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As the United States celebrated Independence Day on July 4, across the pond, one of country music’s reigning luminaries, Morgan Wallen, showcased his global appeal before 50,000 fans for his debut headlining show at BST’s Hyde Park in London. This marks the largest country concert ever held in the United Kingdom.
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Among the throngs of attendees were celebrities Ashton Kutcher and Mila Kunis, as well as Kansas City Chiefs player Patrick Mahomes and retired soccer player Brittany Mahomes. “Country concert in London, count me in,” Brittany wrote on Instagram, alongside a photo of the couple at Wallen’s concert.
Wallen’s July 4 show expanded upon the singer-songwriter’s previous sold-out headlining set at London’s O2 Arena in December 2023. His lengthy set at BST’s Hyde Park was highlighted by a solo rendition of his Post Malone collaboration, “I Had Some Help” (which reigned for six weeks atop Billboard’s Hot 100 chart), as well as an acoustic rendering of his song “Lies Lies Lies.” He wrapped the show by throwing it back to his breakthrough 2018 hit “The Way I Talk,” from his If I Know Me debut project.
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Wallen also made a surprise release of the U.K. exclusive “Lies Lies Lies” physical CD, while the official recorded version of the song is also available on all streaming platforms. The release follows 2023’s Abbey Road Sessions, which featured a performance of “Lies Lies Lies” and was recorded at London’s Abbey Road Studios.
Stateside, Wallen’s One Night at a Time Tour has been a concert juggernaut, often selling out multiple stadium shows in various cities, such as his three-night, sold-out stint at Nashville’s Nissan Stadium earlier this year. Wallen’s global recognition has been steadily ascending, too, with his blend of country, rock and hip-hop elements proving that his stardom expands beyond geographical or genre perimeters. Wallen’s international impact was on display in recent weeks when “I Had Some Help” topped Billboard’s Global 200 chart. The success illustrates Wallen’s steady growth, as the 11-time Billboard Music Awards winner previously notched a top 5 on the Global 200 with 2023’s “Last Night,” and had top 10 hits on the Global 200 chart with 2022’s “Don’t Think Jesus” and 2021’s “Wasted on You.”
Wallen’s concerts have showcased his numerous record-breaking songs and albums (such as his One Thing at a Time album, which earlier this year broke the record for the most weeks at No. 1 for a country album on the Billboard 200 chart) while simultaneously supporting the mission of The Morgan Wallen Foundation, which helps provide children with resources to thrive through sports and music, with a portion of every concert ticket purchased supporting that goal. That aim continued in London, with the Morgan Wallen Foundation earmarking $20,000 to support London Youth Choirs, which gives disadvantaged young people access to music, singing and performance.
The Hyde Park show served as an early taste of what U.K. fans can expect later this year, when Wallen further builds upon his international success with an overseas return on Aug. 28 with a show in Stockholm, Sweden, to launch his first European headlining tour. The seven-concert trek will also feature stops in Copenhagen, Denmark; Amsterdam, Netherlands; Glasgow, U.K. and more before wrapping with two back-to-back nights in Dublin, Ireland.
Taylor Swift went from Madrid to the Kit Kat Club in London‘s West End to see her friend Cara Delevingne as Sally Bowles in Cabaret Friday night (May 31).
Rumblings circulated on Friday that the “So Long, London” star — who played back-to-back stadium shows in Spain on May 29-30 — made it to Delevingne’s West End stage debut before the run ends. Post-show, Swift’s attendance was confirmed by a member of Cabaret‘s production team.
Arthur Jones, head of marketing of ATG Productions, the theatrical production company behind Cabaret, verified that Swift was at the performance in reply to a question on X (formerly Twitter): “Taylor Swift?? Was supporting Cara Delevingne?? At Cabaret?? TONIGHT??!!”
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“can confirm. a special night @kitkatclubldn,” he wrote.
“Did she watch the show last night??” another person asked on X. Jones again indicated that Swift did see Cabaret, answering with a thumbs up
Delevingne, who has Only Murders in the Building and Suicide Squad among her acting credits, starred as Sally Bowles through June 1 in the musical’s revival staged at London’s Playhouse Theatre.
In late January, Delevingne was spotted by Swift’s side in a stadium suite watching Travis Kelce and the Kansas City Chiefs make their way to the Super Bowl. Around the time, she was also seen at dinner with Swift and Brittany Mahomes in New York City.
The two have known each other for more than a decade, dating back to Delevingne’s modeling days; Swift performed at the 2013 Victoria’s Secret Fashion Show while Delevingne walked the runway.
Swift next takes her Eras Tour to Lyon, France, with shows slated for Sunday, June 2, and Monday, June 3, before heading to Edinburgh, Liverpool, Cardiff and then back to London, and then on to Dublin, all before month’s end. The extensive European leg of The Tortured Poets Department hitmaker’s tour runs through late August.
Sphere Entertainment has said it’s committed to working with alternative “forward-thinking cities around the world” after officially withdrawing plans to build a Sphere concert arena in London.
On Monday (Jan. 8), Sphere Entertainment’s sister company, Madison Square Garden Entertainment (MSGE), which is owned by tycoon James Dolan, told British officials that it would not be proceeding with its long-standing proposal to build a Sphere venue in the British capital city.
The announcement came less than two months after London Mayor Sadiq Khan blocked plans for the 21,500-capacity, 300-foot-tall spherical building because of the impact he believed it would have on the surrounding area, including high energy use and the “significant light intrusion” it would cause local residents.
In a letter to the planning inspectorate seen by Billboard, Richard Constable, MSGE’s executive vp/global head of government affairs and social impact, told officials that “following careful review, we cannot continue to participate in a process that is merely a political football between rival parties.”
“It is extremely disappointing that Londoners will not benefit from the Sphere’s groundbreaking technology and the thousands of well-paying jobs it would have created,” wrote Constable, confirming that MSGE — acting on behalf of Sphere Entertainment — was officially withdrawing its application from the planning process.
The termination of MSGE’s plans for a London version of its $2 billion Sphere venue in Las Vegas follows years of controversy surrounding the project, which was due to be built on a five-acre plot of land in Stratford, East London (the site has been largely derelict since 2012 when it was used as a temporary coach park during the London Olympics).
A proposal for what was later christened MSG Sphere London was first submitted in 2019, but it immediately received strong opposition from local councillors and campaign groups, as well as AEG, the owner and operator of the 20,000-capacity The O2 arena located less than five miles away.
Despite residents’ concerns, The London Legacy Development Company provisionally greenlit the plans in March 2022 before they were subsequently overturned by Mayor Khan last November.
In a statement, Sphere Entertainment said it had informed Michael Gove — the U.K. secretary of state for levelling up, housing and communities, who initiated a review of the mayor’s decision in December — that it would not be moving forward with its plans for London and would not be participating in a review.
“We are committed to continuing to work collaboratively with forward-thinking cities around the world who are serious about bringing this next-generation entertainment experience to their communities,” said a spokesperson for Sphere Entertainment.
Sphere Entertainment Co., formerly Madison Square Garden Entertainment (MSGE), was formed in April when MSGE’s traditional live entertainment business, which includes the Madison Square Garden and Radio City Music Hall venues in New York, split off from the Sphere and MSG Networks businesses. Sphere retained a 33% stake in MSGE.
The five-acre site earmarked for the London Sphere, which MSGE bought for around £60 million ($76 million), is now expected to be put up for sale.
Meanwhile, the developer is understood to be in talks with multiple international markets about rolling out the Sphere model in other global cities, following its high-grossing debut in Las Vegas last year with a residency by U2.
In December, the New York Post reported that Dolan was meeting with investors in Abu Dhabi about building a second Sphere in the United Arab Emirates capital. Also last year, several South Korean newspapers reported that the city of Hanam was another potential future location after talks took place between city officials and representatives of MSGE. Sphere Entertainment Co. declined to comment on those reports when contacted by Billboard.
London Mayor Sadiq Khan has rejected Madison Square Garden’s long-standing proposal to build a Sphere arena in London, less than two months after the company debuted its first Sphere project to critical acclaim in Las Vegas.
News of the rejection came by way of a letter from Khan to Anthony Hollingsworth, director of the London Legacy Development Corporation (LLDC), which oversees London’s Olympic Park properties. On Nov. 6, Hollingsworth had written to Khan to inform him that “the local planning authority is minded to grant planning permission” for the Sphere project. In the letter dated Monday (Nov. 20), Khan explained to Hollingworth that after considering a 111-page report commissioned by the Greater London Authority (GLA) advising the mayor to reject the plan, he was now ordering the LLDC to “refuse planning permission” for the venue.
A statement from Madison Square Garden Entertainment officials said they were “disappointed in London’s decision” but added, “There are many forward-thinking cities that are eager to bring this technology to their communities. We will concentrate on those.”
A proposal for the venue was submitted in 2018, and Sphere London initially survived key votes by the city’s local planning authority. But with his letter, Khan has seemingly doomed the project.
The mayor said his main reason for rejecting the proposal was the impact he believed the venue would have on the surrounding area, writing that Sphere would “cause significant light intrusion resulting in significant harm to the outlook of neighbouring properties.”
He also said the size of the venue — 300 feet high and 400 feet wide — “would result in a bulky, unduly dominant” facility” that failed “to respect the character and appearance of this part of the town centre and the site’s wider setting.” Lastly, he criticized the venue’s high “energy intensive use,” which he says “does not achieve a high sustainability standard, and does not constitute good and sustainable design.”
“GLA officers have concluded that to grant permission would be contrary to the Development Plan,” adds Khan in the letter, citing a document that lays out the spatial development strategy in London for the next 20 to 25 years. “[It] would prejudice the implementation of the policies within the Development Plan relating to residential amenity, good design, and the conservation and enhancement of London’s heritage.”
The Sphere project had previously faced pushback from some local residents as well as AEG, which operates London’s O2 Arena, located just four miles from the proposed site of the venue. In January, after the London Legacy Development Corporation’s Planning Decisions Committee greenlit MSG Entertainment to initiate work on the project, AEG called on Khan to reject the project in a statement that read in part: “The advertising façade is at a wholly unprecedented scale for London and totally out of keeping with the surrounding area. The design was conceived for the heart of Las Vegas and has been transposed onto this east London site: it’s the wrong design, in the wrong location.”
Steve Mac, Pablo Bowman Navarro and Aynzli Jones are the top winners at the ASCAP London Music Awards 2023, which shine a light on British songwriting and composing talent for their U.S. success. This year, the winners will be revealed on @ascap social media Tuesday (Sept. 26), starting at 10:30 a.m. ET.
Navarro takes home three awards including songwriter of the year and top Hot Dance/Electronic song. He shares the latter award with Sarah Baby Blanchard, Claudia Valentina and Lostboy for co-writing “The Motto” by Tiësto and Ava Max. The song reached No. 2 on Billboard’s Hot Dance/Electronic Songs chart.
Navarro also wins a Hot Dance/Electronic song award for “Numb” by Marshmello and Khalid, which reached No. 3 on the Hot Dance/Electronic Songs chart. Navarrro co-wrote the song with Richard Boardman, a fellow member of songwriting collective The Six. Navarro has gained a profile as a top hitmaker over the last few years with a catalogue that includes Anne-Marie and Marshmello’s global hit “Friends” as well as tracks for stars such as Bebe Rexha, Jonas Brothers and Alan Walker. His catalogue has accumulated 7 billion streams on Spotify.
Mac takes home both song of the year and top streaming song for Ed Sheeran’s smash, “Shivers.” The song reached No. 4 on the Billboard Hot 100 and remained on the chart for a full year. It also topped charts around the world, surpassing 1.35 billion streams on Spotify. Mac and Sheeran previously collaborated on 2017’s “Shape of You.” These two gongs represent Mac’s 19th and 20th ASCAP London Music Awards.
Jones wins his first ASCAP London Music Award with the Hot 100 song award for Doja Cat’s “Woman.” The song from Doja’s third studio album rose to No. 7 on the Hot 100 and, like “Shivers,” logged a full year on the chart. “Woman” also received a Grammy nod for record of the year, marking the third consecutive year Doja was nominated in that marquee category.
Top box office film of the year goes to Daniel Pemberton for his soundtrack for The Bad Guys. He also takes a top box office film award for his work on Amsterdam. Other top box office film awards go to John Lunn for Downton Abbey: A New Era, Dickon Hinchliffe for Father Stu, and Robin Carolan and Sebastian Gainsborough for The Northman. Joby Talbot wins for the second year in a row for Sing 2, Patrick Doyle wins for Death on the Nile and Jonny Greenwood wins for Licorice Pizza. The Radiohead multi-instrumentalist and composer was recognized in the same category last year for his soundtrack to Spencer.
In the world of film and TV streaming, Natalie Holt wins two awards — top streaming film for The Princess, and top streaming series for Obi-Wan Kenobi. Other top streaming series awards go to Scottish band Mogwai for the crime drama Black Bird and Anne Nikitin for The Dropout.
The trio of Barrie Cadogan, Virgil Howe and Lewis Wharton are awarded the top cable series award for the soundtrack to Better Call Saul, while Julian Gingell and Barry Stone win top network series again this year for their work on American Idol.
LONDON — Madison Square Garden’s plan for a “next generation” 21,500-capacity concert venue in London won another key endorsement this week when a planning committee approved the development, despite strong objections from residents and rival live events company AEG.
On Tuesday, the London Legacy Development Corporation (LLDC) granted MSG a 25-year advertising license subject to a five-year review. Now, London Mayor Sadiq Khan needs to approve the project — called MSG Sphere London — before work can begin. In rare instances, government ministers can also intervene and suspend planning applications.
New York-based Madison Square Garden Entertainment (MSG) first submitted plans for the venue in March of 2019. Since then, the company has encountered sustained opposition from councilors and residents who are concerned it will blight the area with noise and light pollution.
MSG is proposing to build the arena on a five-acre plot of land in Stratford, East London, adjacent to the Olympic Park and would be located just five miles away from the 20,000-capacity The O2 arena, the U.K.’s top grossing venue, which is operated by AEG.
The MSG Sphere in Las Vegas, under construction.
Courtesy Photo
The design of the MSG Sphere London mirrors the spherical crystal ball design of the MSG Sphere at The Venetian in Las Vegas — due to open later this year at a cost of $1.8 billion — and measures 90 meters (295 feet) tall by 120 meters (394 feet) wide. Its exterior will be covered in a programmable skin of more than one million LED lights, which will primarily be used for showing videos and advertising.
The LLDC had provisionally approved the venue last March, but the committee still needed to sign off on several aspects of the planning process, including MSG’s strategy for managing the Sphere’s controversial advertising display.
The proposed arena still doesn’t have a price tag, and MSG said in its most-recent quarterly earnings, filed in November, that there is no “definitive timeline” for its construction.
Opponents of the venue are calling on Khan to block the development. AEG says it was “dismayed” by the committee’s decision to give MSG Sphere London the go ahead.
“We call on the Mayor of London to uphold his election promise to do what’s best for Londoners, including the residents of [the London Borough of] Newham who are having this huge development forced on them, by directing refusal of the planning application,” AEG says in a statement.
AEG says MSG Sphere London’s LED illuminated exterior “was conceived for the heart of Las Vegas” and is “at a wholly unprecedented scale for London and totally out of keeping with the surrounding area.”
Campaign group StopMSGSphere, who spoke at Tuesday’s meeting, and several local councilors have urged the Khan to quash the development, which would be MSG’s first venue outside of the United States.
Following the ruling, a spokesperson for MSG — whose portfolio includes New York’s Madison Square Garden, Radio City Music Hall and the Forum in California — said the company ”remains committed to bringing MSG Sphere to London” and promised the venue would create “thousands of jobs and [generate] billions of pounds for the local, London and U.K. economy.”
MSG says it will provide blackout blinds to homes located within 150 meters (492 feet) of the new London arena and will run a telephone line for residents to register any complaints.
Should it get the go ahead, MSG Sphere London will be one of the U.K.’s biggest indoor concert venues with a scalable capacity of up to 17,500 seated, or 21,500 with a mixture of seated and standing. That exceeds the U.K.’s two biggest existing arenas, London’s The O2, which has a maximum capacity of 20,000, and Manchester’s AO Arena, which holds up to 21,000 people.
Construction is currently underway in Manchester on what will be the U.K.’s biggest indoor music venue, the 23,500-capacity Co-op Live being developed by the Oak View Group, which counts Harry Styles as an investor. It is set to open in December.
Entering London’s evocative Electric Ballroom last night (Jan. 5), we surpassed a queue snaking down two blocks of Camden High Street. The space, which opened in 1978 and typically hosts live acts, suited the surprise event surprisingly well. Perched on the balcony above, we had a clear view to overlook the interaction between the three rather unexpected friends on the bill: Skrillex, Four Tet and Fred again…
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We arrived at 9 p.m. and the crowd was already oozing peak-time enthusiasm. The excitement was obvious, and rightly so — the show had sold out within 10 minutes of being announced via the artists’ Instagram stories hours before the show. (Rather adorably, Fred also posted a story of himself slipping into Skrillex’s hotel yesterday and waking up the sleeping producer, who’d just arrived from L.A., so he could get up and post the event to his own IG.)
There was no support act last night, just a four hour back-to-back between the three artists. Together, the trio have a web of collaborations between them — with U.K. master Four Tet working on Fred again..’s June 2022 track “Jungle” and the 2021 Skrillex and Starrah collab “Butterflies,” and the dance scene’s premier ascendent star Fred collaborating with Skrillex on “Rumble,” released the day before the show (Jan. 5) as the Skrillex hype machine fires to life ahead of his forthcoming album.
Last night, the collision of the three artists’ styles was apparent from the jump; throughout the night you could confidently guess who was behind the selection of each track.
The hosts regularly interacted with the eager, Thursday night crowd, checking in by throwing a singular cordless mic between each other. At one point, Fred jumped on to the mic to ask, “Do you all have enough room to dance?” His rhetorical question was answered by squeals and screams — not dissimilar to hysterical fans at a boy band concert. The sea of people rippled as one, as people stayed put on the dancefloor for the entire set.
At around 9.30pm, a vocal from Disney’s Frozen‘s famous “Let It Go” was laid over the familiar growls and thrums of Skrillex’s signature sound. This was a foreshadowing of the rest of the evening; after all, this clash of styles was bound to present the dancers with some curveballs — we came knowing to expect the unexpected. With the crowd putty in their hands from early on, the three DJs made the most of their playful selections.
Skrillex, a.k.a. Sonny Moore, was bounding around the stage during the performance, hyping up the crowd from the table that also hosted the decks. Below him, Fred and Four Tet (Kieran Hebden) slinked between each other, achieving almost seamless transition between their staple sounds.
The crowd fizzed when any Fred again.. tune was about to be brought in. It perfectly demonstrated his fans’ loyal and impressive knowledge of his back catalogue; tracks such as “Hannah (the sun)” and “Strong” were warmly received. Phone screens peaked up through the sea of heads, as everyone wanted to capture their favorite Fred track.
Four Tet’s recognizable, ethereal vocals blended with grinding bass excited the older, headsier side of the crowd — as the Skrillex sound brought the millennials in the audience right back to our teenage years. This was certainly a whirlpool of old and new, a melting pot of sounds and cultures, a combination of flamboyant American excitement and quiet British confidence. Skrillex even informed the crowd that he had put some money behind the bar, making it very apparent they were hosting what felt like a huge house party.
Bringing us back to the present day, PinkPantheress’ TikTok hit “Just for Me” caused a wave of joy, teased ahead of the release of Skrillex’s own collaboration with the U.K. star and Trippie Redd, “Way Back,” which landed last night as the show was happening. Although many may recognize Skrillex as an artist who was an early influence for many current dance fans, this new release further demonstrates his ability to evolve successfully and authentically, collaborating with fresh and exciting talent here across the pond.
Whether this unlikely trio continue their seemingly unstoppable ascent, or if yesterday’s event was just one of those crazy nights of legend, the collective fanbase of these three huge acts is indisputable. In an age where artists can interact with their fans more closely than ever before, there was a knowing intimacy between the audience and the three conductors that felt like a new wave of dance music fandom.
Tracks featured:
Fred again…, “Hannah (the Sun)“Eskuche, “Passion” (Extended Mix)Hamdi , “Never Let You Go Edit” (Original by Sammy Virji)Romy & Fred again.., “Strong“KH, “Looking at Your Pager”Hackney Parrot, “Tessela” (Remix)PinkPantheress, “Just for Me“Skrillex, “Cinema“Adam F, “Circles” (Pola & Bryson Bootleg)Fred again.., Four Tet & Skrillex, “Baby Again..“Fred again.., “Jungle” Skrillex, Fred again.. & Flowdan, “Rumble”
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One of the culture’s most unique talents can’t be located. Rapper Theophilus London has been reported missing by his family.
As per Complex, the Trinidad and Tobago native is no where to be found. A representative acting on behalf of his family has shared a statement confirming that they have not been in contact with the musician in several months. “Over the last few weeks, friends and family of Theophilus London have been working together to piece together his whereabouts.
The last time someone spoke with him reportedly stretches back to July 2022 in Los Angeles,” the message reads. “On December 27th, family members of Theophilus London traveled to Los Angeles to file a missing persons report with the LAPD. They are now seeking the public’s help with any information as to London’s whereabouts.”
The release also includes a communication directly from his father Lary Moses London. “Theo, your Dad loves you, son. We miss you,” said his father. “And all your friends and relatives are searching for you. Wherever you are send us some signal. No matter what we will come get you son.” His cousin Mikhail DjKellz Noel also posted a message urging anyone who has seen Theophilus to reach out to him directly.
“To anyone who knows anything please reach out to me through DM or contact the LAPD. Any and all information is appreciated to help us find our loved one, Theo.”
London is a 6-foot-2, 175-pound Black man with dark brown eyes. London released his debut album, Timez Are Weird These Days, in 2011. He followed that with Vibes (which was executive produced by Kanye West) in 2014 and Bebey in 2020.
Photo: Jim Spellman / Getty
Beloved London nightclub fabric has enacted a lifetime ban on a guest who shared a video of a fellow attendee dancing inside the venue.
The clip, which was shared via Twitter on Monday alongside a caption reading “Yo I’ll never be going to fabric again after seeing this,” showed a minimally dressed attendee dancing freely inside the venue.
Fabric replied to the tweet saying, “Great, given this tweet, we’d prefer it if you didn’t come. Our club was built on the values of free expression and the freedom to dance and not be judged. We also have a No Photo Policy to protect our dancers’ privacy. Please do the right thing and remove this video.”
As of the publishing of this article, the video has not been taken down.
On Tuesday (Dec. 13), fabric tweeted an update saying, “Yesterday we were made aware of a Tweet circulating featuring a video of a dancer at the club. We have requested that due to the nature of the caption and the context in which it was taken, that the video be removed. The author has been given a lifetime ban.”
The club also shared its No Photo Policy, which bans all unauthorized photos and videos inside the club and states that “the policy is in place as a guidance – a statement on our mission to try and encourage our community to stay in the moment. Not taking photos or videos during a club event doesn’t just, we think, [create] a better vibe, but also gives privacy to fellow punters and to the artist playing who might not want to be in your photos or videos.”
Since opening in 1999, fabric has become one of the most well-respected clubs on London and beyond, having hosted all the greats of the DJ world. The venue narrowly avoided closure in 2016 after a “Save Fabric” campaign raised the necessary awareness and funds to help with legal fees after the venue’s license was revoked for a pair of drug-related deaths.
Yesterday we were made aware of a Tweet circulating featuring a video of a dancer at the club.We have requested that due to the nature of the caption and the context in which it was taken, that the video be removed. The author has been given a lifetime ban.— fabric (@fabriclondon) December 13, 2022
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