iconic wave paneling intact.

The result feels more like a fashion piece than a sneaker, which is exactly the point. One of the more wearable entries in the CDG x Nike catalog, and one that holds up well outside of a runway context.

9. CDG x Nike Air Force 1 Mid

CDG’s take on the Air Force 1 Mid is one of the most structurally interesting entries in the whole lineup. The oversized strap across the ankle, printed with the full “Comme des Garcons” name in clean white lettering, immediately draws the eye and changes the shoe’s entire silhouette.

The all-black leather build keeps everything else controlled. It’s a confident design move on a shoe that already carries decades of cultural history behind it.

8. CDG x Nike Dunk Low

Rather than going fully opaque or fully transparent, CDG split the difference on the Dunk Low with a semi-translucent ripstop upper that lets the shoe’s internal structure show through in a subtle way.

The layered grey and black build rewards closer inspection without demanding it. It’s a more restrained version of the transparency CDG would explore elsewhere, and it works better here than almost anywhere else.

7. CDG x Nike Air Max 180

This is the loudest shoe on the list and one of the most surprising. CDG’s typical palette runs almost entirely through black and white, which makes the pink and orange Air Max 180 really shocking in the context of the partnership.

The color blocking is bold without being reckless, and the 180’s chunky silhouette carries the weight of it well. It proved CDG could go bright when the moment called for it.

6. CDG x Nike Air Max 95

The Air Max 95 is already a layered, complex silhouette and CDG leaned into that by reworking the upper in mixed black textures. Suede, mesh, and nylon panels sit across the shoe’s gradient structure, keeping the recognizable shape intact while making it feel entirely new.

The grey lace loops against the all-black build are a small detail that adds real depth. A considered, mature take on one of Nike’s most iconic runners.

5. CDG x Nike Dunk High “Clear”

The Clear Dunk High is one of the most conceptually interesting shoes in the entire CDG catalog. Rei Kawakubo drew inspiration from Hans Christian Andersen’s The Emperor’s New Clothes, using a translucent PVC upper over a black leather base to make a shoe that’s literally see-through.

The idea sounds gimmicky on paper, but it lands as well in person. It’s the kind of concept that only makes sense coming from CDG, and it remains one of the most talked-about Dunk collabs ever produced.

4. Supreme x CDG x Nike Air Force 1 Low

3-way collabs rarely work this well. Supreme and CDG Shirt brought their combined weight to a clean white Air Force 1 Low and covered the toe box in a collage of printed eyes, a graphic pulled directly from CDG’s archive.

The rest of the shoe stays completely white, which makes the artwork hit harder by contrast. Small co-branding text sits mid-panel without competing for attention. A shoe that earns its place near the top of this list without relying on material or structural changes to make its point.

3. CDG x Nike Air Jordan 1 High

CDG’s Air Jordan 1 High is the most structurally transformed shoe on this list. The oversized fold-over tongue, leather ankle strap with silver hardware, and D-ring details turn the AJ1 into something that reads closer to a fashion boot than a basketball sneaker.

The all-black leather build keeps the overall look controlled despite how much is going on. It’s a bold interpretation of one of the most iconic silhouettes ever made, and it pulls it off without losing the shoe underneath.

2. CDG x Air Jordan 11 “Black”

The all-black CDG Air Jordan 11 is the darker and arguably more striking of the two colorways in this pack. Premium leather replaces the usual ballistic nylon upper, and the patent leather mudguard stays intact in matching black.

The result is a shoe that feels more formal and more fashion-forward than any Air Jordan 11 that’s come before it. As the first outside collaborator ever given access to the AJ11, CDG made a strong case for why Jordan Brand waited this long to share it.

1. CDG x Air Jordan 11 “White”

The white CDG Air Jordan 11 takes the top spot because of what it represents as much as how it looks. The Air Jordan 11 is Michael Jordan’s favorite sneaker and one of the most protected silhouettes in the entire Jordan Brand catalog.

No outside collaborator had ever touched it before CDG previewed this pack at Paris Fashion Week. The all-white premium leather build, replacing the standard nylon upper, is clean enough to feel inevitable in hindsight. A landmark release for CDG, for Jordan Brand, and for sneaker culture broadly.

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The original release never got a proper comeback in over 20 years. It first launched through the Jumpman23 website as part of a 20th anniversary celebration. That drop came bundled with a matching t-shirt and hat. Designer Mark Smith created the laser-etched technique used on the shoe. The process engraves detailed graphics directly into the leather itself.

Various Air Jordan silhouettes and motifs appear etched across the white upper. Red detailing shows up on the eyelets, tongue, and Jumpman branding. Black fills in the wing tabs, midsole, and heel area. The “White Laser” is expected to release alongside its “Black Laser”.

Reports suggest both pairs will come packaged together in one set. This 2027 version should reach far more people than the original did. That first release stayed limited to one online-only drop back in 2005.

The new on-hand photos show the laser detailing holding up well up close. Fans have been waiting a long time to see this colorway return. February 2027 is now the date most people are watching.

Read More: J. Cole Can’t Help But Laugh After Fan Throws Bra Onstage During His Show

Air Jordan 4 Retro “White Laser”

The laser-etched technique remains the defining feature of this entire colorway. Mark Smith developed the process back in 2005 for the shoe’s original release.

It uses a precise engraving method to burn artwork directly onto leather. That artwork blends imagery from earlier Air Jordan models into one busy design. The white leather base makes those engravings especially easy to see up close.

Red and black accents help frame the design without overwhelming it. This color layout closely follows the original “Fire Red” Air Jordan 4 from 1989. Jordan Brand has revisited laser detailing a few times since 2005.

Both the 2015 and 2019 releases used similar etching techniques on other colorways. Still, neither of those matched the original “White Laser” design directly. This 2027 retro finally brings that specific colorway back for a new audience.

Read More: Drake Pulls Up To FIFA World Cup Final To See If He Won His Massive Bet

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Understanding Future the artist was always easier than understanding Future the person. That tension has followed him throughout his career. His music has always lived between contradictions of a superstar’s desire for privacy, a womanizer seeking loyalty, and the drug-fueled nihilist who just can’t escape his emotions. Those contradictions are what made his best work so compelling, but they’re also what make The Real Me such a difficult album to fully grasp.

The rollout suggested Future was finally separating the man from the mythology. Instead, the album often feels like he opened every folder on his hard drive, picked one song from each, and turned it into a tracklist. The best moments on The Real Me happen when those different versions of Future collide.

“Fukk An Interview” sets that tone immediately, but not in the explosive way its title suggests. Instead, Future sounds restrained and exhausted. The icy synths and heavy drums create the feeling of someone putting up another wall around himself rather than tearing one down. It’s less a rejection of the media in the way Big Banks suggested than it is the sound of someone frustrated with constantly being interpreted outside of the narrative he’s allowed. 

That cold atmosphere becomes one of the album’s strongest markers of identity. “Money Over Everything” uses spacious pads to create a larger-than-life feeling, matching Future’s tendency to make luxury feel almost isolating. “Tank Top Pluto” turns that same energy into a guttural flex where respect matters more than money, while “Weight Up” uses dramatic violin-driven production to give his drug-fueled brags a sense of danger and opulence. Those songs work because the production understands the contradiction behind Future’s music. The excess has often functioned as a defense mechanism.

“Konnichiwa” is where that idea comes together best. On paper, it’s familiar territory: the nihilistic Future who dismisses competition, relationships and expectations. But the song’s arrangement makes that perspective feel more complicated. The layered vocals, distorted textures and contrast between his deeper, detached delivery and higher-pitched ad-libs create the feeling of different versions of Future fighting for control. It’s one of the rare moments where the album’s idea matches the music itself.

The problem is that The Real Me doesn’t always find that same chemistry. Future has always had a natural pop instinct, but his best crossover records never felt like crossover records. The emotion came first. The hit came second. Here, some of those moments feel like Future reaching for familiar formulas.

The Pharrell-produced “Alice” feels like his attempt at the “Please Don’t Stop The Music” moment in his catalog, a bright, rave-inspired record built for a bigger audience. “Hollywood” taps into a similar aesthetic, using nostalgic synths and cinematic textures, but the vibe occasionally feels more like a reference point than an identity.

“California Girls” works better because Future sounds genuinely playful. The pitched-up inflections bring out a side of his personality that doesn’t appear often. Still, the song carries echoes of “Wait For U,” making it feel like an extension of something he’s already mastered rather than a new direction. “No Misery” succeeds for the opposite reason. The melancholy gives the experimentation a purpose. “Radio,” meanwhile, feels less memorable, especially when contextualized as the song that was supposed to usher in a new era for Future.

“One Two” and “Build A Bitch” introduce a more juvenile side of him, embracing the absurdity that usually gets overshadowed by the darker mythology surrounding him. The most generous interpretation is that Future is tapping into the same stylistic choice that allowed Slick Rick to turn nursery rhymes into something fly. The other possibility is that Future is simply showing listeners a side of himself that has always been there. Maybe underneath the toxic king persona is just a guy who likes being ridiculous.

“2018” pushes that idea too far. The high-pitched vocals are interesting, but the song eventually becomes defined by the effect rather than what Future does with it. Future has always known how to manipulate his voice to create different emotions. Here, the vocal choice never develops beyond the initial idea.

And that’s the difference between Future’s best experiments and his weaker ones. He has never been afraid to try something different. The question is whether the experimentation reveals another layer of himself or just another aesthetic. The album becomes much more compelling when Future stops trying to showcase every version of himself and focuses on what connects them.

“Snow In Skyami” captures that contradiction better than almost anything else on the album. Future wants abundance without being judged for what that abundance costs him. The money, the women, and the lifestyle provide endless options, but they can’t provide the things he actually wants. Loyalty, trust and peace.

“Tryna stay away from that toxic shit, but I can’t deny it” feels like the album’s thesis because it’s a raw admission. Future understands the patterns that keep repeating. He just hasn’t figured out how to break them.

That same complexity makes “Build A Bitch” more interesting than it initially appears. On the surface, it’s another toxic fantasy about creating the perfect woman. But underneath, it’s Future trying to build a solution to problems that can’t be solved through access or abundance. He doesn’t know exactly what he wants because he might just want too much.

“Big Moment” and “Cast A Spell” are where the album finally finds the emotional specificity that has always separated Future’s best songwriting from his imitators. Instead of speaking broadly about pain, these songs focus on the delayed consequences of avoiding it. The soulful production and late-night atmosphere of “Cast A Spell” recall HNDRXX, not because Future is chasing the past, but because that environment allows him to be vulnerable again.

That’s the paradox of The Real Me. Future has never struggled to show listeners who he is. That’s why he’s remained a fixture in our lives: he spent his entire career giving audiences every version of himself. However, access isn’t the same as intimacy. The album feels like opening Future’s hard drive and finding thousands of songs with incredible individual qualities that never quite form a complete picture. The ideas, melodies and production are there. But too often, they sound like things Future has already mastered rather than places he’s trying to go.

The real Future has never been one person, and that complexity is what made him such a fascinating figure, the same complexity that earned him that specific Andre 3000 co-sign you hear at the beginning of “No Misery.” The challenge now is that he’s spent so long mastering every version of himself that finding the next one might be the hardest part.

User Reviews

HNHH users rated Future’s new album, The Real Me, 4.09 stars out of 5 based on 11 reviews. One user wrote, “Future is 1 of the most favorite rappers of all time.” In a less favorable review, another added, “Probably won’t listen to it again.”

The post Future “The Real Me” Review appeared first on HotNewHipHop.

This type of fan interaction is something you might expect from someone like A$AP Rocky or Drake, who have more of a player attitude in most of their music. But for someone a bit more low-key like Cole, it’s more of a rare occurrence despite his massive fame. He even spoke about this rarity while laughing and holding the bra up as fans cheered.

“N***a ain’t got a bra onstage in a long motherf***ing time,” the Dreamville MC remarked. “You got to cherish that s**t.”

J. Cole’s been having other fan interactions on this trek, such as having a fan go bar-for-bar with him for his guest verse on Benny The Butcher’s “Johnny P’s Caddy.” Overall, fans seem to be incredibly happy with the shows so far, and there will probably be more surprises in store.

Read More: JAŸ-Z Isn’t The Hypocrite You Think He Is

Where Is J. Cole’s Tour Going Next?

These performances will stretch through September 23 in North America before moving to Europe from October 7 to November 12, a few Oceania shows in November and December, and a December 12 close-out in South Africa. We’ll see what other fans end up being part of viral moments, special memories, and tour highlights.

Elsewhere, J. Cole’s The Fall-Off magazine is giving fans another dimension of this era. But it focuses more on hip-hop journalism and history, as well as some reflections from the Fayetteville icon himself. For example, he revealed Kendrick Lamar once helped convince him not to retire all the way back in 2014.

It all combines to make a very cathartic and all-encompassing era for Cole. With more new music cooking up despite retiring in a solo studio sense, he will still be big for the culture until hell freezes over. But whether or not he headlines another tour of The Fall-Off‘s magnitude is a different question, so get your tickets while you still can.

Read More: Is Yung Miami’s “Spend Dat” Bad For Hip-Hop?

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If Argentina scores a goal in the next few minutes within regulation time and comes out on top, the 6ix God could walk away with over 5 million dollars. But if the game goes to extra time, the Stake bet is no more. It’s a big risk, but it’s all worth it for the love of the game.

It also must be an amazing experience to be there in the heat of the action, where many other celebrities are in attendance. Some of them even popped out to perform, rumors of which followed Drizzy around for a long time.

Post Malone, Swae Lee, and IShowSpeed performed to open the match up, and the halftime show saw Madonna, BTS, Justin Bieber, Shakira, Burna Boy, and more grace the field.

Read More: JAŸ-Z Isn’t The Hypocrite You Think He Is

Drake At The World Cup Final

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Ironically enough, some of Drake’s biggest current foes are also at this FIFA World Cup final. Jay-Z pulled up with Beyoncé, and A$AP Rocky was also in attendance with Rihanna. Rocky got mixed up in a viral moment, as a commentator called Pharrell “AKA Rocky.”

Both of these MCs were the targets of various disses on ICEMAN, which they have responded to in their own ways. MetLife Stadium is so massive that they probably won’t run into each other, but a lot of fans can’t help but take note of the connections.

In any case, the game is going into extra time at press time, so Drizzy will not be walking away with cash even if Argentina comes out on top in the end. But you know what they say: You win some, you lose some.

This FIFA World Cup has been amazing to witness this summer, and every cultural corner seemed to tune in. We’ll see how the final minutes of this event play out.

Read More: Is Yung Miami’s “Spend Dat” Bad For Hip-Hop?

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Of these 131K first week numbers, 118K of them come from streaming numbers, representing 120.3 million streams across the entire tracklist. The remaining 13K are made up of pure album sales, which are across an 11-track and full 22-track digital release, a 13-track vinyl across four variants, and a 21-track CD with two editions.

This is the Atlanta icon’s 12th chart-topping LP, making him the rap artist with the third-most chart-toppers and the overall artist with the fifth-most chart-toppers. The only names ahead of him are The Beatles with 19, Taylor Swift with 15, Drake with 15 (ICEMAN is still in the Billboard 200’s top ten), and Jay-Z with 14.

All in all, this achievement puts Fewtch in an incredibly exclusive and rare class of commercial artists. With each passing year, he continues to prove he is as relevant and attention-grabbing as ever.

Read More: Future’s Not Quite Done Being Our Toxic King

Future’s The Real Me

Debates over Future’s The Real Me persist, whether it’s from divided fans or wider hip-hop media. For example, Joe Budden dragged the tracklist on his podcast.

“It sounds like Future kind of spoofing himself… Once you got to [track] 13, 14, 15… On the first half, I almost deleted that s**t,” he shared.

But plenty of other Pluto fans are having a much better time with this new record, bumping highlights like “Tank Top Pluto” and “Trench Coat.” Maybe the project will age better with time for the detractors these days.

Beyond this, though, Future also has beef to address, which threw a small wrench into The Real Me‘s rollout. NBA YoungBoy dissed him, apologized, and later walked that back with a diss track. While YB said there isn’t any real beef, he seems to have an issue with some behind-the-scenes tension.

In any case, Fewtch has a lot to celebrate to balance this out. With this latest number one album, he’s cementing himself even more in the history books.

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Carti wore the collection’s hoodie covered in an all-over $100 bill print. He paired it with dark, baggy denim and layered jewelry throughout. In one photo, he pulled a plain white Supreme hoodie completely over his face. That piece featured a subtle paint-splatter box logo across the front.

Another shot showed him dangling a matching pair of boots outside the car. Those were the collection’s Timberland 6-inch boots, also covered in cash graphics. Green rope laces and gold eyelets stood out against the money print design.

A soft lining matches the same texture used on his hoodie. This collection dropped back in March as part of Supreme’s Spring 2026 lineup. It marked the first time Supreme and MM6 released footwear together.

The full range included jackets, denim, accessories, and other cash-printed pieces. Martin Margiela’s old dollar-bill wallet design inspired much of that theme. Supreme and MM6 previously collaborated on apparel back in Spring 2024.

This time, the partnership expanded into a much larger 35-piece collection. Carti’s outfit pulled directly from some of the collection’s most recognizable pieces. It’s a straightforward look at how the pieces translate.

Read More: Commentator Calls Pharrell “AKA Rocky” At FIFA World Cup Final

Playboi Carti’s Supreme x MM6 Maison Margiela

The hoodie Carti wore uses the same $100 bill print found throughout the line. That graphic also appears on a matching jacket, T-shirts, and the Timberland boots. MM6’s signature numeric coding shows up on the boot’s tongue and insole. That detail ties the collaboration back to Margiela’s usual design language.

The boots keep Timberland’s classic silhouette, including its rubber lug outsole. A padded leather collar and anti-fatigue footbed remain part of the build too. Supreme’s white hoodie pulled over his face, uses a subtler paint-splatter design.

It nods to Martin Margiela’s long history with white paint imagery. Together, these pieces represent two very different sides of the same collection. One leans loud and graphic, while the other stays minimal and textured.

Read More: Post Malone, Swae Lee & IShowSpeed Perform At FIFA World Cup Final

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“I think that’s AKA Rocky. Or A$AP Rocky, sorry… I think…” the commentator said. It led to a wave of jokes online and outraged reactions, with some alleging racism and others just finding it to be a funny mix-up. But with the cavalcade of superstars attending this massive match, there are a lot of superstars to keep track of… Although it’s still ridiculous to mix up P with Rocky.

Maybe the commentator was thinking of Pharrell Williams and A$AP Rocky’s shared fashion prowess in along to their shared musical stardom. While their Louis Vuitton collaboration did not pan out, Williams previewed new music with the Harlem creative at the brand’s runway show in January of this year.

Read More: JAŸ-Z Isn’t The Hypocrite You Think He Is

Pharrell At The World Cup

Elsewhere, Pharrell had another big weekend in July, as last week saw Jay-Z’s Yankee Stadium shows take over the timeline. During his special guest appearance on the final night of the three-concert run, P sent a warning to Hov’s enemies.

“They poked the bear and then the bear cut his hair and now he got on his helmet,” he expressed. “And he getting ready to go to work. I hope you kill all them n***as, y’all know what I’m talking about.”

Meanwhile, A$AP Rocky seems to prefer other sports, and he is in heaven following his New York Knicks’ NBA championship earlier this summer. But the ironic part of all this is that Rocky and his boo Rihanna are at the World Cup final right now. So maybe that U.K. commentator had seen them before and got his wires crossed for a second. Either way, it mad for a pretty viral moment.

Read More: Is Yung Miami’s “Spend Dat” Bad For Hip-Hop?

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Post also performed his hit “Wow,” and it seemed like an extravagant time overall. Folks had a lot to say in their initial reactions to the whole shindig, whether it was about Malone’s apparent return to hip-hop or Speed performing at an event of this magnitude. There were a lot of memes, criticisms, and other wild reactions on social media. But they will all pale in comparison to folks’ reactions to the showdown between Argentina and Spain for the ultimate victory.

Elsewhere for this FIFA World Cup closing, they have a stacked halftime show for fans. Justin Bieber, BTS, Madonna, and Shakira will grace the stage for a lengthy and ambitious performance.

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FIFA World Cup Final Performances

Plenty of other artists have performed at the 2026 FIFA World Cup, whether it’s officially sanctioned fan events or the actual games and events from the organization. For example, Future and Tyla performed for the opening ceremonies weeks ago, and 50 Cent signed up to perform at various fan events.

There has also been some hip-hop crossover with the World Cup, whether it’s as fans or more official collaborations. Fans are already joking about the “Drake curse” again after he bet over a million dollars on Argentina to beat Spain today. Also, whether it’s folks like Travis Scott or Jay-Z, there have been a lot of celebrity pop-outs.

With all this in mind, IShowSpeed, Post Malone, and Swae Lee started to close out an incredibly exciting time for the summer. After all, this only happens every four years, so a lot of different cultural and entertainment corners celebrate it. We’ll see if the 2026 FIFA World Cup final’s halftime show is even more spectacular.

Read More: Is Yung Miami’s “Spend Dat” Bad For Hip-Hop?

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