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Fans of Law & Order: SVU had been wondering why Ice-T’s Sgt. Fin Tutuola character has been less involved in season 27, and the rapper-actor has explained the reasoning behind his screen time being cut.
Ice, who has been on Law & Order since 2000’s season two, essentially chalked the reduced role this season to a “business” decision, as SVU brought back Det. Amanda Rollins, who is played by Kelli Giddish.
“It’s just basically business,” Ice-T told TMZ in an interview published Monday (Nov. 24). “They brought Kelli back. At the end of the day, they couldn’t keep both of us on both times, as far as budget-wise. They said, ‘Ice, we’ll have you come in and out this year.’ Everybody wanted Kelli back. We have new cops. I am not leaving the show. I am more concerned with going to season 28.”
However, SVU die-hards and the Fin hive can breathe easy, as he isn’t expected to be phased out of the series. Show organizers told Ice that they “can’t imagine” NBC’s long-running procedural drama without him.
Ice-T continued: “This year, they said, ‘Ice, we’re going to work you a little less.’ Everything was cool with me. I understood. I said, ‘Are you getting rid of me?’ They said, ‘No way. We can’t imagine Law & Order without you.’ I’ve been on this show for 27 years. I am not going to say anything negative about this show. They have taken care of me for so long. I’m trying to get to season 28.”
The 67-year-old has appeared in four of the eight episodes thus far in season 27. Early in the season, Fin was jumped by two men and a woman after being set up by the crew, with the woman pretending she was being sexually assaulted. Fin was hospitalized from the beating and took a leave of absence to deal with the trauma from the altercation.
Ice-T also explained that the free time has allowed him to pursue other endeavors, such as focusing on music andmaking AI-generated photos. “Don’t worry about me. I am kind of glad the fans are upset,” he said. “What if I was missing and nobody cared? I will be sprinkled throughout this season.”
Law & Order: Special Victims Unit airs on NBC and streams on Peacock.
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Aminé is bringing his Tour de Dance world tour to Australia in early 2026, confirming a four-show run across Sydney, Brisbane, Melbourne and Perth.
The dates extend a touring cycle that has already taken the Portland rapper through more than 40 shows across the United States, the United Kingdom and Europe behind his latest album, 13 Months of Sunshine.
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The album, released earlier this year, marked Aminé’s first solo full-length since 2020’s Limbo and arrived after Kaytraminé, his 2023 collaborative project with Kaytranada. 13 Months of Sunshine saw the rapper take a more introspective turn, weaving themes of heritage, grief, identity and growth into a 16-track set featuring guest appearances from Waxahatchee and Toro y Moi.
Tour de Dance has become Aminé’s most expansive run yet, hitting major festivals and headlining venues across North America and Europe throughout 2024 and 2025. The Australian leg marks the rapper’s first return to the country since 2023 and the fourth visit of his career. His most recent Australian shows followed the release of Kaytraminé and included festival appearances and sold-out headline dates.
Aminé has remained a consistent presence on the touring circuit since breaking through with “Caroline,” which peaked at No. 11 on the Billboard Hot 100 in 2017. He followed that with charting singles including “REDMERCEDES,” “Spice Girl” and “Shimmy,” and landed two albums on the Billboard 200: Good for You and Limbo, the latter peaking at No. 16.
The upcoming Tour de Dance dates will see Aminé return to mid-size theatres and halls, beginning Jan. 10 at Enmore Theatre in Sydney. The run continues Jan. 13 at Fortitude Music Hall in Brisbane and Jan. 15 at The Forum in Melbourne, before wrapping Jan. 20 at Metro City in Perth. Pre-sale tickets open Nov. 26 at 10 a.m. local time, followed by general on-sale Nov. 28 at 10 a.m. local time.
13 Months of Sunshine is available now via CLBN and distributed by Virgin Music Group. Ticketing and tour information can be found via Live Nation.
Trending on Billboard It’s a new era for Lil Uzi Vert. The Philly rapper is no longer signed to Atlantic, and Uzi returned on Monday (Nov. 24) to release a pair of singles independently with “Chanel Boy” and “Relevant.” The 31-year-old joins Rihanna and Jay-Z as the only two artists both signed to ROC Nation […]
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Rolling Loud India took place this past weekend, and we’re taking you inside the inaugural event! Featuring interviews with Nav, Swae Lee, Wiz Khalifa, fans and more, keep watching to experience what the festival was like.
Swae Lee:
Shout out to India, man.
Nav:
Everybody’s brown, everybody looks like me.
Wiz Khalifa:
“Beware?”
Tetris Kelly:
Yeah, it’s “Beware” remix with Jay-Z, I feel like as soon as that- we’re here.
Rich the Kid:
Hey, they knew every song. Knew every word. So it was exciting.
Guest 1:
Also, people love hip-hop in India.
Tarik Cherif:
If you want to experience hip-hop culture, come to Rolling Loud, and we’re coming to you worldwide.
Tetris Kelly:
Hanging out at Rolling Loud India with Wiz Khalifa, man, this is so crazy to me that we even here.
What is the song that you have you feel like that you know, everybody gonna sing the words that like they react differently than they would in the States?
Wiz Khalifa:
Definitely “We Dem Boyz,” that’s one that gets like the crowds in the foreign country.
Tetris Kelly:
What was one of your favorite acts yesterday?
Guest 2:
My favorite was Swae Lee.
Swae Lee:
That crowd crazy, right? Feel like we back in Miami or something, like they, they screaming. That’s my first time coming here.
Tetris Kelly:
What you ate, like what’s the energy?
Rich the Kid:
I love it out here. It’s cool. All the people is cool, very down to earth, and the energy is great.
AR Paisley:
I love it, can’t complain. Food’s been good.
Wiz Khalifa:
I just had some regular chicken and rice type
Nav:
We got to eat. The food is amazing. All the hotels, all of staff, everybody ever just treats us with the utmost respect.
Keep watching for more!
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A$AP Rocky’s Don’t Be Dumb album has suffered through plenty of delays, but fans once again have hope for a 2026 release date after noticing a possible message through Rocky’s wardrobe during the Harlem native’s Camp Flog Gnaw performance Sunday (Nov. 23).
The Mob frontman kicked off his set at Tyler, the Creator’s festival hanging from the side of a helicopter while using a megaphone as a mic. Once Rocky removed a flannel jacket, he donned a hoodie with a set of numbers emblazoned across the right sleeve.
“01162026” the sleeve reads in black, which many took as a hint at a Jan. 16, 2026, release date for the album.
The theory gained some legitimacy since it’s a Friday, but other fans had a more pessimistic outlook, bringing up that Jan. 16 is actually National Nothing Day, and Rocky’s possibly messing around.
“You really can’t make this up,” one person wrote on X.
Another added: “it’s not happening he just trolled all of us!”
But one fan had a bit more confidence in Rocky delivering. “if nothing happens that day (no competition) wouldn’t it be the perfect day to drop an album,” they wrote.
There have been numerous missed possible release dates and delays for Don’t Be Dumb over the years, so it remains unclear if fans should mark their calendars for Jan. 16.
However, during a conversation as part of Variety‘s Hollywood Issue, Rocky told LaKeith Stanfield, Callum Turner and Glen Powell that his album is still slated to drop in 2025.
“Danny Elfman, he just did my album with me that I’m putting out this year,” Rocky said. “He scored a bunch of the songs on my album.”
A$AP Rocky’s last album arrived in 2018 with TESTING and it’s been a long road to Don’t Be Dumb.
Trending on Billboard Travis Scott wrapped up his Circus Maximus Tour on Nov. 19 and has broken the record for the highest grossing solo rap tour of all time, according to Live Nation. According to figures reported to Billboard Boxscore, Scott’s global trek grossed $265.1 million and sold 2.1 million tickets. Circus Maximus kicked off […]
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Los Angeles’ live music club scene is amping up. And one of the energizers behind that push is Adam Blackstone, in his newly created role as creative director for the recently rebranded venue Live at The Sun Rose.
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Case in point: Earlier this month (Nov. 11), a long line of exuberant fans stretched down the block from the club’s entrance on Hollywood’s famed Sunset Strip. They were waiting to witness the Blackstone-led 30th anniversary salute to the star- and hit-filled 1995 film soundtrack Waiting to Exhale. Billed as a “special legacy experience,” the family reunion-vibed evening sparked lively singalongs — plus shoutouts and standing ovations — to songs such as Faith Evans’ “Kissing You,” Whitney Houston’s “Exhale (Shoop Shoop)”/”Why Does It Hurt So Bad,” Brandy’s “Sittin’ Up in My Room,” Mary J. Blige’s “Not Gon’ Cry” and Toni Braxton’s “Let It Flow.”
But it was done with a twist. Blackstone’s surprise guests for the affair was a cast of male singers who lent their own vocal insights to the soundtrack’s themes of love, hurt and friendship. Among the emerging and established artists on deck were TA Thomas, JayDon, Dixson and Darrel Walls. Also spotted in the audience: Waiting to Exhale star Lela Rochon, actor/producer Lena Waithe and Grammy-winning artist-musician Robert Glasper.
JayDon, Dixson, Lekhan, Eric Dawkins, Adam Blackstone and Darrel Walls at The Sun Rose West Hollywood, November 11, 2025.
David Coy II
The Waiting tribute is just one example of the kind of events Blackstone has in mind for Live at The Sun Rose. Nestled within The Sun Rose West Hollywood (formerly the Pendry hotel), the revamped 100-seat intimate space hosted a for-your-consideration chat in October between Blackstone and Teyana Taylor, who earlier this month received her first Grammy nomination. Recent and upcoming shows at the venue, which relaunched Aug. 1, include David Bowie’s Piano Man: Mike Garson featuring Judith Hill and Luke Spiller Presents — The Songs I Wrote for You (Dec. 5, 12-13).
Emmy winner Blackstone (Super Bowl LVI halftime show) won his first Grammy this year for best musical theater album (Hell’s Kitchen). The bassist, producer and musical director’s list of credits also includes Rihanna, Justin Timberlake, Alicia Keys, Maroon 5, Jay-Z and Eminem. Now he’s opening the door to a new era at the Sun Rose — and the Los Angeles club scene, which also welcomed Blue Note’s L.A. offshoot to town in August with Glasper as its partner/creative ambassador.
“It’s incredible to see and feel what’s going on in the city; there’s a lot happening now,” says Blackstone. “So I’m not taking this new role lightly. We’re going to push this new synergy of creativity forward at the Sun Rose.”
Below, Blackstone explains more about the vision behind the venue, and what inspired the unconventional Waiting to Exhale anniversary celebration.
How did this gig come about?
When my first album [2022’s Legacy] came out, I had been looking for a newish spot to set up shop. A friend of mine introduced me to a couple of people who told me about this brand new spot built over the House of Blues. I had so much nostalgia for that venue because one of the first albums I ever played on was with Jill Scott performing live at the House of Blues. So I went to see the room. It was incredible.
I feel that what we did that first night I played [promoting the new album] at Sun Rose in early 2023 set the precedent for what L.A. has become now jam session-wise. I really wanted to bring in some East Coast and Philadelphia flair: you invite people up onstage, it’s very impromptu. I think one of the things that people love about what happens at the Sun Rose, whether it’s me or not, is that it feels like a family safe space for people to mess up, to improv. That’s what jazz, blues and R&B are all about: to be in the moment, to be vulnerable, to tell stories.
I was very excited to be one of the first cats to make Sun Rose my home to do that type of music. So in making the transition from the Pendry, this job came about. I’m thankful to be a part of it. And we’re only going to get bigger and better as far as our reach.
Adam Blackmon with Lena Waithe and Lela Rochon at The Sun Rose West Hollywood, November 11, 2025.
David Coy II
What is your vision for achieving that mission?
My mission for Live at Sun Rose is to be a music venue that accepts all creative spaces, doing thing that other L.A. music venues can’t do. For example, we have sat down and talked about what 2026 looks like for Grammy Week, but also for NBA All Star Week, which might not just be music stuff but also installations. It could be glam things that are centered around music. All of these things our venue is able to do.
So the goal is to be anything live entertainment-oriented that allows people to have a safe space to come in and create whether that’s music, art, visual art, a podcast space [R&B Money taped a show there] or a glam space for hair, nails, makeup … there’s something to be said about the ambience and location that we provide alongside the history that’s already associated with Sun Rose.
Which prompted your staging a show celebrating the 30th anniversary of Waiting to Exhale?
The week we staged the show coincided with the Nov. 14 release date of the 1995 soundtrack. I had been talking to Babyface about the soundtrack, which produced several major hits and made such an impact on our culture. I asked him how he was able to write in the perspective of these four women. And Forest Whitaker directed the film.
So I got this genius idea that I hoped would translate. Because nobody speaks about such hurt from a man’s perspective, I wanted to surprise the audience by having all males sing the soundtrack’s songs. We’ve experienced and gone through some ish too. We hurt as well. And I felt this was the perfect time to do something like this in the intimate, safe space of the Sun Rose.
As creative director, how hands-on are you in organizing and slating shows at Sun Rose?
Ascreative director, I’m in it every day. We have calls, text threads and ideas that we present to one another. And artists are bringing me ideas. One of the things that we’re talking about now is developing immersive experiences for both the music venue and the hotel as well. Where people can stay over multiple days like during Grammy Week, NBA All Star Week or something like that and immerse themselves in the music and the culture without even having to leave the facility. That’s something that we can provide that another venue can’t.
Also, I’ll be doing probably five-six special concerts myself a year, or possibly more. But I’m there every day as creative director, helping to make decisions. Knowing the House of Blues was on this site, I feel a responsibility to uphold that great music tradition.
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Donald Glover told fans at Tyler, the Creator’s Camp Flog Gnaw festival on Saturday night (Nov. 22) that he suffered a stroke last year while touring under his Childish Gambino moniker — an episode that ultimately led to the cancellation of his world tour.
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During his set at Dodger Stadium in Los Angeles, Glover recounted the medical emergency that struck mid-tour in 2024. He explained that the symptoms began after a show in New Orleans, where he experienced a sudden, intense head pain and blurred vision. Despite performing through the discomfort, he later sought medical attention in Houston, where doctors informed him he had experienced a stroke.
“I had a really bad pain in my head in Louisiana and I did the show anyway,” he told the crowd. “I couldn’t really see well, so when we went to Houston, I went to the hospital and the doctor was like, ‘You had a stroke.’”
He added that his first reaction was thinking he had “let everybody down,” before joking that he felt like he was “copying Jamie Foxx” — whose own stroke in 2023 made global headlines.
Glover said the stroke was only part of what he faced medically. He also revealed he had broken his foot around the same time, and that doctors discovered a hole in his heart that required two surgeries.
“They say everybody has two lives, and the second life starts when you realize you have one,” he told fans. “You’ve got one life, and the life I’ve lived with you guys has been such a blessing.”
The medical complications forced Glover to cancel the remainder of his planned dates, including U.S., U.K., European and Australian shows. At the time, he publicly referred to the incident only as an “ailment,” noting that his recovery was taking longer than expected.
Glover released Bando Stone & the New World in 2024 — which he billed as the final Childish Gambino album — and had planned the now-canceled tour as a farewell era for the stage name. The five-time Grammy winner has since shifted focus back to film and television projects under his own name.
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Rolling Loud has unveiled the full lineup for its 2026 Australia edition, confirming a heavyweight bill of U.S. rap acts alongside some of the country’s most prominent homegrown names.
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Rolling Loud Australia is set to take place across two cities in March: Sydney’s Centennial Park on March 7, and Melbourne’s Flemington Racecourse on March 8. The twin one-day events mark Rolling Loud’s first shows in Australia since 2019, and the first time the global hip-hop festival brand has expanded to a two-city format in the country.
Gunna will headline the two-city run, following Rolling Loud’s earlier confirmation that the rapper would anchor the event. Ken Carson joins him at top billing, extending the Opium-affiliated artist’s growing presence across the festival’s global footprint. Sexyy Red — previously announced — leads the second tier of performers.
The 2026 bill includes several major U.S. rap acts across its main stages. Sexyy Red, Tyga, Swae Lee, Lil Tjay, Ski Mask the Slump God, NLE Choppa, Quavo, Ian and rising rapper Osamason are among the international performers scheduled across the weekend. The lineup spans established touring names, TikTok-driven breakout acts and core Rolling Loud regulars who have been fixtures across the festival’s global editions.
In addition to the international programming, Rolling Loud Australia will feature a dedicated stage focusing on local artists from Australia and New Zealand. Acts announced for the regional platform include Hooligan Hefs, Youngn Lipz, Amarni, Day1, Lil Golo & Cult Shotta, 4ourttune and Jonny Chopps. While each city will include select local-only performers, the core lineup remains consistent across both dates.
Rolling Loud first debuted in Australia in 2019 with a one-day event at Sydney Olympic Park headlined by Future, Playboi Carti and Rae Sremmurd. That edition sold out quickly and became a key marker of the festival’s global expansion cycle. Its return in 2026 marks the brand’s first Australian event in seven years and the first time Rolling Loud has staged back-to-back shows in two Australian cities.
The announcement follows a period of continued international growth for the Miami-born festival, which recently added new editions across Europe, Asia and India. Rolling Loud India will take place later this month with a lineup headlined by Central Cee, Wiz Khalifa, Don Toliver and Karan Aujla.
Rolling Loud Australia 2026 will run in partnership with Primuse Entertainment as the local production partner. Further scheduling and site details are expected in the lead-up to the March events.
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GloRilla has defeated a lawsuit that accused her of stealing a social media personality’s viral catchphrase “all natural, no BBL” for her 2024 song “Never Find.”
The federal copyright case was filed this summer by Natalie Henderson, aka @slimdabodylast on Instagram, who claims she coined the catchphrase referencing “Brazilian butt lift” surgery. Henderson says GloRilla (Gloria Woods) stole the phrase for her lyric “All natural, no BBL/ Mad hoes go to hell” on “Never Find,” a bonus track off her debut album Glorious.
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GloRilla’s lawyers denied any infringement and argued that nobody can copyright a “cliched” expression like “all natural, no BBL.” But it doesn’t look like a court will have to decide these substantive questions; Judge Lance M. Africk dismissed Henderson’s lawsuit on Friday (Nov. 21) based on geographical technicalities.
The suit was brought in Henderson’s home state of Louisiana, but the judge ruled that wasn’t enough to establish jurisdiction over GloRilla, a Georgia resident, or the various label defendants also named in the lawsuit — California-based Universal Music Group and Warner Chappell, Tennessee-based CMG and New York-based BMG.
Henderson tried to argue that jurisdiction was established by GloRilla doing business in New Orleans, including by attending the 2025 Super Bowl and performing at the city’s Smoothie King Center when she opened for Lil Baby’s It’s Only Us tour in 2023 and Megan Thee Stallion’s Hot Girl Summer tour in 2024. But Judge Africk was not convinced.
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“Plaintiff’s claims do not arise out of or result from defendant Woods’s concerts or personal appearances in Louisiana, particularly when plaintiff has not made any allegations that ‘Never Find’ was ever performed in Louisiana,” wrote the judge.
Judge Africk similarly rejected Henderson’s contention that the case could be brought in Louisiana because “Never Find” was distributed in the state. He noted that the song was available worldwide — and also pointed out a major hole in Henderson’s argument.
“Plaintiff relies on her counsel’s purchase of a copy of defendant Woods’s album Glorious on vinyl at a New Orleans record store as evidence that defendants ‘specifically targeted consumers in Louisiana,’” wrote the judge. “However, ‘Never Find’ was not included on the vinyl that plaintiff’s counsel purchased, as it was only released as a bonus track on an exclusive digital version of the album Glorious.”
The lawsuit was dismissed without prejudice, meaning Henderson can attempt to refile the lawsuit in a different state if she so chooses. Her lawyer did not immediately return a request for comment on Friday, and neither did GloRilla’s reps.
This isn’t GloRilla’s first time defeating a copyright infringement lawsuit. Another case, which alleged her hit songs “Tomorrow” and “Tomorrow 2” sampled a decades-old hip-hop track without permission, was also dismissed out of New Orleans federal court last year for jurisdictional reasons.
GloRilla was sued again a year ago alongside Megan Thee Stallion, Cardi B and Soulja Boy for supposedly sampling the 2008 Plies song “Me & My Goons” without clearance on their collaboration “Wanna Be.” That case was voluntarily dropped in March.
