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Concerts

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Taylor Swift did not announce Reputation (Taylor’s Version) Saturday night, but she did finally perform the album’s “I Did Something Bad” on The Eras Tour. At her Aug. 17 show, the song — a personal favorite, Swift said — got its tour debut during the acoustic set at London’s Wembley Stadium.
“The whole tour I’ve done 100s of songs, but I’ve not done one of my favorite ones,” teased Swift, guitar in hand in front of 92,000 people, “because I was waiting for the right crowd.”

And then came “I Did Something Bad” for the first time in 2024 — a sharp, acoustic version of one of Reputation‘s big pop pillars.

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Swift’s Eras rendition of the song still was a thrill, building up to a bridge that had her scream-singing the last “Light me up!”

Of course, it was a thrill to Swifties not just in a musical sense, but in getting hopes high that Swift’s much-anticipated Reputation (Taylor’s Version) might be this-much-closer to materializing.

With only two re-recorded album releases remaining in Swift’s queue, Reputation and her self-titled debut, and with the tip last December that Rep‘s previously unheard vault tracks are “fire” (it’s what Swift said), playing a Rep rarity, which many fans guessed would be saved to align with an album announcement, is an interesting choice. “I Did Something Bad” hasn’t been performed live by Swift since 2018.

Swiftstorians might recall that it was almost exactly seven years ago, on Aug. 18, 2017, when Swift cryptically went dark on socials ahead of the original Reputation album’s announcement. Without explanation, on Aug. 21, 2017, one post showed up on her feed: the first slither of the now-iconic snake imagery associated with her sixth studio album.

“I DID SOMETHING BAD” surfaced as a trending topic on social media into the late hours of Saturday, with fan memes aplenty. (Scroll through them below.)

In Saturday night’s acoustic set, she also played a piano mashup that pulled at the heartstrings: “My Boy Only Breaks His Favorite Toys,” from The Tortured Poets Department, and “Coney Island,” from Evermore. Swift has two more Wembley shows before wrapping her run of London tour dates.

Keep track of all of the surprise songs performed on The Eras Tour on Billboard‘s full list, after you watch “I Did Something Bad” and scroll through the general reaction Swifties had online.

TOMORROW IS THE ANNIVERSARY OF WHEN TAYLOR BLACKED OUT HER SOCIAL MEDIA BEFORE REPUTATION AND SHE ALSO SANG I DID SOMETHING BAD TODAY??!!! pic.twitter.com/af2GheLwf4— veronica⸆⸉ (@thisisvertrying) August 17, 2024

On Thursday night, Bruno Mars was the first performer at the Intuit Dome arena in Inglewood, California — LA’s newest venue and the home of the Clippers.
The elusive musician is playing two nights, and the first was one for the books. He slid through all the hits and invited a very special guest onstage in front of all the fans and celebrities in attendance.

Below, we’re breaking down our favorite moments from the night. 

Mars and Lady Gaga had been teasing their brand-new collaboration “Die with a Smile” all day, so of course it was the perfect time to live-debut the country collab. He surprised the crowd with the icon toward the end of the show and started by thanking her for having him on the song. Their voices blended perfectly, and the song sounded so good it felt like we were already listening to a classic. 

Gaga wasn’t the only musician there: Intuit Dome was packed with celebrities. We talked to Meghan Trainor on the red carpet, who said her family’s favorite Bruno track is “24K Magic”. Inside the club suites, we ran into Halle Bailey and DDG and their adorable baby. The coolest celeb moment of the night was catching Jennifer Lopez with her hands up and whipping her hair to Mars’ “Marry You”. You better live, J.Lo! 

Mars is a once-in-a-lifetime performer, and his skills were on full display during the show. He effortlessly executed high-energy choreography along with his band on songs like “Finesse.” You wouldn’t even notice because he’d then slip into a smooth ballad like “Versace on the Floor” and not sound even a bit winded. His belt was so loud you could feel his emotion all the way up to the top of the Dome. The mic was definitely on.

The Intuit Dome itself was a star. The paper and cashless venue was a marvel in technology. Each floor had bars and shops that operated so smoothly there were rarely lines. The club level had lounges for guests to mingle and eat before the show. The best part? Each seat had a charging port, so no more dead phones at concerts.

Mars’ fans were a vibe. They quickly ate up the exclusive merchandise for the commemorative evening. Blink and you would think you’re at Taylor Swift’s The Eras Tour, because so many fans were dressed as Mr. Mars. The most popular look was his 24K Magic album cover.

Mars is set for one more night at Intuit Dome on Friday night (Aug. 16), followed by comedian Sebastian Maniscalco on Saturday night, Latin star Marco Antonio Solis on Sunday night, and two nights of Olivia Rodrigo’s GUTS Tour on Tuesday and Wednesday.

Nearly six months into her whirlwind Guts World Tour, Olivia Rodrigo finally landed in her hometown of Los Angeles on Tuesday night (Aug. 13) to perform the first of four dates at the Kia Forum, which she’ll follow with two shows at the soon-to-open Intuit Dome on Aug. 20 and 21. “Oh boy, I’ve been […]

Following a flurry of noise complaints about HARD Summer 2024, Inglewood, Calif., Mayor James T. Butts Jr. has released a statement about the issues experienced at the electronic music festival that took place last Saturday and Sunday (Aug. 3-4) at the city’s Hollywood Park Complex at SoFi Stadium.
“We were perplexed at the sound propagation experienced in the South Bay, because there have been multiple outdoor concerts on the SoFi campus without this issue,” Butts wrote in a statement released by the Mayor’s Office Friday (Aug. 9) and provided to Billboard. “After meeting with representatives from the event promoter and the venue, we conducted a thorough review of the modifications and changes made between Saturday and Sunday of HARD Summer, specifically in response to noise complaints from neighboring communities.”

This is the first time HARD Summer, which has been happening at locations around Southern California since 2008, has been held at Hollywood Park.

Trending on Billboard

Butts’ statement continues, “It is important to clarify that the sound and vibration issues experienced over the weekend were related to certain bass frequencies,” adding that such frequencies can be affected by stage position, reflection off of buildings and weather factors like the wind.

Butts notes that bass vibrations were first reported in nearby El Segundo on Saturday afternoon, not long after the two-day festival began, although online commenters first reported experiencing the noise issues on Friday (Aug. 2) while the festival was doing sound checks. Local paper The Daily Breeze reported that “the El Segundo Police Department received so many complaints on the festival’s first night that the law enforcement agency posted a notice on the social media platform X asking residents to stop calling 911.”

HARD Summer is produced by Insomniac Events, which puts on many major global electronic music festivals including EDC Las Vegas. The HARD Summer 2024 lineup featured electronic artists including Disclosure, Major Lazer, deadmau5, Sub Focus, Chase & Status, Sofi Tukker and many more. The 300-acre Hollywood Park Complex adjacent to SoFi Stadium in Inglewood featured four stages during the festival, with one of them located in the Stadium’s American Airlines Plaza and the other three located around the Complex’s sprawling parking lot.

Butts’ statement notes that the stage in the American Airlines Plaza was “a major contributor to the issue” given that the area is elevated. He adds that no stages will be permitted in this area for future events and that “we will require even greater sound engineering with a more comprehensive plan when it comes to addressing sound and bass frequency management.”

Following the noise complaints, Butts writes that “city authorities engaged the event promoter and the venue and implemented several critical adjustments to each stage and established enhanced monitoring plans for overall sound and bass levels. Additional sound engineers were strategically positioned in areas of concern from Saturday afternoon through Sunday and were promptly dispatched to make necessary adjustments in real time. As a result, a significant decrease in call volume was observed on Sunday in the initially impacted areas.”

He continues that despite these changes, some in the area continued to experience the effects of the bass vibrations — including rattling windows and doors — adding that “with the lessons learned this past weekend, we are prepared to better monitor and supervise future event organizers to minimize the sound and vibration impact on the community outside the venue.”

Two other festivals are currently scheduled to take place at the Hollywood Park Complex: Fool In Love on Aug. 31 featuring Lionel Richie and Diana Ross and, in March 2025, Rolling Loud. The lineup for the latter event has yet to be announced.

“Over the past 10 years Inglewood has re-emerged as a premier hub for sports and entertainment,” Butts’ statement concludes. “That title comes with significant responsibility and we are committed to maintaining the highest standards.”

Elite horse racing is coming to California — and the reigning champ of the Billboard Hot 100 will be there too.
Thoroughbred horse racing and entertainment company 1/ST announced Thursday (Aug. 8) that it’s partnering with The h.wood Group for the inaugural California Crown horse race next month. The event, which will take over Santa Anita Park on Saturday, Sept. 28, will feature performances by Shaboozey, Lil Yachty, Gryffin, Frank Walker, Zack Bia and more, Billboard can exclusively announce.

Shaboozey is riding high with his breakout hit “A Bar Song (Tipsy),” which is in its fourth nonconsecutive week at No. 1 on the Hot 100. Yachty’s most recent album, Let’s Start Here, debuted in the top 10 on the all-genre Billboard 200 last year and atop the Top Rock Albums and Top Alternative Albums charts. A trio of DJs are on deck for the race as well, with Gryffin, Walker and Bia all lined up for sets on site, with more performers set to be announced.

Lil Yachty performs at the Summerfest Music Festival 2024 on July 6, 2024 in Milwaukee, WI.

Josh Meitz for Summerfest

The California Crown will be inspired by old Hollywood glamour and include experiences curated by Delilah, Funke by Chef Evan Funke and Wally’s. Additionally, Chrome Hearts has partnered with 1/ST as the Official Trophy Purveyor to create the California Crown championship trophy.

Trending on Billboard

The California Crown marks the second race in 1/ST’s Grand 3 $25 million racing and incentive series, connecting Preakness 149, The California Crown and the 2025 Pegasus World Cup.

“The California Crown is the premier event Santa Anita Park has been waiting for!” Belinda Stronach, chairman and CEO of 1/ST, said in a press statement. “Working with partners like The h.Wood Group and Chrome Hearts, 1/ST has set the stage for a new California tradition for entertainment, lifestyle and hospitality to complement the best-in-class Thoroughbred racing and wagering synonymous with 1/ST and this iconic venue.”

John Terzian and Brian Toll, co-founders of The h.wood Group, added: “We are thrilled to partner with 1/ST for The California Crown, signaling a new era of premier race-day experiences through our luxury hospitality lens. We’ve wanted to bring something like this to the market for a long time now, and it’s an honor to infuse our signature approach to service into this moment alongside Belinda Stronach and the team at 1/ST – as well as a prestigious array of heritage Los Angeles brands much like us. We are excited to deliver a reimagined trackside experience at the intersection of sports, entertainment and the arts to the West Coast market.”

Tickets for the California Crown can be purchased here.

In 2017, Yungblud met the world with a riotous show at The Water Rats, a dingy club in London’s Kings Cross area that also hosted Bob Dylan’s first live performance in the U.K. — as well as the first ever by Irish group The Pogues.
They went on to even bigger things and this weekend Yungblud will, too. On Aug. 11, the Doncaster-born artist will host the inaugural Bludfest, a 30,000 capacity, one-day event at Milton Keynes Bowl, England. Previous performers at the venue include Queen, Green Day, Metallica, Foo Fighters and Michael Jackson.

The 27-year-old – real name Dominic Harrison – will be joined by a diverse bill including his recent collaborator Lil Yachty, Soft Play (fka Slaves), Jazmin Bean, Lola Young and feature a slot by The Damned; the headline performance will mark his first full U.K. live show in over a year. Harrison released his most recent LP, Yungblud, in 2022, which charted at No. 1 in the U.K. and landed at No. 45 on the Billboard 200.

Trending on Billboard

Across two stages and alongside fairground attractions, an art exhibition and a nod to the beloved Camden boozer The Hawley Arms, Bludfest is an all-encompassing proposition. “I’ve said from the start that it cannot be a gig wrapped in a festival, it needs to be a whole world,” he tells Billboard. “When I spoke with the team it became clear that it was important that part was nailed.”

Disillusioned with the state of the live music industry, Harrison has also been vocal about keeping ticket prices affordable for his young, passionate fanbase. He joins British artists like Paul Heaton and Tom Grennan in trying to buck industry trends for rising entry costs for fans amidst an uncertain and costly landscape for touring artists. An entry ticket for the event is capped at £49.50, though he has partnered with AEG to ensure a sound and slick production on the night.

A week out from the big night, Harrison tells Billboard about why the ticket market inspired Bludfest, advice from the Osbournes and his new label moves for album number four.

Why did now feel like the right time for Bludfest?

It’s something I’ve wanted to do for ages and this was the first opportunity in between tours and albums to do something on this scale. I wanted to build a physical space where the fans can all come together and realize how far this community has come. It needed to be a statement piece as a lot of critics don’t take me or the fans seriously, so I’m like “well, look what we can do.”

You’ve strived to keep ticket prices down to a reasonable amount at £49.50 ($63). Where did that desire come from?

I was in the U.S. last summer and it was the first time playing amphitheaters – our biggest venues in America yet – and it was the first time I experienced tiered seating and experiences. The floor and upper seats were totally full and there was this bullsh-t area in the middle, about 500 seats that were empty and I had no control over the price of them. There were kids outside of the venue who said they had to listen to the concert from outside because they couldn’t afford to come in. It hurt me when I heard that.

The global ticket market doesn’t understand people’s real lives. £250 for a ticket is making me sick. There’s a tour that just went on sale – which I won’t name – and I’m like “Are you f–king joking with me?” It makes me really angry.

There’s concern that young people in particular are being priced out of gigs by their favorite artists…

A lot of artists aren’t as in control of their career as you would think, or don’t pay as much attention to anything other than the art – which is fine and works for some artists, but that’s not me. The only explanation for where I am now, really, is my relationship to my fans. I wanted to make something feasible in a world where music has become a thing of privilege.

Looking at what The Cure’s Robert Smith did with Ticketmaster last year was so inspiring [Ticketmaster refunded what Smith called “unduly high” fees on tickets for the band’s U.S. arena tour in 2023.] That’s an artist at his stage of his career where they’re playing for original fans, but also for new, young fans and he’s still thinking about those people coming through. I don’t want my shows to only be full of people who can afford it.

How has the industry responded to you trying to do something different and less centered around profits?

I’m getting pushback from “the boardroom.” It’s so easy for artists to sit in the pub and say “f–k the label, promoters and corporate system” and do nothing about it. I got some heat from people because Bludfest is co-promoted by AEG but for me, the way to change the corporate system is not by betting angry but going and changing it from within. Most people on the ground floor at these labels or promoters just love music passionately as the fans do.

By taking something into my own control, I can get an insight into something I never would have come across and get an idea on costs and challenge them on why we’re charging a higher amount than what we need to. We’ve already got plans to take Bludfest to Paris or Prague; Japan, Australia and America all want it, it’s gone amazingly well. We have such a strong core fanbase in all of these places and we could really unite a bit of a scene around it.

You’re not the first to have the idea. Lollapalooza started as an outlet for Jane’s Addiction frontman Perry Farrell and your collaborator Ozzy Osbourne [star of the music video for Yungblud’s “The Funeral”] hosted Ozzfest for decades. Have you reached out for advice?

Sharon [Osbourne, Ozzy’s wife and longtime manager] has been so helpful to me. I said to her that I don’t feel like people don’t take me seriously, and she replied “we’ve felt that our whole f–king lives, that’s why we started Ozzfest.” She gave such positive feedback and advice to look after the people because they keep us here. They’ve been so amazing as a family to me.

You’ve got an eclectic mix of artists on the bill from U.S. rappers like Lil Yachty to punk legends The Damned. How did you decide who would be right for Bludfest?

I didn’t want it to be a genre-focused festival. I wanted to think about artists in their own lane and doing their own thing from across the whole scene, so I hit up Lola [Young] who I think is amazing, Jazmin [Bean] who is in their own world, The Damned for the icon slot. I asked about Placebo but they couldn’t make it so maybe we’ll get them next year. I was speaking to Robert Smith, The Smashing Pumpkins and just all my contacts for suggestions, and they all love the idea.

I wanted it to be young, emerging artists. I didn’t want to call up Tyler [Joseph] of Twenty One Pilots, or Oli [Sykes] from Bring Me The Horizon, I wanted it to feel like it is the first year and have a bit of bite and punkiness.

You’ve just moved labels to Island (U.K.) and Capitol (U.S.) for your upcoming record. How is work coming along?

My next album is a rock opera… it’s mental! It’s a new phase in my life and these labels are so classic, and this new album feels like it belongs on prestigious labels like that. The last few months have been a lot more creatively fruitful and inspiring. I really had a choice about staying in the comfort zone or do I want to go to different places and experiment.

In the past I was stuck on the treadmill – to the point that even some of my previous albums felt rushed – or taking external ideas that would damage the art because I was trying to satisfy someone else’s idea for what Yungblud is and not what’s in my gut. But now I feel more excited than ever.

From the members who constantly stole the spotlight to SKZ stepping into full rock star mode, these are the unforgettable moments.

Drake had some exciting news for his hometown fans on Friday night (August 2) at Budweiser Stage in Toronto.
After surprising the crowd with a full set of R&B songs, he announced that he’s working on a new collaborative album with his OVO labelmate PartyNextDoor.

“On behalf of me and Party, we’ve been working on something for y’all,” he announced at the end of the concert. “So, you get the summer over with, you do what you need to do. I know all you girls are outside. When it gets a little chilly, PartyNextDoor and Drake album will be waiting right there for you.”

It was actually PartyNextDoor’s concert, not Drake’s — the Toronto date of the Mississauga rapper’s Sorry I’m Outside Tour — but he ceded the stage to his famous collaborator for nearly a whole hour at the end of his show. PartyNextDoor finished his own set — already a career-spanning show filled with R&B hits and slow-burning deep cuts from a decade of recording — then, after the stage set was changed over, the lights came back on with Drake standing in front of the microphone instead of him.

“I’m here tonight as a thank you,” he said, “to each and every one of you for all your years of unwavering support.”

Trending on Billboard

While shouting out Toronto is always good for a cheap pop from his local fans, Drake’s words felt genuine at this show. At a time when Kendrick Lamar’s ubiquitous diss track “Not Like Us” is contending for the song of the summer and even longtime friends are throwing their support behind it, it makes sense for Drake to do something special for the fans who’ve stood by him the most.

He said he had never done a full show of just R&B songs before, but he has more than enough to fill a strong setlist. He stuck mostly to one register: Drake with the melodies.

He nodded to Caribbean Carnival happening this weekend in Toronto with his Caribana ’99 tank top. That’s usually the weekend he puts on OVO Fest, but this was a little different than that yearly triumphant special-guest fest. Instead, it was a set filled with deeper cuts he rarely performs and one he debuted live for the first time.

He started with “Sweeterman,” the smooth 2015 remix of Mississauga artist RamRiddlz that he hasn’t played in years. Then came the first live performance of “Wah Gwan Delilah.” It was definitely a surprise. When Drake jumped on Snowd4y’s viral patois-laden cover of Plain White T’s emo-pop ballad “Hey There Delilah,” it was so divisive and strange that many people couldn’t figure out if it was really him or an AI deepfake. On this night, it was definitely him singing, and the crowd loved it.

Drake went back into his discography for “Practice” from Take Care and “Connect” from Nothing Was the Same, then got newer with “Finesse,” “Pipe Down” and “Redemption” — lower-key favorites from albums like Scorpion, Views and Certified Lover Boy. He brought up another OVO artist, Roy Woods, to play “Drama,” their vibey 2015 song.

Then, he brought back PartyNextDoor for a few collaborative songs, including the PND hit “Come and See Me.” Drake offered a lot of praise for him. He called him “the King of R&B” and his favorite R&B singer of all time, crediting him for inspiring him and “changing my life and changing my sound.” He even shouted out PartyNextDoor’s parents, who were in the audience.

With a collaborative album with PartyNextDoor on the horizon, we could hear a lot more of Drake’s softer side soon.

This article was originally published by Billboard Canada.

From a local surprise guest to the performance of her new viral hit, these were Hot Girl Meg’s unforgettable moments.