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RBX, a rapper affiliated with Death Row Records and a relative of the legendary Snoop Dogg, filed a lawsuit against Spotify alleging that the service used bots to bolster his streaming records. In response, Spotify countered RBX’s assertion, stating that they have safeguards in place to counter the insidious practice.
Rolling Stone reported on the lawsuit on Monday (November 3). In their report, the outlet says that RBX’s lawsuit was filed in the California District Court over the weekend. While Drake is referenced in the complaint, the rapper’s target is Spotify, according to the filing.
“Every month, under Spotify’s watchful eye, billions of fraudulent streams are generated from fake, illegitimate, and/or illegal methods,” read a portion of the complaint.
“We cannot comment on pending litigation. However, Spotify in no way benefits from the industry-wide challenge of artificial streaming,” Spotify shared in a statment. “We heavily invest in always-improving, best-in-class systems to combat it and safeguard artist payouts with strong protections like removing fake streams, withholding royalties, and charging penalties.”
Spotify continued with, “Our systems are working: In a case from last year, one bad actor was indicted for stealing $10 million from streaming services, only $60,000 of which came from Spotify, proving how effective we are at limiting the impact of artificial streaming on our platform.”
It has yet to be reported what the court’s next maneuver will be regarding the complaint.
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Doja Cat and Teyana Taylor just made Ray-Ban’s latest Meta glasses look ultra cool for the brand’s “You Ain’t Seen Nothin’ Yet” global campaign.
The tech meets fashion style both musicians donned is a second generation product for the brand, utilizing Meta capabilities to bring audiences something straight out of the future. It only makes sense that both Doja and Taylor were tapped for this occasion. Both parties are exceedingly fashionable, with their proverbial fingers always on the pulse of what’s hot and trending.
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Stylishness aside, the collaboration is rather timely for both artists, with Doja just dropping her latest album Vie and Taylor dropping Escape Room, her fourth studio album after a five-year hiatus. The glasses worn by both stars in the campaign can be purchased right now on Ray-Ban’s website and retail for $379.
Ray-Ban Meta Wayfarer Gen 2
A second-gen Meta-powered glasses.
If you haven’t already gotten yourself a pair of Ray-Ban Meta glasses, the accessory is what is classified as “smart glasses.” The eyewear is a blend of Ray-Ban’s classic and ultra-chic style with technology, allowing users to do all sorts of things, from take photos and videos, listen to music, make calls and interact with AI assistant features all hands-free.
The Gen 2 style now comes in new colorways and silhouettes that can be applied to the glasses on Ray Ban‘s website. The new model also features major improvements from the OG including a longer battery life, a 3K Ultra-Wide 12MP camera for UHD video capture and advanced Meta AI tools including Hyperlapse, which allows users to capture sped-up, smooth time-lapse videos hands-free, Slow Motion, which captures video with a slower frame rate and Live Translation, which gives users real-time audio translation with AI voice cloning.
As we get closer to the holiday season, we’d like to think that these glasses would make a great gift, especially for the tech wiz in your life. They’re practical, given they’re glasses, and functional thanks to the Meta AI tools. Ray-Ban frames are also extremely stylish and of great quality, made to last for years to come. The quality and attention to craftsmanship explain the price tag. It’s more of an investment piece rather than a standard accessory. Think of it like buying a super fancy iPhone or laptop, but for your face. It has all the same bells and whistles, all built into a portable package. Don’t just take it from us. If they’re a favorite of Doja and Taylor, they’re probably a great fit for your loved ones, too.
Trending on Billboard Following a statement published by Americana singer-songwriter Todd Snider’s team on Monday noting that Snider had to cancel his tour dates after he was the victim of an alleged assault prior to a show in Salt Lake City, Utah, it’s now been reported that the singer/songwriter was later arrested and booked for […]
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Some Taylor Swift fans are up in arms over a video on the official White House TikTok account set to “The Fate of Ophelia” — and many of them are encouraging the pop superstar to take legal action against President Donald Trump.
The Monday (Nov. 3) TikTok video pairs Swift’s The Life of the Showgirl lead single — currently in its fourth week at No. 1 on the Billboard Hot 100 — with images of Trump and his associates. One frame shows Trump’s mug shot while Swift sings, “Don’t care where the hell you’ve been.” The video ends with a photo of the president scooping McDonald’s French fries under a slightly altered lyric reading, “The fate of America.”
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Swift has not commented on the post, but it’s unlikely that she’s happy about it. Historically, the star has not pledged her allegiance to Trump’s team; she’s only endorsed Democrats, including Kamala Harris in the 2024 election, and Trump, in turn, has insulted Swift repeatedly, including by posting “I HATE TAYLOR SWIFT” after the Harris endorsement.
In the TikTok comments, some Swifties are putting on their lawyer hats. “TAYLOR SWIFT SUE THEM FOR USING YOUR SONG!” wrote one. “I would absolutely LOVE if Tay found a way to sue them for this,” wrote another. “One freaking huge lawsuit on the horizon,” another prediction read.
Is the White House’s use of “The Fate of Ophelia” legal? Probably not. While individual TikTok users can soundtrack their videos with pre-cleared songs, commercial entities are required to obtain so-called sync licenses from copyright owners. The White House did not return an inquiry on Tuesday (Nov. 4) as to whether they got a sync license for the post, but given Swift’s public rebukes of Trump, and the fact that the singer is famously protective of her catalog, it’s unlikely that she greenlit such a license.
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As Billboard previously reported during Zach Bryan’s public scuffle with the Trump administration over its use of his track “Revival” in an X post, there are a number of legal avenues for artists to take when their songs are used on social media without licenses. Swift’s lawyers could send a cease-and-desist letter to the White House, or they might lodge a formal takedown notice directly with TikTok under the Digital Millennium Copyright Act.
If these administrative procedures are unsuccessful, Swift could indeed bring a formal lawsuit against the federal government for copyright infringement. She’s no stranger to intellectual property litigation, having both faced copyright claims herself and gone on the legal offense over the years.
However, it’s hard to imagine Swift taking the drastic step of suing the White House. The courts are public by nature, and Swift has a carefully maintained image. This is especially true in the political arena, where the singer’s statements have always been measured (“The choice is yours to make,” she told fans in her post endorsing Harris last year).
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Swift, therefore, may not want to become publicly embroiled in what would almost certainly be viewed as a partisan legal battle. Nothing is certain, though, and only time will tell.
Swift’s reps did not return a request for comment on the matter.
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After an absence of seven years, Radiohead returned to the stage on Tuesday night (Nov. 4) for a career-spanning set at Madrid’s Movistar Arena.
The highly anticipated show was the first of a sold-out 20-date run, which will see the Oxford-formed band play across the U.K. and Europe – including a four-night residency at London’s O2 Arena – with shows in Madrid, Bologna, Copenhagen and Berlin through November and December.
This was the first time the band had performed together live onstage since summer 2018, when they performed at the Wells Fargo Center in Philadelphia on Aug. 1. In a press statement released earlier this year, drummer Philip Selway explained what it meant for the five-piece to reunite.
“Last year, we got together to rehearse, just for the hell of it,” he said. “After a seven-year pause, it felt really good to play the songs again and reconnect with a musical identity that has become lodged deep inside all five of us.”
Radiohead called a hiatus after wrapping up an extensive world tour in support of their last full-length effort, 2016’s A Moon Shaped Pool. The record became their sixth No. 1 on the U.K.’s Official Album Charts and hit No. 3 on the Billboard 200, and landed them a Coachella headline slot in 2017.
Each member has remained active and recording, most notablly frontman Thom Yorke and guitarist Jonny Greenwood, who formed The Smile with drummer Thom Skinner and released three studio LPs. Radiohead-related activity ramped up over the past year with a live reissue of 2003 album Hail to the Thief and reworked version of that LP appearing in a Manchester production of Hamlet.
Personal loss and emotional burnout contributed to the group’s decision to step back from the stage. In a recent interview, frontman Thom Yorke reflected on the touring activity for A Moon Shaped Pool. “I guess the wheels came off a bit, so we had to stop,” Yorke said. “The shows felt great but it was, like, let’s halt now before we walk off this cliff.”
He also discussed his personal grief following the death of his first wife, Dr. Rachel Owen, in late 2016, whom he had separated from a year earlier. “I needed to stop anyway, because I hadn’t really given myself time to grieve,” he said. “My grief was coming out in ways that made me think, I need to take this away.”
Having since given way to reflection, Radiohead appeared rejuvenated onstage in Madrid. The band played a 25-song set, encompassing some of the most taut and tender moments from their nine studio albums. The show was opened by “Let Down,” a song from 1997’s OK Computer that has become a streaming sensation in recent months, and the song debuted at No. 91 on the Billboard Hot 100 in August to give them their first appearance on the chart since 2008’s “Nude.”
The setlist – which is expected to vary night to night – featured a number of big hits (“Karma Police”) and fan favorites (“Weird Fishes/Arpeggi”), but omitted some of their most well-known songs, too, including “Creep” from 1994’s Pablo Honey.
Here’s a look at the setlist from Radiohead’s return to the stage at Madrid’s Movistar Arena.
“Let Down”
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Nathy Peluso may not have salsa music in her blood, but she shines with the force of a hurricane on her new traditional salsa EP, Malportada. The Argentine-Spanish artist — best known for her Latin urban, alternative music songs with hints of neo soul and R&B — discovered the tropical genre during her teenage years while buying vinyl records in Madrid. Since then, she says she’s been “hooked.”
“When I started going to vinyl markets, I began buying and researching,” Peluso tells Billboard Español, noting that the first album to make a strong impression on her was Rey Barretto’s Indestructible (1973). “From there, I discovered Fania [Records] and all of its stars.”
Released on Oct. 17 under Sony Music España, Malportada was primarily produced by Peluso, Manuel Lara, and Servando Primera, and has that old-school salsa music sound with contemporary elements. Through six songs, ranging from “A Caballo” and “Insensata” to “Ángel” and “Malportada” with Rawayana, the singer challenges the male-dominated narrative that has historically characterized the genre, showcasing her vocal skills. With her powerful voice and hypnotic interpretative quality, Peluso seems tailor-made for this.
“I feel like I am — it’s a genre that I really enjoy singing. It’s demanding, and I like feeling challenged by what I sing,” says the five-time Latin Grammy winner, noting that she’s also a fan of bolero and ballads. “I think I’ve spent my entire life preparing to sing this album. It wasn’t something I had to suddenly prepare for — it’s something I’ve been training and studying for my whole life, so when the time came to do it, it felt natural, not forced.”
Peluso, who also recently collaborated with Gloria Estefan on the remix of the tropical track “Chirriqui Chirri,” released in September, has been exposed to a variety of rhythms over the years — both Latin and non-Latin. Born in Luján, Argentina, she has said she grew up listening to artists like Ella Fitzgerald, Ray Charles, João Gilberto, and Atahualpa Yupanqui. She emigrated to Spain with her family at the age of 9, first settling in Alicante, a place she says “was full of immigrants at that time,” before moving to Barcelona.
“I was surrounded by so many Latin cultures: Peruvians, Colombians, Dominicans, Ecuadorians, and of course, Argentinians. So I think that’s where Latin music became very natural for me, because when you visit a friend’s house, that music was always playing,” she explains.
As for salsa, she says she’s “a big fan of traditional salsa, especially Puerto Rican salsa. I also love Colombian salsa. I just love salsa in general.” For Malportada, she wanted to explore the different styles of the genre she enjoys consuming, “which is like a more — how do I put it? — a more aggressive, more rap-like salsa, like Juanito Alimaña. That more barrio-style salsa.”
“Then there’s the more romantic salsa, the more melodic Frankie [Ruiz]-style, which doesn’t tell the story of a character as much but rather conveys feelings,” she continues. “And then there’s perhaps the kind of salsa that’s more about lifting people up, more social, like [the track on the EP] ‘Que Lluevan Flores.’”
Nominated again for two Latin Grammys this year — best urban performance/urban fusion for “De Maravisha” with Tokischa, and best urban song for “Xq Eres Así” with Álvaro Díaz — Peluso might appear next year for the first time in tropical music categories with Malportada.
“I hope so,” she says about the idea. “Especially because that always means the music is reaching people. I always interpret it that way, as my peers valuing it, the music world recognizing it. I’d love it, honestly, because [this EP] was made with so much respect and also with the intention of helping and contributing my little grain of sand so that salsa reaches as far as possible.”
Peluso is among the artists confirmed to perform at the 26th edition of the Latin Grammys, which will air live on Thursday, Nov. 13, at 8 p.m. ET/PT from Las Vegas via TelevisaUnivision platforms.
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Love & Hip Hop: Miami is back — this time, for its seventh and final season.
We’re waving goodbye to the star-studded cast of the reality show, a cast that we’ve seen through some major drama and epic music moments since 2018. Season 7 is slated to premiere Tuesday (Nov. 4) at 8 p.m. ET and will air on BET. Subsequent episodes will air every Tuesday on BET.
The final season is sure to be a trip based on a brief look at the season’s first episode, titled “The Last Laugh.” In the episode, Ghanaian actor and certified goofball Michael Blackson gets ready for a big move to Miami, while hiding a big secret from his pregnant fiancée Rada. And we see Amara clock Miami Tip for starting drama with the wife of her children’s father. We also see trouble in Miami’s blue waters emerge when women from rapper Trick Daddy’s past re-emerge, further stirring the pot.
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If you’ve cut the cord on cable, but you’re looking to catch up on all the drama this last season has to offer, we’ve got you covered. Below, we’ll show you how to watch tonight’s episode and all the juicy episodes to come.
How to Stream Love & Hip Hop: Miami
Looking for a way to watch the highly anticipated final season without cable? The hit BET series is currently available on a plethora of streaming services. Our pick? We choose Philo. The show is free to watch with a seven-day free trial. A subscription to Philo gives you access to BET for just $33 a month. For our musically-inclined readers, Philo also includes networks like AXS TV, Fandor, CMT, MTV, MTV Classic, VH1 and more. With a subscription, you’ll have access to watch more than 70 cable networks including AMC, A&E, Animal Planet, BBC America, Cartoon Network, Comedy Central, Discovery Channel, EarthX, Food Network, Game Show Network, Hallmark Channel, HGTV and so much more.
DIRECTV is another great option for those looking to stream the BET show. A standard subscription to DIRECTV, which gives you access to watch the Love & Hip Hop franchise, will run you just $59.99 a month under the service’s CHOICE plan. You’ll gets you access to live TV, local networks such as NBC, ABC and PBS, and you can also watch many cable networks, including FS1, Lifetime, FX, AMC, A&E, Bravo, BET, MTV, Paramount Network, Cartoon Network, VH1, Fuse, CNN, Food Network, CNBC and many others (Some local channel not available in select markets.). That’s over 125 plus channels that you can tap into, once you’re done watching Love & Hip Hop, of course.
Another option for our readers is a Hulu + Live TV subscription, given that BET is included in the live TV channel lineup. A subscription to the service (with ads) will cost approximately $82.99 per month, while the plan without ads goes for $95.99 per month. This subscription gives you access to the wide plethora of titles in Hulu’s library, along with live TV programs 24/7. This is one of the more pricy plans on our list, however, the bundle is well worth the price because of the added Hulu titles.
Finally, we’ve got Sling TV which is another live TV streaming option giving users the ability to access cable channels and on-demand content over the internet, making a cable subscription obsolete. To access Love & Hip Hop: Miami, you’ll need a Sling Orange subscription which is $45.99 a month. Depending on your needs, you can purchase temporary passes for a day ($4.99), weekend ($9.99), or week ($14.99) to watch the show and test out the service for a limited time. Sling Orange includes over 30 live channels including ESPN, Disney Channel and CNN, plus a free on-demand library.
More About Love & Hip Hop: Miami
Love & Hip Hop: Miami first aired back in 2018, added to the growing franchise that was Love & Hip Hop, beginning in New York. The Miami edition revolves around the personal and professional struggles of several rappers, singers and socialites in Miami’s music scene.
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CMT’s flagship show, the Hot 20 Countdown, will conclude at the end of the year, Billboard has learned from sources.
The program, hosted by Cody Alan and Carissa Culinar, has run on CMT since 2013. The show counts down the 20 hottest country music videos and features appearances by country artists.
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The Hot 20 Countdown is the last original regular music programming on the channel, which has experienced continual cutbacks in staff and programming over the past year and a half. This spring, for the first time since its debut in 2002, the CMT Awards were paused as parent Paramount Global merged with its new owner, Skydance Media. That deal closed in August.
Though non-music related, CMT does still air original programming, with the Taylor Sheridan-produced The Last Cowboy, a horse-reining rider talent competition. The sixth season premieres on Friday (Nov. 7). Last week, it was announced that Yellowstone creator Sheridan will leave Paramount in 2028 for a new deal with NBCUniversal.
As with the other Paramount-owned linear channels, there has been a massive talent drain at CMT over the past 18 months, including Leslie Fram, senior vp of music strategy and talent, who left last fall, as did director of music and talent Stacy Cato, vp of production; Quinn Brown, vp of production; Ray Sells, senior director of production and Darrell Hughes, senior producer of Hot 20 Countdown, among others.
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This fall, there have been more cuts and buyouts, including Donna Duncan, vp of CMT music and talent, who left in September. Last week, as around 1,000 people were cut across Paramount, Margaret Comeaux, the highest-ranking executive still at CMT, who serves as senior vp of production, music & events, announced she will leave the company in December after 24 years. (Comeaux also serves as an executive producer on Hot 20 Countdown.) Melissa Goldberg, who had been CMT’s vp of digital and social, left the company to join sports and entertainment company Teton Ridge in October.
Even before the merger, Paramount Global had been chipping away at original content on CMT and other websites. In June 2024, Paramount stopped producing original content for many of its cable channels’ websites, including CMT.com, which had been a robust site for years, and began directing visitors to content on Paramount+ and other sister outlets.
CMT’s daytime programming consists primarily of classic sitcoms, including Reba, Roseanne, Mama’s Family, King of Queens and Golden Girls, as well as movies like Raiders of the Lost Ark. Music videos run overnight between 12 a.m. and 6 a.m. In addition to new episodes premiering on Saturday mornings, the Hot 20 Countdown repeats on Sunday mornings.
In broader Paramount Skydance news, the company announced today that George Cheeks, chair of TV media, who oversees CBS, will now also oversee the cable networks. Laurel Weir, who reports to Cheeks, will oversee programming for Paramount TV Media, including CMT.
Billboard has reached out to Paramount for comment.
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The breakthrough stories in pop the past month have been few and far between, as Taylor Swift continues to rule the charts with her Life of a Showgirl album and its singles, and most artists have seemed largely content to stay out of her way. One exception is an artist who has been enjoying her greatest stateside successes the past few weeks, just below Swift’s stratosphere: Olivia Dean.
The U.K. singer-songwriter and BRIT School alum currently boasts four hits on the Billboard Hot 100 — her first four career entries on the chart — led by the ebullient “Man I Need,” which cracks the Hot 100’s top five for the first time on this week’s chart (dated Nov. 8). Meanwhile, her sophomore album The Art of Loving debuted at No. 8 on the Billboard 200 three weeks earlier, and has stayed in the top 10 each week since, holding at its No. 6 peak this week.
How has Dean managed this breakthrough? And what can she do for the rest of 2025 to ensure she makes the most of it? Billboard staffers discuss these questions and more below.
1. Olivia Dean’s “Man I Need” cracks the Billboard Hot 100 top five this week, moving 8-5. Why do you think the song has become such a breakthrough hit for her?
Christopher Claxton: Olivia Dean has found a unique gap in music and filled it beautifully. Her sound has this timeless quality, it’s the kind of music you might imagine finding in your grandfather’s record collection, but she’s bringing it to a new generation, introducing Gen Z to classic, romantic sounds. She’s not chasing trends or virality; she’s carving out a legacy of her own. That freedom and authenticity is exactly when the magic happens. Her music feels both contemporary and timeless, which is why “Man I Need” has resonated so strongly and broken through to the top five. Kyle Denis: Outside of “Man I Need” being a really well-done and obviously catchy pop song, the song’s soulful foundation also allows it to benefit from the momentum R&B has seen on the Hot 100 in recent months. Of course, it also helps that the song’s TikTok teaser campaign ensured a voracious audience before its release, and her current opening slot on the final leg of Sabrina Carpenter’s Short n’ Sweet Tour certainly doesn’t hurt either.
Taylor Mims: Dean’s “Man I Need” has arrived just in time for cuffing season. The track has enough perky pop stylings to feel like we aren’t quite in winter yet, but Dean’s soulful voice is bringing us into a bundle-up Autumn when it is time to find a partner for the colder months. It is an earnest song about trying to find love and getting on the same page with a possible partner, timed perfectly for the season of commitment.
Michael Saponara: What a fun, playful bop to invade the top five before 2025 ends. A pop piano blended with an earworm of a chorus, you can’t help but sing along and move your shoulders to Dean’s soothing vocals. It’s been intoxicating and I keep coming back for more with every listen. There are themes of yearning for a certain type of lover that everyone can just about relate to at any point in life.
Andrew Unterberger: It just feels like it was the right song at the right time for Dean — I don’t think the song in itself is necessarily all that spectacular, but it’s charming in the ways she’s always charming, and clearly we were at a place where the public was ready to embrace her with open arms.
2. Meanwhile, three other songs are moving behind “Man” on the Hot 100: “So Easy (To Fall in Love)” (No. 43), “A Couple Minutes” (No. 87) and “Nice to Each Other” (No. 94). Do any of these songs feel like a second major hit for her? Christopher Claxton: In my view, the songs most likely to become her next major hits aren’t necessarily reflected by the current chart positions. I’d rank them: “Nice to Each Other,” “So Easy (To Fall in Love),” and “A Couple Minutes.”
“Nice to Each Other” explores the idea of wanting to keep a romantic partner at a distance, but instead of feeling sad, it comes across as freeing, a track you can dance to. “So Easy (To Fall in Love)” is another song that’s immediately infectious and makes you want to move. “A Couple Minutes” isn’t quite a dance track, though it could work for a slow dance with someone special.Overall, none of these songs reinvent the wheel, but they’re far from boring or predictable. Olivia Dean has a way of making familiar themes feel fresh, which is part of what makes her music so compelling.
Kyle Denis: “So Easy” feels like a natural follow-up, it’s already the second-highest charting song from the album and it’s not too much of pivot sonically or thematically.
Taylor Mims: “So Easy (To Fall in Love)” seems to be the natural follow up to “Man.” It seems to be gaining the most traction behind “Man” and has a similar enough sound to satisfy folks who are looking for a bit more. It is also upbeat and playful, so it can easily stand on its own to catch new listeners with lyrical content that still evokes cuffing season. The horn section also make the track feel a bit whimsical for a perfect holiday track.
Michael Saponara: “So Easy (To Fall in Love)” feels like a natural fit for Dean’s next jazzy-pop hit. It’s sitting just outside the top 40 and with more and more eyes on her stateside, I could see Gen Z wrapping their arms around the bossa nova track, which radiates a breeziness that would brighten anyone’s darkest day. Amy Allen gets another notch in her belt on the songwriting side.
Andrew Unterberger: “Nice to Each Other” feels like the logical song to me — and what a great music video — but it’s pretty clear that “So Easy” has the momentum at the moment. Still betting on the former, but hoping we have time and space for both to enjoy a nice moment in the sun. 3. While “Man I Need” breaks into the Hot 100’s top five this week, Dean’s The Art of Loving album remains one spot removed (No. 6) from doing the same on the Billboard 200. Do you think it’ll get there, or will it stay stuck just outside that region? Christopher Claxton: The Art of Loving weaves together piano, strings and drums to create a sound that’s unmistakably Olivia Dean’s, while nodding to her neo-soul and Motown roots. I think the album has room to climb higher, especially as “Man I Need” rises on the Hot 100 and new tracks like “A Couple Minutes” make their debut on the chart this week. Fans will keep streaming the album, and with three songs now making waves, new listeners are likely to discover the tracks and, in turn, explore the album as a whole. I wouldn’t be surprised if it eventually breaks into the top five on the Billboard 200.
Kyle Denis: I definitely think it will get there. The current success of “Man I Need” and other album tracks keep the album afloat, and Olivia’s adult contemporary branding will prime her for the kind of demographic that actually buys music during the holiday season. And, of course, if she pops out with a Grammy nomination on Friday ahead of her SNL debut next week, the sky really is the limit for The Art of Loving.
Taylor Mims: Based on Dean’s current trajectory, The Art of Loving will be in the top five in the coming weeks. Her other tracks are gaining traction, as is her jazzy, soulful sound. Plus, this Saturday she will be the musical guest on Saturday Night Live, which will undoubtedly draw plenty of new listeners and boost her numbers making her a shoe-in for the top five the week following.
Michael Saponara: The arrow is clearly pointing up for Olivia Dean, and I expect her surge to continue into the year’s end. While there are plenty of music’s titans in front of her taking up real estate, I do think there will be a week where she sneaks into the top five.
Andrew Unterberger: It’ll get there — possibly in the next couple weeks, possibly after the Christmas clear-out. But I can’t imagine this album is going away any time soon, so eventually the moment will be right for it to make that jump to the next tier.
4. At a time when few artists besides Taylor Swift are making major waves on the charts, Olivia Dean seems to have real things brewing. What do you think is the biggest factor behind her slow-building success?
Christopher Claxton: I think the biggest factor behind Olivia Dean’s slow-building success is her ability to blend genres seamlessly. Neo-soul is in her blood, her mom introduced her to Lauryn Hill’s music, and Olivia’s middle name, Lauren, is actually a tribute to Hill. Beyond her influences, she tells a story with her music: from the first spark of a crush, to the anxiety and excitement of love, to heartbreak and reflection. Dean’s songs are highly relatable, yet they’re delivered through a sound that feels fresh and distinctive, which has helped her steadily gain traction on the charts. Kyle Denis: What fascinates me most about Olivia’s rise is how it both reflects and responds to shifts in the culture. 2024 felt like a year moving away from the cultural domination of pussy rap in the late ‘10s and early ‘20s and general sex positivity. Even if Sabrina got away with most of Short n’ Sweet, for example, her Man’s Best Friend album cover garnered a level of controversy that honestly felt overblown. While Dean is simply making the music she feels called to create, it doesn’t exist in a vacuum. When I read social media moment praising her “class” and “tastefulness,” often while disparaging more sex-forward performers, I can’t help but think about how the overall rise in American conservatism is explicitly and covertly shifting what we consume at the mainstream level.
Taylor Mims: It sounds cheesy, but talent. In a time when we are seeing a lot of quick viral success off a song or two, Dean has been “brewing” for a while. The Art of Loving may be the breakthrough album, but she is on her second full-length album following 2023’s Messy, and has been slowly gaining traction for years rather than finding success overnight. A good opening slot on a major tour can do incredible things for a growing artist and Dean opened for U.K. star Sam Fender (and debuted on single “Rein Me In” with him) earlier this year, bringing her to the attention of a huge audience. Her talent did the work from there.
Michael Saponara: Artist development. Dean boasts a great lineage coming from the prestigious BRIT School that produced music deities like Adele and Amy Winehouse. At 26, she’s lived a little more life than some college-aged artists thrust into the spotlight. Dean’s clearly defined her lithe sound, which comes packaged with a distinct vision for her artistry. There’s more under the hood when it comes to the depths of her creativity, compared to some hitmakers, that appeals to different generations of listeners. It’s one thing to have a pink Instagram profile, compile likes on social media and hit the charts, and it’s another to pass the in-person test with flying colors. With the British singer opening for Sabrina Carpenter on the final leg of her U.S. Short n’ Sweet Tour, the sold-out crowds have made sure to be in their seats early (over an hour before Carpenter takes the stage) and truly engage with Dean’s performance, rather than scroll on their phones and treat an opening act like background noise.
Andrew Unterberger: Her readiness. She reminds me of Sabrina Carpenter — who she’s even opened for on recent tour dates — in that everything she’s done since her breakout started earlier this year reflects someone who seems in all ways prepared for a moment like this: musically, professionally, personally. She looks comfortable in the spotlight, and so it’s not surprising that every release and appearance of hers appears to be drawing more fans into her world.
5. If you were part of Olivia Dean’s team, what would you advise her to do — if anything — in the year’s last couple months to take advantage of the momentum she’s currently building?
Christopher Claxton: I’d advise Olivia to capitalize on this momentum by doing as many interviews and social media connections as possible to keep engaging both new and existing fans. On top of that, dropping a 3-4 song Christmas EP featuring her signature, unique sound could be a smart move, something seasonal but unmistakably Olivia Dean, which could introduce her to even more listeners before the year ends. Kyle Denis: I think they’re doing everything perfectly. If anything, I’d start booking her for some holiday and year-end TV specials to help audiences continue to put a face to Olivia’s name. And start fielding names for a potential “Man I Need” remix!
Taylor Mims: Saturday Night Live is a great next move. Following that, there should be wind in her sails and it is about keeping her top of mind as folks begin to retreat indoors. “So Easy (To Fall in Love)” is a logical next single to push, but “A Couple Minutes” feels like a smart turn. The track is already moving on the charts and resonating with fans, and has both dramatic and cinematic qualities to slow folks down during the hectic holiday months.
Michael Saponara: Keep doing what they’re doing. Opening for Sabrina has been a great look as she continues to check boxes in her ascension to stardom across the pond. Having Dean on popular platforms that will only add to her visibility and further ingratiate her with the pop music scene is a more general suggestion I’d have. I love that she’s going to be performing on SNL in a couple of weeks. Whatever’s ahead in the next few months, you hope Dean’s rise is capped off by holding the Grammy trophy for best new artist on Feb. 1, and then the sky is the limit.
Andrew Unterberger: Some artists do well to keep a low profile on the media front and build mystique through their inaccessibility. That is not Dean: She should be out there doing as many performances and making as many high-profile appearances as she feels comfortable with, making sure she has the chance to win over as many potential converts as she possibly can. Give her enough opportunities and she just might grab ’em all.
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Live Nation’s revenue grew 11% year over year to a third-quarter record of $8.5 billion, the company announced Tuesday (Nov. 4).
The world’s largest concert promoter and ticketing company continued to benefit from vigorous consumer demand for live music since the touring business came back from the COVID-19 pandemic. Adjusted operating income (AOI) of $1.03 billion was a 14% increase from the prior-year period. Importantly, event-related deferred revenue and Ticketmaster deferred revenue were up 37% and 30%, respectively, suggesting Live Nation is well situated for upcoming quarters.
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“Strong fan demand drove another record quarter, as we continue to attract more fans to more shows globally,” CEO Michael Rapino said in a statement. “With these tailwinds, 2026 is off to a strong start with a double-digit increase in our large venue show pipeline and increased sell-through levels for these shows.”
Foreign exchange had a small impact on reported results. In constant currency, revenue was up 9% (compared to 11% as reported) and AOI was up 12% (compared to 14% as reported).
Within the concerts division, record-high stadium show attendance drove revenue up 11% to $7.3 billion and AOI up 8% to $514 million. Live Nation hosted 51 million fans, and attendance was up by double-digits in all major markets. International markets were led by Europe and Mexico, where attendance growth reached double-digits.
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Fan demand has undergone explosive growth since the COVID-19 pandemic. Live Nation’s third-quarter revenue of $8.5 billion was 38% greater than the $6.15 billion it generated in the same quarter of 2022. That improvement is dwarfed by the 125% revenue growth the company has experienced since the third quarter of 2019, a time before Live Nation acquired a majority stake in Mexican promoter OCESA in 2021.
Within the Venue Nation segment, Live Nation’s division that owns and operates venues worldwide, fan spending through October rose 8% at amphitheaters and 6% at major global festivals. Investments in renovations have helped some venues improve fan spending. For example, onsite fan spending at Jones Beach in New York was up 35% through October, while onsite spending at Estadio GNP in Mexico City tripled in the first ten months of the year.
At Ticketmaster, Live Nation’s ticketing division, revenue climbed 15% to $798 million while its AOI jumped 21% to $286 million. The improvement came from a combination of more ticket sales and higher average ticket prices: In the quarter, fee-bearing tickets rose 4% to 89 million, while fee-bearing gross transaction value (GTV) rose 12%.
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Through the first nine months of 2025, Ticketmaster’s total fee-bearing GTV rose 7% due to a 16% increase in international markets. Primary fee-bearing GTV improved 8% while secondary GTV declined 1% on lower sports activity.
Live Nation’s sponsorships division had record revenue of $443 million, up 13% from the prior-year quarter. With a gross margin percentage of 71%, the highest of the company’s three divisions, sponsorship’s AOI of $313 million, up 14% year over year, bested Ticketmaster on 44% less revenue.
The number of the sponsorships division’s strategic partners rose 14%. New agreements include consumer brands Hollister, Kraft Heinz and Patrón. The division added a multi-year deal with Trips.com in Asia and expanded its partnership with Mastercard to additional markets, including Hong Kong, South Africa and the Middle East.
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Live Nation is on pace for a record-setting 2025. Through the first nine months of the year, revenue is up 8% to $18.89 billion and AOI is up 9% to $2.17 billion. The record-setting third quarter is expected to flow into a strong fourth quarter. Arena, theater and club shows will bring the company to full-year attendance of approximately 160 million, which would be a 6% increase from the 151 million fans it saw in 2024. Live Nation expects to deliver double-digit AOI growth for the full year.
Looking ahead to 2026, the company expects continued growth. In addition to growth in deferred revenue — money received for future events — Live Nation expects a double-digit increase in large venue shows in 2026. Average grosses for 2026 concerts are up double-digits on strong sell-through levels.
