REVIEW: WEEKEND RAISE WEMBLEY'S ROOF & REAFFIRM LEGEND STATUS
ONE-NIGHT-ONLY SHOW ADORNED TEENAGE NOSTALGIA, LAUGHTER & BARRAGE OF HITS



Picture it: London, 2025. The birthplace of the 21st century's biggest boyband. Their first show post-pandemic. Masses of fans of all ages and gender conglomerating in the United Kingdom's capital. A one-night-only event hosted by five of the most beloved and recognisable figures in the world. It's safe to say that the atmosphere was positively bombilating with excitement and anticipation. With a record-breaking, once in a lifetime cultural event encroaching on the clock, Wembley Stadium echoed a barrage of screams, shrieks and squeals before a single artist set foot on stage.

Online friends and fans of the band finally meeting each other in person, lifelong pals creating precious memories together, young mothers introducing their offspring to the heroes of their teenage years, and all those who cannot believe they'll soon be sharing space with the five men that mean most to them, regardless of how far back their seats may be - the overarching theme pulsating throughout the venue was one of love. Love and adoration. Handmade banners with heartfelt messages plastered across in the hopes of being seen, strangers applying face-painted emblems to one another and handing out homemade friendship bracelets, multiple merchandise stalls with clothing and items representing your favourite member. Are you a Riley girl? An Oscar boy? Doesn't matter. Everyone is seen, heard and catered to for the night. Despite the impressive capacity of the stadium, it's still an extremely exclusive event that a miniscule percentage of the world is lucky enough to witness and be part of. Every attendant seemed incredibly grateful thus far.



From 6:30 p.m., an hour's worth of music from carefully crafted playlist belted throughout Wembley in order to maintain the hype before the show started and while an absolute mass of people navigated the overwhelming structure to find their seats, nearest toilets and snap as many pics of their glorious outfits while the lights were still up. Blasting through the speakers was an onslaught of Weekend-adjacent artists that their fans were sure to appreciate. The biggest hits from partners and friends of the band rippled throughout the stadium, oftentimes causing singalongs among the crowd despite it being merely tracks from a Spotify playlist. Eilidh, SYNCO, Mandy Williams, Jennifer Armstrong, Orion, Atomic War Bride, The Stat Nerds, anyone who ever brushed shoulders with or outwardly supported the band was given their moment during the pre-show warmup.

7:30 p.m. strikes and the lights come down for the first time. The sound barrier practically breaks as a sea of the most guttural roars around the vast structure. The familiar opening chords of Jack Dunn's recent #1 hit "Silence So Loud" kick off as the man himself takes to the stage. While it's often the case that opening acts usually play to half-full venues as a bulk of people only care about the main event, Weekend fans are extremely eager and supportive. Dunn began his set with a full Wembley Stadium engulfing him and his relatively simple stage setup. While some audience members were simply there because they wanted to get to their seats on time, and some felt a loyalty to Riley Hamilton's friend, it was evident through the chanting and singing along throughout Dunn's set that the newcomer already has an army of supporters under his belt regardless of who is opening up for. It's worth noting that this was the night prior to Jack's successful UMA's sweep. Weekend may be the headline but there's no dismissing the fact that I, alongside 90k others, had the privilege of watching a superstar in the making before he catapults to an untouchable level.

Dunn performed a solid 9 song setlist comprising of his #1 hits, previously unheard tracks from his forthcoming debut album, as well as covers of some classic hits that have inspired and informed his own music. Interjected throughout the set was top-rate audience interaction peppered with Jack's signature Geordie charm. Dunn had the 90,000 strong crowd at ease, eating from the palm of his hands and all fired up for the spectacle that lay ahead. With his talent, showmanship and authentic, genuine connection with the group, I cannot think of a more perfect opening act for the historic night. Dunn raised the roof. A smart move on behalf of all involved.



• • • • •



Following on from Dunn's approximately 50 minute set, the lights come back on for a much needed interval. There's more merch stalls to pick clean, overpriced but essential thirst-quenching drinks to pick up in order to survive all the body heat, as well as time needed to decompress and mentally prepare for what lays ahead. Doors have been opened to Wembley for around two and a half hours by this point already, with tens of thousands of us being teased and drip-fed that dangling Weekend carrot, for lack of better phrase. Though, knowing the boys, that innuendo is a well suited comparison. The time slowly but surely ticks away. We all know what's ahead. What's about to insult all the senses and push us to a feeling of sheer euphoria seldom experienced in these mortal bodies.

8:45 p.m. The lights go down. If I thought the uproar surrounding Dunn's arrival earlier broke the sound barrier, the tsunami of exhalation and hurrah for Weekend defied all logic and scientific findings. The frenzied only continued and snowballed, even with no member of the band on stage at the time. Images of their handsome faces projected across the large screens while the lighting repeatedly turned shades of red, orange, green, blue, and purple - Weekend's individually assigned colours. The screams amplified in decibels with each change of hue as the audience rooted for their favourite corresponding member. The hype music from the live band builds to a crescendo before finally erupting into the introduction of "Victory", one of a slew of #1 hits for the group. Then...it happens. Oscar Ward, Dustyn Blue-Conners, Scott Wellington, Riley Hamilton and Billy Khan take to the stage, rising from a platform in the centre of the stage whilst surrounded by smoke like the enigmas that they are. The young woman beside me is already a red-face, teary-eyed wreck and a single lyric hasn't even been uttered.

After a small but mighty "HELLO WEMBLEY!" from Khan, the band waste no time in getting the night of nostalgia and megahits underway. Less than 15 minutes in and we've already been treated to three back to back chart-topping bangers that most acts would save for an encore but when you have a repertoire as illustrious as Weekend's, you churn some of these ditties out before you even break for the obligatory audience interaction. Tonnes of said chatter was liberally sprinkled throughout the show and I eagerly awaited to hear their jokes and tales as equally as I anticipated the next banger on the setlist. Natural raconteurs, Weekend were as much at ease on the mic while chatting and holding court as they were warbling down it. Khan and Blue-Conners in particular seemed to shine while sharing anecdotes.

Weekend assaulted us with an onslaught of iconic songs throughout the night, the mood and energy not daring to drop an inch at any moment. From start to finish, Weekend's one-night-only show was an upward trajectory. After bathing in the nostalgia of their earlier hits, they'd whip out a more recent chart-topper to remind us that they aren't a retro act. When they brought the acoustic guitars and spotlight out to make us sob, they'd then blindside us with a brand new, unreleased track and anoint us with the highest privilege of being the first in the world to hear it. For a band put together by answering an advertisement in a music magazine and initially seen as the industry's punching bag, they haven't half come a long way and stacked up the hits and credentials to back it up. Five ordinary guys having 90,000 people hanging on their every word and singing back every syllable for just over two hours is an incredible feat.

The mostly self-penned music wasn't doing the heavy lifting. Their showmanship, energy and cartoonish personalities pushed the show to new heights. We weren't just treated to a night of our favourite hits, we were experiencing Weekend at their ultimate. The banter between members was worth the ticket price alone. Oscar and Billy trading off jokes and cuddling each other in the flesh? Take my money now! While they aren't known for the traditional boyband trope of choreographed dance routines, Weekend still commanded the stage with their presence, outfits (I'll touch on THOSE later!), their zany, spontaneous moves and glass-shattering vocals. They jumped around, high-kicked, vocally shredded,

A few songs into the night, I realised that not only was I lucky enough to acquire a ticket to experience this event but also to witness one of the greatest bands of all-time in their prime. Vocally, they have never sounded better. Yes, even Scott, before you make a cruel joke! Wellington, while not possessing the same prowess of his bandmates, sounded the most confident and competent in years. Oscar Ward, who was initially the band's lead singer but had to take a backseat on account of vocal cord issues, exuded true frontman energy that we haven't seen from him in a while. Khan sounded as lush as ever and, most impressively, seemed subdued and on the same page as the others rather than making it "The Billy Show". Riley Hamilton, who also had an unexpected solo moment, has probably shown the most vocal growth over the years. Although always a decent singer, Hamilton was riffing, running and ad-libbing on that mic like nobody's business. Then there's Dustyn, one of the finest vocalists in the business today. His voice has only strengthen and grown richer over time. At one point, the cheeky Irishman jokingly paused to take a sip of water while effortlessly belting out one of the most extensive, impressive notes I've ever heard in a live show.

All either in their late-twenties or early-thirties, it's safe to assume that years from now this will be seen as their peak era. Looking incredibly handsome, in the best shape we've ever seen them, writing some of their best music and delivering vocals that sings rings around the teenage versions of themselves, we were all treated to a real spectacle. Not to sound too pessimistic after experiencing what may have been the greatest night of my life but, like everyone, they're only going to get older. Also, in the world of pop bands, there's also that inevitable split coming in the future. They've been a strong unit for almost 15 years but it's only natural that it will wind down one day. To witness Weekend in their ultimate form is a true blessing. While they may not be touring this year, hence the reason behind doing a one-off show, I hope they hit the road in 2026 or so, allowing more people to enjoy their splendour.

I wasn't the only one lucky enough to be part of the night. Every so often, either the boys or the cameras would highlight and bring attention to one of the plethora of celebrity friends in the crowd. Dallas Blue-Conners, Layla Sanchez, Erich Hess, Ellie-Grace Summers, Ryan Ross Hernandez, Andrea Mason, Keshia Love, Maliah Aguilar, Michelle Green, Amelle Fiore and Christopher Hudson were just a few that were spotted and mentioned throughout the night. Fellow performers Jack Dunn and Mercedes also returned to the VIP section to enjoy the rest of the show once their parts had been played. A true star-studded night for the ages.

• • • • •



Fresh off of some controversy just a few nights before (though what else would expect?), Billy was the name on most lips prior to the show. Embodying the craziness of what it means to be a Weekend member as well as being a bona fide star in himself, it's no wonder that the lobby was awash with purple outfits (Khan's signature colour) and his handsome face plastered over everything from hoodies, to tote bags. The screams he received upon arrival cemented his pulling power and the man did not disappoint. He was incredibly hilarious and entertaining on the mic. Being a London lad himself, Billy was well and truly at home. He's a natural when it comes to being centre of attention. As well as his comedic timing and natural allure, Billy was on top form vocally. His control and restraint is what impressed most. While doing all sorts of vocal acrobatics, he never came across as try-hard nor did he attempt to overshadow his band mates. Billy is a force to be reckoned with but receives even more kudos for being such a team player when he easily could've tried to hijack the night.



Oscar Ward was a revelation. This is without a doubt the best he has ever been. After suffering a few patchy moments during the middle of Weekend's run due to extensive vocal surgeries and a knock in his confidence, this was Oscar 2.0. Imagine the cocky charm of the naughty private schoolboy we were all introduced to back in 2012 but now with a refined, suave demeanour cutting through the bravado. He appeared incredibly confident and could charm the birds from the trees. While he spent the latter half of the 2010's sporting a much quieter and reserved aura, Friday night was Ward kicking back. Strutting around in figure-hugging jumpsuits, glittery cropped coats and blurting out the goofiest and most impressive vocal ticks and flips, it was apparent Oscar wanted to be seen and heard. Mission accomplished. I felt like a proud father watching him bounce back bigger and better than ever. With all the rumours and not seeming as close as the others over the years, seeing Oscar naturally play off of Billy was also one of the night's many key moments.



Riley Hamilton may have been the man of the moment, however. With his friendship with Jack Dunn, the opening act, and literally just bagging his first ever #1 outside of the band, the entire event was seeded by Hamilton's input and exponential rise in status as of late. Dropping a pop-punk collaboration with the nation's favourite socialite and creeping up to become one of the strongest singers in the band, Riley is seemingly the King of Subversion. What you think and what you expect will be flipped on its head by the unsuspecting Northern teddy bear. One of the biggest, loudest moments of the night was Riley's surprise solo performance with Mercedes when they whipped the crowd into a frenzy with "No Guts, No Glory". Ask anyone 10 years ago which member of Weekend would get a dedicated solo moment at Wembley Stadium and I could guarantee Riley would not be the name given forward. With powerful belts, an impressive range which encapsulates a high Bee Gees-esque falsetto and wacky, almost scat-singing ad-libs, Riley definitely earned more fans and admirers than he went in with at the start of the night.



Most people are expecting an ironic, passive-aggressive, meme-fuelled take on Scott Wellington's performance as that has sadly and cruelly become the norm for the star. Hate to break it to you but Scott was fantastic and those of us in the know have been aware of this for years. Wellington's online poking and prodding largely comes from those who have never been invested in Weekend, those who have seen an unfortunate clip of him, and those who are just mean. While not having the chops of his bandmates, who are four of the most impressive vocalists in the business, Scott held his own and sang with more gusto than he has in years. You wouldn't think this was a man with crippling anxiety around performing these days. His prominent vocal lead on the deep-cut "Animal" was a true highlight. SING that chorus, Wellington!



Undoubtedly the star of the show, however, was Dustyn Blue-Conners. I'm not being biased as a Dustyn boy. There's a reason why I am! The pen behind the majority of the hits, the old-fashioned crooning voice that'd melt the iciest of hearts, the shredding of his guitar that could rival the legends of yesteryear and the bubbly personality that can light up an entire stadium, Dustyn brought the house down with every opportunity he had. His giggly Irish voice alone had the entire crowd on his side before he even reached the punchlines of his hilarious jokes. His electric guitar solos took already bombastic pop hits to an entirely new level. The notes he was belting out with such ease had jaws on the floor and, not to sound shallow, the outfits? Let's talk about the outfits. Shaking his backside in a pair of tight leather trousers and then appearing shirtless for the latter half of the show to boast an impressive and unexpected muscular physique, Blue-Conners was the name on everyone's lips by the end of the night. Sheer magnetism and star power. Astounding legwork and gym routine too, I may add.



A Weekend show is a peculiar experience in that you're well aware you're in the presence of greatness while simultaneously feeling like you're just hanging out with five old mates. We've watched Dustyn, Billy, Riley, Scott and Oscar grow up in front of us. We've all been part of the memes, inside jokes, viral clips and iconic Twitter moments. Weekend have built an enormous community around them and, despite their star power and dizzying heights of fame, are still just as much part of this union. Weekend are still five local lads you'd bump into on a night out in town who just so happen to be some of the most incredibly talented performers of their generation. That's what makes them the greatest.



- Darren Cole

HOW DO YOU SOLVE A PROBLEM LIKE LINCOLN?
How one of Chart Heat's biggest hitters is also pop's biggest conundrum



Scouted and signed to a major label at 16 years old, never peaking any lower than #1 on Chart Heat, a debut single that went on to become one of the best-selling songs of all-time, 3 tracks with over 1 billion streams each - the advert for Pop's Perfect Poster Child writes itself. So why has Lincoln's debut album, which coincidentally has become one of the most expensive records ever produced, still not seen the light of day as the Liverpudlian star enters his milestone tenth year in the industry? The answer is complex and disheartening for both Keaton and his loyal, not to mention patient fans. Put simply, it all boils down to that age-old chestnut and a factor that has been synonymous with Lincoln since his budget-defying debut single: money. Add in record label woes, contractual red tape and it is yet another tale as old as time. Keaton is an artist stuck in a precarious position and sadly, pop's sweetheart may be in way over his head.

Lincoln first burst onto the scene a decade ago, signing a lucrative deal with Permanent Reminder and assaulting us with the iconic "Bang The Drum". A song that positively supersedes Lincoln himself in terms of fame and notoriety. If you couldn't pick Keaton out of a line-up or even name the artist behind the tune, you know the song and can identify it 0.5 seconds into its bratty, chant-like introduction. A Christopher Hudson co-penned earworm coupled with a star-studded music video which is one of the most expensive clips of all-time (sensing the theme here?), Lincoln was launched into the stratosphere overnight. It's evident that the label had Keaton's back and envisioned big things for their shiny new signing. Tric-Jam had Kato, Pesky had Grimmie, Freedom had Nimmo. Lincoln was Permanent Reminder's Golden Boy and they made no bones about it. What happened next, however, was not on anybody's bingo card.

As stated multiple times in this article, Lincoln was an artist with millions practically thrown at him. All the eggs were placed in the basket that was Keaton's budding career but when the music industry practically crashed and hit the skids in 2016, an immediate blackout took place. Record labels were liquidating, merging and bailing one another out. Artists were hanging up their microphones as they were struggling to breakeven. When an act's shtick is blockbuster-esque music videos and visuals, an arid industry landscape doesn't exactly provide the sustenance to nourish that concept. With mass layoffs across the board, important figureheads stepping down and the industry on its knees, Permanent Reminder was one of many labels to fall dormant in the mid-2010's. This left Lincoln in label limbo and with hefty sums to recoup after signing his 7 figure deal. The industry needed funding and Keaton's music had a stash tied up in it.



Aside from Ciara Lovett, whose last official release was three years ago, Lincoln has been the only act releasing under Permanent Reminder over the last nine years. With legacy acts on the roster such as GirlSpice, Pretty Little Freaks and Liyah all but living in the darkest shadows from the public eye, Keaton is currently the label's only active and viable source of income. A heavy crown to adorn.

Follow-up singles; "Light Me Up", the Austin Nimmo assisted "Big Talk", Eilidh collaboration "Tears of a Dancefloor Darling" and latest offering "Overdrive" have seen Keaton return to the #1 position time and time again. The long-awaited album, however, has still to see the light of day. In its original 2016 form, Lincoln's album had already had millions ploughed into it. Everyone was banking on him to succeed. A who's who of pop music's elite worked on the album in terms of writers, producers and collaborators. As time crept on and the industry began to build itself back up, a wealth of that costly material went unused. Wanting to keep things fresh and stay at the top of the pop game, Lincoln has since recorded a plethora new of material over the years in the hope of it making the cut on that seemingly mythical album.

Almost a decade worth of hiring out studios across the globe, arranging sessions with top tier writers and producers, and the marketing and distribution of the material that actually does see the light of day, the costs continue to rack up. Lincoln's unreleased debut album is now among one of the most expensive ever made while he, his team and label continue to operate at a loss. Despite the successes of Keaton's run of singles, the rates at which streaming services pay out barely scratch the surface in regards to what needs recouped.

While we all want to remain optimistic in regards to one of music's sweetest souls, our research shows that Lincoln may be in a vicious circle and tied up in a slew of red tape and industry bureaucracy. His contract states that he is only obligated to owe Permanent Reminder one album. Once that album is out, Keaton is legally free to walk away. As it stands, Lincoln is his label's only source of much needed income. We don't think he'll be let go or that his long-awaited LP will be hitting the shelves any time soon.

NEW CHART HEAT HOSTS & ARCHIVISTS REVEALED!
Brand new hosting duo finally announced after Konstantin and Faye's sudden exit


[Left: Parker Quinlan, Right: Bear Jessop]

The Chart Heat Company were said to be in "crisis mode" with their flagship show in "jeopardy" following the shock resignation of beloved, long-time hosts Konstantin "K" Lloyd and Fayette Morgan. "K", who had been hosting the iconic chart countdown programme since 2018 unexpectedly announced his departure in August with co-host and close friend Faye also handing in her recognition in the weeks that followed. Chart Heat executives were said to be "completely blindsided" by their decision to walk away from the platform, leaving the future of the show uncertain. Enter New York native duo; Parker Quinlan and Bear Jessop!

While they may be relative unknowns to the global masses, Parker and Bear are in fact a much loved radio duo based in New York and are certainly no novices in the field. Parker (34) and Bear (31) have been hosting their Saturday afternoon show on New York's Z100 together since 2019. Known for their sense of humour and playful back and forth between one another, Quinlan and Jessop have become much loved figures across the state of New York. Their three hour show is one of the highest rated among the network's programming and has proved extremely popular within the demographic of listeners between ages 18 and 35. Although the pair spin pop's biggest hits of past and present, most fans of the show claim to tune in on account of the duo's rapport and hilarious interactions, a rarity among radio personalities who are often muted and regarded as an annoyance in between hit songs.

Prior to their hosting duties, Quinlan and Jessop were already long time friends having met at Brooklyn College studying Television, Radio & Emerging Media together before inevitably going on to host a show on WBCR, a free-form, non-commercial, student-run radio station at the college. Seldom seen without one another since their teenage years and exuding a strong, natural chemistry, many people who encounter Bear and Parker for the first time often believe that the pair are brothers. The humorous, taunting and teasing repartee and raillery akin to an older-younger sibling dynamic has proven to be a hit combination, allowing Jessop and Quinlan to continuously excel in their broadcasting careers as well as bag lucrative interviews with some famous guests who are doing promotional campaigns within New York.

The duo were sought after and soon poached by The Chart Heat Company after Fayette Morgan announced that she too would be following Konstantin out the door. Sources claim that it was an "all hands on deck" scenario when the company realised that they needed a duo of hosts who would work well together and be able to step up to the plate and fill big shoes within such a small timeframe. It is alleged that acclaimed songwriter and loveable television personality Christopher Hudson was initially in mind as a replacement for Konstantin but this supposed idea was scrapped when Ms. Morgan announced her shock resignation, leaving two slots behind the microphone open. Despite being a ratings success on Z100, the network seemingly hold a lot of goodwill towards Quinlan and Jessop, publicly posting a fond farewell and congratulatory statement to the pair on the station's official website and social media profiles as they depart for a "once in a lifetime" opportunity.

Exclusively speaking to Culture Uncut about their high profile hiring with Chart Heat, the charming double act had the following to say;





2025 has already ushered in a sea of changes for Chart Heat, with its graphic design branding receiving a major overhaul as well as their website delving further into the archives and restoring old and thought-to-be lost information. The company seemingly set out on a mission to promote and celebrate accolades achieved within chart history regardless how big or small, believing that every artist should receive their flowers while they are still around to appreciate and acknowledge the gesture. Earlier in the year, Chart Heat published an extensive list of every song to reach the coveted #1 position after multiple internal database errors were thought to have wiped such important information completely. Continuing their celebratory theme, Chart Heat then went on to post a countdown of their "Top 100 acts" based on chart positions, sales and cumulative weeks and years within the Top 20. The list saw Ryan Ross Hernandez appear at the summit although it is said to already be outdated due to the ever changing and expanding landscape of music.

With the addition of Bear and Parker, Chart Heat are set to continue with changes to their formatting. It is believed that "extensive research" is being done in order to launch an official index of every song to have ever been put forward for sales tracking, further championing the efforts of artists and formally logging their respective discographies. Chart Heat are also said to be working in conjunction with numerous other brands with the hope of acquiring sponsorship deals and organising musical events such as concerts, ceremonies and licensing music for exclusive physical releases. With Quinlan and Jessop at the helm of archival investigations as well as being responsible for the countdown show and celebrity interviews, Chart Heat are aiming to make everything they do a "fully immersive experience" for musicians and fans alike.

Konstantin and Fayette, aka "K & Faye", are contracted to work the next two shows with Parker and Bear set to take the reins in mid-October.

Ryan Ross Hernandez Eyeing Retirement to Start a Family with Ellie-Grace Summers
Hernandez is mapping out a grand exit from his career as starting a family with country-pop star Summers may be on the horizon



Fans are justifiably excited for Ryan Ross Hernandez's upcoming release of "Definition of Home" his ninth studio album, and its ensuing world tour that kicks off in Los Angeles this November with six shows at SoFi Stadium. However anyone on the fence about seeing Hernandez in concert over the next year should not miss their chance as odds of a future tour after Welcome Home are unlikely. Culture Uncut can exclusively confirm that the seasoned artist is actively planning out his retirement and final projects as a solo artist, with People magazine citing the same news from a different source. The main reason for such a strong stance to walk away as one of music's most popular faces of the 21st century? His relationship with fellow singer-songwriter and star in her own right Ellie-Grace Summers, and the couple's future plans. "His main priority in life now and over the last nearly five years has been Ellie-Grace. They have been actively cultivating a beautiful relationship and have spoken about their future extensively - the end game for them is getting married and having kids," a source close to the pair shared, with an additional source telling People, "once they start a family [Hernandez] wants to put all his time and focus towards that [and] step away from his career."

The news is only coming to light now but allegedly Hernandez revealed his plans to Summers over two years ago and she is "fully supportive" of his decision. "He didn't land on this overnight. Every career move he has made the last few years has been with an eye towards the future and Ellie is his closest confidant," our sources reveals, stating that the two were "selective" on who was looped in and only recently did his management team beyond his manager and publicist learn about his impending retirement once Hernandez was "firmly set" on what he wanted to do. Our source insists that Hernandez is the one who ultimately feels comfortable with wrapping up his career and Summers' would "never" ask him to stop working and creating. "They are each other's biggest fans and Ellie hopes it will only be an extended hiatus rather than a true retirement but she understands being in the spotlight weighs heavy on Ryan and takes a toll on his mental health. She cares deeply about him and only wants him to be happy," a source told us. Hernandez recently released "What I Would've Missed" off his upcoming album, a brutally honest look at an attempt to take his own life in 2019.

Hernandez, who turns 48 on the 16th of October, is apparently eyeing his 50th birthday in two years as a sort of self-imposed deadline for his career as a solo artist before he steps away. "By then the two would love to have a family already and he wants to dedicate himself entirely to that role as a husband and father," a source speaking with People shared, while suggesting that it could be accelerated depending on when they decide to try for their first child. Summers, 33, is not expected to follow behind her possible future husband's steps, nor does he want her to do so. "Ryan knows she has a long career still ahead of her and supports her unconditionally," a source tells us. Before then, in addition to a new album and tour, fans should expect to see Hernandez be "a lot more public" with several interviews and TV appearances already lined up in the coming months. There is chatter within the industry that an extensive documentary is already in production that will touch upon his career at large and follow him along his first ever all-stadium tour, while also providing fans with glimpses of his personal and professional relationship with Summers. A major entertainment streaming service is already lined up to carry the documentary, however a release is not expected until at least 2027.

Another project fans can look forward to hearing before then actually involves his girlfriend (fiancée?) with the long-awaited collaborative album "Amongst the Madness" that has so far spawned three number-one hits for the pair but has been on the back burner the last few years, finally seeing the light of day. Once "Definition of Home" is out we are hearing that all gears will shift towards their joint effort with a summer 2026 release date being discussed internally between Hernandez's and Summers' respective teams. Another source goes as far as to say that Hernandez feels like that album is "a career benchmark," while affirming that the two have continued to work on the project and have utilized the delays to "truly perfect" the record. It is widely believed that the two reconnected in late 2020 when they began working on "Amongst the Madness" initially.

While speculation has been running rampant for months now of the couple being secretly engaged, sources we spoke to opted to remain mum on the matter, with one telling us "they are incredibly happy and so in love" describing taking the next leap as "only a matter of time." The two have had their second attempt at love - after a near two year romance in the early 2010s that fizzled out in late 2012 - go a lot smoother this time as they kept a low-profile and details about their relationship more private until recently despite being together for nearly five years now. Summers and Hernandez see their fifteen year age gap as a "nonstarter" at this stage and are allegedly "perfectly aligned" in what they want out of their lives together. We are told that Hernandez is "highly protective" of Ellie and what they've built together. A second source told People, "they are known to hold their cards close to chest but friends and family know a marriage is coming sooner rather than later and everyone is so excited for them."

Now in spite of the retirement chatter those close to Hernandez believe that he will continue to be involved in the industry in less front facing roles. "Whether it's working more extensively behind the scenes as a producer or friends asking him to write with them or play guitar on a song, he will remain around the music scene for sure," a source told us whilst adding, "He may get a burst of creativity down the line and return but right now he is confident with what he has lined up in the next two years being sufficient for him to feel ready to call it a career." Whether or not "Definition of Home" ends up being his final studio album as a solo artist remains to be seen.

Culture Uncut, as well as People, reached out to Hernandez's reps who declined to comment on the story.