Concerts
K-pop boy band ENHYPEN announced the dates and venues for the upcoming late summer U.S. and European legs of the group’s 2025 Walk the Line world tour. The 10-city swing is slated to kick off on Aug. 6 with the first of two dates at UBS Arena in Belmont Park, NY, followed by a stop […]
It’s been almost one year since Post Malone saddled up and dropped his chart-topping country set, F-1 Trillion. But on Sunday (April 13), on Coachella’s main stage, his headlining performance felt celebratory and emotional enough to be release night.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Though Posty has been booked and busy since he served up F-1, his set felt like the long-awaited main course — plus dessert. For the gig, Post fittingly brought a reimagined Forumla 1 racetrack to the desert that extended all the way from the stage through the crowd. He also leaned into his love for pyro, with various trash bins spread across the stage that, of course, would catch fire throughout the set. As for sparklers – why wait? Post tossed them in for his opening song, the thumping “Texas Tea.”
Starting with a song from his 2023 album Austin was certainly not the most expected, but it was absolutely the most fitting. Austin is sandwiched in Post’s fast-growing catalog between Twelve Carat Toothache and F-1, and in many ways bridged the gap between where Post had been as an artist and where he was heading. Opening with “Texas Tea” set the tone, immediately answering the question on the minds of many: What kind of show will he deliver?
Trending on Billboard
Striking balance between his older hip-hop leaning material with his more recent country sound was surely on Post’s mind, too. But, as he told Billboard the day before his set: “That’s always been the thing about me, is it’s all just f—ing music.” And tonight, he endlessly thanked his fans for seemingly feeling the same. “I just wanted to say thank you to everybody who has listened to the music for such a long time,” he said after a run of album-spanning songs including “Wow” (Hollywood’s Bleeding), “Better Now” (Beerbongs & Bentleys), “Lemon Tree” (twelve carat toothache) and “Wrong Ones” (F-1 Trillion). “I know it’s been a crazy f—ing journey and I just wanted to express how grateful I am to each and every one of you.”
The weekend-closing slot was not only a testament to Post’s decade-long career, but was also crafted in a way that helped contextualize how an artist who debuted with a song like “White Iverson” ended up recording alongside country’s biggest superstars and sounding right at home. His nine-piece backing band surely helped, illustrating how his sound has grown both literally and figuratively, as did his raw vocals — especially on songs that were originally recorded quite differently.
“Auto-tune is a hell of a drug,” Post said with a smile said after apologizing for the second time for his “pitchiness,” which seemed to go entirely unnoticed by anyone else. In fact, in the absence of auto-tune, Posty’s signature warble sounded stronger and more melodic than ever.
But perhaps the best way in which Post offered a glimpse into how he landed where he is today was through his use of the fog machine. Yes, really. Oftentimes, Post was entirely engulfed in thick layers of engineered fog; but the thing is, without the ability to see him clearly, it allowed fans to listen more closely. And if Post’s set proved anything, it was that no matter what genre, style or sound he explores, he has always been an incredible songwriter right to his core.
And while a Post Malone headlining set may have seemed like the perfect time and place for him to welcome any number of guests – he has hits with everyone including fellow festival headliner Travis Scott, Halsey, Morgan Wallen, Jelly Roll and many more – given how grateful Post was for the opportunity, he had every right to keep it all for himself. (In fact, all of this weekend’s headliners opted to do exactly that.)
Sure, Post’s No.1 hit “I Had Some Help” (with Wallen) may have seemed like an on-the-nose moment to indeed bring some help on stage, but there was something poetic about doing the exact opposite. In a way, performing the song alone – and following his gushes of gratitude – helped it sound more like a thank you than a screw you. Because of course Post had plenty of help to get to this moment, and it’s one that he said never felt like a guarantee.
“Lots of motherf—ers called me a one hit wonder,” said Post, “and I just wanted to say that if you don’t believe in yourself, then nobody f—ing else will. No one can f—ing stop you.”
Post repeated the last line several times, growing louder and more impassioned with each utterance. By the end, it was as if he was only speaking to himself. Because while tonight was a celebration, it’s clear Post has no plans of slowing down. Rather, having just performed on a makeshift racetrack, nothing is stopping him from continuing full speed ahead.
Billboard, Amazon Pharmacy and Amazon One Medical teamed up with comedian/musical improviser Reggie Watts to hit the streets of Palm Springs with the sickest show seen in the desert, “MuSick: Live from Reggie Watts’ Couch.”
Explore
See latest videos, charts and news
See latest videos, charts and news
Amazon Pharmacy made the opening weekend of Coachella Valley Music and Arts Festival “less painful” for festival-goers with a free live show on Saturday afternoon, April 12 with Reggie Watts — in the name of the brand’s mission to “make healthcare less painful.” When Watts woke up feeling “sick” on a festival day, he turned to Amazon One Medical and Amazon Pharmacy to get rolling again. And roll he did, without getting off the couch, through the streets of Palm Springs. He surprised festival goers by riding on a motorized, four-wheeled sofa — with an incredible sound system one might add — to invite music lovers to “MuSick” at the Ace Hotel.
During the event, Watts, who is known for his beatboxing music, crafted “sick” beats out of sick sounds. Imagine an audience dancing to a chorus of coughs, bobbing to syncopated sneezes, and throwing their hands up to a throw-up reflex. The whole performance took place atop a larger-than-life 12ft-tall couch (complete with giant throw pillows). A way to let the audience know that with Amazon Pharmacy and Amazon One Medical you can get medical care without getting off the couch. Or even, hypothetically, without leaving the dance floor. Special guest NEIL FRANCES and Rhythm Luna opened the show before Watts’ headline performance.
Trending on Billboard
The event also treated fans to specialty cocktails and mocktails, including some health-inspired beverages like Sinus Spritz, MuSick Margarita, Cougha-colada, Thirst Aid, and Placebo Effect, as well as cold pressed juices from a wellness bar and branded misters and fans to fight off the heat.
“The event was sick fun—in the best way,” Watts said. “It made perfect sense to be out there making ‘MuSick’ about getting prescriptions delivered. Playing live for people on the street, then climbing up on this massive couch to perform? Easily the softest stage I’ve ever been on. Hopefully when folks are curled up sick at home, they’ll think of Amazon Pharmacy and get what they need fast.”
Scroll on below to see more of the action from the “MuSick: Live from Reggie Watts’ Couch” event!
Reggie Watts at the Billboard and Amazon Health’s Pop-up Party held at Ace Hotel & Swim Club Palm Springs on April 12, 2025 in Palm Springs, California.
Guests at the Billboard and Amazon Health’s Pop-up Party held at Ace Hotel & Swim Club Palm Springs on April 12, 2025 in Palm Springs, California.
NEIL FRANCES at the Billboard and Amazon Health’s Pop-up Party held at Ace Hotel & Swim Club Palm Springs on April 12, 2025 in Palm Springs, California.
Amazon decor at the Billboard and Amazon Health’s Pop-up Party held at Ace Hotel & Swim Club Palm Springs on April 12, 2025 in Palm Springs, California.
Amazon decor at the Billboard and Amazon Health’s Pop-up Party held at Ace Hotel & Swim Club Palm Springs on April 12, 2025 in Palm Springs, California.
Staff at the Billboard and Amazon Health’s Pop-up Party held at Ace Hotel & Swim Club Palm Springs on April 12, 2025 in Palm Springs, California.
When asked where he was most excited to perform after finally regaining his freedom following a 13-year prison stint, Vybz Kartel responded, “The entire Caribbean and New York — that’s Jamaica outside of Jamaica!”
In the eight months since he walked out of prison, the King of Dancehall has barely taken a minute to sit down. To ring in the new year, Kartel mounted Freedom Street on Dec. 31, 2024, marking Jamaica’s largest live music event in almost 50 years. The stadium-sized event featured appearances by dancehall giants like Skeng and Popcaan, as well as Kartel’s sons — both recording artists in their own right — Likkle Vybz and Likke Addi. Freedom Street kicked off a global comeback tour for Kartel that has since included an appearance at February’s Grammy Awards (where he enjoyed his first nomination for best reggae album, thanks to his 2024 Party With Me EP), a performance at the U.K.’s MOBO Awards (where he was honored with the impact award), and the announcement of a set at Wireless in support of Drake‘s three-night takeover of the Finsbury Park festival.
In 2025, any Worl’ Boss performance is a special one, but the Billboard cover star wasn’t joking when he called New York “Jamaica outside of Jamaica.” On Friday (April 11), Kartel played his first of two sold-out shows at Brooklyn’s Barclays Center — his first Stateside headlining concert in over 20 years, organized by Reggae Fest. Brooklyn, which has an incredibly high population of first, second and even third-generation Caribbean-Americans, was the perfect host borough for Kartel’s return. For every BK neighborhood the DJ shouted out (Flatbush, Canarsie and Utica rightfully got a lot of love), a different island got the same amount of shine (Grenada, Trinidad, St. Vincent and, of course, Jamaica were among the most mentioned isles of the night). Kartel didn’t hit the stage until shortly after 10 p.m. E.T., but DJ Milan primed the crowd with over two hours’ worths of reggae and dancehall classics, spinning anthems by everyone from Buju Banton and Shenseea to Elephant Man and Teejay.
Kartel made his triumphant return to the stage with his legendary remix of Akon‘s “Locked Up.” “Look! 13 years inna prison, and mi come out a general!” he declared, sauntering across the stage and soaking up the rabid screams from the 19,000-capacity arena.
Worl’ Boss then launched into his litany of hits, tearing through “Dumpa Truck,” “Benz Punany,” “It Bend Like Banana,” “You and Him Deh,” “Street Vybz,” “Come Breed Me” and “Turn Up the F–k.” Kartel, who is currently dealing with Graves’ disease and a heart condition, smartly split up his set with cameos from several surprise guests, allowing him ample time to catch his breath and pace himself throughout the show.
Early in the night, Kartel brought out two former Portmore Empire affiliates, Jah Vinci and Black Ryno, both of whom helped amp the energy in the room. In fact, Black Ryno had so much energy, he got a little ahead of himself and wiped out while walking down the stage’s catwalk. Other special guests throughout the night included Latin Grammy-nominated producer Rvssian, Queen of Dancehall Spice and rap legend Busta Rhymes (who effortlessly rapped his entire “Look at Me Now” verse). Almost more impressive than Kartel’s stamina was just how much power he held over the crowd. If anyone sat down during his two-hour set, it was only for a brief minute to find their bearings after a particularly wicked wine. Kartel’s catalog isn’t littered with Billboard Hot 100 top 10 hits or U.S. radio smashes, but none of that mattered on Friday night. When a catalog is so beloved that fans are rapping deep cuts that dropped before they were even born, there’s something very special taking place.
To close out his set, Kartel fired off his biggest crossover smashes, including “Summertime,” “Clarks,” “Fever” and, of course, “Brooklyn Anthem,” gifting Kings County one of the most memorable nights of live music in the borough’s storied history.
Here are the five best moments from Vybz Kartel’s first U.S. headlining show in over 20 years.
Rvssian Hits the Stage for ‘Straight Jeans & Fitted’
Starting early Thursday morning (April 10), Coachella campers arriving a day early to set up their campsites and attend the festival’s first-ever Day Zero dance party took to social media to post troubling dispatches about long lines and a lack of bathrooms or shade as they waited for hours to get in. According to sources close to the festival, the likely culprits for the traffic jam were two small changes at the festival’s popular car camping ground.
The first change was that the campgrounds began letting people in on Thursday at 9 a.m. this year, which is later than in past years, according to sources and fans posting on social media. The second was the festival’s launch of a preferred campsite program for the campground closest to the festival entrance.
On its website, Coachella describes the Preferred Front Row Car campground as an upgraded experience where attendees can “arrive at your leisure in a guaranteed spot in the front row of the lot closest to the venue.” The cost for a preferred car campsite is $462.17, while the cost for a regular car campsite is $179.37.
Trending on Billboard
Administering the new preferred campsite program, which replaced the traditional first-come, first-served system with a reservation-based system, took a little more time per camper to manage, sources tell Billboard — and that extra few minutes per camper quickly mushroomed into extra hours as the day wore on.
Slowing things down even more was that many diehard fans arrived as early as 2 a.m. to get first crack at the best campsites in the general camping area. On social media sites like Reddit and TikTok, some fans have claimed that Goldenvoice opened access to the camping area as early as 3 a.m., with many sharing tips on when to arrive; sources close to the festival say the festival sometimes opened as early as 6 a.m. The official entry time for the campgrounds in both 2024 and 2025 was listed as 9 a.m.
Whatever the case, the decision to open the campground no earlier than 9 a.m. this year created a large backlog of fans who had to wait hours to go through the festival’s check-in process, which often includes a security screening for all campers.
The changes caused frustrating delays for fans as they waited in their cars for hours to get in, sitting in the hot desert sun with temperatures peaking at 100 degrees and no options for shade or public bathrooms.
There was a small silver lining to this year’s changes that many fans embraced. For the first time in Coachella’s 25-year history, organizers added a live performance on the opening Thursday of the festival, known in Coachella fan parlance as Zero Day. For some fans, the hours-long set by veteran electronic artist Chris Lake helped balance out the difficult start to the day.
“[The traffic jam] doesn’t take away from this,” one festival goer told the Los Angeles Times. “That’s in the past. We’re about to see the G.O.A.T. and we’re living in the present now. It’s all right.”
On Thursday night (April 10), Mary J. Blige, Mario and Ne-Yo reigned over New York City’s Madison Square Garden with three decades’ worth of R&B classics, heartbreak anthems and street hits.
Launched in support of her 2024 Gratitude album, Mary J. Blige’s For My Fans tour was a career-spanning dedication to her ride-or-die fanbase — an especially pertinent theme, given Thursday night marked Mary’s very first headlining show in her hometown’s most iconic venue. Before the nine-time Grammy winner and two-time Oscar nominee graced the stage, DJ Funk Flex primed the packed crowd — many of whom sported their sexiest boots and finest furs and fittest in honor of Mary’s iconic Misa Hylton-helmed style — with a set of New York ’90s and ’00s classics, including the obligatory phone-flashlight tributes to Biggie and DMX. Flex appeared throughout the night to soundtrack the transition between the artists’ sets, and kill time for production delays.
Mario, the night’s first opener, charmed The Garden with a brief set that included high-energy renditions of “Here I Go Again,” “Just A Friend 2002” and his Billboard Hot 100-topper “Let Me Love You.” Deftly working the stage and wooing the crowd, Mario helped the crowd begin their celebratory walk down memory lane — even though he’s fresh off the release of a new album, 2024’s Glad You Came, which houses “Keep Going (Aaaaahhhhh),” his first Adult R&B Airplay top 10 hit in 20 years. Later this month (April 24), Mario will head to the U.K. and Europe for his Glad You Came Tour, with special guest Eric Bellinger. The duo will hit intimate venues in key cities like London, Paris and Dublin, before concluding in Stockholm, Sweden, on May 17.
Trending on Billboard
After a brief Funk Flex interlude, three-time Grammy winner Ne-Yo hit the stage for a swanky set that felt like a winning audition for a more full-bodied follow-up to his 2024 Las Vegas mini-residency. Opening with 2006’s “Stay,” Ne-Yo ripped through a well-oiled set that featured beloved cuts like “Closer,” “Sexy Love,” “Because of You,” “Miss Independent” and the 2006 Hot 100-topper “So Sick.” Flanked by hard-working backup dancers and assisted by a rotating collection of different hats, Ne-Yo put on a show that sat right in the lineage of sparkly-suited song-and-dance men.
Once Ne-Yo left the stage, Flex returned for a few more minutes of partying before Mary kicked off the second half of Thursday night’s four-hour R&B extravaganza. Sporting an oversized pink fur and platinum blonde inches, Mary opened her set with a poignant rendition of “Take Me As I Am” on the B-stage, eventually using 1997’s “A Dream” to get in a lift that transported her over the crowd and onto the mainstage, in time for “Love No Limit” and “Mary Jane (All Night Long).”
For the first part of her set, Mary prioritized her “day one” fans, clearly happy to be at home in New York with her people. At one point she did a bit of 1999’s “Your Child” a cappella, quizzing the crowd (who passed with flying colors) on the song’s lyrics. Mary spent most of her time on the main stage, which featured a massive structure of kintsugi hands clutching a crown, in front of video backdrops that frequently showcased Mary’s biggest career moments — from her dual 2018 Oscar nominations to her 2022 Super Bowl halftime show appearance.
The Queen of Hip-Hop Soul sauntered across the stage freestyling and hitting choreography with her backup dancers in a seemingly endless collection of gorgeous leotard-centric costumes — most of which came complete with a matching fitted and pair of boots. With 2005’s monster hit “Be Without You” placed in the center of the setlist, Mary smartly spread her biggest hits throughout the setlist, ensuring the show’s energy wasn’t centralized in one section. 2021’s Grammy-nominated “Good Morning Gorgeous” proved one of her set’s early highlights, accented by a passionate, gospel-evoking testimonial that previewed similar moments during “No More Drama” later in the night. Mary’s repeated message of gratitude for her relationship with her fans and their special bond of constant healing and maturation proved the night’s most emotional moments. With the current state of ticket pricing, it’s not often an artist’s crowd so accurately reflects the specific audience they serve and speak to, so it was especially beautiful to feel the love and mutual gratitude in The Garden on Thursday night.
Immediately after “Gorgeous,” Mary sang a pair of songs from her Gratitude album — “Here I Am” and “Don’t F–k Up” — the night’s lone dull moment. Earlier in her set, she performed the album’s lead single, “Breathing,” bringing out Fabolous to perform his guest verse. Soon after, Jadakiss came out for his verse on “Need You More,” which also appears on Gratitude. Unfortunately, both guest appearances were briefly marred by sound issues. Mary also reached out to a younger generation of BX hip-hop titans, tapping A Boogie Wit da Hoodie for a quick “Look Back at It” performance.
To end the night on a high note, Mary tore through some of her most enduring uptempo hits, including “The One,” “Just Fine,” “I Can Love You” — albeit with no Lil’ Kim — “MJB Da MVP” and, of course, her six-week Hot 100-topper, “Family Affair.”
To celebrate her very first MSG show as the lone headliner, Mary teamed up with Veeps to exclusively live-stream the April 10 show around the world. Each ticket included access to the live stream and an unlimited seven-day rewatch period. Veeps All Access members will be able to access the show for free as part of their subscription.
The For My Fans Tour will spend one more night in New York — at Long Island’s UBS Arena (April 11) — before concluding with its original lineup on April 19 in Memphis, Tenn. From April 21 to April 27, Mary will play four solo shows to officially bring the tour to a close.
The show must go on. Weezer has not canceled its plans to perform at Coachella this Saturday (April 12) after the wife of Weezer bassist Scott Shriner sustained non-life-threatening injuries during a bizarre run-in with Los Angeles Police Department (LAPD) officers that ended in a dramatic shootout. A source linked to the festival tells Billboard […]
Delhi, a city of 34 million people, was the obvious setting for Indian pop star Diljit Dosanjh to open his home-country tour last October — and he quickly sold out Jawaharlal Nehru Stadium and added a second date. But after that, Dosanjh wanted to plunge deeper into India, performing in Lucknow, Indore, Guwahati and other areas with a mere 1 million to 4 million residents. “We actually got to cities where there wasn’t any big concert, ever,” says Sonali Singh, Dosanjh’s business manager and tour producer. “When we started off, it was kind of an experiment.”
Dasanjh’s tour, which sold 200,000 tickets across its initial 10 venues in less than 10 minutes when it went on sale last September, showed not only the Punjab native’s star power but the massive potential of India as a concert market. In January, Coldplay broke a global attendance record with 223,000 fans at two shows in Narendra Modi Stadium in Ahmedabad, Gujarat, India; in February, Ed Sheeran closed a six-city tour of the country with 120,000 ticket sales. (By contrast, Zach Bryan sold out the biggest stadium in the U.S., Michigan Stadium in Ann Arbor, Mich., with 112,000 tickets for a show this coming September.)
Trending on Billboard
“We are at the cusp of hockey-stick growth, as far as this market is concerned,” says Naman Pugalia, chief business officer of live events for BookMyShow, the Indian entertainment platform that promoted the Sheeran dates with AEG.
For decades, India’s demand for large music concerts has outstripped its capacity: Led Zeppelin’s Jimmy Page and Robert Plant, and The Police, played what Rolling Stone India called “niche, often low-key shows” in Mumbai in the ‘70s and ‘80s, in part because local officials considered Western music “anti-Indian.” Although local bands played hotel clubs and pubs and developed rock scenes in Mumbai and elsewhere over the years, it wasn’t until the early 2010s that promoters put on larger electronic dance music, blues and rock festivals, such as the Bacardi NH7 Weekender (at a Pune wedding venue) and the VH1 Supersonic (on a beach in Goa). By 2017, Justin Bieber was playing to 56,000 fans at a Mumbai stadium.
Coldplay perform at Narendra Modi Stadium on Jan. 25, 2025 in Ahmedabad, India.
Anna Lee
A 2024 BookMyShow report suggests India’s international concert market of 1.4 billion people is no longer untapped — live entertainment grew 18% compared to the previous year, live events in “Tier 2” cities such as Kanpur and Shillong grew 682%, and more than 477,000 fans traveled to shows outside their hometowns. In March 2024, after Sheeran sold out Mumbai’s Mahalaxmi Racecourse (which BookMyShow had helped revitalize into a large-scale concert venue), the British singer-songwriter asked his team to return this year and “go deep into India and cover as much ground as possible,” according to Simon Jones, senior vp of international touring for AEG.
That was a challenge. “Landing a spaceship in the middle of nowhere in India is tough, and it’s not the same as doing it in America, Europe or even South America,” Jones says. “But the infrastructure in India is certainly getting a lot better, and the country, in terms of its touring future, will be very, very different in five years’ time, and especially 10 years’ time.”
In recent years, stars such as Post Malone, Imagine Dragons and Dua Lipa have sold out shows in the country; Lollapalooza India reportedly drew 60,000 fans in 2023, and a rep for promoter Live Nation said the 2025 festival last month, starring Green Day and Shawn Mendes, scored its highest attendance ever. Cigarettes After Sex sold out two large India shows in January; Guns N’ Roses will perform at Mahalaxmi Racecourse next month; and Travis Scott plays Delhi in October.
The recent concert boom is due, in part, to the boom in India’s middle-class population over the last two decades. “India’s disposable income is growing day by day, and the audience is seeking more experiences to spend their money on,” says Bhavya Anand, manager of rapper King and co-founder of talent agency Bluprint. “We see that there will eventually be a lot of clout in ticket buyers — but it’s also scary, because it’s not possible for everyone to attend everything.”
Since the pandemic, social media platforms such as Snapchat and Instagram have taken off in India, and residents have been “going out with a vengeance,” according to Jay Mehta, managing director of Warner Music India and SAARC. As recently as 2018, he adds, international touring artists were largely limited as far as how many fans they could draw — Bryan Adams, a huge regional star who has played India since the ’90s, sold out a Mumbai concert with just 10,000 people that year.
But promoters have been methodically building production systems and ticket-selling technology to prepare for an expected entertainment boom. Since then, governments have become more sophisticated in adapting cricket stadiums and other large venues to concerts and providing public transportation. “There were a lot of struggles, from bureaucracy to permissions,” Mehta says. “In the past, the production costs were so high, you’d have only 10,000 people coming, you’d have a massive loss.” More recently, he adds, promoters who’ve “gone through this pain for the last 10 years finally enjoy the fruits of the concert ecosystem.”
One of those early companies was Only Much Louder, a 22-year-old promoter that initially focused on concerts and managed Indian music stars but has shifted into comedy and other non-music entertainment. Until recently, says Tusharr Kumar, the company’s CEO, it was impossible to fund large concerts without significant corporate sponsorship, but given newly built stadiums and arenas, as well as prominent financial successes such as Coldplay’s shows and the Dosanjh and Sheeran tours, that is starting to change. “We’ve been having so many conversations: ‘Did we exist at the wrong time? Because it’s suddenly getting interesting in India.’ It feels good to know all the hard work we did back then is paying off in a big way.”
From a concert-business point of view, India still has work to do, regional sources say. The country’s club circuit remains modest, with electronic-music stars such as Kasablanca and MissMonique as top headliners, due to low production costs, compared to full bands. And while Dosanjh’s 2024 success speaks to the potential for country-wide touring, and India is producing global stars such as King and singer-rapper Karan Aujla, the biggest artists still tend to do just a date or two in big cities like Mumbai and Delhi. “We’ve just had the initial spark,” Warner’s Mehta says. “Imagine once we see the complete picture.”
The 2025 Global Citizen Festival announced the date for this year’s event on the Great Lawn in New York’s Central Park on Thursday morning (April 10). With a performer lineup to come, organizers revealed that the free, ticketed event will take place on Sept. 27. Explore Explore See latest videos, charts and news See latest […]
The 2025 Montreux Jazz Festival revealed the stacked lineup for its 59th edition on Thursday (April 10), with Neil Young and the Chrome Hearts, Noah Kahan, RAYE, Alanis Morissette and Diana Ross slated to perform.
Explore
See latest videos, charts and news
See latest videos, charts and news
The beloved festival set on the picturesque shores of Lake Geneva will take place between July 4-19 and feature an opening night celebration of the late music icon Quincy Jones by soul legend Chaka Khan (“To Quincy With Love”), as well as a set marking Kahn’s half-century of music-making, with the Casino stage hosting a James Blake solo piano set that same night.
Trending on Billboard
“I feel honored to be returning to open the Montreux Jazz Festival this year, joining so many world class artists,” Khan said in a statement. “I’m equally proud to be bringing some special guests with me, to pay musical tribute to my friend Quincy Jones; one of the best friends that music and Montreux ever had.”
The always eclectic programming will then bring Argentinian rapper Trueno and Colombian superstar J Balvin to the stage on night two, while Brazilian singer/songwriter Seu Jorge will share a bill with fellow Brazilians Anavitória. Among the other acts slated to perform this summer are: Brandi Carlile, Royel Otis, Samara Joy, Dianne Reeves, London Grammar, Rüfüs Du Sol, Leon Thomas, Jorja Smith, Lionel Richie, Portishead singer and solo artist Beth Gibbons, Shaboozey, Yseult, Jamie XX, Leon Bridges, Pulp, Bloc Party, Finneas, FKA Twigs, Benson Boone, Sam Fender, The Black Keys, Santana, Sigrid and many more.
Tickets will go on sale on Friday (April 11) at 12 p.m. CET here; each order is limited to four tickets per concert and a minimum of 10 tickets total.
See the full lineup below.