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REZZ Cancels 2026 Shows And Takes Touring Hiatus
REZZ Cancels 2026 Shows And Takes Touring Hiatus after health concerns lead her to step back from live performances
REZZ has canceled her remaining 2026 shows and is taking an indefinite hiatus from touring, turning a health-related decision into a wider conversation about the physical demands placed on electronic music artists. The announcement comes less than a month after she canceled her Coachella Weekend 2 set following her Weekend 1 performance at the Sahara Tent, where she said her body had been signaling that she needed to put her health first. Her remaining schedule included major festival and headline dates such as Breakaway Ohio, Beyond Wonderland at the Gorge, Tomorrowland, Chasing Summer, ÎleSoniq, and REZZ ROCKS VIII at Red Rocks Amphitheatre, making the cancellation one of the more visible touring pauses in dance music this year. The timing also matters because REZZ had recently released A Shift In Perspective, a six-track EP through HypnoVizion, showing that this is not a story about her stepping away from music itself. It is a story about the separation between creating music and carrying the physical load of touring, especially when festival schedules, travel, late-night performance hours, and recovery time can start working against an artist’s health.
What REZZ Actually Said About Her Health
The first public sign of the health-related pause came after REZZ played Coachella Weekend 1 at the Sahara Tent on April 11, then canceled her Weekend 2 appearance a few days later. In her statement, she said her body had been warning her that she needed a real break, but she continued to push because she thought it would be fine. That detail matters because health problems in touring do not always begin with one canceled show or one difficult weekend. They can build while an artist continues through rehearsals, flights, festival slots, production planning, late-night performance hours, and the pressure of showing up for one of the biggest festival bookings of the year. REZZ did not share specific medical details, but she made the reason clear when she said her health had to come first and that healing would take time. She also told fans that her Coachella Weekend 1 performance would be uploaded to YouTube, which added an important distinction: the completed set could still reach fans, but performing again the following weekend was no longer possible.
The later cancellation of her remaining 2026 shows turned that first decision into a full touring pause, with the affected calendar reaching across North America and Europe. Reports listed Breakaway Ohio, Beyond Wonderland at the Gorge, Tomorrowland, Chasing Summer in Calgary, ÎleSoniq in Montreal, and REZZ ROCKS VIII at Red Rocks Amphitheatre among the canceled dates, while Red Rocks has also listed the October 3 REZZ ROCKS VIII show as canceled with refunds being issued through AXS or the original point of purchase. In her follow-up statement, REZZ said the past few months had forced her to stop, and that continuing with touring and the stress around it would be detrimental to her health any time soon. That is the key part of the story because it separates REZZ as a musician from REZZ as a touring artist. The timing also makes that distinction clearer: she had recently released A Shift In Perspective through HypnoVizion, while also stepping away from the live schedule attached to her year. For the electronic music industry, that matters because the music can continue even when the body can no longer carry the travel, performance, pressure, and recovery cycle behind it.
Why Touring Can Become A Health Issue For Artists
Touring can look simple from the outside because the public usually sees the set time, the visuals, the crowd, and the festival poster. Behind that, a major electronic music schedule can mean late performances, early flights, irregular hotel check-ins, changing time zones, and limited recovery between bookings. The CDC describes jet lag as a circadian rhythm disruption that can cause sleep problems, daytime sleepiness, cognitive impairment, general malaise, and gastrointestinal symptoms, which matters when an artist is expected to perform with focus after travel. In that context, REZZ canceling shows for health reasons fits a larger touring reality: the issue is not only one performance, but the repeated travel and recovery cycle around it.
The live side of the job adds a different kind of strain because electronic music artists work inside loud, late-night performance environments for much of the year. NIOSH notes that overexposure to sound is common among musicians, with both intensity and duration affecting hearing risk, which is especially relevant in a scene built around clubs, festivals, monitors, and large-scale sound systems. BAPAM, a performing arts medicine organization, also treats touring health as a practical issue, with guidance covering rest, food, hydration, medication, travel planning, and changes to routine for performers working away from home. That does not mean every artist faces the same health issue, and REZZ has not shared specific medical details, but it explains why a touring hiatus can be a serious health decision while the music itself continues.
What Comes Next For REZZ After Her Touring Hiatus
For now, there is no confirmed timeline for when REZZ will return to touring, and that uncertainty should be treated with care instead of pressure. Her decision to cancel the rest of her 2026 shows shows how serious the physical side of touring can become, especially when travel, late set times, sound exposure, limited sleep, and recovery gaps keep repeating across a calendar. Since this is also Mental Health Awareness Month, her hiatus is a reminder that wellbeing is not only about the mind or only about the body. Stress can affect sleep, exhaustion can affect mood, pain can affect focus, and recovery becomes harder when the schedule does not allow the body to slow down properly.
Across the electronic music scene, artists are often expected to keep appearing on posters, flights, festival stages, and social feeds, but health does not always follow the same timeline as a tour announcement. The best outcome is that REZZ gets the time she needs, continues releasing music when she is ready, and only returns to live shows when touring no longer works against her recovery. Her hiatus also gives fans and the wider industry a reason to think more seriously about how much physical strain can sit behind a performance calendar. For fans, the most supportive response is simple: respect the pause, wish her well, and remember that an artist stepping away from the stage can also be choosing the conditions that allow the music to continue.
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Calvin Harris and Florence Welch’s ‘Sweet Nothing’ celebrates 14 years after becoming a UK No. 1 and one of the biggest singles from the album ‘18 Months’
Fourteen years after Calvin Harris and Florence Welch released ‘Sweet Nothing’, the collaboration remains one of the most remembered songs from the 18 Months era. Released in 2012, it brought together two artists who were already having very different but highly successful years in music, with Calvin Harris also working with Florence + The Machine around the same period. What followed gave ‘Sweet Nothing’ a much bigger story than its original release, from how the collaboration happened to the success that followed on both sides of the Atlantic.
The Story Behind ‘Sweet Nothing’
Before ‘Sweet Nothing’ became one of the most beloved songs from Calvin Harris’ 18 Months era, he and Florence Welch already had history together. Earlier in 2012, Calvin Harris remixed Florence + The Machine’s ‘Spectrum (Say My Name)’, which went on to reach No. 1 in the UK. That connection later led to an original collaboration, with Kid Harpoon joining Calvin Harris and Florence Welch as a co-writer on ‘Sweet Nothing’.
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The song placed Florence Welch’s vocal in a more electronic setting than much of her work with Florence + The Machine at the time, while fitting naturally into the sound Calvin Harris was developing across 18 Months. It became part of an album that also featured collaborations with Rihanna, Ellie Goulding, Example, Kelis and Ne-Yo, helping place ‘Sweet Nothing’ within one of the most successful periods of his career.
From UK No. 1 To The Billboard Hot 100
Once ‘Sweet Nothing’ was released, the collaboration quickly became much more than another single from 18 Months. It reached No. 1 on the UK Singles Chart in October 2012, giving Calvin Harris another chart-topper only months after his remix of ‘Spectrum (Say My Name)’. The song also crossed over strongly in the United States, where it reached the top 10 of the Billboard Hot 100 and gave Florence Welch her first top 10 hit on the chart.
The success continued beyond its original chart run. ‘Sweet Nothing’ later earned a nomination for Best Dance Recording at the 2014 Grammy Awards, while 18 Months was nominated for Best Dance/Electronica Album the same year. Its music video, directed by Vincent Haycock, also became an important part of the release, pairing Florence Welch’s performance with a darker storyline that contrasted with the track’s club-focused production.
Fourteen years later, ‘Sweet Nothing’ remains closely tied to a period when Calvin Harris was becoming one of the biggest names in electronic dance music, while Florence Welch was bringing her voice into collaborations far outside Florence + The Machine. Between the story behind the record, its success in both the UK and the United States, and its place within 18 Months, the song has lasted far beyond its original 2012 chart run.
From UK No. 1 To The Billboard Hot 100
Once ‘Sweet Nothing’ was released, the collaboration became much more than another single from 18 Months. It reached No. 1 on the UK Singles Chart in October 2012 and gave Calvin Harris another chart-topper that year. The song also found major success in the United States, reaching the top 10 of the Billboard Hot 100. It became Florence Welch’s first top 10 hit on the chart.
The success continued after its original chart run, with ‘Sweet Nothing’ earning a Best Dance Recording nomination at the 2014 Grammy Awards. 18 Months also received a nomination for Best Dance/Electronica Album that year. The Vincent Haycock-directed music video added another part to the release, following Florence Welch through a nightclub performance alongside a darker relationship storyline.
Fourteen years later, ‘Sweet Nothing’ remains closely connected to one of the most successful periods of Calvin Harris’ career. It also gave Florence Welch one of her biggest collaborations outside Florence + The Machine. Its UK No. 1, U.S. top 10 and Grammy nomination all followed a partnership that had started only months earlier with ‘Spectrum (Say My Name)’.
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Annie Mac brings ‘Annie Mac Presents’ to Apple Music with eight volumes from the 2010–2017 mix series available to stream for the first time
Annie Mac is bringing more than a decade of her dance music archive to Apple Music, with eight volumes of Annie Mac Presents available to stream for the first time. Originally released between 2010 and 2017, the compilation series documented the house, techno, bass and electronic records she was championing throughout that period, with many of the mixes previously only available on CD. The launch also includes a dedicated Before Midnight curator page and her 2025 Warehouse Project set, bringing older material and more recent work together in one place.
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Eight ‘Annie Mac Presents’ Volumes Are Now Streaming
Originally released as double CDs, each edition of Annie Mac Presents will appear on Apple Music in two parts, making 16 mixes available from launch. Many of the original mixes had only existed in physical form, with Annie Mac returning to CDs from her own collection as part of the process of bringing the archive online.
Across its nine-year run, Annie Mac Presents followed the genre-spanning approach that became central to her broadcasting and DJ career. The compilations moved between house, techno, bass, electronic music and crossover records, pairing emerging artists with established names while documenting the music she was supporting throughout the 2010s.
Before Midnight Gets Its Own Apple Music Page
The archive forms part of Annie Mac’s new DJ Mix curator presence on Apple Music, with the page centered around Before Midnight. She launched the club concept in 2022 around an earlier schedule for nights out, keeping the focus on club music while changing the hours in which the events take place.
The Apple Music launch follows the latest Before Midnight show at Alexandra Palace in London on September 12. Her Before Midnight set from The Warehouse Project, recorded on September 6, 2025, is also being added to the platform alongside the Annie Mac Presents archive.
Annie Mac’s Archive Connects Different Parts Of Her Career
The release brings together material from a period when Annie Mac was one of the most prominent voices on BBC Radio 1 with the work she has continued since leaving the station in 2021. She first joined Radio 1 behind the scenes before beginning her own show in 2004, remaining at the station for nearly two decades.
Since then, she has continued across DJing, writing, broadcasting and live events, with Before Midnight becoming one of the main projects in that next period of her career. Bringing Annie Mac Presents to Apple Music now places those earlier mixes alongside her more recent DJ work, making a large part of that archive available digitally for the first time.
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‘Like a G6’ hits 1 billion Spotify streams as KSHMR, Far East Movement and Dev celebrate the milestone
Released in 2010, ‘Like a G6’ became a huge global hit for Far East Movement, The Cataracs and Dev. The track reached No. 1 on the Billboard Hot 100 and spent three non-consecutive weeks at the top. Sixteen years later, it has now passed 1 billion streams on Spotify, with KSHMR marking the milestone on Instagram with the message “We made it to 1B.”
KSHMR’s Connection To ‘Like A G6’
When ‘Like a G6’ was released in 2010, KSHMR was still producing as Niles Hollowell-Dhar, one half of The Cataracs alongside David Singer-Vine. The duo produced the record for Far East Movement, while Dev provided the vocal that became one of its most recognisable elements.
Her part originated from ‘Booty Bounce’, which The Cataracs had produced with her earlier that year. They later used part of that vocal in ‘Like a G6’, helping create the version that went on to become a worldwide hit. The record gave Niles Hollowell-Dhar one of his biggest commercial successes years before he launched KSHMR.
His reaction to the Spotify milestone now brings that earlier part of his career back into focus. Long before the KSHMR project began, ‘Like a G6’ had already connected his production work to one of the biggest crossover records of the early 2010s.
‘Like A G6’ Became A Global No. 1
Following its release, ‘Like a G6’ climbed to No. 1 on the Billboard Hot 100 and held the position for three non-consecutive weeks. The achievement also made Far East Movement the first Asian American group to top the chart.
The track came at a time when electronic production, hip-hop and pop were increasingly crossing into the mainstream. Its success introduced Far East Movement, The Cataracs and Dev to a much wider audience, while also giving each artist one of the biggest records of their careers.
That success led into very different paths afterward. Far East Movement continued releasing internationally, Dev developed her solo career, and Niles Hollowell-Dhar later left The Cataracs before launching KSHMR.
More than 16 years after its original release, ‘Like a G6’ has now passed 1 billion Spotify streams. The milestone adds another major achievement to the track’s history while bringing one of KSHMR’s earliest major records back into focus.
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