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Harry Styles was among the thousands in attendance at the conclave election of Pope Leo XIV at the Vatican on Thursday (May 8).
The 31-year-old pop superstar was spotted in a now-viral photograph taken in Saint Peter’s Square, dressed in a blue jacket, sunglasses and a baseball cap that read “Techno is my boyfriend.”
The “Watermelon Sugar” hitmaker was also seen walking the streets of Rome ahead of the historic ceremony, according to ABC News.
Fans on social media quickly took note of the former One Direction member in the crowd.
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“Little did the pope know he was waving to harry styles,” one fan wrote on X. Another added, “One thing about harry styles, he’s always going to accidentally serve cinema somewhere in europe.”
Pope Leo XIV was elected following the death of Pope Francis in April at the age of 88. Chicago-born missionary Robert Prevost, 69, was chosen by Catholic cardinals to become the 267th pontiff and the first-ever U.S.-born pope.
Styles has kept a relatively low professional profile since wrapping up his global Love on Tour in 2023, which followed the release of his third studio album, Harry’s House, in 2022. During the lengthy trek, which launched in 2021, the singer fit in a few mini residencies, including a 15-show run at New York City’s Madison Square Garden and another 15 shows at the Kia Forum in Inglewood, Calif.
Harry’s House spawned the 15-week Billboard Hot 100 No. 1 hit “As It Was,” spent two weeks atop the Billboard 200, and earned him album of the year at the 2023 Grammy Awards.
Since then, Styles has been spotted traveling the world, recently participating in the Tokyo Marathon in March, where he finished 6,010th out of more than 37,000 runners. He also joined a running club in London in April.
A dump truck slammed into the iconic Whisky a Go Go music venue in West Hollywood, Calif., on Friday afternoon (May 9).
Los Angeles County fire officials said the crash occurred around 1:40 p.m. and involved five vehicles, according to ABC 7. The truck also struck a power pole, cutting electricity to a block surrounding the famed Sunset Strip landmark. No serious injuries were reported.
“Due to the traffic collision, some power has been affected and power is out to some parts of the area,” the Los Angeles County’s Sheriff Department stated in a Friday alert. “Crews are currently on scene and working to restore power.”
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The incident forced the cancellation of Friday night’s scheduled show, which was to feature bands including Boy Hits Car, Barefoot in the Bathroom, and Gearheart. The famed hoped it could reopen by Saturday.
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“Well… that was wild,” Boy Hits Car wrote on Instagram. “Yesterday, just hours before we were set to headline at the legendary Whisky A Go Go, a dump truck crashed into the venue. Our show was unfortunately canceled as a result, but the scene quickly turned surreal. ABC7 News and KCAL were there on the spot, and next thing you know, we’re doing interviews for TV instead of soundcheck.”
The band continued, “We’re grateful no one was hurt and we appreciate everyone who reached out in concern. It wasn’t the night we planned, but it sure was memorable.”
The Whisky a Go Go, which opened in 1964, helped foster Los Angeles’ burgeoning rock scene. The venue has hosted generations of legendary acts — from The Doors, the Byrds and Janis Joplin to Led Zeppelin, Metallica, Guns N’ Roses and Mötley Crüe.
Johnny Rodriguez, a trailblazing Hispanic figure in country music, has died at the age of 73.
His daughter, Aubry Rodriguez, confirmed her father’s passing in a heartfelt social media post on Friday (May 9). The late Mexican-American singer had entered hospice care earlier in the week, according to Saving Country Music.
“It is with profound sadness and heavy hearts that we announce the passing of our beloved Johnny Rodriguez, who left us peacefully on May 9th, surrounded by family,” Aubry wrote on Instagram. “Dad was not only a legendary musician whose artistry touched millions around the world, but also a deeply loved husband, father, uncle, and brother whose warmth, humor, and compassion shaped the lives of all who knew him.”
She continued, “We are immensely grateful for the outpouring of love and support from fans, colleagues, and friends during this time of grief.”e
Aubry concluded her tribute by calling her father an “irreplaceable” and an “extraordinary talent,” and requested privacy for the family as they “navigate this painful moment together.”
Born Juan Rodriguez in Sabinal, Texas, in 1951, Rodriguez was discovered at 18 by music promoter Happy Shahan after he was heard singing in a jail cell, where he was briefly held for a minor offense, according to a Ken Burns biography on PBS.org.
Rodriguez’s musical influences ranged from mariachi to honky-tonk, shaped by his South Texas upbringing. “I was drawn to country music because I could relate more to what they were singing about,” he told Burns. “And also it was just like the music of our people. In Mexican music, you have stories. Mexican music and country music said almost the same thing, just in different languages,” he said.
Initially performing under the name Johnny Rogers, Rodriguez played at Alamo Village and soon caught the attention of country stars Bobby Bare and Tom T. Hall. At 21, he moved to Nashville, changed his last name back to Rodriguez, joined Hall’s band as a guitarist, and later signed with Mercury Records.
In the 1970s, Rodriguez achieved scored several No. 1 hits on Billboard‘s Hot Country Songs chart, including “Ridin’ My Thumb to Mexico” and “You Always Come Back (to Hurting Me).” He was nominated for the Academy of Country Music’s entertainer of the year in 1974 and was featured in the Country Radio Seminar’s New Faces of Country Music show in 1973. In 2007, he was inducted into the Texas Country Music Hall of Fame.
Rodriguez is survived by his daughter, Aubry, whom he shared with his second wife, Debbie McNeely.
Read Aubry’s touching tribute to her father on Instagram here.
The hits, the dancing, the outfits, there was so much to look forward to at Rauw Alejandro’s Cosa Nuestra tour stop in Chicago on Friday (May 9). Safe to say, there was all of that and more.
Rauw’s first night (out of three) at the United Center was the hottest ticket in town with fans flocking to the West Side of Chicago in full Cosa Nuestra dress code: evening gowns, elegance, flow and style. While I struggled to come up with an outfit that would be on theme, it seemed like no one else had that same issue.
“This dress is from my junior prom,” Jasmin Martínez, who wore a shimmery ball gown adorned with feathers, told Billboard. She traveled to Chicago from Wisconsin with her sister Janet, who exuded elegance in a sheer, rhinestone-studded gown.
Once inside, the sisters snapped photos and selfies, just like everyone else did to show off their fits of the night. Around 8 p.m. fans began making their way to their seats, making sure they wouldn’t miss the man of the hour take the stage. And once he did, the crowd roared giving Rauw a warm Chicago welcome.
“I see all the ladies with the dress code,” Rauw said at the top of the show, acknowledging his zealous fans who followed closely his instructions. “We have three sold-out [shows] here in Chicago. I just want to say thank you, gracias de todo corazón.”
Alejandro sang well over two hours, which were divided into four acts. See, at a Cosa Nuestra tour stop, you don’t get your traditional show, this is almost like a play on Broadway, there’s even a Playbill-like program that fans can scan to follow along. (More details on the acts below). There’s acting, singing, interludes, a master of ceremony — the whole deal. I can confidently say, I’ve never seen anything quite like this. Actually, think West Side Story, as Rauw’s concert centers around María and Raúl’s (played by Rauw) twisted love story.
“Today I bring you not only music,” a description of the musical reads in the program. “I bring you a piece of my history, of our culture and of the dreams that walk between the streets of Puerto Rico and New York. This journey is for those who love without fear, dream without permission and fight without rest. Welcome to my world.”
Rauw’s Cosa Nuestra Tour is in support of his latest album under the same name, which he released late last year. The 18-track set — sonically varied from salsa to R&B to reggaetón to electro-funk to kizomba — gave the Puerto Rican star his first top 10-charting effort on the Billboard 200 debuting at No. 6. The set also sits atop both the Top Latin Albums chart and Latin Rhythm Albums charts.
The Live Nation-produced trek continues in Chicago on May 10-11 and will then make stops in New York, Atlanta and Miami. See the dates here.
Here are some best moments from Rauw’s first show at United Center.
The Acts
On May 10, DJ Snake is set to perform consecutively in two of the largest concert venues in France: the Stade de France (80,000 people) and then the Accor Arena (20,000 people). It’s an unprecedented feat for an artist accustomed to breaking records as he prepares to release his third studio album.
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DJ Snake stands relaxed yet alert, his eyes sharp in front of the lens of Nabil Elderkin—a renowned director and photographer known, among other things, for his work with Travis Scott and The Weeknd. The artist is about to give a landmark concert at the Stade de France, titled The Final Show, followed by an after-party at the Accor Arena. An unprecedented feat for a DJ in France and a testament to his popularity in his home country, the event sold out in just three minutes.
More than a decade after his rise began, he is now one of the most influential ambassadors of the French electronic scene and ranks among the 100 most popular artists in the world on Spotify. Four of his singles have made it into the top 10 of the Billboard Hot 100.
“Paris is my city,” he declares at the start of the interview. He has a visceral connection to the capital that goes beyond simple geographical attachment. “It’s the city that taught me everything, really. Even musically—the strong influence of hip-hop in Paris, African music, Arabic music, French pop… That whole mix is what makes my music sound the way it does today.”
He found himself backed into a corner in the summer of 2012, after several years of DJing in the capital’s upscale clubs. Having already worked behind the scenes for artists like Lady Gaga (earning him a Grammy nomination), he felt limited in his artistic expression. So, he invested his savings into renting a recording studio and gave himself two months to make it as a solo artist. That risky bet turned out to be the launching point for a meteoric rise, beginning in 2013 with “Turn Down for What,” his collaboration with Lil Jon.
A Leading Figure of the French Electronic Music Scene
“With all humility, I don’t claim to represent France,” DJ Snake confides. “I represent a guy from Paris, who’s Franco-Algerian, and I just try my best to do interesting things.”
Yet with 13 billion streams on Spotify and four music videos surpassing one billion views on YouTube, DJ Snake undeniably carries the country’s colors on the international stage. “We have an incredible electronic scene that’s respected worldwide. Our older brothers did an extraordinary job—Daft Punk, Justice, Bob Sinclar, Martin Solveig, David Guetta, Madeon…”
The Stade de France, the largest venue in the country, marks the pinnacle of an unlikely journey: “It’s my destiny—to come from the very bottom, have an unconventional path, be a guy no one believed in at first, and end up at the top, at the Stade de France.”
More than just a concert, The Final Show represents a clear ambition for him: “The goal is really to make history.” When ticket sales opened, more than 500,000 people were in the queue at the same time. “We had planned a whole promo run—interviews, TV appearances, billboards in the streets of Paris… We had a full campaign ready, because never, ever, ever did I think I’d fill the Stade de France in three minutes.”
So the artist decided to extend the celebration: “I said to Julie, my manager, ‘Check if the Accor Arena is available.’ If it was, we’d throw the afterparty there. At least we’d have 20,000 people—20,000 lucky ones, 20,000 members of the Snake Army—with whom we could throw a massive event.” It was a winning bet: the Bercy venue also sold out.
DJ Snake
Nabil Elderkin for Billboard France
Supporting the New Generation
“You can come from a small suburb and do big things, with very little—just with drive, ideas, a group of friends, fun, and a lot of ambition,” says DJ Snake. “What I mean is, ‘Go for it, anything is possible.’ You’ve got a passport, you can travel—have fun, do what you need to do, and fight for your vision.”
The artist expresses confidence in the future of the new generation: “There are so many talented people, and I’m really not worried about the industry or the French scene. I think of someone like Trym, who’s bringing his hard techno vibe. His project is going to keep growing—Americans love it—and I think what he represents is really cool.”
The next step after his Stade de France triumph: launching a label dedicated to supporting new talent. “I think after my album, the goal is to start a new label and sign a lot of young artists. I want to give them a platform to express themselves.”
The Nomadic Spirit
While Paris remains his emotional home port, DJ Snake sees himself first and foremost as a citizen of the world. “I strangely feel at home everywhere,” he explains. “And I really have that nomadic thing. The nomadic spirit—it’s something that truly reflects who I am. It’s a rhythm I’ve had since I was young. I’ve always been on the move, I’ve always traveled.
“Now, I’m able to absorb the vibe of a city quickly. It’s crazy what I’ve managed to develop—I’m just realizing it now.” Still, it’s a demanding balance: “Traveling is very inspiring—meeting people, connecting with artists, discovering different cultures… But the travel itself is exhausting. It’s a lot of pressure. I have a hard time creating while on tour. I need to stop and settle somewhere. I stepped back a bit from social media when I was touring more, because I was finishing my album and needed not to be constantly on the move.”
With “Disco Maghreb” in 2022, DJ Snake reached a form of personal fulfillment. The instrumental track with Algerian influences came from a deeply intimate place. “The impact of ‘Disco Maghreb’ was huge. It was unprecedented, and I really didn’t expect it. I was the first to be surprised,” he says. “It will still be played at weddings 20 years from now.
“Algeria gives me so much love. It’s really hard for me to walk down the street there, for example. That’s something I don’t experience anywhere else, even though I’m known pretty much worldwide.”
For him, the real victory lies in his ability to make traditional music resonate far beyond its original audience: “When I’m performing in Brazil, Mexico, Colombia, Taiwan or Japan, and I see people dancing to Algerian rhythms—that’s a cultural victory.”
DJ Snake
Nabil Elderkin for Billboard France
A New Album After Six Years of Waiting
DJ Snake is preparing to make his return with a new project, with the announcement coinciding with his show at the Stade de France. “It’s true that it went by quickly,” he admits, reflecting on the time since “Carte Blanche.” “I felt the need to offer a new chapter in my career. I had things to say, things to offer. With the Stade de France, I thought, ‘I think we’re going to make a great combo, Stade de France, album. We’re going to have fun.’
“It’s an album where I had fun. I pushed creativity to the max. Of course, it’ll still be DJ Snake, I’m not coming back with a funk album or a drum and bass album. There will be electronic sounds, there will be touching moments, and we’re going to have fun.”
This versatility is one of the artist’s signatures: “I release ‘Let Me Love You’ with Justin Bieber, the next month I drop a dubstep track called ‘Propaganda,’ which is super aggressive. Then I do something like ‘Magenta Riddim’ with Indian influences. After that, I can do a house track, I can do ‘Disco Maghreb’…. I really took people on a journey from left to right. But always with integrity and my vision. That’s why people have never seen me as an opportunist, because my approach has always been sincere.”
He embraces this diversity as an integral part of his identity: “When you’re in music, your art has to be solid, and it has to touch people. There has to be emotion, but it has to connect with the audience. I don’t understand artists who make the same song every time. They have a hit with something, and then they make five follow-ups with the same rhythm, the same guitar. I’d go crazy. That’s why I always need to reinvent myself and offer something different.”
In Search of Authenticity
In an electronic landscape where trends, particularly on social media, often overshadow creative choices, artistic independence is a fundamental principle for DJ Snake. “My vision is what matters the most to me. I’ve done everything to protect it and to maintain this independence, this freedom to navigate.”
For the producer behind global hits like “Let Me Love You” and “Lean On,” he says “the impact of TikTok” has changed electronic music, with consumption becoming increasingly rapid. “The industry has changed. The way entertainment, not just music, is consumed has made it so very little remains,” he observes.
“Since I was young, I’ve always been on the move, I’ve always traveled… We’ve met the biggest artists in the world, the biggest celebrities, visited the most beautiful places on the planet. But at some point, you go through all of that and you start to appreciate the simplest things.”
This quest for authenticity shows up both in his music and his creative approach: “My music is a reflection of my daily life, my life—it’s me, really. I translate what I feel. For sure, there will be simpler things than what I’ve done before.”
His side project, The Outlaw, under which he will perform at the Accor Arena, also allows him to return to his roots: “It was really about having total creative freedom, not worrying about my image, my status, or having to play all my pop hits all the time. It’s really a kind of outlet.” He shares that he aims to release an EP under The Outlaw in the coming months.
This article originally appeared on Billboard France.
It was a 00XO party in the desert. The Weeknd kicked off his 2025 After Hours Til Dawn Tour on a balmy Friday night (May 9) with Playboi Carti at State Farm Stadium in Glendale, Arizona.
The “Timeless” collaborators, alongside Mike Dean, are set to invade stadiums across North America throughout the summer, and it could be the singer’s final trek under his The Weeknd stage alias.
Glendale had the honor of batting lead-off on Friday before the tour takes a two-week break, which could be tied to Abel’s Hurry Up Tomorrow film arriving next week.
Playboi Carti isn’t your average tour opener, and King Vamp brought his star power to the stage at 8 p.m. PT. Carti ended up running through a tight 15-track set in about 45 minutes. The Atlanta native said it was his first time back in the Phoenix area since 2015, and he told the crowd it “feels good to be home.”
The “Magnolia” rapper was very engaged throughout the set and wasn’t shy about showing his appreciation for being on a stadium tour compared to his typical mysterious self. He’d come back for seconds during The Weeknd’s set to perform collabs like “Rather Lie” and “Timeless.”
The main event kicked off when Abel appeared flanked by red-hooded dancers with a haunting entrance just shy of 9:30 p.m. PT. Rocking a black Christian cordella with golden glitter splattered across, a masked Weeknd sent the sold-out State Farm Stadium into a frenzy with “The Abyss.”
“The first night’s always the best night,” the Canadian hitmaker said, much to the delight of the XO faithful. The stage boasts burning buildings around the city, which mirrors his 2022 tour, then the catwalk extends to a giant Sorayama statue that could double as a sexy Golden Globe Award. Side stages featuring neon-lit oval rings make Abel look like he’s performing in a clear tunnel during portions of the show.
Proving he’s still one of the 21st century’s premier live acts, Abel bounced around much of his decorated discography, outside of Kiss Land, while keeping the crowd in the palm of his hand throughout the two-hour set, which consisted of 37 tracks in total to feed even the most starved XO fan’s appetite.
Here’s every song that Playboi Carti and The Weeknd performed on night one of the 2025 After Hours Til Dawn Tour in Arizona.
Playboi Carti – “Evil J0rdan”
From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
Mental Health Support
Mexican star Alejandro Fernández announced that a portion of proceeds from every ticket sold on his ‘De Rey a Rey’ U.S. and Canada tour will be donated to Backline, a nonprofit organization dedicated to mental health and wellness support for music industry professionals and their families. According to a press release issued by Live Nation, who is behind this upcoming tour, this partnership will “specifically help expand Backline’s services and reach within the Latino music community—an area often underserved by mental health resources.”
The ‘De Rey a Rey’ Tour is tribute to Fernández’s iconic father, Vicente Fernández. The stint kicks off this Saturday, May 10 at Seattle’s WAMU Theater at Lumen Field. See the dates here.
Grupo Frontera Makes Special Visit
Some of the members of Grupo Frontera made a special visit to fan Perla Leyla, a 7 year old girl fighting cancer. Beto and Payo arrived to the hospital with flowers and spent time with Leyla, taking selfies, dancing and FaceTiming other Grupo Frontera members. “Thank you for this beautiful surprise,” she captioned the sweet video posted on Instagram.
Jay Wheeler Honors Mom
A new song for mom. Puerto Rican star Jay Wheeler unveiled “Mejor Que Tú” — which replaced “Track Loading” on his album Girasoles. The previously-hidden track on his eighth studio LP honors the dedication, guidance, and perseverance of the woman who inspired him to become the man he is today.
“‘Mejor Que Tú’ is personally one of three very special tracks on this album,” Wheeler said in a statement. “It’s a very special song dedicated to my mom. To me, my mom has always been a true warrior and someone whom I’ve always admired. Although I admire many members of my family, I feel that my mom represents what I am today — the strength, values, and the love I possess and project today, is because of her.”
Karol G Celebrates Mañana Fue Muy Bonito
Karol G’s new documentary, Tomorrow Was Beautiful, is the culmination of her history, making, record-setting Mañana Será Bonito stadium tour. Now streaming on Netflix, the doc gives insight into the challenges the Colombian star faced along the way. “The tearjerking film brings together key moments from her life and career while highlighting her deep bond with her family, who have always provided her unwavering support,” Billboard Español‘s Isabela Raygoza wrote.
“Watching the documentary gave me the chance to reflect on the incredible journey I’ve had as a person— in the way I think, and even changes physically,” Karol told Billboard Español. “I feel like it all started when I had blue hair, and then came the whole process with red hair, blonde hair and finally pink hair. I can see how my mindset evolved, how my sense of responsibility and commitment to my fans grew, and even how I view myself physically. I also feel that the beautiful kind of self-love you start to develop begins to blossom and becomes more noticeable.”
Read all about Tomorrow Was Beautiful here.
It’s no secret that Canadian festivals have been facing hard times.
The post-lockdown years have seen high-profile festivals filing for creditor protection, like Montreal’s comedy behemoth Just for Laughs; scrambling to reorganize or downsize programming, like Toronto Jazz Festival and Calgary’s JazzYYC, after TD withdrew sponsorship; or cancelling editions altogether, like Toronto food and culture festival Taste of the Danforth.
Of course, major festivals closed before the pandemic, too, for a range of reasons. And many festivals wind down naturally, through generational or leadership shifts. But Erin Benjamin of the Canadian Live Music Association agrees that festivals are facing a difficult landscape in the years after 2020.
“COVID ripped up the playbook,” she tells Billboard Canada.
“The cost of goods and services and labour and talent is extremely high,” Benjamin adds. “And it continues to go up.”
Audience habits have shifted, too. She notes that festival-goers are definitely buying tickets later, leaving event planners with cash flow troubles.
In its 2025 Hear and Now report, the Canadian Live Music Association states that in 2024, the problem stretched beyond Canada. “Cancelled tours and festivals due to lower ticket sales, rising costs, and environmental impacts has led to overall industry decline,” the authors write. “High prices for top acts are exhausting fan budgets leaving less for mid-range artists.”
International mega-music festivals aren’t immune. After slow ticket sales in 2024, more than half of Coachella’s 2025 general admission attendees bought tickets through payment plans.
When festivals shut down, people lose a connection to local history and a chance to meet their neighbours. Benjamin adds that arts workers lose livelihoods, while local communities lose economic impact.
If the live industry is facing hurdles, it’s also true that music tourism is still a popular vacation choice. “We’ve got to capitalize on that music tourism piece here in Canada,” Benjamin says. “We have incredible infrastructure already. We need to take care of our infrastructure, need to continue to create opportunities for artists.”
Benjamin adds that each level of government — municipal, provincial and federal — has a role to play in harnessing that potential.
Every festival faces its own particular set of circumstances that help secure or shut down the next edition. But it’s clear that conditions across the industry are putting pressure on festivals, from Newfoundland to British Columbia.
For a list of festivals that have closed or called for support, head here. – Rosie Long Decter
Craig “Big C” Mannix Joins CMRRA as Industry Relations Consultant – Community Engagement
The Canadian Musical Reproduction Rights Agency (CMRRA) is making a key hire to reflect the diversity of Canadian music.
Craig “Big C” Mannix has joined the CMRRA as industry relations consultant – community engagement.
An influential figure in the Canadian music industry, Mannix has served as vp of Black music at Universal Music Canada; held roles at Sony Music Entertainment, EMI Music Canada and Virgin Records Canada; and had a founding role with ADVANCE, Canada’s Black Music Business Collective. He has also played a key role in developing the careers of major Canadian names like Kardinal Offishall, K-os and Pressa.
The CMRRA is one of the leading reproduction royalty distribution agencies in Canada. It distributed $96 million in royalties in 2024, a 23% increase from 2023. That growth was significantly driven by music on TikTok, where royalties increased by 126%. Mannix looks to continue working with creators moving forward.
The CMRRA also reported a 50% increase in international revenues, highlighting the importance of global potential in the current Canadian music landscape. Mannix’s role specifically focuses on community engagement and deepening relationships with underrepresented music communities.
“I’m thankful for the opportunity to work with CMRRA. My love for music and art is what brought me into this business over 35 years ago — and it’s what’s kept me in it,” says Mannix about his latest career chapter. “I’ve always focused on driving culture with integrity, passion, and decency. I’m looking forward to connecting with more creators and communities through this new role.”
CMRRA is turning 50 this year. In a special industry newsletter, president Paul Shaver celebrated the organization’s growth.
“We have over 7,000 clients worldwide and a well-earned reputation across the industry for being efficient, technology-forward, client-focused, and trustworthy,” Shaver wrote in the newsletter. “Many of these clients represent hundreds or thousands of songwriters, further amplifying our global reach and impact.”
As global reach improves, it’s also important to focus on the communities that exist within the country. Royalty distribution is an important sector of the country’s music industry, and CMRRA is making strides to open it up to the full diversity of Canadian musicians. – Stefano Rebuli
Toronto Music Experience to Open a Permanent Museum by 2029
Toronto’s music scene is getting its own museum.
The Toronto Music Experience (TME) has unveiled plans to launch a permanent cultural home by 2029, commemorating the city’s worldwide impact through music.
The TME announced plans for its expansion on Monday (May 5) at a private event at Live Nation’s The Lounge in Toronto featuring artists including Rush’s Alex Lifeson, Jully Black and Lorraine Segato.
The organization announced that it has been granted charitable status, which means it can go ahead with fundraising, partnerships and community engagement as part of its five-year plan towards its permanent home.
TME’s goal is to highlight Toronto’s musical past, present, and future through immersive exhibits, pop-up activations, live performances and education initiatives. It aims for a storytelling approach, highlighting the achievements that have shaped the city’s music scene, from its historical Indigenous roots to the global impact of superstars like Drake, The Weeknd and Rush.
The museum fulfills the city’s need for a hallmark representation of its impactful musical legacy that is currently missing.
“We don’t have a museum devoted to what is arguably Toronto’s biggest cultural phenomenon, its biggest international export,” TME board director and longtime music journalist Nicholas Jennings told Billboard Canada in November 2024. “This is an untapped area for the city, and there is a need for it, because we’re losing some of these stories.”
TME has been actively telling these stories through a number of exhibitions in partnership with Friar’s Music Museum, located in a Shopper’s Drug Mart at Yonge and Dundas, the former home of the Friar’s Tavern music venue. TME hosted its first-ever live show experience with the Sound of Rhythms & Resistance concert at TD Hall in November 2024, serving as an extension of its “Rhythms & Resistance” exhibit in 2021.
“The success of the two exhibits that we’ve held at Friar’s has shown us that there’s an appetite and a market for something more permanent,” Jennings said.
TME wants to incorporate a mix of production, retail and café spaces as well as pop-up exhibits, pairing music education alongside interactive experiences featuring memorabilia.
“Our mission is to build an experiential space where artifacts meet immersive experiences in tribute to the artists, communities, and cultures that make our city sing,” says Denise Donlon, a music industry and broadcast executive and member of TME’s advisory board. “It’s a powerful way to celebrate our past and inspire the next generation of creators.” – SR
Volbeat tops Billboard’s Mainstream Rock Airplay chart with “By a Monster’s Hand,” which rises a spot to No. 1 on the May 17-dated list.
The tune reigns as Volbeat’s 11th ruler on Mainstream Rock Airplay and first since “Shotgun Blues” led for three weeks beginning in December 2021.
With 11 leaders, Volbeat ties for the 10th-most No. 1s in the Mainstream Rock Airplay chart’s 44-year history.
Most No. 1s, Mainstream Rock Airplay:20, Shinedown18, Three Days Grace15, Five Finger Death Punch14, Foo Fighters14, Metallica13, Disturbed13, Godsmack13, Van Halen12, Linkin Park11, Papa Roach11, Volbeat
Volbeat first led Mainstream Rock Airplay in July 2012, for two weeks, with “Still Counting.” In between the commands of “Shotgun Blues” and “By a Monster’s Hand,” the band reached the chart twice, led by a No. 8 peak for “Temple of Ekur” in 2022.
Concurrently, “By a Monster’s Hand” remains at its No. 7 high on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.8 million audience impressions in the week ending May 8, according to Luminate.
On the most recently published multimetric Hot Hard Rock Songs chart (dated May 10, reflecting data from April 25 through May 1), “By a Monster’s Hand” ranked at No. 25, after reaching No. 10 in March. In addition to its radio airplay, the song earned 403,000 official U.S. streams.
“By a Monster’s Hand” is the lead single from Gods of Angels Trust, Volbeat’s ninth studio album, due June 6. Its predecessor, Servant of the Mind, debuted at No. 2 on the Top Hard Rock Albums chart in December 2021 and has earned 133,000 equivalent album units to date.
All Billboard charts dated May 17 will update on Billboard.com on Tuesday, May 13.
Jackson Wang spilled the tea exclusively to Billboard News on his upcoming album MAGIC MAN 2, hitting the stage with Ciara at Coachella and more in a new interview on Friday (May 9). Explore Explore See latest videos, charts and news See latest videos, charts and news Speaking to Billboard‘s Tetris Kelly, the K-pop idol […]
