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The Trump administration’s tariff policy aims to return manufacturing to the United States is already having ripple effects throughout for the U.S. music industry and could have further consequences in the future.
Trump announced on Wednesday (April 2) a minimum 10% tariff on all trade partners, a 25% tariff on all foreign-made automobiles and additional tariffs on countries with which the U.S. has a trade deficit. No country is safe — not even Australia’s uninhabited territories near Antarctica, which got slapped with a 10% tariff despite having more penguins than people.
The tariffs are meant to protect America’s manufacturing industry and encourage businesses and consumers to purchase U.S.-made goods. But because many goods produced in the U.S. consist of raw goods and finished components imported from elsewhere, even products made at home are subject to higher costs that may be passed on to consumers. Musical instruments are likely to suffer from the tariffs, and they’re not alone.
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“Domestic vinyl pressing costs are likely to rise,” says an executive in the vinyl manufacturing business. Much of the PVC used to manufacture records comes from overseas and will be subject to tariffs, this person says. Canada supplies much of the board stock and paper for record packaging. Lacquers used to create temporary masters for vinyl pressing come from Japan.
The cost of physical music product from Europe will also become more expensive, says David Macias, co-founder of Thirty Tigers. Macias is trying to help Thirty Tigers’ labels source manufacturing in the U.S. to avoid the additional costs, but he notes that because domestic manufacturing costs will likely increase, independent record stores may still face “a chilling effect” from higher wholesale prices and financially stressed consumers. “We’re heading straight into $35 single vinyl albums,” says Macias. “In an economy where everything else costs more, vinyl will become a luxury item.”
The music business could be spared some of the pain. As the American Association of Independent Music (A2IM) noted in a message emailed to its members, the Berman Amendment to the International Emergency Economic Powers Act — which President Trump invoked to launch the tariffs — prevents the president from regulating or banning the import of “informational materials” such as phonographs and CDs. And the Free Trade in Ideas Act of 1994 expanded the Berman Amendment to include newer forms of communication. The vinyl manufacturing executive expressed uncertainty about the exemptions, however, and expects vinyl imports will be subject to tariffs “at least in the short run.”
Responses from foreign countries could heighten tensions and ensnare music companies in unexpected ways. China responded by slapping a 34% tariff on U.S. imports, and the U.K. is reportedly compiling a list of U.S. products it could hit with tariffs. A2IM told its members that countries could also respond by withholding royalty payments.
Some U.S. contingents have praised the tariffs: steel manufacturers, electrical contractors and the cattle industry, among others. “This is exactly the type of bold action America needs to restore its industrial leadership,” Zach Motti, chairman of the Coalition for Prosperous America (CPA), said in a statement. The CPA represents U.S. farmers, labor unions, manufacturers and ranchers, and it advocates for trade protections, according to non-partisan watchdog InfluenceWatch.
But the tariffs, and the Trump administration’s bellicose and often threatening statements, aren’t being well received by other countries. Not only are U.S. trading partners responding with tariffs of their own, but some foreigners are also avoiding the U.S. altogether. That presents a huge potential loss of visits to experience everything from music festivals in Southern California to the rich musical history of the Mississippi Delta.
Nashville, a city heavily dependent on tourism, is already seeing fewer visitors from the north. “Canada is our top international market, and unfortunately, we are already seeing a decrease in Canadian visitors,” Deana Ivey, president/CEO, of the Nashville Convention & Visitors Corp, said in a statement to Billboard. “We know how much they enjoy coming here for the music, and we’re hopeful they will still make the trip to CMA Fest” in June. International visitors accounted for approximately 3% of the 17 million visitors to Nashville in 2024, with about half coming from Canada, according to the Nashville Convention & Visitors Corp.
A decline in Canadian tourism would hurt more than Nashville. The U.S. Travel Association estimated the tariffs could result in a 10% decline in U.S. tourism from Canada, the No. 1 source of tourism to the U.S. with 20.4 million visitors and $20.5 billion in spending in 2024. Las Vegas would be hard-hit: Canada was the top source of foreign visitors to the city in 2024, bringing in more than 1.4 million people, according to the Las Vegas Convention and Visitors Authority.
There are already signs that Canadians are avoiding their neighbor to the south. In March, Canadian airline Flair Airlines announced it canceled flights from Canada to Nashville — a loss of 18,000 seats, according to the commissioner of Tennessee’s Department of Tourist Development. Also last month, the president/CEO of Visit Buffalo Niagara told CP24.com that cross-border visits were down 14% in February from the prior-year period. “This is a big concern for us,” he said.
The testy relationship between the governments of the U.S. and Canada prompted the Canadian Independent Music Association (CIMA) to pull out of SXSW. Back in February, CIMA president/CEO Andrew Cash became concerned that spending Canadian tax dollars on a trade mission to the U.S. might not be a good choice given the tone of political discourse. CIMA’s presence at SXSW, Canada House, is a public-facing, Canadian-branded event that hosts “vulnerable artists” and their teams, he explains. “It was hard to know what effect that was having on the attitude towards Canada,” he explains. “That was part of it. CIMA also is the custodian of a certain amount of taxpayer dollars. And I also thought about the optics of that.”
Cash isn’t alone in his unwillingness to spend money in the U.S. Rob Oakie, executive director of Music PEI, a non-profit that aids music development for Prince Edward Island, says the recent political rhetoric, combined with the increased cost of time required for Canadians to obtain a visa to tour the U.S., will result in fewer trips to a market that has always been a focus for Canadian artists.
Oakie says his music development colleagues at the other three Atlantic providences — Nova Scotia, New Brunswick and Newfoundland — have collectively decided “not to invest any money in the U.S. in the immediate future.” That affects upcoming travel to the Folk Alliance International Conference to be held in January in New Orleans and the IBMA Bluegrass Music Awards to be held in September in Chattanooga, Tenn.
“On the artist side,” Oakie adds, “I have heard quite a number of artists saying they have no intention of touring the U.S.” He points to an incident in March with Canadian folk duo Cassie and Maggie that received national attention after the musicians were pulled over by sheriff deputies in Ohio. According to reports, each sister was asked if they preferred Canada or the U.S. while the officers echoed a Trump talking point about the amount of fentanyl that comes into the U.S. from Canada.
While President Trump’s tariffs are meant to fix a deficit in the goods trade, they could end up affecting the country’s services trade surplus. The European Union’s anti-coercion instrument (ACI), introduced in 2023, allows the EU to impose penalties on countries that use trade policy to attempt to get a country to change policy. Created mainly as a deterrent, the ACI provides tools for the EU to deal with coercion, including tariffs on goods but, importantly, also trade restrictions on services, intellectual property and foreign direct investment.
That could leave American tech companies, many of which provide music services globally, vulnerable. A French government spokesperson told Reuters that digital services are likely to be a focus, and a senior European Union official told Politico a response could target intellectual property rights. In other words, Trump’s tariffs could affect not just physical goods but the digital engine that drives the modern music business.
One of the fan-favorite moments of Role Model’s current tour is during his latest hit, “Sally, When the Wine Runs Out,” where he brings out a fan onstage to dance along to the bridge with him. Explore Explore See latest videos, charts and news See latest videos, charts and news However, he’s also welcomed fellow […]
Miley Cyrus makes her return with two new tracks, “End of the World” & “Something Beautiful,” giving fans stunning visuals and a taste of what to expect from her new album, also titled ‘Something Beautiful.’ What do you think of Miley’s new music videos and tracks? Let us know in the comments below! Tetris Kelly: […]
Playboi Carti might not be done releasing music in 2025 just yet. According to DJ Swamp Izzo, Carti’s upcoming Baby Boi album is “ready” and “done.”
Swamp Izzo sat down with Complex on Friday (April 4), where he talked about his work on Carti’s Music album as well as what’s to come with Baby Boi.
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The Atlanta mixtape DJ confirmed that the project is done, as Carti has over “50, 60” songs finished in the stash.
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“New music. He got over 50, 60 songs done,” he said. “Completed to his liking? I couldn’t say. But they’re done. If I was still in that mixtape era, we’d have Baby Boi one through nine. Fifteen years ago, we were so heartfelt on them exclusives. We couldn’t even sleep until we put it out before everybody.”
Swamp Izzo continued to build on his decorated ATL legacy with Music‘s arrival following his acclaimed mixtape work with the likes of Future, Young Thug, the late Young Scooter and more.
“I judge every artist by how much they study hip-hop,” he added. “[Young] Thug studied it more, so he can input more ideas. Same with Carti… Carti listens to Wu-Tang. He’s attuned. He’s paying attention. You can’t tell?”
Music arrived in March to much fanfare as the long-awaited LP debuted atop the Billboard 200 with 298,000 units earned in the first week. Swamp Izzo claims he was working with Carti right up until the buzzer when the project hit streaming services around 7 a.m. ET on March 14.
“We recorded all the way up to the album actually came out,” said Izzo. “So when they dropped at 7 a.m., we were still in the studio, on everything I love.”
Carti added another four previously released tracks as part of the Sorry 4 Da Wait deluxe, as all 30 original songs hit the Billboard Hot 100.
Music has continued to remain atop the charts and is battling Ariana Grande’s Eternal Sunshine Deluxe for another week at the apex.
Carti will take his show on the road when he joins The Weeknd’s After Hours Til Dawn Tour in May.
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Apple / Getty Images / Donald Trump
Because of Donald Trump’s sweeping tariffs, your favorite consumer electronics will likely cost you a pretty penny.
In case you have been under a rock, Donald Trump has put on a masterclass in tanking the global economy and sending the US stock market into a free fall, shaving off trillions of dollars after announcing “reciprocal” tariffs on every country, mainly our allies causing a trade war.
It shouldn’t come as a surprise that consumer electronics like smartwatches, smartphones, and laptops will cost more because of Donald Trump’s new round of tariffs if things don’t change. Still, if there is any silver lining in this situation, the price hikes will take some time to be implemented.
For those who don’t know, many gadgets and gizmos are not solely assembled in the US. Companies rely on other components from around the globe, and the final product is fully assembled overseas before arriving stateside.
Case in point: Nintendo recently delayed US preorders for the Nintendo Switch 2 because of the 46% tariff Trump levied on Vietnam, where the console is made, and the 24% tariff on Japan, where the physical game cartridges are made.
The same tariff on Vietnam will also affect Apple, which has shifted some of its manufacturing. Therefore, if the tariffs stay in place, you can expect the price of your favorite Apple devices to increase.
We wonder if Tim Cook feels stupid after donating to Trump’s inauguration.
Per The Verge:
Barring any new exemptions or changes, you can expect every single device category to be negatively impacted, says Ryan Reith, group vice president of worldwide device trackers at IDC. But devices will be impacted differently. Smartphones, says Reith, have more wiggle room than TVs or PCs as they have a “well-established monthly hardware payment dependence.”
Other devices, like over-the-counter hearing aids, have even thinner margins and are therefore, much more vulnerable.
China has already hit back, slapping the United States with a 34% retaliatory tariff on all imported goods imported from the US. We expect other countries to do the same.
Donald Trump continues to be a hot a** mess and has no idea what he is doing. Unfortunately, regular Americans will have to pay for his nonsense, figuratively and literally.
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In the vast world of edible cannabis, few companies are making them with the level of dedication to quality quite like Betty’s Eddies. As one of our favorite brands to feature on these pages, we’re happy to introduce our readers to Betty’s Eddies’ new Betty’s Caramelt Away cannabis confection just in time for National Caramel Day (April 5).
If you’ve been reading any of my cannabis roundups on this page, you should know how I feel about MariMed’s Betty’s Eddies. Without any kind of insider prompting or elbow jabs from the brand, they truly are among the best edibles I’ve ever had in my time with edible cannabis. What I also love about the brand is that, beyond their precise dosages, fantastic flavor, and functional expressions for all kinds of moods, you can tell the care that goes into the product, so it is no wonder that the brand is a favorite of consumers.For National Caramel Day, which I am just learning is a thing, Betty’s Eddies is rolling out its new Betty’s Caramelt Away expression. Before BE became the giant it is now, the founders of the brand started with creating caramel chews and perfecting that particular sweet, later taking that approach to its lineup today.
Coupled with full-spectrum hash and the cannabinoid CBG, which is reported to have anti-inflammatory, antioxidant, and other positive health effects, Caramelt Aways is poised to be another big hit with fans of Betty’s Eddies.
“At Betty’s Eddies, we take pride in our legacy as a top-selling brand while continuously evolving to meet the ever-changing tastes of our consumers. We’re always researching and creating new trends in the edible category to ensure our products not only resonate with our loyal customers but also introduce new consumers to our delicious and trusted edibles,” said Sara Rosenfield, brand director for MariMeds on behalf of Betty’s Eddies.She continued, “Staying at the forefront of innovation means never stopping the learning process – because delivering high-quality, efficacious, flavorful products under a brand people love and trust is what we do best.”
Just don’t take Ms. Rosenfield’s or my word for it. If your local dispensary carries Betty’s Eddies, any of the options within their lineup are worth it, but if you’re like me and really into a good caramel chew, we think the smart choice would be to go for Betty’s Caramelt Away.
Learn more here.
Also, we will be publishing our annual 420 roundup soon. Look for this brand and other great selections then!
—Photo: MariMed/Betty’s Eddies
On Kelsea Ballerini‘s most recent album, Patterns, she explored and considered various behavior patterns in her life, with the music on the project detailing her journey in adjusting or breaking those patterns when needed.
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In an interview with People, Ballerini spoke up about another pattern in her life that needed breaking- -namely, her relationship with social media. In a recent concert, she was open in telling fans that she would still regularly read comments that were posted about her online, but she’s had to make changes in how she approaches certain online platforms.
“I got rid of Twitter a long time ago. That was helpful. Twitter kicked my ass,” Ballerini told the outlet. “I discovered Reddit. I went through a very toxic phase with that, but it was when my life was a bit chaotic. Then I was like, ‘We need to have some boundaries.’ So that’s no longer.”
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These days, she says she primarily gravitates toward Instagram and TikTok. “Even that feels like too much, but I’m not sure how to not because I’m a people pleaser, and I like the feedback,” she noted. “I think my intention is because I like feedback and I like to edit set lists, or we’re tweaking things on the tour because I’m seeing stuff on TikTok. But yeah, I’m a girl. I’m sensitive. I’m an artist. If I see a mean comment, it affects me.”
Ballerini has been transparent about the benefits of therapy, and has said working with a therapist helped her work toward overcoming her tendency to be a people-pleaser. “My therapist told me a while ago, ‘Kelsea, you need to care more about less,’” Ballerini said, adding that she’s less emotionally impacted by mean-spirited online comments than she used to be. “Although I still care about that feedback, I don’t give it the gravity that I used to.”
She says doing the hard work to sustain emotional and mental health also involves accepting both the positive and not-so-positive aspects of oneself.
“I’m very aware of my flaws. I have a relationship with them, and I do the work to keep growing up and growing out of certain things,” she said. “But in the same breath, I fully accept and celebrate myself right now. I don’t think I’ve ever been truly able to before because I had to go through life. You have to learn yourself before you love yourself — and I had learning to do.”
That personal growth has also led to career growth, with Patterns becoming her first No. 1 on Billboard’s Top Country Albums chart last year, while her Kelsea Ballerini Live on Tour 2025 tour has been selling out arenas across the country. She also just notched her first ACM entertainer of the year nomination ahead of the upcoming Academy of Country Music Awards on May 8.
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Rapper and R&B artist AmberYourRose recently pulled up to Hip-Hop Wired for an exclusive interview, opening up about her grind in the music game.
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Representing Atlanta, Amber’s been making moves since she was just 9 years old, with a deep love for music that’s been in her blood. She credits her older sister for being a huge influence on her, especially since her sis was affiliated with the legendary Dungeon Family crew. With icons like Rico Wade, CeeLo Green, and Future in the mix, it’s no wonder Amber’s sound is rooted in that rich Atlanta history.
AmberYourRose also talked about her time at Georgia State University, where she sharpened her musical skills and built her name in the city’s rap and R&B scene. During the interview, she shared a wild story about checking an artist who tried to jack her song. It was a moment that showed she’s not playing when it comes to protecting her work.
Catch the full convo below to hear AmberYourRose’s journey, struggles, and the hustle that’s got her rising in the game. From her Atlanta roots to the grind she’s put in, Amber’s ready to show the world she’s here to stay.
ONE OR EIGHT is an eight-piece boy band made up of members MIZUKI, NEO, REIA, RYOTA, SOUMA, TAKERU, TSUBASA, and YUGA. Their profile is rising thanks to their debut single “Don’t Tell Nobody,” which they released in August 2024, and the buzz generated by their collaboration with American rapper Big Sean on their song “KAWASAKI (with Big Sean).” On March 19, they released a new song, “DSTM.” It uses an authorized sample of Rihanna’s “Don’t Stop The Music” and was created by Stargate, the original producer of “Don’t Stop The Music,” together with fresh young American songwriters. Billboard Japan talked with the group about the approach they used in creating the song.
Your name, ONE OR EIGHT, comes from the Japanese expression “Ichi Ka Bachi Ka,” right?
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TSUBASA: That’s right. The Japanese idiom “Ichi Ka Bachi Ka,” which literally translates as “one or eight,” means “all or nothing” in English. It represents our desire to use an all or nothing approach to take on the world from here in Japan. Also, we’re all Japanese, and Japan’s telephone country code is “81,” so we wanted to reflect that in our name, too.
What kind of spirit runs through your own activities within the group?
NEO: Our tagline is “BET ON YOURSELF.” We want to encourage people by showing everyone how we’re betting on ourselves, constantly taking on new challenges with the support of the other members, staff members, and our fans. We’re performing at a level now that I’d never even imagined, but sometimes you can find yourself swallowed up by the whole experience. We’re working hard, pushing forward and doing our best to make sure things keep going in the right direction.
What would you say your strengths are as a group?
REIA: Our members. I feel like, with the members we have, we can take on any challenge. Before our debut, we travelled to different countries performing at what we called “STAGE ZERO” events. During these events, we had to deal with all kinds of different problems, but we were able to overcome all of them by supporting each other.
You’re active both in Japan and overseas. What kind of influence do you think this approach has had on ONE OR EIGHT?
SOUMA: Performing overseas has expanded both our expressive range and our adaptability. For example, fans in Thailand create an incredibly welcoming atmosphere, which has helped us develop the ability to stay composed while delivering a more high-energy performance that matches their enthusiasm. In contrast, audiences in Vietnam and Japan tend to embrace us as we are, so our focus there is more on refining our performance itself. That approach has helped us grow a strong base of receptive fans.
REIA: Audience energy and the way people engage with our shows can vary greatly from place to place. In Thailand, many fans seem to be fully immersed in the moment, which brings an exciting dynamic to our performances. Just next door in Vietnam, the atmosphere is more about support and appreciation, similar to Japan.
NEO: For me, live performances are like a conversation between performers and the audience. Audiences that get hyped up, like Thai audiences, are like talkative people. In our conversations with them, it’s like we’re engaging with talkative people, and that produces an exciting, fun conversation. Supportive audiences, on the other hand, are like good listeners who pay close attention to all we have to say. That’s why we fully focus on our lyrics, delivering them straight to the audience’s hearts so they viscerally feel our slogan of “BET ON YOURSELF.” It’s not a question of which type of audience is better. Instead, it’s about using different conversational approaches depending on the audience.
I see. You released your new song, “DSTM,” on March 19. What were your initial impressions of the song?
RYOTA: The song has a different tone than the songs we’ve done in the past. I felt like it had the potential to show some aspects of our appeal and some new performance approaches that we’d never shown before.
TAKERU: “DSTM” samples Rihanna’s “Don’t Stop The Music.” The song’s theme is about how we won’t stop as long as the music keeps flowing, and also about how we’ll have fun as we do it. I hope when people are feeling down, seeing us and our performances will put smiles on their faces, and that when they hear “DSTM,” it will lighten their mood and help them forget their worries.
TAKERU mentioned that “DSTM” samples “Don’t Stop The Music.” “Don’t Stop The Music,” in turn, sampled Michael Jackson’s “Wanna Be Startin’ Somethin’,” so the music has been passed along from Michael to Rihanna to you. Did you feel like you were under any pressure because of that?
TSUBASA: “DSTM” is tied to these huge names, so its release put a tremendous amount of pressure on us. But, at the same time, because of its new tone, with “DSTM” it feels like we’re breaking new ground and opening the way to a new era. We’re here because of the music we’ve listened to, and as the song title says, we don’t want the music to stop, but to keep going on forever. That’s the spirit with which we’re sharing “DSTM” with the world.
Now you’ve become a part of this process of the song’s transformation. What do you see as the significance of this, and what do you feel is expected of you?
TSUBASA: Through our music, we want to take an all or nothing approach to challenges. If the music stops, then we’ve lost everything. In that sense, we have to keep on carrying the torch of the music. That’s how I see it.
So, for you, these are the ideals represented by the song. What kind of back-and-forth did you have with other members and staff when working on the song?
REIA: To make the song a good fit for us, we needed to preserve the essence of the original song while also giving it the energy of a ONE OR EIGHT song. That’s why Stargate, who produced the original song, and the other writers put our own story into the lyrics.
MIZUKI: We also talked amongst ourselves in the group about what approach to take. The song has been performed by true giants, so we feel really grateful that virtual unknowns like us were given the opportunity to perform it. And just like “Don’t Stop The Music” propelled Rihanna to fame, we also worked hard on the song in the hope “DSTM” could bring greater worldwide recognition to ONE OR EIGHT.
REIA: We also really put our heart into our singing. For example, I sing a part right before the “please don’t stop the music” line, and I made sure that my own part had just as much power as the chorus. My own vocal qualities don’t pack much punch, so I accentuated my performance through physical movement.
TSUBASA: I did some ad-libbing on the last chorus in a part that wasn’t in the original demo. During the recording, I’d felt frustrated because I just couldn’t express what I was going for, so I talked to the producer, and together we created the ad-lib part. That part isn’t in Rihanna’s “Don’t Stop The Music,” though, so there was also a lot of pressure, because people might compare “Don’t Stop The Music” to our “DSTM.” But I’m really satisfied with how it turned out, so I want to keep confidently doing the ad-lib part.
NEO: I do the first half of the first rap verse, and unlike TSUBASA, I found it to be a blast. One of the things that’s appealing about the first verse is the use of Japanese words like “katana” and “sumo” that will be familiar to overseas listeners. I’m very proud of this part, because it conveys the message and shares the feeling that this is coming from Japan. Of course, I was also nervous about including a rap part, because it isn’t in the original song, but it was really fun. The rhythm is easy to get into, so even people who don’t know much about hip-hop will be able to enjoy it. I hope when people hear it, they’ll think to themselves “don’t stop this song.”
Thank you. In closing, what are your future goals?
NEO: I want us to be the kind of group that always has fun taking on new challenges. Our group’s name means “all or nothing,” and I want us to achieve success, no matter what, touring the world and setting our sights high. I hope there are people out there who’ll see us taking on these imposing challenges and it will instill them with pride in themselves and help them feel the fun in taking on new challenges. That’s the kind of world I hope we’ll create. I believe that, joined by colleagues and fans like that, our efforts will prove successful. We’re going to do all that we can, led by our motto of “BET ON YOURSELF!”
–This interview by Azusa Takahashi first appeared on Billboard Japan
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Elton John and Brandi Carlile are set to present a new one-hour concert TV special hosted by Emmy award-winning actor and writer Dan Levy.
An Evening With Elton John and Brandi Carlile will feature performances from The London Palladium, new songs from the pair’s new album Who Believes In Angels? and more. The TV special airs on CBS and streams on Paramount+ on Sunday (April 6).
When Does An Evening with Elton John and Brandi Carlile Start?
An Evening with Elton John and Brandi Carlile broadcasts at 8 p.m. ET. The primetime TV special airs on CBS.
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How to Watch An Evening with Elton John and Brandi Carlile with Paramount+
Paramount+ has two tiers for streaming plans to watch An Evening With Elton John and Brandi Carlile. The first is the Paramount+ Essential plan, which is ad-supported and goes for $7.99 per month. It grants you access to everything the streamer has to offer, including and catalog titles — from content hubs, including CBS, CBS Sports, CBS News, BET, Comedy Central, MTV, Nickelodeon and The Smithsonian Channel — but with limited commercial breaks throughout movies, TV shows and live TV.
The other is Paramount+ with Showtime, which is ad-free and goes for $12.99 per month. This plan has all of Paramount+ originals and network hubs, as well as programming from Showtime with hits including Yellowjackets, Billions, The Curse, The Chi and Your Honor without any ad breaks.
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A subscription to DirecTV Stream — which comes with CBS for An Evening with Elton John and Brandi Carlile — gets you access to live TV, local and cable channels, starting at $74.99 per month.
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An Evening with Elton John and Brandi Carlile on CBS is available to watch with Hulu + Live TV too. Prices for the cable alternative start at $82.99 per month, while each plan comes with Hulu, Disney+ and ESPN+ at no additional cost.
Hulu + Live TV might be best for those who want all of these streaming services together in one bundle. It also features many other networks, including ESPN, ABC, Hallmark Channel, BET, CMT, Disney Channel, NBC, Fox Sports and more.
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To watch An Evening with Elton John and Brandi Carlile on CBS, Fubo starts at $64.99 for the first month, $84.99 per month afterwards (the streamer’s current deal) with more than 220 channels — including local and cable — that are streamable on smart TVs, smartphones, tablets and on web browsers.
The service even gets you live access to local broadcast networks including NBC, Fox and ABC, while it also has dozens of cable networks, such as ESPN, Bravo, CMT, ID, TV Land, VH1, TLC, E!, FS1, MTV, FX, Ion, OWN, Paramount Network and much more.
Starting at 8 p.m. ET, An Evening with Elton John and Brandi Carlile broadcast on CBS, while it’s also available to stream on Paramount+ on Sunday (April 6).
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