State Champ Radio Music News
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Trending on Billboard Following a statement published by Americana singer-songwriter Todd Snider’s team on Monday noting that Snider had to cancel his tour dates after he was the victim of an alleged assault prior to a show in Salt Lake City, Utah, it’s now been reported that the singer/songwriter was later arrested and booked for […]
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Some Taylor Swift fans are up in arms over a video on the official White House TikTok account set to “The Fate of Ophelia” — and many of them are encouraging the pop superstar to take legal action against President Donald Trump.
The Monday (Nov. 3) TikTok video pairs Swift’s The Life of the Showgirl lead single — currently in its fourth week at No. 1 on the Billboard Hot 100 — with images of Trump and his associates. One frame shows Trump’s mug shot while Swift sings, “Don’t care where the hell you’ve been.” The video ends with a photo of the president scooping McDonald’s French fries under a slightly altered lyric reading, “The fate of America.”
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Swift has not commented on the post, but it’s unlikely that she’s happy about it. Historically, the star has not pledged her allegiance to Trump’s team; she’s only endorsed Democrats, including Kamala Harris in the 2024 election, and Trump, in turn, has insulted Swift repeatedly, including by posting “I HATE TAYLOR SWIFT” after the Harris endorsement.
In the TikTok comments, some Swifties are putting on their lawyer hats. “TAYLOR SWIFT SUE THEM FOR USING YOUR SONG!” wrote one. “I would absolutely LOVE if Tay found a way to sue them for this,” wrote another. “One freaking huge lawsuit on the horizon,” another prediction read.
Is the White House’s use of “The Fate of Ophelia” legal? Probably not. While individual TikTok users can soundtrack their videos with pre-cleared songs, commercial entities are required to obtain so-called sync licenses from copyright owners. The White House did not return an inquiry on Tuesday (Nov. 4) as to whether they got a sync license for the post, but given Swift’s public rebukes of Trump, and the fact that the singer is famously protective of her catalog, it’s unlikely that she greenlit such a license.
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As Billboard previously reported during Zach Bryan’s public scuffle with the Trump administration over its use of his track “Revival” in an X post, there are a number of legal avenues for artists to take when their songs are used on social media without licenses. Swift’s lawyers could send a cease-and-desist letter to the White House, or they might lodge a formal takedown notice directly with TikTok under the Digital Millennium Copyright Act.
If these administrative procedures are unsuccessful, Swift could indeed bring a formal lawsuit against the federal government for copyright infringement. She’s no stranger to intellectual property litigation, having both faced copyright claims herself and gone on the legal offense over the years.
However, it’s hard to imagine Swift taking the drastic step of suing the White House. The courts are public by nature, and Swift has a carefully maintained image. This is especially true in the political arena, where the singer’s statements have always been measured (“The choice is yours to make,” she told fans in her post endorsing Harris last year).
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Swift, therefore, may not want to become publicly embroiled in what would almost certainly be viewed as a partisan legal battle. Nothing is certain, though, and only time will tell.
Swift’s reps did not return a request for comment on the matter.
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After an absence of seven years, Radiohead returned to the stage on Tuesday night (Nov. 4) for a career-spanning set at Madrid’s Movistar Arena.
The highly anticipated show was the first of a sold-out 20-date run, which will see the Oxford-formed band play across the U.K. and Europe – including a four-night residency at London’s O2 Arena – with shows in Madrid, Bologna, Copenhagen and Berlin through November and December.
This was the first time the band had performed together live onstage since summer 2018, when they performed at the Wells Fargo Center in Philadelphia on Aug. 1. In a press statement released earlier this year, drummer Philip Selway explained what it meant for the five-piece to reunite.
“Last year, we got together to rehearse, just for the hell of it,” he said. “After a seven-year pause, it felt really good to play the songs again and reconnect with a musical identity that has become lodged deep inside all five of us.”
Radiohead called a hiatus after wrapping up an extensive world tour in support of their last full-length effort, 2016’s A Moon Shaped Pool. The record became their sixth No. 1 on the U.K.’s Official Album Charts and hit No. 3 on the Billboard 200, and landed them a Coachella headline slot in 2017.
Each member has remained active and recording, most notablly frontman Thom Yorke and guitarist Jonny Greenwood, who formed The Smile with drummer Thom Skinner and released three studio LPs. Radiohead-related activity ramped up over the past year with a live reissue of 2003 album Hail to the Thief and reworked version of that LP appearing in a Manchester production of Hamlet.
Personal loss and emotional burnout contributed to the group’s decision to step back from the stage. In a recent interview, frontman Thom Yorke reflected on the touring activity for A Moon Shaped Pool. “I guess the wheels came off a bit, so we had to stop,” Yorke said. “The shows felt great but it was, like, let’s halt now before we walk off this cliff.”
He also discussed his personal grief following the death of his first wife, Dr. Rachel Owen, in late 2016, whom he had separated from a year earlier. “I needed to stop anyway, because I hadn’t really given myself time to grieve,” he said. “My grief was coming out in ways that made me think, I need to take this away.”
Having since given way to reflection, Radiohead appeared rejuvenated onstage in Madrid. The band played a 25-song set, encompassing some of the most taut and tender moments from their nine studio albums. The show was opened by “Let Down,” a song from 1997’s OK Computer that has become a streaming sensation in recent months, and the song debuted at No. 91 on the Billboard Hot 100 in August to give them their first appearance on the chart since 2008’s “Nude.”
The setlist – which is expected to vary night to night – featured a number of big hits (“Karma Police”) and fan favorites (“Weird Fishes/Arpeggi”), but omitted some of their most well-known songs, too, including “Creep” from 1994’s Pablo Honey.
Here’s a look at the setlist from Radiohead’s return to the stage at Madrid’s Movistar Arena.
“Let Down”
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Live Nation’s revenue grew 11% year over year to a third-quarter record of $8.5 billion, the company announced Tuesday (Nov. 4).
The world’s largest concert promoter and ticketing company continued to benefit from vigorous consumer demand for live music since the touring business came back from the COVID-19 pandemic. Adjusted operating income (AOI) of $1.03 billion was a 14% increase from the prior-year period. Importantly, event-related deferred revenue and Ticketmaster deferred revenue were up 37% and 30%, respectively, suggesting Live Nation is well situated for upcoming quarters.
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“Strong fan demand drove another record quarter, as we continue to attract more fans to more shows globally,” CEO Michael Rapino said in a statement. “With these tailwinds, 2026 is off to a strong start with a double-digit increase in our large venue show pipeline and increased sell-through levels for these shows.”
Foreign exchange had a small impact on reported results. In constant currency, revenue was up 9% (compared to 11% as reported) and AOI was up 12% (compared to 14% as reported).
Within the concerts division, record-high stadium show attendance drove revenue up 11% to $7.3 billion and AOI up 8% to $514 million. Live Nation hosted 51 million fans, and attendance was up by double-digits in all major markets. International markets were led by Europe and Mexico, where attendance growth reached double-digits.
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Fan demand has undergone explosive growth since the COVID-19 pandemic. Live Nation’s third-quarter revenue of $8.5 billion was 38% greater than the $6.15 billion it generated in the same quarter of 2022. That improvement is dwarfed by the 125% revenue growth the company has experienced since the third quarter of 2019, a time before Live Nation acquired a majority stake in Mexican promoter OCESA in 2021.
Within the Venue Nation segment, Live Nation’s division that owns and operates venues worldwide, fan spending through October rose 8% at amphitheaters and 6% at major global festivals. Investments in renovations have helped some venues improve fan spending. For example, onsite fan spending at Jones Beach in New York was up 35% through October, while onsite spending at Estadio GNP in Mexico City tripled in the first ten months of the year.
At Ticketmaster, Live Nation’s ticketing division, revenue climbed 15% to $798 million while its AOI jumped 21% to $286 million. The improvement came from a combination of more ticket sales and higher average ticket prices: In the quarter, fee-bearing tickets rose 4% to 89 million, while fee-bearing gross transaction value (GTV) rose 12%.
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Through the first nine months of 2025, Ticketmaster’s total fee-bearing GTV rose 7% due to a 16% increase in international markets. Primary fee-bearing GTV improved 8% while secondary GTV declined 1% on lower sports activity.
Live Nation’s sponsorships division had record revenue of $443 million, up 13% from the prior-year quarter. With a gross margin percentage of 71%, the highest of the company’s three divisions, sponsorship’s AOI of $313 million, up 14% year over year, bested Ticketmaster on 44% less revenue.
The number of the sponsorships division’s strategic partners rose 14%. New agreements include consumer brands Hollister, Kraft Heinz and Patrón. The division added a multi-year deal with Trips.com in Asia and expanded its partnership with Mastercard to additional markets, including Hong Kong, South Africa and the Middle East.
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Live Nation is on pace for a record-setting 2025. Through the first nine months of the year, revenue is up 8% to $18.89 billion and AOI is up 9% to $2.17 billion. The record-setting third quarter is expected to flow into a strong fourth quarter. Arena, theater and club shows will bring the company to full-year attendance of approximately 160 million, which would be a 6% increase from the 151 million fans it saw in 2024. Live Nation expects to deliver double-digit AOI growth for the full year.
Looking ahead to 2026, the company expects continued growth. In addition to growth in deferred revenue — money received for future events — Live Nation expects a double-digit increase in large venue shows in 2026. Average grosses for 2026 concerts are up double-digits on strong sell-through levels.
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Fuerza Regida secures its fourth stint at No. 1 in 2025, as “Marlboro Rojo” surges from No. 6 to the top of Billboard’s Regional Mexican Airplay chart (dated Nov. 8). The group banks its seventh champ total.
“Marlboro Rojo” becomes the second chart-topper from the group’s ninth studio album, 111XPANTIA. Just four months ago, “Por Esos Ojos” led the list for one week in July.
As the sole writer of “Marlboro Rojo,” Miguel Armando Armenta, better known as Armenta, secures his sixth No. 1 on Regional Mexican Airplay chart as a writer. He previously penned five other chart-topping hits, contributing to the success of songs by Fuerza Regida and Gabito Ballesteros.
“Marlboro” takes the lead with 6.9 million audience impressions, earned in the United States in the week ending Oct. 30, according to Luminate. That’s a 31% boost from the previous week. As the track lands at the summit, Fuerza collects its seventh ruler dating to 2023 when “Bebe Dame,” with Grupo Frontera, earned the group its longest-leading No. 1 with three weeks in charge. Here’s a look at those champs:
Title, Artist, Peak, Weeks at No. 1“Bebe Dame,” with Grupo Frontera, March 18, 2023, three“Mentira No Es,” with Banda MS, July 29, 2023, one“Harley Quinn,” with Marshmello, Feb. 3, 2024, one“Tu Boda,” with Oscar Maydon, Feb. 1, 2025, one“Me Jalo,” with Grupo Frontera, April 5, 2025, one“Por Esos Ojos,” July 19, 2025, one“Marlboro Rojo,” Nov. 8, 2025, one
“Marlboro” shoots up the overall Latin Airplay chart, climbing from No. 15 to No. 3 and giving Fuerza its eighth top 10.
Trending on Billboard PinkPantheress was shocked after a fan gifted her a rotisserie chicken during a recent show in Chicago. The singer performed at Byline Bank Aragon Ballroom over the weekend, and during the show, she took a moment when she noticed a fan was carrying a full-blown rotisserie chicken. “Is that roast f—ing chicken […]
Trending on Billboard It’s the most wonderful time of the year! Yes, we officially have the all-clear from Mariah Carey to start celebrating the Christmas season — as messaged in her new Sephora commercial — but it’s a big week for music lovers for another reason: 2026 Grammy nominations will be announced on Friday. Sabrina […]
Trending on Billboard As if losing a gut-wrenching Game 7 weren’t bad enough for Drake and the Toronto Blue Jays, the hits kept coming during the Los Angeles Dodgers’ World Series parade on Monday. Outfielder Kiké Hernández had some fun at Drake’s expense and took a playful shot at Drizzy when addressing the Dodger Stadium […]
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Ariana Grande is looking for some compassion after she was forced to cancel her trip to Brazil for the São Paulo premiere of Wicked: For Good, something she says has led upset fans to wish “danger” upon her and her team.
In a heartfelt Instagram Story post on Tuesday (Nov. 4), the pop star began by writing, “i can’t believe this is happening and i am beyond devastated to be sending this message.”
“a few hours ago, my team and i had to deplane our flight, as they had to do maintenance on the plane due to a safety issue and it will not be taking off until 11am tomorrow which means that i would not be making it in time for the Wicked For Good São Paulo premiere,” she continued. “i am so heartbroken that i’m unable to be there with you all. we sincerely tried everything we could and i apologize from the bottom of my heart.”
Grande also added in her message that she and her team had explored both commercial and private overnight flights that could get her to the event on time, but to no avail. Even so, some disappointed attendees apparently took their frustration out by wishing “danger” on the actress, who followed up with another post a few hours later.
“please don’t wish danger on us,” she pleaded. “we did everything we could and i promise you no one is more upset than i am … no matter how upset or disappointed you are, please please do not wish danger on us or assume that we didn’t try.”
The Grammy winner went on to explain that she hadn’t been able to fly to Brazil any sooner than what was planned, as she’d been filming a movie — Focker-in-Law — through Oct. 31 and had work engagements on the first and second days of November.
“i have been looking forward to this moment for a year,” she concluded. “i love Brazil, i always have, i always will.”
The event in São Paulo will mark the first official international premiere of the Wicked sequel, which hits theaters worldwide Nov. 21. The next major early screenings are set for Nov. 7 in Paris, Nov. 10 in London and Nov. 13 in Singapore.
The Wicked team also has a concert special in store for fans ahead of Part 2’s release, which comes almost exactly a year after the first movie premiered, setting box-office records. Featuring live performances of the musical’s score by Grande and co-leading lady Cynthia Erivo, Wicked: One Wonderful Night will arrive on NBC and Peacock on Nov. 6.
Trending on Billboard Kehlani celebrated a new career milestone when her R&B smash “Folded” reached No. 7 on the Billboard Hot 100 this week (chart dated Nov. 8). “First top 10 on Billboard. lucky #7 gratitude is endless,” they wrote on Instagram Monday (Nov. 3) prior to performing “Folded” on Jimmy Kimmel Live! that night. Following its […]
