State Champ Radio Author: djfrosty
Page: 69
Trending on Billboard
Uketsu’s horror-mystery novel Strange Pictures has been shortlisted for Waterstones’ 2025 Book of the Year.
Originally published by Futabasha in 2022, Strange Pictures is an interactive horror-mystery in which readers unravel the story through clues scattered across “nine bizarre paintings” that feel subtly off. Since its release, the novel has garnered a broad following, selling over 1.2 million copies in Japan and surpassing 2 million copies worldwide.
Waterstones, the U.K.’s largest bookstore chain with nearly 300 locations across the U.K. and Ireland, selects its annual Book of the Year based on titles that booksellers most want to recommend to readers. The award draws significant attention in the U.K. publishing scene and is also widely followed by general readers. The chain described Uketsu’s work as “a horror novel by a Japanese author originating on social media, gaining attention even in the English-speaking world — an unconventional pick.”
Explore
See latest videos, charts and news
The novel has also been recognized internationally: In France, it was named FNAC’s Book of the Month, while in Germany it topped the May 2025 Krimibestenliste — Deutschlandfunk and Deutschlandfunk Kultur’s mystery list — as the best crime novel of the month. In Thailand, it debuted at number one in a major book event shortly after its release, and translation rights have now been secured in 36 countries and regions across five continents, including the U.S., South Korea, China, Brazil, and Morocco.
The enigmatic, masked writer and YouTuber’s latest installment in the “Strange” series called Strange Maps is currently available in Japan, and recently claimed the top spot on Billboard Japan’s new book chart, the Japan Book Hot 100. See Uketsu’s reaction to being nominated in the U.K. in full below.
I’m deeply honored and truly grateful. I lived in Surrey, England, as a child. The overcast skies, the scent of rain, and the serene yet slightly uncanny culture were formative experiences for my writing. I’m thrilled to reconnect with readers in the U.K. in this way.
Source: ADAM IHSE/TT / Getty
Talib Kweli and Yasiin Bey, collectively known as Black Star, booked a trio of shows in the United Kingdom to celebrate three decades of existence as a crew, but things didn’t go as planned. Talib Kweli was witnessed on video screaming at a security guard during a show that was marred by reported time issues, but the Brooklyn rapper offered a statement explaining his side of things.
TMZ Hip Hop reports that Talib Kweli and Yasiin Bey were performing at the 02 Victoria House in Manchester last Saturday (November 15) when, near the end of their set, a security guard walked out onstage to enact a curfew.
Kweli took offense to the guards coming out one minute after curfew and gave them a tongue lashing that can be seen in the video in this link.
Love Hip-Hop Wired? Get more! Join the Hip-Hop Wired Newsletter
We care about your data. See our privacy policy.
Talib Kweli has since offered a statement to TMZ Hip Hop explaining his reaction to the guards ending their set as they did.
From TMZ:
Black Star was at the O2 Manchester venue at 8:30PM for a 9PM set time, with an agreed to 11PM curfew. At 8:50PM the venue decided to push the show time back to 9:15PM without any input from Black Star, which made us end the show later than planned. At exactly 10:58PM as Black Star was performing our final song for the night, I witnessed venue staff on the side of the stage, harassing Black Star staff about the 11PM curfew.
At exactly 11PM, as Black Star was saying good night to the crowd, (we had completed our last song by then) someone from the venue came onto our stage to chastise us and demand we leave the stage. This is very disrespectful and not standard. You don’t walk on an artist’s stage during a show. I’m sure they would not have treated a white, UK artist this way, especially when we hadn’t disrespected the curfew at all.
When I came off stage, I asked to speak to the man who came on the stage. I was instead greeted by aggressive security guards who began to disrespect me immediately, so I argued with them and held them accountable for how they treated us as guests who helped the venue make money. O2 Manchester called security on their main act for the night to enforce us leaving the stage at 11PM, even though we were already in the process of leaving the stage at that exact time.
Kweli goes on to say that 02 Victoria House staff and crew should apologize to he and Yasiin Bey and their team for what took place. However, fans who attended the set say that the group wasn’t exactly the most pleasant during their November 11 stop at the 02 Academy in Brixton. Accounts online reported that the group took the stage just 30 minutes before curfew, performed only 25 minutes of their set, and told the booing crowd they were welcome to leave, among other choice words.
—
Photo: Getty
Trending on Billboard
Legendarily prolific actor Samuel L. Jackson had no problem saying yes when he was asked to join Kendrick Lamar for the Grammy and Pulitzer prize-winning rapper’s Super Bowl LIX halftime show in February in New Orleans. And while Jackson thought he was signing up for another one of his eclectic acting gigs, the Tulsa King co-star told Jimmy Kimmel on Monday night (Nov. 17) that he had no idea he was signing up to be a surprise guest at a “revolution.”
Explore
See latest videos, charts and news
“Great time. I kind of had no idea when they called me and said, ‘Yeah, we’d really like for you to be part of Kendrick’s halftime show’… I was like ‘really?,’” Jackson recalled thinking at the time. When the show’s producers promised to send him the treatment for the show, consummate professional Jackson said he didn’t really care about all that and promised to be there when they needed him.
“And then when I got there and we were rehearsing, it was all kind of nice and fun and watching the dancers go through their routines,” he described. “It’s like, ‘damn! They’ve been rehearsing for a while, because they were like [snaps fingers.]’” In case you forgot, Jackson popped in dressed in a red, white and blue Uncle Sam outfit to welcome the crowd with the enthusiastic greeting, “your uncle… Sam and this is the great American game!”
Jackson said he had “no idea” about what was about to take place until dress rehearsal for what would become the most-watched halftime show in history, one in which he would provide Greek chorus-like commentary on the racial state of the nation. “That was the first time I knew we were doing a revolution,” Jackson said of the eye-popping spectacle at the Caesars Superdome that featured guest stars SZA, tennis great Serena Williams crip walking and record producer Mustard.
“I knew I was dressing as Uncle Sam, but I just thought that was like, okay, fine, it’s an Uncle Sam thing,” Jackson said. “When dress rehearsal starts I’m there I’m doing it and I turn around and I said, ‘wait a minute, that’s a flag… they’re making a flag up there,” he recalled of the sight of the mass of dancers in red, white and blue forming into the American flag. “Oh, now I’m going, ‘ah, now it’s revolutionary.’” He said it never occurred to him before that moment that the dancers would be activated into Old Glory, especially since a lot of people already call him “Uncle Sam” on the regular.
Jackson, who has worked with rappers before, including LL Cool J and Busta Rhymes, also famously appeared in the 1992 crime drama Juice alongside late rap icon Tupac Shakur in his first major role in a film. The actor, who had met Shakur before, said he was a “nice enough kid,” but recalled an incident on set that might surprise fans familiar with Jackson’s legendarily NSFW dialogue.
On a night when Jackson wasn’t shooting, his wife, actress LaTanya Jackson was sitting in a room with the mothers of the other kids who appeared in the film and “Tupac came through there and he was cussing somebody out and yelling, screaming.” So LaTanya Jackson grabbed Shakur and told the rapper, “‘Hey, don’t you see all the grown women, you can’t talk like that and use that kind of language!’ And everybody in the room was like [big inhale]. And he totally apologized [and said] ‘I’m so sorry.’” From that point on, Jackson said, Tupac was a gentleman and whenever he saw the actor’s wife he would greet her with, “‘Hey mom, how you doing?’”
Kimmel said it did strike him as odd that Jackson’s wife had a problem with foul language given his f-bomb proclivities. “Only in a room full of grown women,” Jackson explained, with Kimmel confirming that scripted cursing is seemingly okay with her. “If I’m at home, it’ my house,” Jackson explained. “I can say what I want to.”
Watch Samuel L. Jackson on Jimmy Kimmel Live! below.
Trending on Billboard
Eminem has launched a legal battle with an Australian beach umbrella brand called “Swim Shady,” claiming the company is just imitating his “Slim Shady” alter ego.
The rapper, whose real name is Marshall Mathers, is fighting a legal action at the U.S. Patent and Trademark Office, seeking to cancel an American trademark that the Sydney-based Swim Shady secured on its name earlier this year.
Related
Eminem’s attorneys say the similar-sounding name “uniquely and unmistakably” points to the “internationally renowned recording artist and entertainer” – and that customers will be “deceived” into thinking he’s somehow involved.
“The petitioned mark is highly similar to petitioner’s name,” his lawyers write in their September petition, obtained by Billboard. “Consumers and potential consumers, and anyone seeing one of respondent’s products in the marketplace … will assume that the source of the goods emanates from [Eminem].”
Eminem debuted the Slim Shady name in 1997, using it for an aggressive alter ego that explores darker and more violent subjects. His 1999 album The Slim Shady LP, which reached No. 2 on the Billboard 200, focused heavily on the name, including his breakout “My Name Is” and his smash hit “Real Slim Shady” that reached No. 4 on the Hot 100.
The star has had “Slim Shady” registered as a federal trademark since 2001, holding rights to the name covering a wide range of goods. And he’s not afraid to enforce those rights: In 2023, he filed a similar case against Real Housewives stars Gizelle Bryant and Robyn Dixon over their efforts to get a trademark for the name of their “Reasonably Shady” podcast.
Related
Swim Shady launched earlier this year to sell a small, foldable beach umbrella – a product it says is aimed at “solo beachgoers who wanted better sun protection without the hassle.” And the company has big plans: According to its website, it is seeking or has secured trademarks for that name around the globe, including in China, the U.S. and the European Union.
In September, the USPTO formally granted the company an American trademark registration for its name, covering both beach gear and a wide assortment of apparel. Such a registration makes it easier to sue someone selling a knock-off brand and allows a company to use the ® symbol.
But Eminem’s lawyers, in their Sept. 29 petition, say Swim Shady’s trademark never should have been registered. Such cases, filed with the PTO’s Trademark Trial and Appeal Board, are a common way that brand owners prevent others from securing rights to their names.
Eminem knows that process well. Since 2003, his lawyers have filed at least six such cases at that trademark dispute body — including not just the Real Housewives case but also one against an apparel brand called “Shadzy” and another against a sunglasses brand called “Shady Character.”
Related
Many other superstar artists have taken similar proactive measures to defend their names against similar-sounding trademarks filed by third-parties, which are cheap to file and sometimes slip through the approval process. Taylor Swift filed a case in 2017 to block a “Swifty” trademark; Jay-Z has filed more than ten over the years.
Such cases don’t legally stop a company like Swim Shady from using a brand name on their products, but merely from securing their own trademark rights to it; only a full-fledged federal lawsuit can shut down an infringing company. But in his new case, Eminem suggests that he thinks Swim Shady’s use of the name violates his rights.
“Petitioner is and will continue to be damaged by any sale or any offering for sale of Swim Shady goods by respondent, since there will exist a false association and suggestion as to the source of the goods involved,” his lawyers write. “Any inferior quality of respondent’s goods will damage the reputation of petitioner’s premium goods and services.”
Reps for both Eminem and Swim Shady did not immediately return requests for comment.
Trending on Billboard
There are few moments that disrupted the news cycle in 2025 more than Taylor Swift and Travis Kelce‘s engagement announcement, with the internet freaking out for days on end after the fact — and that’s exactly why The Cambridge Dictionary chose the term it did to represent this year in the history books.
As recently announced, the organization’s 2025 Word of the Year is “parasocial,” thanks in part to the overwhelming emotional response online to Tayvis’ big news in August, largely from people who’ve never met either the pop star or the Kansas City Chiefs tight end. The site defines the term as an adjective “involving or relating to a connection that someone feels between themselves and a famous person they do not know.”
“Global coverage of the way in which Taylor Swift announced her engagement to Travis Kelce caused lookups of parasocial to surge as the media dissected fans’ reactions,” the Cambridge Dictionary explained of its 2025 selection. “Posts by fans say ‘I’m not being parasocial about it’ and talk about ‘a Swiftie being parasocial for 10 minutes straight.’”
Other factors that informed the choice were the wave of concern in 2025 about eerily personal artificial intelligence chatbots as well as one viral fan’s reaction to a YouTube streamer by the name of IShowSpeed breaking up with his girlfriend in June.
Indeed, there were many fan displays of cheers and tears on Aug. 26, 2025, when Swift and Kelce shared photos of the proposal on Instagram. “Your English teacher and your gym teacher are getting married,” they captioned the post, which received more than 14 million “likes” on Instagram within one hour.
For many longtime Swifties, it was impossible not to have a deep emotional reaction to the news. For nearly two decades, they’d been listening to the 14-time Grammy winner sing in detail about her trials and tribulations with love, making her real-life fairytale ending — such as the one she sang about in 2008 on smash hit “Love Story” — feel extra special, parasocialism be damned.
“I AM SO HAPPY FOR MY CLOSE AND PERSONAL FRIEND TAYLOR SWIFT,” one fan wrote shortly after the couple’s post, sharing a gif of a little girl screaming.
“the way my phone was blowing up you’d think I was the one who got engaged,” someone else added at the time.
The Cambridge Dictionary has been choosing a Word of the Year since 2015. In 2024, the institution selected “manifest,” which followed “hallucinate” the year prior.
Also in 2025, “pseudonymization” and “memeify” were on the shortlist for the Word of the Year title.
Trending on Billboard
Will it be ladies’ night at the 59th Country Music Association Awards on Wednesday (Nov. 19): For the first time, three women solo artists — Ella Langley, Megan Moroney and Lainey Wilson — share the lead with six nominations each.
Explore
See latest videos, charts and news
Wilson will also host the show, which will air live from Nashville’s Bridgestone Arena on ABC starting at 8 p.m. ET, making her only the third woman to solo host, following Dolly Parton and Reba McEntire.
The men then follow with strong showings for Zach Top landing five nominations and Riley Green and Cody Johnson with four each.
Morgan Wallen, who received three nominations, will look to repeat as entertainer of the year.
He’s not the only one looking to keep their winning streaks going: Wilson has a three-year run as female vocalist of the year, while Chris Stapleton has won male vocalist four years straight. Old Dominion has taken home the vocal group of the year seven years in a row.
The eligibility period for nominated releases runs July 1, 2024 to June 30, 2025, with the song, album or video having to be released within that period or reach national prominence.
The evening will also include performances from BigXThaPlug with Luke Combs, Stapleton with Miranda Lambert and Shaboozey with Stephen Wilson Jr., as well as Kelsea Ballerini, Brandi Carlile, Kenny Chesney, Green, Langley, Little Big Town, Patty Loveless, Moroney, Old Dominion, The Red Clay Strays, Top, Keith Urban, Tucker Wetmore and Lainey Wilson
Here are Billboard’s predictions on who will emerge victorious in select categories, from Melinda Newman (executive editor, West Coast and Nashville) and Jessica Nicholson (associate editor, Nashville).
ENTERTAINER OF THE YEAR
Luke CombsCody JohnsonChris StapletonMorgan WallenLainey Wilson
Newman: Cody Johnson, who lands his first nomination, takes Jelly Roll’s spot this year, with the other four nominees repeating from last year. Wilson, reigning champ Wallen and Combs have all captured the evening’s biggest award before, while Stapleton is looking for his first win here with his ninth nomination. All five artists had great years with sold-out tours, but Wilson was the one who spread her wings the most, completing her first international tour (to be fair, Wallen and Combs both toured internationally in 2024 and will again in 2026), and she’s hosting the show, which feels perfect to have her emerge from backstage to win. Wallen is the genre’s biggest star right now, but his unwillingness to show up at the awards last year may have unfairly left a bad taste in voters’ mouths.
Will win: Lainey Wilson
Nicholson: Wilson, reigning CMA entertainer of the year Wallen and Luke Combs are all previous winners in the category and are vying for the title again this year. Meanwhile, Stapleton has proven himself to be one of country music’s steadiest headlining touring draws, while Cody Johnson’s hitmaking, hard-touring ways have earned him a spot in the category this year. This marks Wilson’s first year as a solo host of the CMA Awards, while she’s also embarked on her Whirlwind World Tour this year, in addition to building on her reputation as a multi-media star. Look for Lainey to reclaim her entertainer of the year title this year.
Will win: Lainey Wilson
ALBUM OF THE YEAR
Award goes to artist, producer(s) and mix engineer(s)
Am I Okay? – Megan Moroney (Producer: Kristian Bush; Mix Engineer: Justin Niebank)Cold Beer & Country Music – Zach Top (Producer: Carson Chamberlain ;Mix Engineer: Matt Rovey)F-1 Trillion – Post Malone (Producers: Louis Bell, Charlie Handsome, Hoskins; Mix Engineer: Ryan Gore)I’m The Problem – Morgan Wallen (Producers: Jacob Durrett, Charlie Handsome, Joey Moi; Mix Engineers: Charlie Handsome, Joey Moi)Whirlwind – Lainey Wilson (Producer: Jay Joyce; Mix Engineers: Jason Hall, Jay Joyce)
Newman: Newcomers Moroney and Top are taking the genre by storm, with Moroney also bringing a raft of young girls into the country tent, similar to how Taylor Swift did nearly 20 (!!) years ago… just go to one of her concerts and you’ll see. Top is leading a neo-traditionalist movement that has endearing him to the industry who likes his pure country stance, similar to last year’s winner, Cody Johnson (with his Leather album). Even though it came out too late to be eligible last year, it feels like Post Malone’s F-1 Trillion’s time has come and gone. Wallen clearly had the most commercially successfully album and Wilson continues to do excellent work, but it feels like Top’s year.
Will win: Cold Beer and Country Music
Nicholson: Megan Moroney’s Am I Okay? has propelled her career to new heights thanks to hits like the title track and “No Caller ID.” Meanwhile, Whirlwind saw Wilson drop new hits including the romantic “4x4xU” and “Somewhere Over Laredo,” and Wallen’s I’m The Problem spent 12 nonconsecutive weeks atop the all-genre Billboard 200. Post Malone’s collaborative-heavy F-1 Trillion also proved a favorite with country fans, while Zac Top’s Cold Beer & Country Music declared the talented country newcomer has arrived in a major way. However, Wilson previously won in this category for her album Bell Bottom Country, and her music has surged even more in depth and popularity since then, so look for Wilson to take home the win here.
Will win: Whirlwind
SONG OF THE YEAR
Award goes to songwriter(s)
“4x4xU” (Songwriters: Jon Decious, Aaron Raitiere, Lainey Wilson)“Am I Okay?” (Songwriters: Jessie Jo Dillon, Luke Laird, Megan Moroney)“I Never Lie” (Songwriters: Carson Chamberlain, Tim Nichols, Zach Top)“Texas” (Songwriters: Johnny Clawson, Josh Dorr, Lalo Guzman, Kyle Sturrock)“you look like you love me” (Songwriters: Riley Green, Ella Langley, Aaron Raitiere)
Newman: Each one of these songs feels like it took the artist, whether established superstar or newbie or somewhere in between, to a new level, becoming an important part of their identity. “Texas,” the only entry not co-written by the performing artist, gave Blake Shelton one of his biggest hits in five years (and his first on new label home, BBR/BMG Nashville), while “Am I Okay” and “I Never Lie” helped solidify Moroney and Top as artists who look like they’ll be here a while. Wilson just keeps getting stronger and stronger with the creative “4X4XU,” while Green and Langley have already shown that “you look like you love me” is a career song for them. But again, Top should have the inside track here.
Will win: “I Never Lie”
Nicholson: The song of the year category places more weight on top-shelf songcraft rather than commercial success, and each of these songs has become a signature hit for the artist that recorded it (or, for four out of five of this year’s nominees, also co-wrote it). Country fans were treated to the dreaminess of “4x4xU,” the bewildered romance of “Am I Okay?,” the flirty “You Look Like You Love Me,” and the slow-burn yearning of “Texas.” But Zach Top’s neo-traditional “I Never Lie,” with its sing-along charm and sly hook, has taken the Washington native to new career heights and will be a tough competitor in this category.
Will win: “I Never Lie”
SINGLE OF THE YEAR
Award goes to artist(s), producer(s) and mix engineer(s)
“4x4xU” – Lainey Wilson (Producer: Jay Joyce; Mix Engineers: Jason Hall, Jay Joyce)“Ain’t No Love in Oklahoma” – Luke Combs (Producers: Luke Combs, Chip Matthews, Jonathan Singleton; Mix Engineer: Chip Matthews)“Am I Okay?” – Megan Moroney (Producer: Kristian Bush; Mix Engineer: Justin Niebank)“I Never Lie” – Zach Top (Producer: Carson Chamberlain; Mix Engineer: Matt Rovey)“you look like you love me” – Ella Langley & Riley Green (Producer: Will Bundy; Mix Engineer: Jim Cooley)
Newman: There’s not a lot of difference between this category and song of the year, other than “Texas” is replaced by “Ain’t No Love in Oklahoma,” Combs’ tune from Twisters. Each song resonated with listeners, with all at least reaching the top five on Billboard’s Country Airplay chart, but there are some notable omissions, including Jelly Roll’s emotional “Liar” and Morgan Wallen’s “I’m the Problem.” Of this batch, Top’s delivery on “I Never Lie,” combined with the neo-traditionalist production, was the best-sounding song of the batch.
Will win: “I Never Lie”
Nicholson: Each of the songs nominated here made an indelible impact on the Billboard charts this year, but the double-shot charisma of Langley and Green, plus the song’s old-school charm and flirty talking verses, was inescapable over the past year. Look for “You Look Like You Love Me” to take the win here.
Will win: “You Look Like You Love Me”
FEMALE VOCALIST OF THE YEAR
Kelsea BalleriniMiranda LambertElla LangleyMegan MoroneyLainey Wilson
Newman: With her eighth nomination, inconceivably Ballerini is still looking for her first win here — while Wilson has created her own mini-dynasty, winning the past three years. The OG is Lambert, with seven wins, and she returns to the category after not being nominated last year. Langley and Moroney are the newcomers who are blazing paths with their big voices. It feels almost impossible to choose, and it may be a little too early for Langley and Moroney (though Wilson won both best new artist and this category in 2022). Still, feels like Wilson has the momentum behind her.
Will win: Lainey Wilson
Nicholson: Lainey Wilson has emerged as the winner in this category for the past three consecutive years, and with another entertainer of the year nomination and her role as host this year, she is a strong contender to maintain her winning streak. But she also has stiff competition, thanks to Megan Moroney, whose Am I Okay? album and accompanying singles have further propelled her career. Ella Langley has lobbed hits at the charts including “Weren’t For The Wind” and “You Look Like You Love Me,” while Kelsea Ballerini had one of her biggest years to date, hitting new chart milestones and launching her successful headlining arena tour. Miranda Lambert also keeps cementing her status as a legendary artist, thanks to touring and her album Postcards From Texas. Still, this category will likely see the multi-talented Wilson continue her winning ways.
Will win: Lainey Wilson
MALE VOCALIST OF THE YEAR
Luke CombsCody JohnsonChris StapletonZach TopMorgan Wallen
Newman: Stapleton has won eight of the last 10 years, with a brief punctuation when Combs took home the award twice. All are repeat nominees from last year, except Top, who replaces Jelly Roll. Stapleton hasn’t put out a full new album since 2023, but he just feels unbeatable… and with that voice, who is going to say he isn’t deserving? Zach Top has come on so strong, it wouldn’t be surprising it voters to decide it’s time to anoint a new king. But it still feels like Stapleton has a lock on this category.
Will win: Chris Stapleton
Nicholson: While Stapleton is the perennial favorite in this category, he has plenty of competition this year from fellow stadium tour headliners Luke Combs and Morgan Wallen, while Cody Johnson has proven himself to be a steady hitmaker and concert headliner, and neo-traditional artist Zach Top’s star continues to surge. But Stapleton has had a stranglehold on this category for good reason, so look for him to continue his reign.
Will win: Chris Stapleton
VOCAL GROUP OF THE YEAR
Lady ALittle Big TownOld DominionRascal FlattsThe Red Clay Strays
Newman: This category repeats from last year other than Rascal Flatts, who takes Zac Brown Band’s spot, returning for the first time since 2020. Acts tend to start winning in this category and just keep winning: Old Dominion has won the past seven years, Little Big Town for the six consecutive years before that, Lady A for three years in a row before that and Rascal Flatts for six years before that. Old Dominion has a good chance to prevail again — and is more than deserving — but the Red Clay Strays are bringing an exciting energy and new audience into the genre. Time to pass the torch, even if for just one year.
Will win: The Red Clay Strays
Nicholson: Old Dominion, who released its latest project Barbara this year, is looking to pick up an eighth consecutive win in this category, and is up against other previous category winners Little Big Town, Lady A and Rascal Flatts. The Red Clay Strays pick up their second nomination in the category, thanks to impactful songs like “Drowning,” as well as treks both as openers on The Rolling Stones’ Hackney Diamonds Tour and as headliners at some pretty big venues. The Red Clay Strays are carving their own path and steadily gaining fans with their electrifying performances, while Old Dominion has also stayed consistent in touring and recording, while showcasing an ever-deeping songcraft.
Will win: Old Dominion
VOCAL DUO OF THE YEAR
Brooks & DunnBrothers OsborneDan + ShayMaddie & TaeThe War and Treaty
Newman: This category has been among the most static, with the same contenders for the third year in a row. Brooks & Dunn are the reigning champs, winning last year for the first time since 2006 and breaking Brothers Osbornes’ three-year streak. Maddie & Tae are looking for their first win with their 11th nomination. Dan + Shay are gearing up for a second act — but this is a contest between Brooks & Dunn, who continue to enjoy their revival more than 30 years into their career, and Brothers Osborne.
Will win: Brooks & Dunn
Nicholson: Last year, Brooks & Dunn made a major comeback in this category, after winning their 15th vocal duo of the accolade and first trophy in the category since 2006. In late 2024, they also issued their Reboot II project, teaming again with many of their country music colleagues to record versions of B&D classics. Brothers Osborne is a longtime favorite in this category with six total wins, while Dan + Shay previously won this category twice. Maddie & Tae have earned their 11th nomination in the category, while The War and Treaty have picked up three total nominations in the category. Look for Brooks & Dunn to reclaim their winner status in this category again this year.
Will win: Brooks & Dunn
NEW ARTIST OF THE YEAR
Ella LangleyShaboozeyZach TopTucker WetmoreStephen Wilson Jr.
Newman: One of this year’s most competitive categories features five acts, all of whom have had breakthrough years. The CMA Awards allow artists to be nominated up to two times in this category and Shaboozey and Top return after losing to Megan Moroney last year. Though he hasn’t had the radio success that the other four nominees have, Stephen Wilson Jr. continues to increase his critical acclaim and has a deeply passionate fan base within the voting body. Langley is the only previous CMA Awards winner, having snagged the musical event trophy last year for “You Look Like You Love Me” with Riley Green. It’s almost impossible to choose between Langley, Shaboozey and Top, all of whom are leaving their marks already on country music.
Will win: Zach Top
Nicholson: Each of the artists in this category had incredible years, including the first-timers in this category, Langley, Wetmore and Wilson Jr. Langley followed her Country Airplay chart-topper, the Riley Green collab “You Look Like You Love Me,” with the top five hit “Weren’t For The Wind,” embarked on a headlining tour, as well as opening some shows on Morgan Wallen’s stadium tour. Shaboozey headlined his Great American Roadshow Tour, and followed his Billboard Hot 100 chart-topping hit “A Bar Song (Tipsy)” with another Country Airplay chart-topper, “Good News.”
Meanwhile, Top followed his breakthrough album with his sophomore set Ain’t In It For My Health, and continued headlining his own shows, in addition to opening for Dierks Bentley’s Broken Branches Tour and earned a top 10 Country Airplay hit with “I Never Lie.” Wetmore issued his debut album What Not To, which included his Country Airplay top 5 hit “Wind Up Missin’ You.” Wilson Jr. continued building his fanbase and issued the critically acclaimed album søn of dad, while releasing collabs with Shaboozey and Noah Cyrus. Still, as one of the evening’s overall top nominees, look for Langley to pull off the win here.
Will win: Ella Langley
MUSICAL EVENT OF THE YEAR Award goes to Artists and Producer(s)
“Don’t Mind If I Do” – Riley Green (featuring Ella Langley) (Producers: Scott Borchetta, Jimmy Harnen, Dann Huff)“Hard Fought Hallelujah” – Brandon Lake with Jelly Roll (Producer: Micah Nichols)“I’m Gonna Love You” – Cody Johnson (with Carrie Underwood) (Producer: Trent Willmon)“Pour Me A Drink” – Post Malone (feat. Blake Shelton) (Producers: Louis Bell, Charlie Handsome)“You Had To Be There” – Megan Moroney (feat. Kenny Chesney) (Producer: Kristian Bush)
Newman: Green and Langley won this award last year for “You Look Like You Love Me,” and they face stiff competition again for their follow up, “Don’t Mind If I Do.” All five songs are strong, and feature partnerships that feel like great, natural fits, as opposed to sounding Frankensteined together for commercial effect. For example, Moroney and Chesney’s ode to her rise sounds organic given her time opening for him, while Jelly Roll and Brandon Lake take Lake’s song to a new level, given Jelly Roll’s public struggles. Not a clear leader here, but a slight edge goes to Jelly Roll and Lake — especially given how, oddly, this is the only award that Jelly Roll is up for this year.
Will win: “”Hard Fought Hallelujah”
Nicholson: Riley Green and Ella Langley took this category last year with their hit collab “You Look Like You Love Me,” and their latest collab again showcases their musical chemistry. They also have tough competition, as the Jelly Roll/Brandon Lake collaboration “Hard Fought Hallelujah” found success on both the Hot Country Songs and Hot Christian Songs charts, while “I’m Gonna Love You,” “Pour Me a Drink” and “You Had to Be There” also each found country chart success. Still, the multi-genre juggernaut duet between the charismatic Jelly Roll and top CCM artist Brandon Lake is likely to take the lead here.
Will win: “Hard Fought Hallelujah”
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Trending on Billboard
You better hang on tight, spider monkey. Crocs dropped a collection of footwear and Jibbitz, all inspired by the moody world of Twilight.
It’s safe to say we’re kind of obsessed. Here’s why you should be too: The collection is super nostalgic and extremely playful with the addition of a classic clog for $74.99 and a sky-high platform clog for $89.99, along with a slew of Jibbitz wearers can pop on to further customize their footwear. Each piece can be shopped right now on Crocs’ website while supplies last.
The line was likely launched in response to the entirety of the Twilight Saga playing in theaters from Oct. 29 to Nov. 2. This move sought to invigorate fans, bringing them back to when the films first hit theaters all the way back in 2008. It’s plain to see that the franchise is going stronger than ever in 2025. Our take? If you’re a die-hard Twihard, this collection is a must-have, with references to the film galore.
Explore
See latest videos, charts and news
The ‘Twilight Saga’ Classic Clog
A classic clog with motifs of Forks, Wash.
The ‘Twilight Saga’ Classic Platform Clog
Gray platform clogs.
Arguably, the stars of the show are the clogs, a Crocs staple. The Classic Clog silhouette features a pastel blue-gray color with a printed motif of Forks, Wash., the setting of the first film and corresponding book. Are you Team Jacob or Team Edward? Whichever one you are, both boys’ faces are printed on the outer edge of each heel cup, answering the age-old question with another: Why not both?
Other details that set this style apart from the classic clog are the eight exclusive metal Jibbitz charms affixed to the toe, all inspired by The Twilight Saga. Real fans will recognize all the motifs from a baseball bat to a motorcycle and portraits of both Edward and Jacob. The Twilight Saga logo is affixed to the rivets keeping the backstrap in place, while the collaborative Crocs x Twilight Saga logo can be seen printed on the cushy footbed.
Like its flat counterpart, the Classic Platform Clog is imbued with tons of Twilight-esque motifs. The entirety of the shoe is black and gray, treated with glitter to make every step shine, paying homage to Edward’s “killer” skin. Beyond the glittering finish lies a printed forest scene. Just like the flat clog, this platform style comes with exclusive metal Jibbitz, just five this time. You’ve got the Cullen family crest, a heart locket, a framed photo of Bella and Edward and even a nod to Forks, Wash. Like the last model, the Twilight Saga logo is affixed to the rivets, while a collaborative Crocs x Twilight Saga logo can be seen printed on the cushy footbed.
Platform or otherwise, both footwear styles are extremely comfortable thanks to the brand’s patented Croslite™ material, a proprietary foam that provides shock absorption and cushioning so your feet are cradled with every step. Crocs’ clogs are also lightweight, breathable (meaning no sweaty feet) and water-friendly.
Twilight Saga Five Piece Jibbitz Set
A set of five Jibbitz.
The ‘Twilight Saga’ Team Edward
A heart-shaped Jibbitz reading “Team Edward.”
The Jibbitz are really where the fun is at. You can either get a pack of five for $19.99 or an individual heart-shaped one for $4.99. The pack of five consists of framed pictures of Edward and Jacob alongside a sweet photo of Edward and Bella from the first film. There’s also a sparkly pink heart-shaped Jibbitz with Jacob in the center, complete with long hair. Finally, the set features a campy little Jibbitz reading “I heart boys who sparkle.”
The individual heart-shaped Jibbitz lets you rep your team loud and proud with references to characters such as Edward, Jacob, Charlie (Bella’s Dad) and Carlisle (Edward’s Dad). These Jibbitz allow fans and followers of the series to customize their footwear to their heart’s content, making it uniquely their own.
Twilight: Deluxe Collector’s Edition – by Stephenie Meyer (Hardcover)
A delux edition of Twilight.
In the event that the collection is sold out, which is pretty likely, we’ve also included the Twilight Saga deluxe edition for $25.58 that you can shop at Target now. This edition is hardcover and features new chapter opener art and beautifully illustrated four-color endpapers. Even the cover is beautifully decorated in an apple blossom motif.
More Twilight Goodies That We Love
The Twilight Saga Deluxe Collection – by Stephenie Meyer (Hardcover)
Twilight book set.
Twilight Saga 5 Movie Collection 15th Anniversary (Blu-ray + DVD)
A blueray boxset of Twilight.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Trending on Billboard
Just this February, Apple launched its iPhone 16e, the latest and greatest in a series of products developed with all new bells and whistles to streamline calls, texts and so much more. It also has the best battery life ever on a 6.1-inch iPhone.
Explore
See latest videos, charts and news
Starting at $599 for the 125GB model, or $699 for 256GB, the iPhone 16e delivers Apple’s signature performance in a compact design. But if you’ve ever tried upgrading to a new iPhone, you know the real challenge isn’t picking the phone — it’s navigating the swirl of prices, storage options and wireless providers. If there’s one thing ShopBillboard has an eye for, it’s finding the best deals to save our readers money and boy, have we hit the jackpot.Lucky for you, Metro by T-Mobile just launched its “iPhone 16e on Us” promotion, a no-fuss, no-tricks, no gimmicks promotion that works just as advertised. Plain and simple. If you switch to one of Metro’s prepaid plans, you’ll get an iPhone 16e on them. To qualify for this deal, you’ll need to bring your number to Metro, pay $99.99 for your new phone and activate the $50 Unlimited Plan with AutoPay (the first month is $55). After your third monthly payment, Metro will send you a $100 Virtual Prepaid Mastercard — essentially giving you your money back. It’s a win-win. Note that this offer isn’t available to customers who’ve been on a Metro or T-Mobile plan within the past 180 days.
With this new iPhone via Metro by T-Mobile, you’ll also be getting a reliable and straightforward wireless plan, no tricks, no activation fees or hard-to-understand contracts attached. Customers also have the option to choose a $40 period plan, a cost-effective option for those looking for the best plan in their price range. For $40 a month, you’ll have no activation fee, plus your price is guaranteed for five years. This gives customers unlimited 5G data, unlimited talk and text and, most importantly, a free 5G phone. Both plans are budget-friendly options with all the bells and whistles a person might need to get their phone’s essential services working for you and all your needs. For students or wireless beginners looking into a streamlined plan for their new or old phone, the $25 BYOD Plan is our pick. Customers can get unlimited 5G data for just $25 a month. Plus, there are no pesky activation fees. Taxes and fees are included. You will be able to keep the phone you love, get a new number or keep your own. With Autopay, your first month is $30. Metro makes it easy.
Trending on Billboard The follow-up to Wicked is coming to theaters in just a few days, so Ariana Grande and Cynthia Erivo had to give their viral Tonight Show jingle from last year a sequel, too. In a video posted by the late-night program on Sunday (Nov. 16), the two leading ladies perform a second […]
Trending on Billboard
The 2020s have been a turbulent time for agents and the musicians they represent. The decade started off with an unprecedented global pandemic that forced the shutdown of live shows indefinitely, and as lockdown orders lifted, early concerts often dealt with no-shows, rising costs and an over-supply of acts going back on the road at once.
Now, in 2025, the live music market is stabilizing, but it’s never looked quite like this. Artists are bringing more production value to shows than ever, festival ticket sales are softening and talents like Harry Styles and Beyoncé are offering fewer tour stops — but more nights in each location.
Related
Creative Artists Agency’s (CAA) top agents are in the midst of it all, often singlehandedly sparking trends with the decisions they make with their superstar clients when they are ready to hit the road. To talk through the evolution of live entertainment post-pandemic, CAA managing director Rob Light (Bruce Springsteen, Beyoncé, Ariana Grande, Fleetwood Mac) and co-head of global touring Rick Roskin (Slipknot, Eric Clapton, Santana, Kelly Clarkson) joined Billboard‘s new music industry podcast, On the Record w/ Kristin Robinson, this week.
Below is an excerpt of that conversation.
Watch or listen to the full episode of On the Record on YouTube, Spotify or Apple Podcasts here, or watch it below.
How did you make sure to help your artists’ tours stand out after pandemic lockdowns lifted and everyone rushed back onto the road?
Roskin: You have to make a statement because there’s a ton of volume. I mean, you can look at what plays in every city on a weekly basis, and there are a ton of shows. So somehow you have to figure out a way to cut through the clutter and break through and get noticed.
Light: A great example of that was three summers ago was with Harry Styles and his management team. Harry could have easily sold out two or three or four nights at MetLife Stadium. But everybody was playing Met Life Stadium. It wasn’t a big event, everybody was doing it. They came up with the idea of ‘let’s do 15 nights at Madison Square Garden.’ And he owned New York. Didn’t matter who was playing stadiums those nights. Everybody was talking about that move. It was a huge statement and intentional. I really do believe, you know, trying to find those moments are really part of our job. You can’t create them every day. You can’t create them on every tour, but any moves you’re making should hopefully lead to something.
Related
We’re also seeing artists like Beyoncé doing fewer cities, but more dates within those cities. I’m wondering why you think that’s occurring now?
Light: The cost of touring has gone up exponentially and the size of these productions becomes more and more intricate so that if you can sit in one place you can actually make them a little bigger and better — and the audience is willing to come to you. Beyoncé goes to New York for a week, for example, and Boston, Washington and Philly, they’re all gonna come to her if that’s the only place to see it. Also, if you have kids, sitting in one place actually makes touring more palatable.
I don’t think that the idea of day-to-day playing a city, getting on a bus and going to the next will ever go away, but if you have control of your career at that moment, it’s certainly easier to tour this way.
Roskin: To get a little technical, you know, a huge tour eight years ago or ten years ago, was about 13 semi-trucks [of production equipment]. I mean, that would be like, ‘Oh my God. That is a massive tour.’ You know, tours now are carrying 30, 40, 50 trucks of production. To move that is incredibly expensive. Everything has been amped up. In this boom post-Covid, artists are taking it to a level that no one’s ever seen before…Actually — The Weeknd’s stadium tour had about 60 trucks.
Let’s talk about Coachella 2026. Coachella decided to put its tickets for 2026 on sale very early this year. I have to say, I read that at the time as them maybe being nervous about not selling out. I know that that’s been an increasing issue for them over the last few years, but Coachella 2026 sold out pretty immediately. Why do you guys think it sold so quickly?
Light: Nothing replaces star power, and it’s a great lineup. Let’s be fair, but I think part of the reason they decided to go earlier is that they realize the public is getting more and more trained to buying earlier and so waiting till January feels late now… It was a great way for Coachella to make a statement about the festival season. They want to buy in advance, they want to make those plans, they want to be able to travel. I think was very smart on Paul [Tolette] and his team’s part to go earlier, and when you have that lineup — with Sabrina [Carpenter] and Justin [Bieber] — you’re going to do great. Why not go early?
Related
In general, it seems like festivals aren’t quite as hot as they used to. Ticket sales across the board are softening. Why do you think that is happening now?
Light: There’s a lot of factors. There’s no one answer that fills the floor. Part of it is, you’ve got so many shows and ticket prices have gone up. There’s decisions being made now, like ‘how much money do I have?’ I have to pick and choose where I am going to go. Part of it is who the headliners are, and then another part of it was just a proliferation of festivals. They were everywhere and you couldn’t go to every one. So when you feel softness at the edges, it’s really a function of ‘I can’t beat everyone. I have to pick and choose.’
Lately, festival attendees are arriving later to the festival, which means those baby artists who are at the bottom of the poster and the top of the day are going to have even less crowds than before. I’m wondering, do you still think that, for emerging artists at CAA, that being on those festival lineups is still as worthwhile as it once was?
Light: I’ve said this for years about those slots, and this is where agents really play a role in the artist development of a career. Part of getting on a festival is being on the poster. You want to be part of that and playing at 12 or one or two o’clock may not be great, but a great agent is going to stop and say, How do I get back to that market within four or five months of having done that gig? Because two or 3,000 kids who might have seen me and have told their friends now want to be able to see them on their own, and so to just show up anywhere and play one day at two o’clock and disappear for a year? Is bad management, bad agenting. If you’re going to get one of those slots, how am I going to take advantage of that moment and make other things happen off the back of it?
Related
Along with the cost of touring rising, we’re also seeing ticket prices rise as well. I remember that Bruce Springsteen tried dynamic ticketing a few years ago, and that led to some of the tickets ending up being thousands of dollars. I’m wondering now, a few years later, like we’re reflecting back on that, how you feel about dynamic ticketing as a model for big tours?
Light: Bruce got a really bad rap because at that same time that one guy bought a ticket at a high price, Elton John and the Rolling Stones were charging tickets for twice the price. But because he was a working man, somebody took a shot at him. There’s always going to be supply and demand. It just is. And what we try to create, and all the ticket companies try to create, is the closest way to be fair, where the money is going to the artist, right? If we’re going to do dynamic pricing, and you’re buying a ticket at a higher price, but the artist is getting paid. He or she deserves that. They built that career. What we hate is when you know, scalpers and bots and stub hubs and all these middle people now are making money with no skin in the game. They did nothing other than got a ticket, and now they’re reselling it. The artist doesn’t see any of that money…But I’m a fan of dynamic pricing, simply because it allows everybody to be equal in the process so if I can afford it, and it’s a show I want to see, I get to pay for it. I want to see the artist get paid. I don’t want to see some outlier get paid.
The federal government is attacking Ticketmaster on multiple fronts right now. This includes the FTC suing the company, and it has to deal with resale. Do you think that Ticketmaster should play a part in the resale of tickets, and if it does, does there need to be a cap on the secondary market?
Roskin: On platinum ticketing, most artists have a cap on what they allow the tickets to sell for, usually the cap ranges from two to three times value. So even if the secondary tipping market exceeds that, it doesn’t feel like it’s so harsh. But as far as the secondary ticketing market goes, it isn’t going anywhere.
This was one of Rob’s stories, but I’ll tell it. Years and years ago, AC/DC was doing a tour, and they go out on the road, and they’re like, ‘we’re gonna sell all tickets paperless. You’re gonna have to walk in with your credit card, scan your credit card at the door. They’re gonna see your name. You go into the venue,’ and through this they thought they were going beat scalpers, and they’re going to finally win. What ends up happening is that the scalpers sent gift cards to their own people who bought tickets, and they walk up with the gift cards, scan the tickets, and they beat AC/DC’s brilliant idea to get rid of scalpers. They are always gonna find a way to get ahead. Be it bots, be it AI, whatever — it is our responsibility as agents is to figure out ways that as much money stays with the artist.
