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Taylor Swift wanted to work on her reputation when it came to her dancing, so she hired choreographer Mandy Moore.
In an interview with The New York Times published Sunday (Oct. 26), the choreographer opened up about working with the pop superstar to hone her movement skills before embarking in 2023 on her global Eras Tour, which saw Swift looking better than ever as she held her own in several different dance numbers. Before that, though, Moore says the 14-time Grammy winner was insecure about her abilities.
“She’d gotten a bad rap for a long time about her dancing, so she was really in her head,” the dance coach recalled to the publication. “We shifted the focus to how movement was already manifesting in her body — the way she naturally wanted to move. And then we fine-tuned that: ‘OK, that looks a little weird with your shoulders,’ or, ‘Let’s straighten your knee here.’”
“I really admire Taylor’s tenacity,” Moore continued. “She works so hard. Whatever I was putting down, she was picking up. And she’s very clear about what she wants, which I love.”
Elsewhere in the interview, the choreographer spoke in general about how she demystifies dancing for her superstar clients. “Dance is so vulnerable, and that feeling is only magnified by how famous the person is,” she explained. “Some of these artists have been sort of traumatized by dance. And so I end up as a kind of dance therapist.”
“A lot of it is really just getting in a room and being like, ‘Look, here’s this thing that I love, and you can love it too!’” Moore added.
Though Swift’s Eras trek is memorable for a boatload of reasons, one of them is how she clearly leveled up dancing-wise for the excursion. Fans went wild every night for her sexy Chicago-esque chair dance during “Vigilante Shit,” as well as her sultry, serpentine moves throughout the Reputation set.
The hitmaker has continued working with Moore throughout her The Life of a Showgirl era, teaming up to create TikTok trend-worthy choreography for Billboard Hot 100-topping lead single “The Fate of Ophelia.” In Swift’s The Release Party of a Showgirl film, she perfects her own dance moves while on set of the track’s music video, telling the crew at one point, “Can I just try to be a little bit better?”
Trending on Billboard Demi Lovato is coming to your town. The singer announced the dates for their 2026 North American It’s Not That Deep tour on Monday morning (Oct. 27). The 23-date outing in support of the singer’s just-released ninth album of the same name is slated to kick off at the Spectrum Center in […]
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Grimes is coming to the defense of Selena Gomez, as well as all other women whose appearances are routinely criticized online.
In response to a viral post on X — in which a user had posted screenshots of the Rare Beauty founder’s “In the Dark” music video and written that she looked like an “X Files monster” — the hyper-pop singer-producer wrote Saturday (Oct. 25) that she might have to “leave” the internet because of all the “unhealthy as f–k” content.
“Watched this Selena Gomez video, besides a few weird derp shots that ppl were able to clip and super misrepresent how she looks she looks extremely beautiful, is prob one of the most beautiful girls,” Grimes began. “Imagine what it [would] feel like if people talked about you this way. Try to imagine the mental fortitude she presumably has. How do we not utterly morally castigate someone who has a post like this blows up and chooses to keep the clout at the expense of everybodies mental health.”
“How do u think little girls feel reading stuff like this about another woman?” she continued. “This might be vaguely the second gen of women being allowed to be over 30 in entertainment if u can even count the first gen as anything besides a few outliers. It shud not be ok to do high school level bullying.”
Grimes went on to say that she thinks accounts posting derogatory things about women’s appearances should be “suspended for body shaming en masse.”
“This is disturbing – in part because it’s not even true if u actually watch this video,” she added. “This being socially acceptable behavior is culture death – not just for the Selena or the writer but everyone who sees this and engages with this level of dehumanization.”
Ruthless scrutiny of women’s looks isn’t new to the internet, but it certainly isn’t getting any better with time. It’s one of several reasons why Grimes has previously criticized social media, writing in July that it was “profoundly clear” to her that X — which just so happens to be owned by her ex-partner Elon Musk, with whom she shares three children — is “a poison.”
The artist’s latest post comes shortly after the release of her new single, “Artificial Angels,” which she’s been teasing is just the first taste of a whole batch of new music coming soon. In the single’s accompanying video, Grimes debuted her new face tattoo — not that anyone realized she had it.
“I got a face tattoo a few months ago and literally nobody noticed, not even my parents lol,” Grimes wrote Oct. 22, sharing a photo of the new faded red ring permanently inked around her left eye. “Idky this face tattoo is imperceptible but just for the record it’s my fave tat.”
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Lewis Capaldi is gearing up for his first run of North American dates in more than two years. The “Someone You Loved” singer announced the dates for what he has dubbed his “BIGGEST EVER” U.S. and Canadian tour over the weekend.
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The run of shows are slated to kick off on April 15 at the Liacouras Center in Philadelphia and include stops at Madison Square Garden in New York, two nights at MGM Music Hall in Boston, as well as gigs in Montreal, Toronto, Chicago, Denver, Los Angeles and Berkley, Calif. before winding down on May 6 at Rogers Arena in Vancouver. A pre-sale begins at 9 a.m. local time on Monday (Oct. 27); click here for details. There will also be a Live Nation pre-sale on Monday beginning at 10 a.m. local time, with a general onsale launching on Friday (Oct. 31) at 9 a.m. local time here.
Joy Crookes will open all the dates.
Capaldi, 28, recently wrapped his first run of U.K. shows in two years following his long-awaited comeback in June when he played a surprise set on the Pyramid Stage at Glastonbury. The singer cut his 2023 Glastonbury set short after he said he was struggling with a strained vocal cord and tics caused by his Tourette’s, leading to a nearly two-year break from live performance to focus on his mental health.
Following the North American dates, Capaldi has booked a run of huge U.K. and Ireland dates next summer, slated to kick off in Dublin’s Marlay Park on June 24 and run through an Aug. 22 show at Wythenshawe Park in Manchester, England.
On Friday, Capaldi announced the upcoming release of the four-track EP Survive, which will feature the title track, as well as “Something in the Heavens,” “Almost” and “The Day That I Die.” The EP, the follow-up to Capaldi’s 2023 album Broken By Desire to Be Heavenly Sent, is due out on Nov. 14 through Capitol Records.
Listen to “Almost” and see the poster for the spring 2026 U.S./Canadian dates below.
Billboard’s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, click here.
Trending on Billboard Reneé Rapp has been criss-crossing North America for the past month on her headlining Bite Me tour. But over the weekend, the singer and former Sex Lives of College Girls star had to pump the brakes on the final two planned gigs on the outing on doctor’s orders. Explore See latest videos, […]
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The Jonas Brothers have gotten used to being pelted with the expected waves of love and affection during their run of stadiums and arenas this year on their Jonas20: Greetings From Your Hometown tour. But those definitely weren’t just gleeful shouts of “Joe!” after the sibling trio took the field on Saturday (Oct. 24) in the middle of game two of the World Series at Toronto’s Rogers Centre to perform the song “I Can’t Lose” from this year’s Greetings From Your Hometown LP.
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In fact, the mid-game performance break at a point when the score was tied 1-1 between the Los Angeles Dodgers and Toronto Blue Jays as part of the annual Stand Up To Cancer tribute kind of ticked off a lot of fans who feared it was messing with the game flow and may have actually been thinking “Noooo!!!”
“If the Jays lose it’s entirely on that weird Jonas Brothers performance in the middle of the game,” one incensed fan wrote on X, with another adding, “I’m trying to watch the World Series and they doing a damn Jonas Brothers concert after the 5th inning.”
Joe Jonas heard you and the singer had the perfect response to the chorus of concern in the comments on a Major League Baseball post featuring a still pic and a video of the siblings posing on the field with the caption, “SPEECHLESS, OVER THE EDGE, JUST BREATHLESS.” Joe seemed to humorously sympathize with the confusion, commenting, “Why these guys?“
Self-deprecation aside, there were plenty of fans there to support him, with a number commenting on his comment, with one writing, “@joejonas Because they are the boys with the most beautiful soul in the world” and another adding, “@joejonas cause they’re awesome.”
MLB has been hosting the Stand Up to Cancer tribute since 2009 in which people in attendance at games hold up placards honoring those who’ve been impacted by cancer. The JoBros dedicated “I Can’t Lose” — which was the official anthem of ESPN’s Sunday Night Baseball coverage, with a video in support of the charity airing during July’s MLB All-Star game — to “everyone standing up to cancer.” Joe also kicked off the performance by holding up a placard for their dad, Kevin Jonas Sr., who was diagnosed with colon cancer in 2017.
The band’s 20th anniversary tour continues on Monday night with the second of two shows at Orlando’s Kia Center.
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Since Pinkpantheress first snuck into cool kids’ playlists with 2021’s “Break It Off” — and truly exploded into the world of mainstream pop with 2023’s Ice Spice-assisted “Boy’s a Liar, Pt. 2” — the British singer-songwriter has consistently offered an incisive reflection of Gen Z’s Internet-driven, hyper-self-aware, irony-anchored humor and culture. Her bite-sized tracks helped her become one of TikTok’s earliest favorites, but her witty, honest lyricism and infectious self-produced records that blend drum and bass, garage, and alternative pop helped her transcend the volatile social media app.
On Friday night (Oct. 24), just a week after dropping her inventive Fancy Some More remix project, Pinkpantheress delivered the strongest, most fully-realized show of her career at the launch of the North American leg of her An Evening With… Pinkpantheress Tour. Kicking off her two-night residency at Brooklyn’s Kings Theatre with “Stateside,” Pinkpantheress spent her set hitting all of her marks across a tri-staired platform flanked by her hilarious DJ on one end and her terrific drummer on the other. Over the course of a little over an hour, she played her entire Fancy That mixtape, which hit No. 4 on the Dance Albums earlier this year, as well as catalog highlights like “Just for Me,” “I Must Apologise,” “Another Life” and “Mosquito.”
Marking her third headlining trek in as many years, this latest tour seizes every opportunity to flaunt Pinkpantheress’ growth onstage. Not only is she visibly more comfortable — her facial expressions, banter, and sass were dialed up considerably on Friday night — but she and her creative team have also truly figured out how to streamline her aesthetics when translating her music to a live setting. Part of why Pinkpantheress has proven to be one of the most alluring new pop stars of the decade is because of its cozy DIY energy; to bring that to a 3,250-capacity venue, she enlisted the Pinkettes, the adorable faux girl group she forms during the show with her two backup dancers, both of whom donned their best Pinkpantheress-inspired garb. With The Pinkettes helping fill the stage and giving Pinkpantheress co-stars to bounce off of, the show felt much more visually complete than last year’s Capable of Love Tour.
Of course, Pink’s signature 2009 JCPenney-evoking remained paramount to the show’s visual identity, helping present her as a soft antithesis to the ultra-glamorous glitz of some of her contemporaries. Pink finds the sparkle in both the mundane and the profound, which is why she can seamlessly shift from a kitschy flip of Shakespeare’s Romeo & Juliet (“Romeo”) to referencing nice Internet memes during her banter intermission. That intermission also proved strikingly candid, with Pink giving a heartfelt speech about her growth in confidence and comfort onstage over the past four years. “I don’t know if anyone was there for those [early shows], but I was shuffling [around],” she said. “I’m 24 now, and I started when I was 19… to be showing this newfound confidence in front of people is really exciting.”
From her Lalaloopsy-esque styling and classic jazz choreography to a surprise Zohran Mamdani appearance, here are the five best moments of Pinkpantheress’ latest tour.
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Taylor Swift’s The Life of a Showgirl adds a third week at No. 1 on the Billboard 200 albums chart (dated Nov. 1), with 194,000 equivalent album units earned (down 43%) in the United States in the week ending Oct. 23, according to Luminate.
The Life of a Showgirl is only the second album in 2025 to spend its first three weeks at No. 1, following Morgan Wallen’s I’m the Problem, which spent its first eight weeks atop the list (of its total 12 at No. 1).
Elsewhere in the top 10 of the latest Billboard 200, Tame Impala claims its third top five-charted album, as Deadbeat debuts at No. 4.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new, Nov. 1, 2025-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 28). For all chart news, follow @billboard and @billboardcharts on both X and Instagram.
Of The Life of a Showgirl’s 194,000 equivalent album units earned in the latest tracking week, SEA units comprise 156,000 (down 34%, equaling 200.68 million on-demand official streams of the set’s tracks — it ranks at No. 1 on Top Streaming Albums for a third week), album sales comprise 38,000 (down 63% — it’s No. 1 on Top Album Sales for a third week) and TEA units comprise less than 1,000 (down 42%).
The chart-topping KPop Demon Hunters soundtrack holds at No. 2 on the latest Billboard 200 (96,000 equivalent album units, down 8%) and Wallen’s I’m the Problem is stationary at No. 3 (83,000, up 5%).
Tame Impala’s first full-length studio album in five years, Deadbeat, debuts at No. 4 with 70,000 equivalent album units earned. Of that sum, pure album sales comprise 37,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 33,000 (equaling 41.72 million on-demand official streams of the set’s tracks; it debuts at No. 7 on Top Streaming Albums) and TEA units comprise a negligible sum.
Deadbeat is the third top five (and top 10) project for Tame Impala, following 2020’s The Show Rush (No. 3) and 2015’s Currents (No. 4).
The new album was preceded by a trio of charted songs: “End of Summer” (No. 20 on Hot Rock & Alternative Songs, No. 7 on Hot Dance/Pop Songs), “Loser” (No. 15 on Hot Rock & Alternative Songs) and “Dracula” (No. 7 on Hot Rock & Alternative Songs, No. 19 on Alternative Airplay, No. 55 on the all-genre Billboard Hot 100).
Deadbeat’s first-week sales were bolstered by its availability across seven vinyl variants and five deluxe CD boxed sets (containing a copy of CD and branded merch), alongside a standard CD, cassette and digital download album.
Sabrina Carpenter’s chart-topping Man’s Best Friend is steady at No. 5 on the latest Billboard 200 (43,000 equivalent album units, down 5%) and Cardi B’s former leader AM I THE DRAMA? falls 4-6 (40,000, down 21%).
Olivia Dean’s The Art of Loving is pushed down 6-7, though it gains 1% in its fourth week on the chart (and fourth week inside the top 10).
SZA’s former No. 1 SOS holds at No. 8 (31,000 equivalent album units, down 2%), Wallen’s chart-topping One Thing at a Time rises 10-9 (30,000, down 3%) and Alex Warren’s You’ll Be Alright, Kid dips 9-10 (nearly 30,000, down 7%).
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It’s official: Katy Perry and Justin Trudeau are dating.
Months after first being spotted together, the pop superstar, 41, and the former Canadian prime minister, 53, made their first public appearance as a couple on Saturday (Oct. 25).
Perry and Trudeau celebrated the singer’s 41st birthday with a date night at Crazy Horse Paris, according to TMZ. Photos from the evening show the couple leaving the theater, hand in hand and smiling.
Their relationship confirmation comes about two weeks after Perry jokingly addressed the dating rumors during her London concert on Oct. 13. While performing, she noticed a fan’s sign that read, “Katy Perry, will you marry me?”
“You heard I was single? That’s interesting,” Perry said. “You know you really should have asked me about 48 hours ago.”
She added playfully, “He’s just a little too late…,” hinting that she was already off the market.&
Before that moment, photos had surfaced of Perry and Trudeau kissing on a yacht, following earlier sightings of them dining together in Canada shortly after Trudeau attended Perry’s July concert in Montreal. The politician was even spotted singing along to “Firework” during her Lifetimes Tour stop at the Bell Centre.
Perry’s new romance comes a few months after her split from actor Orlando Bloom in early July. The couple dated on and off for nearly nine years and share a daughter, Daisy Dove.
“Due to the abundance of recent interest and conversation surrounding Orlando Bloom and Katy Perry’s relationship, representatives have confirmed that Orlando and Katy have been shifting their relationship over the past many months to focus on co-parenting,” their representatives said in a statement to Billboard at the time. “They will continue to be seen together as a family, as their shared priority is — and always will be — raising their daughter with love, stability and mutual respect.”
Trudeau also went through a public separation in August 2023, announcing his split from wife Sophie Grégoire Trudeau, with whom he shares three children.
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The Jonas Brothers’ performance at the 2025 World Series left some viewers scratching their heads.
On Saturday (Oct. 24), the Toronto Blue Jays and Los Angeles Dodgers faced off in game two of the World Series at Toronto’s Rogers Centre.
By the fifth inning, the score was tied 1–1 when the game paused for the annual Stand Up To Cancer tribute. Players left the field as the stadium’s giant screens lit up, and fans, athletes, and broadcasters held signs bearing the names of loved ones impacted by cancer.
Most viewers expected play to resume immediately after the emotional moment. But instead, some baseball fans were caught off guard when the Jonas Brothers appeared onstage to perform “I Can’t Lose,” from the New Jersey trio’s 2025 album, Greetings From Your Hometown.
“If the Jays lose it’s entirely on that weird Jonas Brothers performance in the middle of the game,” one person wrote on X. Another added, “I’m trying to watch the World Series and they doing a damn Jonas Brothers concert after the 5th inning.”
The social media commentary didn’t stop there. Many fans expressed frustration over what they viewed as an ill-timed interruption.
“A Jonas Brothers concert in the middle of a World Series pitcher’s duel??” one fan wrote. Another joked, “’Thank you for honoring those fighting cancer. Here’s the Jonas Brothers.’ was not on my bingo card for this World Series.”
Some even credited the brief break with shifting the game’s momentum, joking that it gave the Dodgers an edge as they went on to defeat the Blue Jays 5–1.
“Where were you when the Jonas Brothers saved the Dodgers’ season,” one commenter quipped.
Prior to Saturday’s game, the Jonas Brothers — who serve as Stand Up To Cancer ambassadors — shared their gratitude for being part of the event.
“We’re proud to celebrate our partnership with Mastercard in support of Stand Up to Cancer during such a meaningful moment at the World Series with a performance of ‘I Can’t Lose’ in tribute to this powerful campaign,” the siblings said in a statement. “As lifelong baseball fans, it’s special to be part of a moment where music and purpose come together.”
During the opening game of the 2025 World Series, MLB featured another musical moment, with Pharrell and the Voices of Fire choir performing a two-song set from their Ophaním album. Voices of Fire also delivered both the U.S. and Canadian national anthems before the first pitch.
Watch the Jonas’ Brothers 2025 World Series performance here.
