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Sarah Jessica Parker has been named the 2026 Carol Burnett Award honoree, recognizing her contributions to the television industry both in front of and behind the camera.
As previously announced, Dame Helen Mirren will receive the Cecil B. DeMille Award, the equivalent award recognizing contributions in film. Both awards will be presented on the new annual primetime special Golden Eve, airing on Thursday, Jan. 8, at 8 p.m. ET/PT on CBS and streaming on Paramount+. The special will air three days before the 83rd annual Golden Globes, which is set to air live on Sunday, Jan. 11.
This marks the first time that women have claimed both awards in the six years that both have been presented. The Carol Burnett Award, created in 2019 and initially awarded to its namesake, has since been presented to Ellen DeGeneres, Norman Lear, Ryan Murphy and Ted Danson.
“Sarah Jessica Parker’s career embodies the very spirit of the Carol Burnett Award,” Helen Hoehne, president, Golden Globes, said in a statement. “Her trailblazing impact on television and her dedication to storytelling across stage and screen have left an indelible mark on popular culture. We are honored to celebrate her extraordinary contributions to entertainment.”
Parker, 60, is best known as the star and producer of HBO’s iconic Sex and the City, which ran for six seasons on HBO and spawned two feature films and the TV sequel And Just Like That. The initial series brought Parker six Golden Globes (four as an actor, two as a producer), two Primetime Emmys (one as an actor, one as a producer) and three Screen Actors Guild Awards (two as part of an ensemble, one solo)
Beyond her defining television achievements, Parker’s career spans film, stage and production. Her filmography includes Hocus Pocus and Hocus Pocus 2, The Family Stone, Failure to Launch, The First Wives Club, Ed Wood and Mars Attacks!
Following the success of last year’s inaugural Golden Gala honoring DeMille Award recipient Viola Davis and Burnett Award recipient Ted Danson, the 2026 edition evolves into Golden Eve, which promises “an unprecedented look at the honorees’ legacy while celebrating their body of work with personal stories, unforgettable Golden Globes moments, curated career retrospectives, and special presenters.”
Golden Eve will air as a marquee event during Golden Week, a weeklong Golden Globes-branded experience across Paramount platforms as well as celebratory kick-off events ahead of the 83rd annual Golden Globes, which is set to air live on Sunday, Jan. 11. Comedian Nikki Glaser is set to host the show for the second year in a row.
The Golden Globes, which likes to call itself Hollywood’s Party of the Year, is the world’s largest awards show to celebrate the best of film, television and now podcasting. Dick Clark Productions will plan, host and produce the annual Golden Globes.
The Golden Globes are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
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Liam Gallagher is clearly having a blast on Oasis‘ reunion tour. You can tell the band’s lead singer and former enfant terrible is enjoying himself because he keeps dropping bread crumbs suggesting that he’s excited for the good times with older brother guitarist/songwriter Noel to roll on.
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Gearing up for the final push of shows in South America that kick off on Nov. 15 in Buenos Aires, Argentina, Liam hopped into the comments on an X user’s post on Wednesday (Nov. 12) asking: “are you sad that tour is ending soon?” The unrelentingly cheeky singer replied in a way that once again gave hope to all the fans who weren’t able to catch this year’s shows, or who just can’t wait to see the Britpop legends again.
“I’m not actually as I know things you don’t know,” Liam wrote, before muddying the waters again when another fan begged to know “LIAM WHAT DOES THAT MEAN.” Without explaining, the singer said, “Google it.” Aware of rampant speculation that the band could be on the road again next year — including incessant rumors that they plan to make a triumphant return to mark the 30th anniversary of their legendary 1996 Knebworth gigs in front of 250,000 fans — Liam was evasive again when asked if that was “code” for “we’re going on tour next year.”
That latter question was tied to an earlier tease, in which Liam said the brothers’ rapturously received reunion was “only starting.” Liam, being Liam, threw a wet blanked on that, writing, “Next year might be a little enthusiastic.”
With no solid information relayed, Liam did weigh in once more, brushing aside a question about those who’ve claimed that reunion was just “for the money.” Gallagher tut-tutted that assertion, replying, “Nobody think that it’s just fake news everybody knows we’re in it for the people and the good vibrations.”
To be perfectly clear, at press time no additional dates have been announced for the band after the planned final show at MorumBIS in São Paulo, Brazil on Nov. 23 and spokespeople for Oasis have not responded to previous requests for comment on whether the tour will continue. But Gallagher has continually raised hopes, telling Australian fans last week, “You’ve got a lovely f–king country. See you again.”
Last month, after a fan complained about one of his favorite songs (“The Hindu Times”) not making the tour’s rigid setlist this time around, Gallagher cheekily responded, “Chill Winston it’s not even HALF TIME yet it’s a tour of 2 half’s.” To be fair, Gallagher has appeared to be playing a long game from the beginning, ending a Sept. 28 gig at Wembley Stadium in London with the first tease of what’s (possibly) to come when he said, “see you next year.”
After a legendarily sibling rivalry-fueled break-up in 2009, Gallagher reunited with Noel earlier this year to reform the group for a sold-out run that kicked off on July 4 at Principality Stadium in Cardiff, Wales. They followed up with a five-night run at Heaton Park in their hometown of Manchester, U.K. and gigs in London, Edinburgh and Dublin before moving on to North America, Mexico City, South Korean, Japan and Australia.
Check out Gallagher’s tweets below.
I’m not actually as I know things you don’t know— Liam Gallagher (@liamgallagher) November 12, 2025
Next year might be a little enthusiastic— Liam Gallagher (@liamgallagher) November 12, 2025
Nobody thinks that it’s just fake news everybody knows we’re in it for the people and the good vibrations— Liam Gallagher (@liamgallagher) November 8, 2025
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The Osbourne family shared some of their collective grief on this week’s episode of The Osbournes Podcast. Wife Sharon and children Jack and Kelly revealed the secret health crisis Ozzy Osbourne suffered before his final, triumphant Back to the Beginning performance, as well as the kind words of condolence the family received from two world leaders following the rock icon’s death on July 22 at 76 years old.
On the first episode of the podcast since Ozzy’s death the trio talked about the rocker’s difficult final year, his “living wake” curtain call show and the powerful way grief has bonded them even more. They also revealed that after years of health struggles that included a Parkinson’s disease diagnosis, pneumonia and a botched spinal surgery, Ozzy took a turn for the worse last December when he took “a little fall.”
Then, just two weeks before the all-star Back to the Beginning show at Villa Park in the rocker’s hometown of Birmingham, England, Jack said Ozzy was hospitalized. “The story, I don’t think even you know it, we had him in the hospital and we were just terrified that people were going to find out,” said Sharon about the unnamed ailment that threatened to derail the triumphant last bow.
“So we had all the security and the hospital… the hospital was amazing, they really were. The people at the front desk were told ‘nobody, if they ask for Ozzy, he’s not here. Nobody’s allowed up’, all of that,” she said during the emotional 90-minute pod that had the trio seated around a large wooden dining table strewn with piles of magazines featuring the rocker on the cover. “They had pictures of all of us who were allowed up, and names, and this guy comes up and says ‘I want to see John Osbourne [Ozzy’s legal name]’ so of course there’s a red light and they go ‘who are you?’ and he goes ‘I’m his brother.’”
When someone from security called up to say that Ozzy’s brother was there to see him, Sharon said she replied that there was “no way” that was true because his brother didn’t even know he was there. “His sisters, his brother didn’t know. So I sent security down and I said ‘find out who this guy is, he’s definitely from the press,’” Sharon said, revealing that, as it turned out, there was another John Osbourne at that hospital and it was that John’s brother. “[We] felt so terrible,” she said.
And while it’s shocking to think that Ozzy essentially went from hospital to stage for his final gig, Jack made it clear that his dad was determined to make it to the massive gig that featured solo and Black Sabbath sets featuring Ozzy, as well as an all-star group of metal offspring, including Metallica, Guns N’ Roses, Slayer, Pantera, Alice in Chains Anthrax and more. “It’s not like we forced him, wheeled him out there… to do this gig,” Jack said. “He was adamant… he was running the show. He said he knew exactly what he wanted. Yeah, and he was determined to do it.”
Amid the torrent of well-wishes and condolences that poured in after Ozzy’s death from friends, fellow rockers and longtime fans was a voicemail from Donald Trump. Sharon — who competed on the 2010 season of Trump’s reality show Celebrity Apprentice — revealed that the American president reached out with kind words before playing the message in which Trump said, “Hi, Sharon, it’s Donald Trump, and I just wanted to wish you the best. Ozzy was amazing. He was an amazing guy. I met him a few times, and I want to tell you he was unique in every way and talented. So I just wanted to wish you the best, and it’s a tough thing. I know how close you were, and whatever I can do. Take care of yourself. Say hello to the family.”
Sharon also noted another message from a world leader: a personal letter the family received from England’s King Charles. “We got a lovely letter from the king,” Jack said, with Sharon adding: “Our king, he’s an amazing person. Not just because he wrote to us when Ozzy passed… if he did it for us, you know he does it for many, many, many people.”
It wasn’t the first time King Charles has reached out to wish Ozzy a happy birthday, according to Sharon. “When Ozzy was sick in hospital with the motorbike accident, he reached out. He’s a good, caring man with a good heart,” Sharon said of the King. “Ozzy, as me… we’re royalists. We respect him, we respect his family. He took the time out of his day to write us, have it hand-delivered to us, a note from the king for Ozzy’s passing with his condolences. And that says so much.”
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There were flames, fireworks, and an unexpected blast of “Smoko,” as Metallica’s M72 tour stopped by Brisbane’s Suncorp Stadium on Wednesday night, Nov. 12.
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The Rock Hall-inducted metal giants have been extra sweet to audiences on this trek, their first down under since 2013, by playing a homegrown classic on each tour date.
For their tour opener Nov. 1 at Perth’s Optus Stadium, the Bay Area legends carved out a rendition of John Butler’s “Zebra,” which the Western Australian native responded to with his own cover of Metallica’s “Enter Sandman.”
Then, at Adelaide Oval on Nov. 5, the rockers covered INXS’ Billboard Hot 100 leader “Need You Tonight,” and segued into the Angels’ classic from 1976, “Am I Ever Gonna See Your Face Again,” led by bass player Robert Trujillo at the mic. For their Melbourne show, at Marvel Stadium, Metallica covered “Prisoner of Society” the alternative rock trio the Living End.
The rumor mill was grinding away ahead of Metallica’s lone show in the Sunshine State. Would they cover a Powderfinger song, or the Go-Betweens? Perhaps the Saints? Or maybe a leftfield choice by performing the Bee Gees, the Veronicas or even Keith Urban.
As it turned out, Metallica hit the right note with a cover of the Chats’ “Smoko,” originally released on the Sunshine Coast punk rock act’s 2017 EP, Get This in Ya!!. Trujillo once again took vocal duties, accompanied by lead guitarist Kirk Hammett. “We like to celebrate music from your hood,” Trujillo remarked.
A “smoko” is, for those uninitiated, an Australian expression for a break from work, or more specifically, a pause to smoke.
Eamon Sandwith and Co. were thrilled with the nod. “Stoked to make it to the ‘doodle’ section of the set, thanks Metallica,” reads a social post from the ARIA Award-winning band.
Metallica opened the show with a mainscreen montage of the fan photos, set to “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)” by AC/DC, whose own tour of Australia kicked off at the same time, 1,000 miles south of Brisbane, at the Melbourne Cricket Ground. AC/DC will visit Brisbane’s Suncorp Stadium, twice, in December.
“Thank you, we missed you a lot,” frontman James Hetfield told the audience, gathered on an unusually cool November night. “We’re very grateful to be here. This is love.”
Hetfield also insisted that he had “the best job in the world,” which he well could, before Metallica launched into “Sad But True,” an anvil of a song.
Metallica may have mellowed through the years, but they’re still hard as hammers, which they proved with a set that flew high and never came down. The encore, of “Master Of Puppets,” “One,” and “Enter Sandman” could’ve woken the dead. Maybe the fourpiece was tipped off that the venue was once Paddington Cemetery, a burial ground.
Late in the set, Hetfield welcomed the capacity house as members of the “Metallica family,” some as veterans, others newcomers. “That’s why we’re here. To forget all the bull**** in life.” As good parents, Hetfield, Hammett, Trujillo and drummer Lars Ulrich stayed on stage well after the last chord rung out, to share gifts of drumsticks, guitar picks and take turns in thanking the fans.
Produced by Live Nation Australia, the tour continues at Sydney’s Accor Stadium (Nov. 15) and wraps up Nov. 19 at Auckland’s Eden Park. Evanescence and Suicidal Tendencies are the support on this leg of the M72 World Tour.
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With the single “Quagmire,” Mandarin singer Zi Yu claimed the top spot in the Vol.01 September Selection of “Star Power Monthly Selection” (held by Billboard China, Tencent Music’s QQ Music and JOOX platforms).
From constant experimentation to commanding the stage, from wearing the “newcomer” label to earning “champion” recognition, Zi Yu has achieved a striking breakthrough with “Quagmire,” emerging as one of the most promising new voices in Chinese music.
The sound of “Quagmire” now lingers as the defining memory of this past September. We look forward to seeing the boy who once rose from the mud continue to dig, through his music, toward a vaster world.
Below, Li Shi Jue, the songwriter of “Quagmire,” speaks with Billboard China to decode the creative force behind the very first “Star Power Monthly Selection” champion song.
Zi Yu
Billboard China
The song Quagmire has resonated widely with listeners. Were you surprised? What do you think made it so moving?
Li Shi Jue: I was a bit surprised, yet not entirely, because our team actually wrote this song a few years ago. Its theme and melodic line have a retro, catchy quality, the kind that naturally evokes emotional resonance. Songs from that same creative period included Dislocated Space-Time, which later became a big hit. I think what really touches people is the combination of a simple, memorable melody and straightforward, relatable lyrics, brought to life by Zi Yu’s heartfelt performance. The overall listening experience just flows smoothly. When we wrote it, we only wanted to capture honestly the feeling of being stuck in a certain emotion or situation. We never imagined it would be embraced by so many people. Looking back now, perhaps what moved listeners was its authenticity — that tangled obsession of “wanting to break free yet sinking deeper,” a struggle everyone encounters at some point in life. The song doesn’t preach any grand truths; it simply passes on the feeling of “breathing inside the Quagmire,” and somehow, someone out there heard their own echo in it.
When writing “Quagmire,” what core emotion or idea did you most want to express? Where did the original inspiration come from?
What I wanted most to convey was a state of emotion—it could be my own feelings, or projections of many different kinds of emotions. It’s about recalling past experiences, being overwhelmed by sadness, crying awake in the middle of the night, falling asleep only to wake up crying again. That cycle of repeating pain mirrors the song’s looping melody. The inspiration naturally came from life: once you’ve lived through something like that, you can’t help but write it down. I believe everyone has their own “Quagmire moment”—a low point in life. It’s not about the inspiration of “getting out of the Quagmire,” but about the courage to “stand firm within it”. The earliest ideas came in fragments: seeing friends torment themselves over a goal that fell through; watching someone repeatedly edit and delete late-night social media moments out of confusion; or even my own frustration when I get stuck—when the harder I try to write, the less I can. These scattered moments came together like scenes of many people circling in their own “Quagmires,” and suddenly I wanted to write a song to tell listeners: It’s okay to be stuck. You don’t have to force yourself to climb out right away. Take a look at the soil beneath your feet—maybe something can grow from it.
When creating music, what do you value most? Does “Quagmire” reflect this philosophy?
When I write songs, I care most about the completeness and directness of the story, and about how catchy the melody is. I used to pursue more avant-garde arrangements or melodies to create relatively niche works, but as I’ve grown older, I’ve realized that what sounds truly good is often simple. “Quagmire” embodies exactly that belief. What I value most is accuracy—not technical precision, but emotional accuracy, staying true to the feeling. For example, the line “tears reach my lips, a little salty” wasn’t written just to rhyme; it’s meant to capture that physical detail of “trying to hold back your tears halfway through crying”. That kind of specific pain carries more weight than simply shouting “I’m so sad”. Quagmire achieves that—it doesn’t rely on ornate language. It sings of tangible emotions: “the darkness when you turn away,” and “the sweetness in dreams and the tears upon waking”. It’s like laying bare the creases of your heart for others to see, without hiding, without pretense.
What special charm do you think Zi Yu’s performance brings to this song?
Zi Yu truly infused this song with a special kind of magic. He’s a young, energetic singer of the new generation, while I wrote the song with a deliberately retro sensibility in mind. That collision between the “new” and the “old” gave “Quagmire” a fresh soul. There’s a kind of restrained resilience in Zi Yu’s voice that fits the song’s temperament perfectly. He doesn’t use explosive power to express the pain of being trapped in the Quagmire; instead, he shapes the details with soft, airy tones. In the line “repeating the sorrow again and again,” you can catch a faint, almost imperceptible tremor. That choice to hold back instead of crying out actually makes the struggle within the “Quagmire” feel more real. It’s like how, in real life, people in distress don’t always scream; more often, they wrestle silently with themselves. And Zi Yu managed to sing out the weight of that silence.
For listeners who found resonance in “Quagmire” and those who might be going through their own “Quagmire moment,” what would you most like to say to them?
If you happen to be living through your own “Quagmire” right now, tell yourself: let the storm rage on. Only time can heal, and there’s no other cure. If you’ve parted ways with someone, don’t disturb their life again. This experience might one day become one of the most beautiful memories on your journey. And when you emerge from the storm, safe and whole, you’ll no longer be the same person you once were. Stay strong!
At the same time, I want everyone to know: you’re not the only one sinking. Every life has stretches of road where people just can’t seem to move forward. Don’t rush to deny yourself, wondering “why haven’t I climbed out yet,” and don’t envy others who seem to have it easier. First, acknowledge “I’m here, right now,” and then take a look beneath your feet—those things that hurt you or twist and hold you down may quietly be helping you put down roots. And perhaps one day, when courage returns, you’ll be ready to step out of the mire—slowly, but surely.
In your songwriting process, are there any particular habits or principles you always stick to, and how do you deal with doubts or criticism?
In my songwriting process, I don’t worry about whether the lyrics or the melody come first. Sometimes I start with the words, sometimes with the tune, but most of the time they emerge together. What I care most about is the first feeling. When a melody suddenly comes to mind, I usually decide on it right away, because the more you revise, the further you drift from your original intention. That’s why I tend to write songs quickly.
With “Quagmire,” for example, the image of the Quagmire came first, and from there the melody and lyrics gradually grew. For me, letting emotions flow naturally is far more important than following a rigid process.
In fact, every song carries its own unique expression and emotion—each differs in theme, harmony design, and arrangement style. There are plenty of works out there that sound similar in mood or atmosphere, but art ultimately comes from life—and respecting originality matters most.
Zi Yu
Billboard China
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AC/DC came to rock the Melbourne Cricket Ground on Wednesday night, Nov. 12 and the city felt it.
The opening date of AC/DC’s Power Up tour of Australia made waves that were detected by earthquake monitoring equipment, and could be felt, and heard, deep into this former Olympic City.
According to Adam Pascale, chief scientist at the Seismology Research Centre, the concert registered in the 2-5 hertz range at their office in Richmond, some 2 miles from the concert at the towering MCG.
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That’s enough force for people to feel the ground move.
“The sound waves that people were experiencing nearby and feeling something through their bodies, that’s the equivalent to what our seismographs feel,” Pascale told the Australian Broadcasting Corporation. A resident some 6 miles away told the ABC they could hear the concert.
“We’re picking up the ground motion, we’re not picking up the sound from the air,” Pascale added.
“So, you’ve got speakers on the ground pumping out vibrations and that gets transmitted through the ground, but also the crowd jumping up and down is feeding energy into the ground.”
Although AC/DC came to rock, the largest signals received by the Seismology Research Centre were generated by Taylor Swift’s record-busting three-night stand at the MCG in 2024, Pascale remarked.
Stadium rock can move us, literally. Oasis’s now-completed tour of Live ’25 tour of Australia (via Live Nation) generated a “clear uptick in seismic signal” when fans “started pounding the ground” at Marvel Stadium during a show earlier in the month, the center confirmed earlier.
AC/DC doesn’t do things by halves. These latest round of shows require 300 tons of steel to build the production, with 28 tons of PA and speakers pumping out the sound. A crew of 155 are working each show, which consumes 500kw of power every night.
With Angus Young on lead guitar, vocalist Brian Johnson, rhythm guitarist Stevie Young, drummer Matt Laug and bass player Chris Chaney, the Rock Hall-inducted legends ripped out the classics at the MCG, including “Back In Black,” “Thunderstruck,” “Hells Bells,” “Riff Raff” and much more.
AC/DC last toured Australia and New Zealand in 2015, the domestic leg of their Rock or Bust world tour. On that visit, Young and Co. shifted more than 520,000 tickets across 11 coast-to-coast dates, including shows in Auckland and Wellington.
Next up, the second of two shows this Sunday (Nov. 16) at the MCG, followed by dates in Sydney, Adelaide, Perth and Brisbane.
TEG Van Egmond, a division of TEG, is producing AC/DC’s nine-date national tour, with special guests Amyl & The Sniffers.
AC/DC 2025 “Power Up” Australia Tour Dates:
Nov. 12 — Melbourne Cricket Ground (completed)
Nov. 16 — Melbourne Cricket Ground
Nov. 21 — Accor Stadium, Sydney
Nov. 25 — Accor Stadium, Sydney
Nov. 30 – Adelaide bp Adelaide Grand Final
Dec. 4 — Optus Stadium, Perth
Dec. 8 — Optus Stadium, Perth
Dec. 14 – Suncorp Stadium, Brisbane
Dec. 18 – Suncorp Stadium, Brisbane
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Christopher Cross’ “Sailing” isn’t coming in to dock anytime soon.
The American singer, songwriter and guitar talent released his “yacht rock” masterpiece back in 1979, a classic that sailed all the way to No. 1 on the Billboard Hot 100.
“Sailing” was one of four top 20 hits that appeared on Cross’ self-titled album, which, in 1981 would make history at the Grammy Awards, by sweeping five categories, including the Big Four — album, record and song of the year. Yes, it was unexpected. A shock, even. The only other artists to scoop the Big Four was Billie Eilish, doing so four decades later, in 2020.
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If “Sailing” was a guilty pleasure in the 1990s, today it’s simply a pleasure. The softly-spoken artist stopped by Jimmy Kimmel Live earlier this week to take us all “Sailing,” the video of which can be seen below.
Cross, a formidable guitarist who was blessed with the voice of an angel, appears to have made a full recovery from his grueling health battle five years ago, during which he contracted Guillaine-Barre Syndrome (GBS) after having COVID-19.
At one stage, he was paralyzed from the waist down. “It really was touch and go, and tough,” he CBS Sunday Morning at the time.
Cross’s late-night spot came ahead of the release this Friday, Nov. 14 of All Right: The Worldwide Singles 1980–1988, the first career-spanning collection of his biggest hits, including “Arthur’s Theme (Best That You Can Do),” from the film Arthur, which also led the Billboard Hot 100 and won an Academy Award for best original song. The set is released through Omnivore Recordings, the label that issued an “expanded edition” of Christopher Cross in June 2025.
Now aged 74, Cross will play many of those hits when he embarks on a South American tour this December, including shows with fellow ‘80s heavyweights Toto. Live shows across the U.K. and Europe follow from May 2026.
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Ninajirachi’s hot streak shows no signs of cooling off.
The DJ, songwriter and electronic music artist adds to her collection the triple j album of the year and Australian music video of the year, two of five awards handed out Wednesday, Nov. 12 by the state-funded youth network.
The 26-year-old musician nabbed the top award, album of the year, for her debut full-length effort I Love My Computer (via NLV Records), which beat out a ten-strong shortlist of LPs by the likes of Tame Impala, Mallrat, Spacey Jane, OneFour and others.
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Ninajirachi also collected the top music video honor, for “F*** My Computer,” directed by Ball Bass John.
It’s all happening for Ninajirachi, known to her friends and family as Nina Wilson. Just last week, she collected the coveted Australian Music Prize (AMP), and its A$50,000 ($32,800) winner’s check, for her studio collection. And there’s a strong chance to add more when the 2025 ARIA Awards roll on next Wednesday, Nov. 19, where she’s competing for a leading eight pointy trophies.
After wrapping up her Australian tour in the early stages of 2026, the rising star will embark on her biggest north American jaunt yet, including a first-ever slot at Coachella.
“I really just had a good time making an album. I hope I can keep making albums that feels as good as this one did,” she told the Australian Broadcasting Corporation following her AMP win. “I’ve been making music for a long time and I could have never predicted what this year would look like. So it’s hard to say (what the future holds). I just hope it keeps feeling as fun as it has been recently.”
Now in its 21st year, the J Awards celebrate the cream of Australia’s crop of recorded musicians, live performers, emerging talent and more, and coincide with triple j’s Ausmusic Month. This year, 26 local artists were nominated for the J Awards.
Other winners announced by the ABC, parent of triple j, included Folk Bitch Trio (Unearthed artist of the year), Grammy and Brit Award-nominated punk rock act Amyl and The Sniffers (Double J Australian artist of the year) and SPEED (Australian live act of the year).
See the full list of 2025 J Awards nominees and winners below.
triple j Album of the Year
• Ninajirachi – I Love My Computer (WINNER)
• Baker Boy – DJANDJAY
• Folk Bitch Trio – Now Would Be A Good Time
• grentperez – Backflips in a Restaurant
• Mallrat – Light hit my face like a straight right
• ONEFOUR – Look At Me Now
• Spacey Jane – If That Makes Sense
• Tame Impala – Deadbeat
• The Rions – Everything Every Single Day
• Thornhill – BODIES
Unearthed Artist of the Year
• Folk Bitch Trio (WINNER)
• Don West
• Darcie Haven
• Sam Alfred
• PLAYLUNCH
Double J Australian Artist of the Year
• Amyl and The Sniffers (WINNER)
• Emily Wurramara
• Gordi
• Meg Washington
• Paul Kelly
rage and triple j Australian Music Video of the Year
• Ninajirachi – “F*** My Computer” (dir. Ball Bass John) (WINNER)
• Drifting Clouds – “Bawuypawuy” (dir. Matt Sav)
• Ecca Vandal – “CRUISING TO SELF SOOTHE” (dirs. Ecca Vandal and Richie Buxton)
• PLAYLUNCH – “Keith” (dir. Riley Nimbs)
• RONA. – “Show Me” (dir. Tyson Perkins)
Australian Live Act of the Year
• SPEED (WINNER)
• Amyl and The Sniffers
• Ball Park Music
• Miss Kaninna
• xmunashe
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Radiohead’s second live album, Hail to the Thief: Live Recordings 2003-2009, makes a top 10 debut across four Billboard album charts (dated Nov. 15), including a No. 8 bow on Top Album Sales, marking the band’s ninth top 10. The set also enters the top 10 on Indie Store Album Sales (No. 4), Vinyl Albums (No. 5) and Top Current Album Sales (No. 8).
On the overall Billboard 200 chart, the set squeaks in at No. 200, landing the group its 17th chart entry. The set also bows at No. 30 on Independent Albums and at No. 48 on Top Rock & Alternative Albums.
In the tracking week ending Nov. 6 in the United States, the album earned a little over 8,000 equivalent album units, of which essentially all were in traditional album sales (purchases of digital and physical copies of the album).
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.
Radiohead’s new live album is one of six debuts or re-entries among the top 10 on the latest Top Album Sales chart, where Florence + the Machine’s Everybody Scream debuts atop the list. Tyler, The Creator’s chart-topping CHROMAKOPIA reenters at No. 2 after its one-year anniversary reissue on CD, vinyl and in two deluxe boxed sets (each containing branded merch and a copy of the CD). Grateful Dead’s latest archival live set Dave’s Picks, Vol. 56: Rainbow Theatre, London, England, 3/20/81 & 3/21/81 enters at No. 3, while Taylor Swift’s former No. 1 The Life of a Showgirl slips 3-4. The KPop Demon Hunters soundtrack rises a spot to No. 5, while Hamilton: 10 Shots (Highlights From the Original Broadway Cast Recording) bows at No. 6. Stray Kids’ chart-topping KARMA climbs 9-7, Bob Dylan’s from-the-vaults compilation Through the Open Window: The Bootleg Series, Vol. 18, 1956-1963 debuts at No. 9 and Vince Guaraldi Trio’s A Charlie Brown Christmas soundtrack returns to the top 10, rising 14-10.
