Feid Fires Up New Salomon XT-Pathway Colorway
Name:Feid x Salomon XT-Pathway 'FXXOMOR'Colorway:GreenWhere to Buy:Salomon
Feidhad the unreleased heat on his feet for his headlining Governor's Ball set this weekend. Ferxxo pulled up to his Saturday night performance donning his imminentSalomoncollaboration, which takes the shape of theSalomon XT-Pathway.
The Feid x Salomon XT-Pathway 'FXXOMOR' isn't the first collaboration between the musician and the footwear brand, as the pairpresented their dual-minded take onSalomon's XT-4model back in May 2024 – arriving shortly after he was namedSalomon's brand ambassador. Staying true to Feid's artistic identity, the 'FXXMOR' XT-4 came dipped in shades of green, laying the groundwork for the collaborative Pathway to follow.
Feid x Salomon's XT-Pathway silhouette comes similarly doused in different shades of green, with a forest green midsole complementing the lime green accenting throughout the shoe.
Many details still remain unconfirmed, though typical in-line Salomon XT-Pathway's run for a retail price of $130 USD, so the 'FXXOMOR' version will likely run a bit higher than that.
Take a closer look at the sneakers in the gallery above and stay tuned as more solid details materialize surrounding a price point and release date.
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Hypebeast
2 days ago
- Hypebeast
Feid: All Green Everything
This article originally appeared in Hypebeast Magazine Issue 35: The Wavelength Issue. The moment you step off the plane at José María Córdova International Airport in Colombia, it's impossible to ignore: The musician Feid isn't just a national treasure; he's the sonic manifestation of the country's youth culture itself. His presence is everywhere, from suitcases, glasses, and t-shirts emblazoned with 'Ferxxo' stickers, referencing Feid's nickname, to street vendors lining the sidewalks with bootleg merch. His unmistakable reggaeton anthems boom from passing cars in an endless loop, and just beyond the terminal, a towering 50-foot billboard cements his status. Feid is more than an artist here—he's a movement. I'll be honest: I had only heard a couple songs by the reggaeton don before I accepted an offer to fly to Medellín to watch him perform in front of 70,000 people three nights in a row. I say this with more than a hint of shame: In 2024, Feid was the 10th most-streamed artist in the world, and a number of his tracks were the most played in all of Latin America. He's been nominated for 10 Latin Grammys, and he won Best Reggaeton Performance in 2024 for his song 'Perro Negro' with Bad Bunny. The 32-year-old Colombian artist has also written multiple Billboard-topping hits for J Balvin, including the 2016 globe-dominating smash 'Ginza.' As if that wasn't enough, he's collaborated with every major player in the reggaeton MVP league, from Balvin and Bunny, to Rauw Alejandro, Karol G, Maluma, and Ryan Castro. Music critics like Robert Christgau, Chuck Klosterman, and Jon Caramanica have all posited that there is no monoculture anymore. This suggests that in an era of globalization, the infinite jukebox offered by streaming technology—and countless subcultures and subgenres waning and waxing at an increasing clip—even South America's biggest musicians don't necessarily become household names elsewhere. Feid may have more than a billion streams on singles like 'Luna' and 'Feliz Cumpleaños Ferxxo,' but that doesn't mean he's being played on Hot 97 in New York. Maybe I'm just making excuses to hide my age. Now, in my early thirties, I could be getting too complacent, trapped in algorithmically-driven filter bubbles and 'taste neighborhoods.' Sure, I like Colombian post-dubstep producer Verraco, or the Bronx-raised, techno-cumbia hybrid DJ hellotones. But I'm not a native Spanish speaker, and when it comes to pop music, I only know the crossover successes by virtue of their press coverage—Rosalia, Bad Bunny, J Balvin, etc. Statistically, Feid is as big as any of these artists. But he's just starting to grace the covers of US-based magazines and the lineups of festivals like Governor's Ball, where he's headlining this spring. The man born Salomón Villada Hoyos is an undeniable superstar back home, but remains a relative newcomer to gringo ears. When I first discussed a Feid interview with his publicist—and, later, my de facto fixer in Medellín—Albert Piedrahita, he repeatedly stressed that a Zoom chat wouldn't cut it. I had to come to Colombia, he said, and witness firsthand that Ferxxo is a movement, one that could very soon be embraced the world over. The concert took place at a stadium, Estadio Atanasio Girardot, home to football clubs Atlético Nacional and Independiente Medellín. The venue typically has a capacity of 45,000, but Feid's team worked with the government to extend the space by an additional 25,000 seats each night. I was told again and again that the three-night suite was expected to be such a spectacle that people flew in from all over the continent just to witness the glory— the event for reggaeton lovers throughout all of LATAM. It's alleged that this was the biggest show in the history of Medellín, if not all of Colombia. Further (or Furxxther), the shows would coincide with Las Velitas, the unofficial start of the Christmas season, when Colombians place candles and paper lanterns on windowsills, sidewalks, streets, and parks as a symbolic tribute to the Virgin Mary and her Immaculate Conception. The stadium shows weren't just a homecoming, but an extension of one of Medellín's most significant holidays. In effect, it was to be a spiritual spectacle that Feid and his team were treating with meticulous devotion. As the musician told me later, 'This day, Las Velitas, is the most nostalgic one for me.' Feid's green gold manifests sonically in a myriad of ways. While he notes that he grew up in Colombia with 'all this Puerto Rican influence,' his aim is to 'keep the roots of Puerto Rican reggaeton and try to always create something new in the beat.' This translates into his signature 'sentimental reggaeton' style (sometimes called 'sad boy perreo') where lovelorn ballads rest on top of production not typically found in the genre: hip-hop-style 808s, synths, Afrobeats, smooth tech-house, and more. Feid regularly incorporates local Colombian slang into his lyrics, too, such as 'Hey mor' and 'chimba' (meaning cool) to pay homage to his native country. Plus, it's worth noting that his music and visual universe have a distinct sense of humor. He has lyrics, for example, that paint him as both a lover in the doghouse and simultaneously a dog in heat. His music videos take the disposition even further. One that comes to mind is 'PPCP,' which features close-up shots of strippers smoking weed juxtaposed with a group of nuns blurred as though mandated to comply with local censors. The album cover for LOS 9 , too, features three fisheye photos of Feid and Sky alongside Taz from Looney Tunes where the three mess around with dynamite and get their Acme-induced comeuppance. 'A lot of reggaeton artists are focused on being cool—who's the craziest dresser, or who has the craziest music videos,' Feid told me later. 'But for me personally, it's about being myself with my music.' The recurring caricature of Feid with an oversized, devilish grin couldn't be more on point: The man is a cartoon come to life. This is reflected to the umpteenth degree in his pupil-dilating live shows that embrace maximalism and soulfulness in equal measure. Before every concert, Feid's whole camp engages in a pre-show prayer, usually followed by a shot of Aguardiente—the anise-flavored liqueur popular in the Andean region. On the first night of his stadium shows, the team prayed longer than usual due to the sheer scale of the event. 'We always put everything in God and le fe [faith],' the artist explained. 'And this show is special because my parents are here and it's a holiday. But I'm ready. Once we get the prayer in, it's just a deep breath and boom.' Showtime. Feid makes it sound easy and stress free. While his artist persona is outsized, he's modest and easygoing—almost carefree—in conversation. The truth is that the concert was, bar none, the most grandiose and swaggering performance I've ever witnessed. It kicked off with a sleight-of-hand: Feid snuck into a box as if he were Houdini's assistant and was discreetly rolled through the crowd before slipping under the behemoth stage. There, he popped out of the trunk wearing a mask and hoodie before swapping the fit for his signature white Oakleys, snapback hat, and a custom black-and-green tactical vest made by the Colombian brand 747. The stage featured modular stacks of scaffolding that stood over 300 feet tall, resembling a halfway-built skyscraper. Inside the structure were platforms at varying heights, and close to a dozen LED screens positioned to cover every angle of the oval-shaped arena. The whole stage was dark and the pre-show DJs paused their sets as Feid secretly climbed his way to the top. The 70,000 concert goers collectively held their breath, aware that the sensory respite signaled that things were about to explode — literally. After an almost deafening silence, church-like organs began emanating from the speaker stacks followed by what sounded like Gregorian chanting. The screens lit up with black-and-green animations depicting a dystopian society of people seemingly under despotic rule. Military trucks pulled by barking Rottweilers sped by lines of people awaiting a grim fate. Close-ups of green pupils blinked everywhere. As the organs reached a crescendo, the myriad screens displayed a composite image of a child who suddenly grinned with Feid's monster teeth. The chanting got faster and the imagery responded in kind: Smirking child, a cartoon of Feid, guard dogs, and then an apocalyptic landscape: FERRXOCALIPSIS. The visuals transformed from 2D to 3D as the stage cameras focused on Feid standing atop the scaffolding's highest platform. He started rapping the opening bars of 'Alakran': La' chimbitas, ¿a ver, dónde están? / Que pelen la' nalguita como chin-chan / Se sientan en la silla del huracán / Viper, viper, no confía en na', ey. Then, a deep breath and BOOM: fireworks exploded round after round, bursts of flames shot into the air, confetti rained down, and decibels surged as spotlights locked on to the superstar as he appeared seemingly from nowhere. The audience responded with a scream that matched the scene's intensity, evoking the frenzied excitement of fans watching The Beatles play the Washington Coliseum in 1964. For the next three hours and twenty minutes, Feid never stopped moving, nor did the deluge of pyrotechnics, lasers, and green-tinged chaos of his LED-driven simulacra. Medellín wanted an extravaganza worthy of Las Velitas and they got just that: A concert longer than most Grateful Dead shows, more gunpowder than NYC's East River on the Fourth of July, and no fewer than six surprise guests—including Rauw Alejandro, Miky Woodz, Maisak, Sech, Ryan Castro, Yandel, and ATL Jacob. (Nights two and three would feature appearances from Majid Jordan, J Balvin, Bad Bunny, Karol G, Maluma, and others). Hell, his guitarist even had a custom Fury Road -style axe that unleashed balls of fire. 'Here I can sing songs that I haven't sung on the tour because we're in Medellín,' Feid said to the sea of fans. This wasn't exactly a surprise, as the set list confirmed he performed over 50 tracks each night, from bigger hits like 'Luna' and 'Perro Negro,' to deeper cuts like 'Tengo Fe' and 'Ey Chory.' Throughout the musical melee, Feid was in perpetual motion—embracing something between a skip and a jog. He told me later that 'I jump a lot because that's the way I get people to connect with my energy,' adding that his outfits were chosen specifically to aid his continuous kinetics. On top of rocking his collaborative Salomons, Feid later changed into a breathable Stone Island shirt, and kept his white Oakleys on all night to protect his eyes from cornea-eviscerating LEDs. 'The more comfortable I can feel when I'm performing, the better.' By the time the marathon concert ended, close to 2am, confetti was sticking to his sweat-covered skin. On night two, I met a representative from the Guinness Book of World Records in an official-looking uniform (including a GBOWR nametag) who was there to confirm another milestone for Feid. Each night, he broke the record for the greatest distance traveled during a live musical performance on stage—more than 10 kilometers. 'This achievement is the result of teamwork, passion, and dedication. Today, you've shown that every step counts,' said the rep upon presenting him the official certificate. The teamwork nod was on point. As Feid emphasized multiple times during our interview, 'It's not all about me, it's about a lot of people working together, sharing a dream, on the project called Feid, Ferxxo, Ferxxocalipsis. I always tell my crew, 'I want to be the bridge for you guys to make your dreams come true, too.'' This ethos was reflected in the comedown after each whirl wind performance, where the team lined the corridors leading up to the green room and chanted a victory song as every performer and crew member made their way backstage: Mira como mueve los hombritos! Y como se llama usted? ('Look at how he moves his shoulders! And what's your name?'). One by one, each passerby shouted their name, did a little dance, then received overjoyed bear hugs from dozens of people. Feid came last, and the love hit an apex —cheers, daps, jokes, more hugs. After, the entire team, including Feid's family, gathered for arepas con huevo and sopa de costilla as they went over the show highlights. 'For me, it's all about giving peace to people,' Feid explained. 'It's not like I'm selling feelings, but yes, the music is like I'm transferring emotions to the people. And those feelings translate better in person. You have to live with me in the moment and you'll get it. That's why you needed to come to Colombia to truly understand my thing.' And Las Velitas represents the city at its most triumphant, the people experiencing a collective high. 'When you feel that energy—people out on the streets, eating chicharon, drinking cervezas and aguardiente, it's something that I'm not afraid to show the world.' Feid said. I am from this city —and I want the world to understand that.'
New York Post
3 days ago
- New York Post
Gov Ball 2025: We heard Hozier's yell, "Heat Waves," and more
Vivid Seats is the New York Post's official ticketing partner. We may receive revenue from this partnership for sharing this content and/or when you make a purchase. Featured pricing is subject to change. For the Northern Hemisphere, summer officially starts on June 20. Yet, for myself and many fanatic New Yorkers (interns we love to hate and true lifers alike), the first breath of summer feels more like the day one of Queens' annual Gov Ball. Spirits are high, the air is thick, and crowds encircle three massive stages. Strangers dance till they forget that cocktails start at $25, waiting impatiently to hear headliners like Olivia Rodrigo, Hozier, and Tyler, the Creator wail through hour-long sets under thunder and warm rain. Advertisement There's really someone for everyone at Gov Ball, and it's all just a quick subway ride away, depending on how many people are willing to smash into the 7. Contrary to its name, the fourteenth iteration of Governor's Ball took place in Flushing Meadows–Corona Park in Queens, right beside the Unisphere — a site at which my European friend asked, 'Is this Universal Studios?' I'm no novice to New York's music scene, but I've only lived here a couple of years, and from that, I've gathered that the pop-indie-rock-rap festival can feel more like a good-natured family reunion than a multi-day music party. Were there quite a few twelve-year-olds? Yes. Was I too cool to be there? Definitely not. Ready to swap some head-banging for smoother swaying was no deal-breaker. We made our way to catch the final acts on Sunday: bedroom pop-girly Clairo, five-piece indie rock band Mt. Joy, Aussie-rockers Glass Animals, and of course, our new headliner that had the entire crowd hollering, Hozier. Advertisement Luckily for us, Flushing Meadows has no shortage of options for fueling up. Ticket holders have access to five food courts and freebies, too, if you know where to look. Dunkin' was handing out throwback merch and ice-cold lattes (caffeinating highly recommended), and some spirit brands had spin-to-win deals, too. My advice? Skip the longlines and stick to the basics. Festival food is festival food. Now, let's get to what matters: the music. Clairo Advertisement No map was needed to find our first stop. Clairo's voice finds you: soft, ethereal, layered, and breathy. The only heavy side of her set is the lyrics, but you may as well forget them when you're in front of her. If Indie Goth-Girl is in this summer, she's a blueprint, floating around in a black mesh dress, mic in one hand and wine in the other. I mean, she is the aesthetic. She made her Gov Ball debut more gracefully than others, sweeping both sides of the stage with lo-fi gems like 'Echo' and 'Bags.' The slow burn in 'Juna' offered a moment to make some sing-song intros to the band. And, still, nothing matched the dream-state of 'Sofia.' Her sets are true easy-listening, albeit more mellow than expected. Want to see her live? You can find Clairo's complete 2025 tour calendar here. Advertisement Mt . Joy For more energy, all we had to do was swap stages. One of the joys of a festival is the pace of it all. Most artists are allotted an hour, just enough time to deliver their greatest hits sandwiched between some new sounds. Sometimes though, there's room for leftovers. 'Leave it to a bunch of stoners to map out an hour's worth of time, and that's what you get!' to quote Mt. Joy's lead singer Matt Quinn. What we got was more music, and nobody was complaining. The folksy rock outfit just released their fourth studio album, 'Hope We Have Fun,' and offered a rare example of artists whose fresh music lands just as well with a crowd craving all the oldies-but-goodies. They sang those, too — belting 'Astrovan' and 'Julia' before finding some solace in 'Silver Lining.' Cheers erupted as Quinn welcomed Gigi Perez — who has quite a few 2025 shows lined up — for 'In the Middle.' This was a crossover meant to happen. The two duet together beautifully, building hazy vocals into a moody ballad that might make you want to text your ex, and blow up both of your lives a bit. Perez is someone to watch; the same vibrato that sent 'Sailor Song' viral was just as moving in real life. It's almost a Tracy Chapman-esque tone, deep, a bit androgynous, and intensely powerful. If she's not on the next lineup, I'll protest. Politely, but still. Mt. Joy's other items felt like a stripped-back reflection on life with a lens that lends beauty to all of it. 'Lucy' rang like an anthem amid a stream of existential questions like 'Dust to dust, what becomes of us?' — a track inspired by a friend of the band who is battling an illness. A light, loving escape came with 'Bathroom Light,' and those still craving gritty guitar riffs and rebellious Americana got a rousing cover of Wheatus' Millennial anthem 'Teenage Dirtbag.' A little musical poetry is what this band does best. Never seen the band live? Click here to see Mt. Joy's schedule to see if they're headed to your neck of the woods. Glass Animals Advertisement The only thing that made leaving Mt. Joy more bearable was the promise of Glass Animals. Don't get me wrong. Hozier was the headliner here, but I was just as hyped to hear 'Heat Waves' performed live, on a hot day in the middle of June. I mean, nothing was more thematically appropriate for this late spring/early summer extravaganza than these lyrics: 'Sometimes, all I think about is you/ Late nights in the middle of June/ Heat waves been fakin' me out.' It felt made for this stage, and while it did offer a satisfying climax to their jam-packed set, I found myself more impressed with their deeper cuts and Dave Bayley's dance moves. A standout moment came as he launched into mid-crowd for 'Gooey.' I watched Glass Animals perform the moody single a decade ago, and it still has that nostalgic quality that nips you when you least expect it. It feels a world apart from 'Tokyo Drifting' feat. Denzel Curry, which the band offers as an invitation to rave beside jolting lasers and bouncing EDM graphics. It was electric, eclectic, and a little bit sensual (I witnessed a parent cover her kids' ears.) The best of Bayley and Curry in a bit over three minutes. There's still a bit of Glass Animals' tour left. Snag tix to see the group now. Advertisement Hozier Hours passed, and we were properly primed for the main act. I caught Hozier at the laid-back Forest Hills Stadium last year, and he delivered with a force. But, closing out Gov Ball is higher stakes, and even more so for someone severely under the weather. He unnececarily apologized for his illness shortly after settling in (while still managing to look like a God), then belted like he'd never felt more alive, opening with 'Nobody's Soldier,' before carving out time in his set to deliver stone-cold classics 'Someone New,' 'Like Real People Do,' and 'De Selby (Part 2).' Of course, if anyone can perform while fighting a virus that feels 'like a shark with knees and legs,' it's the almost 7-foot Irishman who harnesses a voice my friend compares to 'Heaven's gates opening.' Like last time I saw him, his strongest moments were also the softest ones, especially when he wandered to the B-Stage for 'Unknown/Nth' and 'Cherry Wine'. For people who have speculated that he's not real, this was the proof. Raw talent requires nothing more than a mic and melting eyes. Advertisement Hozier, as a good headliner does, took a minute (several, actually) to speak on issues close to his heart. He called for an end to imperialism, expressed support for a 'Palestine that's free from occupation,' and encouraged unity over division. During 'Nina Cried Power,' graphics of unhoused people lit up the screen, juxtaposed with charts showing the surging stock prices of Lockheed Martin. Faces froze; it was an impact you felt as much as you saw. Just when it seemed that the only thing missing was 'Too Sweet' and the long-awaited closer 'Take Me To Church,' he gave us those, too. Breathless, but no less powerful, it was a testament to strength and solidarity, but also evidence that Governor's Ball belongs to the people, regardless of age, background, or taste. It's a fest anyone can enjoy — where music gives meaning and the stories are loud and clear. Hozier is on the road. To see him, smash this link now. Upcoming music festivals near NY Advertisement Missed out on Gov Ball and want to catch a fest or three in the Tri-State these next few months? You're in luck. Here are just five of our favorite options for can't-miss multi-day outdoor get-downs in NY, NJ and CT in summer 2025. 2025 music festivals The Capitol Groove June 28-29 at Bushnell Park in Hartford, CT Bleachers, Cake, Khruangbin, Thundercat, Thee Sacred Souls Borderland Music Festival Sept. 12-14 at Knox State Farm in East Aurora, NY Vampire Weekend, Mt. Joy, Khruangbin, Nathaniel Rateliff, Band of Horses Festival Sept. 13-14 at North Beach in Asbury Park, NJ Hozier, Blink-182, LCD Soundsystem, Alabama Shakes, Lenny Kravitz All Things Go Sept. 26-28 at Forest Hills Stadium in Queens, NY Lucy Dacus, Doechii, Clairo, Gigi Perez, The Marías CBGB Festival Sept. 27 at Under The K Bridge Park in Brooklyn, NY Iggy Pop, Sex Pistols, Jack White, Johnny Marr, The Damned What else is coming up? Take a look at our comprehensive list of 2025 music festivals to find the one that makes the most sense for you.
Elle
3 days ago
- Elle
How Jane Wade Is Transforming Office Fashion
The number one question Jane Wade gets asked: Why is work her main inspiration when, for most, those two words don't appear in the same sentence? 'What it really is for me is studying the categories of workwear,' Wade says during a visit to her Brooklyn studio and showroom, where a floor-to-ceiling vision board of fabric swatches, show notes, and casting photos from her fall 2025 show takes up an entire wall. 'It's so fascinating to study garments from a lens of 'Whatever your job is, your clothing is there to support you.'' Office culture is at once under scrutiny and on a pedestal, and the generation entering the white-collar workforce five years post-lockdown has a complicated relationship with career and identity. Wade has built her brand around a slightly retro fantasy of work, shining light on the details of office wear that might go unnoticed in the daily hustle. Her past four collections—The Commute, Out of Office, The Audit, and The Merger—all have heavy workwear motifs, whether it's a twisted take on a button-up shirt or cargo pants turned into a maxiskirt. 'Businesswoman special' might be the overall aesthetic, but a closer look shows just how whimsical the category can be. Her muse is 'the girl who's the daydreamer at the office,' Wade says. 'She's the person that they're like, 'You shouldn't be wearing that today,' but she's like, 'But it's a button-up.'' In the Jane Wade universe, said button-up could be a gown, a bustier, a crop top, or an ultra-twisted creation that, let's just say, the office traditionalists might not appreciate. Courtesy of Jane Wade One moment that Wade fans of any persuasion could understand was the finale of her fall 2025 show, where an ultra-bossed-up Lisa Rinna stepped out in a floor-length gray blazer with power shoulders out to the gods, executing a 'hostile takeover.' Such storylines are integral to Wade's brand. Even when it's not blatantly office core, as with her 'Out of Office' collection that explores winter sports gear, the narrative is as important as was the garment construction. She also has a knack for storytelling through collaborations, linking up with brands from Nike and Salomon to Olipop and Bru Eyewear. 'For this season, Docusign was our perfect nail-on-the-head,' Wade says of partnering with the platform. 'Each party has something unique to offer to the other—[corporations] have to spend marketing dollars somewhere, and it's important to them to be integrated in the communities they want to sell to.' As for future partnerships, Wade has her eyes on some unexpected but completely apt giants: Staples, Bic, Post-It, Carhartt, and more. As for what's next for Wade, creatively? Hex nuts. That's right. Despite the office talk, the corporate aesthetic, the twists and ironies, what sets Wade apart in a saturated pool of brands is her materials, which could take up a whole feature of their own. She uses thick, technical fabrics, delicate but durable knitwear, and strategically placed snaps, zippers, and buttons for convertible silhouettes. And, true to her ethos, she also employs literal hardware to create metallic pieces that are art and armor at the same time. Before I left her studio, Wade brought over a 2' x 2' swatch of her latest experiment, crafted via a technique that mixes metal components—literal hex nuts—with more delicate fabric like silk. It was a weighty swatch and clearly a work-in-progress, but just like the brand itself, I can't wait to see what comes of it. Jane Wade Fall/Winter 2025 Open Gallery A version of this story appears in the Summer 2025 issue of ELLE. Related Stories
