State Champ Radio Music News
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Trending on Billboard Benny Blanco‘s mom, Sandra Levin, was the victim of a scary robbery attempt at her Studio City, Calif. home earlier this week. According to ABC7, police said Levin was unharmed after burglars smashed their way into her home while she was there alone. Authorities did not identify Levin by name, but neighbors […]
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In much the same way that Oasis spent more than a decade and a half swearing that they would never play together again, now it seems like they can’t wait to go back out on the road for another run. The group wrapped up their massive Live ’25 reunion tour in Brazil on Sunday (Nov. 23) after playing 41 sold-out shows on five continents.
The first gigs in 16 years from formerly battling brothers singer Liam Gallagher and guitarist/songwriter Noel Gallagher were rapturously received and left fans begging for more. So it’s been a bit of a roller-coaster ride trying to figure out if there actually are additional shows in the offing. While the band has not officially announced any 2026 plans, Liam has been dropping Easter eggs that have begged more questions than they’ve answered.
Earlier this month he wrote “I know things you don’t” on X after earlier teasing that “it’s not even half time yet,” before admitting that there was a “few tuts and raised eyebrows” when he’d earlier told fans that he would see them next year. And then he was more succinct when a commenter asked for just one word on a potential 2026 tour: “No,” he answered.
That definitive shutdown seemed to be confirmed on Tuesday (Nov. 25) when the band posted a series of pics from the tour with the message “there will now be a pause for a period of reflection.”
And then Liam eased the door open a bit, again.
Responding to a number of X comments pressing him on when Oasis will tour again and if the first swing’s rigid setlist might loosen up the next time around, Liam spread a little holiday joy with another seeming hint of what’s to come. “There’s loads more classics we need to play for you when we go out again I mean happy Christmas,” Gallagher wrote on Tuesday.
When one of them proposed an alternate setlist with some of the favorites that were missing the first time around, Gallagher gave a thumbs up to a few of the ideas, writing, “Defo doing ‘Hindu Times’ ‘Colombia’ and ‘Go let it out’ I mean happy Christmas,” he said.
The hits kept coming, as a fan speculated that they felt like “a new album is coming and you’re just hiding it really well.” Liam wasn’t quite as jovial about that one, responding, “It’s not I honestly do t see the point it won’t be as good as the old stuff im quite happy singing the old stuff I’m not 1 of those WANKERS that need to keep pushing it forward or sideways or backwards in some cases NOSTALGIA forever.”
In case you missed his point, he added, “New music is for WANKERS.”
So, to recap: absolutely no new music, a definitely maybe setlist shakeup and more dates for sure, unless not.
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The team behind Together For Palestine, the sold-out OVO Arena Wembley gig that raised over £2 million ($2.6 million) for Palestinian causes in September, have announced a charity Christmas single.
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Brian Eno, Celeste, Neneh Cherry, Mabel and Bastille’s Dan Smith are among the names that will feature on “Lullaby,” released by T4P and distributed by global indie EMPIRE on Dec. 12 – the day the U.K.’s Official Christmas No. 1 race kicks off.
The single will see a group of U.K. and Palestinian artists join forces to rework “Yamma Mweel El Hawa,” a traditional Palestinian lullaby. All proceeds going to Choose Love’s Together For Palestine Fund, supporting three Palestinian-led organizations Taawon, Palestine Children’s Relief Fund and Palestine Medical Relief Service in light of the ongoing Israel-Palestine conflict.
Other acts involved include Amena, Kieran Brunt (Shards), Lana Lubany, Leigh-Anne, London Community Gospel Choir (LCGC), Nadine Shah, Nai Barghouti, Sura Abdo, TYSON, Yasmeen Ayyashi and Ysee.
The track is produced by Benji B, Kieran Brunt and Henri Davies, mixed by David Wrench and Valgeir Sidurðsson and mastered by Matt Colton, and was arranged and recomposed by Kieran Brunt and Nai Barghouti, with English lyrics written by Peter Gabriel. Together For Palestine are encouraging fans to pre-order “Lullaby” on BandCamp, iTunes and Amazon, or pre-save the single on their chosen streaming service ahead of its release.Palestinian musician Nai Barghouti said in a statement: “This lullaby from our Palestinian musical heritage has been with me since early childhood. Today, it returns at a much-needed time as a reminder of what Palestinians will never lose: hope, defiance, beauty, and dignity.”
Brian Eno added: “After a year defined by unimaginable loss, grief and injustice, we want to end with an act of love for Palestine’s children. Lullaby reflects their beauty, their longing and their hope. If we rally together and download it, we have a real shot at landing Christmas No. 1 – and turning that moment into vital life-saving support for Gaza’s families.”
Mabel continued: “The song holds a special place for many reasons, but mostly as it’s the first time I’ve sung with both my mum Neneh and sister Tyson, and for it to be a traditional lullaby in tribute to the mothers and children of Gaza means the world. I hope you feel the strength in our voices.”At the aforementioned OVO Arena Wembley gig in London, the likes of Damon Albarn, PinkPantheress and Jamie xx graced the stage in support of Together For Palestine. The event featured performances and speeches by 69 artists, actors, activists, and cultural figures, and was livestreamed to over 200,000 music fans worldwide, according to its organizers.
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Cody Simpson: pop star, elite swimmer, life saver.
The Australian artist and allrounder hopes to make a splash with his latest project, a campaign that encourages Australians to become ocean-safe before they dive in this summer.
Simpson, who earned a Billboard 200 top 10 album with Surfers Paradise, is the face of the Beach Passport PSA, which launched a year ago through Surf Life Saving Australia (SLSA) and the national airline Qantas.
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The beach safety exercise is a complimentary online training resource that, in its first season, organizers say, was completed by more than 37,000 beachgoers.
“Growing up on the Gold Coast, the beach has always been my second home and surf lifesavers are the unsung heroes who keep us all safe,” says Simpson in a statement.
The Beach Passport, he continues, “only takes 15 minutes and will give you the knowledge that could save your life or someone else’s this summer season.”
With over 198,000 members and more than 300 affiliated clubs, according to its latest data, SLSA is said to be the largest volunteer movement of its kind in the world.
The not-for-profit was established in 1907, with a mission to keep Aussies safe in the water, a national pastime in these warmer months. Since formation, more than 715,000 people have been rescued by its surf lifesavers.
Simpson has been a dedicated Surf Life Saving volunteer and member of his local surf club, Northcliffe Surf Club, since childhood, and he’s a medalist in a major competitive swimming, having collected gold as part of the Australian men’s 4x100m freestyle relay team at the 2022 Commonwealth Games.
He came up short in his bid to qualify for the individual 100m butterfly and freestyle events for the 2024 Paris Olympics, but turned his disappointment into creativity with the publication of his first-ever kid’s book, titled The Sea In Me, and the tease of “exciting projects.” He’s also behind the eco-friendly fashion brand Prince Neptune.
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When Dom Dolla touches down in Australia, massive things happen.
The EDM star made a whirlwind visit to his homeland last week for the 2025 ARIA Awards, where he collected best dance/electronic release (with “Dreamin” featuring DAYA), his third consecutive win in that category, and global impact recipient award, becoming the first-ever recipient.
At the tail end of 2024, Dom (real name Dominic Matheson) played to 170,000 fans across four shows, the biggest-ever tour by an Australian electronic artist.
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Later this year, another entry for the history books. On Dec. 20, he’ll return to the scene of his ARIAs wins with a show at Sydney’s Allianz Stadium, next door to Hordern Pavilion, for what will mark the first time an Australian electronic music artist has played a stadium in these parts.
“Oh man, I’m so excited,” Dom exclusively tells Billboard.com. “We’re really taking the show to the next level. Can’t give away too much, but I’m pumped about how it’s all coming together. The goal is simple – turn a stadium into a nightclub.”
Untitled Group was behind the record-smashing 2024 trek, and the forthcoming open-air spectacle.
Dom has been in the fast lane throughout 2025, during which time he completed residences in Ibiza and Las Vegas; sold-out multiple dates at Madison Square Garden; pumped the party at some of the world’s best-known festivals, and realized a dream with “No Room For a Saint”, his contribution to F1: The Movie.
“There’s no slowing down next year, that’s for sure,” Dom enthuses. The year ahead will include “a few first tours in places like Asia and Latin America which I’m really excited about. And I’ve been writing a ton of new music lately, so I can’t wait to start sharing more of that with everyone soon.”
Next up, a headline spot at 808 Festival in Bangkok, Thailand. Following the Allianz Stadium date, Dom joins Australia’s Beyond The Valley and Wildlands festivals, followed by shows in Japan, Argentina, Colombia, New Zealand, Netherlands and elsewhere.
Might a Dom Dolla artist album emerge from that wealth of new material?
“Right now,” he continues, “I’m just writing as much music as I can. An album might not be right around the corner, but I can promise there’ll be a lot more music next year. I’m really excited about what’s been cooking.”
Trending on Billboard It’s the collab you didn’t know you needed to go alongside your Thanksgiving turkey: MGK teamed up with the Jonas Brothers for the “Cliche” remix on Tuesday (Nov. 25). Explore See latest videos, charts and news “Cliche” arrived in May and served as the lead single for MGK’s Lost Americana album, which […]
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StubHub has been hit with a class action lawsuit alleging the secondary ticketing company hid key cash flow changes from investors who bought into its $758 million initial public offering (IPO) in September.
The legal complaint, filed in New York federal court on Monday (Nov. 24) by class action law firm Glancy Prongay & Murray, is the first of what’s likely to be multiple lawsuits stemming from StubHub’s disappointing third-quarter earnings report. At least four other law firms have announced that they’re also investigating the company’s numbers.
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Monday’s lawsuit was brought on behalf of Daniel Salabaj, an investor who bought StubHub stock during its IPO on Sept. 17. StubHub sold roughly 34 million shares that day at $23.50 a pop, netting $758 million after underwriter discounts and fees.
StubHub released its first earnings as a public company on Nov. 13, and some of the numbers were less than optimal. The company revealed that it had free cash flow of negative $4.6 million that quarter, down from a positive $10.6 million in the same period a year earlier. The market reacted negatively, with the StubHub stock at one point tumbling as low as $10.31 per share, a 56% decline from the IPO price.
Salabaj’s lawsuit alleges he and other investors were blindsided by the news of StubHub’s cash flow decrease, which the company attributed to changes in its vendor payment schedules. He says that while StubHub’s pre-IPO registration statement warned quarterly earnings could fluctuate due to the timing of major sporting events and concerts, this particular factor was glaringly omitted from the regulatory paperwork.
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“The registration statement was materially false and misleading and omitted to state: (1) the company was experiencing changes in the timing of payments to vendors; (2) those changes had a significant adverse impact on free cash flow,” wrote Salabaj’s attorneys. “As a result of the foregoing, defendants’ positive statements about the company’s business, operations and prospects were materially misleading.”
Salabaj wants to represent a class of all investors who bought StubHub stock during the IPO, and he’s seeking a financial award for the “significant losses and damages” these traders suffered during StubHub’s “precipitous” post-earnings decline.
The lawsuit targets StubHub as well as various company executives, including CEO Eric Baker. The banks that underwrote StubHub’s IPO, including JPMorgan, Goldman Sachs and Bank of America, are also listed as defendants.
Reps for StubHub did not immediately return a request for comment on Tuesday (Nov. 25).
Trending on Billboard Denzel Washington is not often moved to tears, but he was during Aiyana-Lee’s performance in a scene from Highest 2 Lowest. It appears that Denzel getting emotionally shaken up wasn’t part of Spike Lee’s script either, which the Brooklyn-bred director revealed in an interview with Variety on Tuesday (Nov. 25). Lee detailed […]
Trending on Billboard Ariana Grande and Cynthia Erivo‘s musical Wicked explainer on The Tonight Show Starring Jimmy Fallon went viral last year — and now, there’s a version for the munchkins in your life too. Premiering exclusively on Billboard Family below, Karis Musongole and Scarlett Spears — who play young Elphaba and Glinda in the […]
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Hundreds of Taylor Swift fans have won a key court victory allowing them to move forward with a blockbuster lawsuit over Ticketmaster’s botched sale of Eras Tour tickets three years ago.
The lawsuit was the first in a series of cases brought by Swifties in the wake of Ticketmaster’s infamous Eras Tour presale in November 2022. A previous version of the complaint was dismissed this past May as legally deficient — but in a Monday (Nov. 24) order, a California federal judge says revised antitrust claims against Ticketmaster and its parent company Live Nation are now strong enough to survive.
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Citing the Department of Justice’s ongoing effort to break up Live Nation and Ticketmaster, 357 of Swift’s fans claim the companies’ monopolistic control over both ticketing and major concert venues has shut out all competition and allowed them to operate a shoddy sales platform. The lawsuit says this led to a “massive disaster” when Ticketmaster crashed amid overwhelming traffic from bots and scalpers during the Eras Tour presale, depriving many fans of the chance to buy face-value tickets.
Ticketmaster argued there’s an inherent problem with the Swifties relying on the U.S. government’s antitrust suit for their monopoly claims, as the DOJ case focuses on Live Nation’s deals with arenas and amphitheaters, not the stadiums where Swift performed her Eras Tour. But the Monday court ruling rejected this argument.
“None of these allegations clearly indicate that the government action excludes conduct related to stadiums,” wrote U.S. District Judge George H. Wu. “Furthermore, while noticeably absent from the [complaint] is the word ‘stadium,’ the court fails to see any meaningful distinction between arenas, amphitheaters and stadiums that would render baseless plaintiffs’ reliance on the government action.”
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Judge Wu is thus allowing the antitrust claims to move forward into evidence discovery, though he trimmed away other breach of contract and fraud claims brought by the Swifties. That part of the lawsuit claimed Ticketmaster lied when it promised to keep bots and scalpers away from the presale, and that the platform falsely said it would give priority access to fans who’d bought merch for Swift’s Midnights album or tickets to the star’s canceled 2020 Lover Fest.
The issue with the contract claims, says Judge Wu, is that Ticketmaster never actually made these promises in any enforceable agreement. And according to the judge, the consumer fraud claims don’t work because Ticketmaster believed it was telling the truth when it advertised the terms of the Eras Tour presale.
“Plaintiffs have failed to sufficiently allege that Defendants made promises with no intent to perform,” writes Judge Wu. “Plaintiffs’ reliance on the aftermath of the presales (i.e., defendants’ purported failure to deliver on the promises they made) cannot support a plausible fraud theory.”
A lawyer for the Swift fans, Jennifer Kinder, said in a statement to Billboard on Tuesday (Nov. 25) that they are “ecstatic to finally be moving towards our day in court.”
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“Ticketmaster has spent the past two years trying every legal trick to have their case dismissed. Judge Wu has ruled they will not be able to escape a jury trial,” said Kinder. “The people of Los Angeles will decide the legality of Ticketmaster’s monopoly.”
Reps for Ticketmaster did not return a request for comment. Swift’s team did not return a request for comment either, though the star previously had some choice words for Ticketmaster when the presale imploded back in November 2022.
“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift in an Instagram statement at the time. “I’m not going to make excuses for anyone because we asked them, multiple times, if they could handle this kind of demand and we were assured they could.”
The chaotic presale for Swift’s Eras Tour, which wrapped last year with a record-breaking haul of more than $2 billion in face-value ticket sales over a two-year run, spurred multiple legal actions against both Ticketmaster and brokers who resold tickets at massive markups on the secondary market.
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The debacle also led to congressional scrutiny and sparked renewed interest in the DOJ’s attempt to break up Ticketmaster and Live Nation, which is set for a trial this spring. The companies have denied that they’ve done anything to stifle competition, either in the Eras Tour ticket market or elsewhere.
Earlier this year, two people were criminally charged with stealing and reselling hundreds of Eras Tour tickets. One of these individuals copped to the charges last month, and the second pled guilty on Tuesday (Nov. 25).
