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Lewis Capaldi is gearing up for his first run of North American dates in more than two years. The “Someone You Loved” singer announced the dates for what he has dubbed his “BIGGEST EVER” U.S. and Canadian tour over the weekend.
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The run of shows are slated to kick off on April 15 at the Liacouras Center in Philadelphia and include stops at Madison Square Garden in New York, two nights at MGM Music Hall in Boston, as well as gigs in Montreal, Toronto, Chicago, Denver, Los Angeles and Berkley, Calif. before winding down on May 6 at Rogers Arena in Vancouver. A pre-sale begins at 9 a.m. local time on Monday (Oct. 27); click here for details. There will also be a Live Nation pre-sale on Monday beginning at 10 a.m. local time, with a general onsale launching on Friday (Oct. 31) at 9 a.m. local time here.
Joy Crookes will open all the dates.
Capaldi, 28, recently wrapped his first run of U.K. shows in two years following his long-awaited comeback in June when he played a surprise set on the Pyramid Stage at Glastonbury. The singer cut his 2023 Glastonbury set short after he said he was struggling with a strained vocal cord and tics caused by his Tourette’s, leading to a nearly two-year break from live performance to focus on his mental health.
Following the North American dates, Capaldi has booked a run of huge U.K. and Ireland dates next summer, slated to kick off in Dublin’s Marlay Park on June 24 and run through an Aug. 22 show at Wythenshawe Park in Manchester, England.
On Friday, Capaldi announced the upcoming release of the four-track EP Survive, which will feature the title track, as well as “Something in the Heavens,” “Almost” and “The Day That I Die.” The EP, the follow-up to Capaldi’s 2023 album Broken By Desire to Be Heavenly Sent, is due out on Nov. 14 through Capitol Records.
Listen to “Almost” and see the poster for the spring 2026 U.S./Canadian dates below.
Billboard’s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, click here.
Trending on Billboard Reneé Rapp has been criss-crossing North America for the past month on her headlining Bite Me tour. But over the weekend, the singer and former Sex Lives of College Girls star had to pump the brakes on the final two planned gigs on the outing on doctor’s orders. Explore See latest videos, […]
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The Jonas Brothers have gotten used to being pelted with the expected waves of love and affection during their run of stadiums and arenas this year on their Jonas20: Greetings From Your Hometown tour. But those definitely weren’t just gleeful shouts of “Joe!” after the sibling trio took the field on Saturday (Oct. 24) in the middle of game two of the World Series at Toronto’s Rogers Centre to perform the song “I Can’t Lose” from this year’s Greetings From Your Hometown LP.
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In fact, the mid-game performance break at a point when the score was tied 1-1 between the Los Angeles Dodgers and Toronto Blue Jays as part of the annual Stand Up To Cancer tribute kind of ticked off a lot of fans who feared it was messing with the game flow and may have actually been thinking “Noooo!!!”
“If the Jays lose it’s entirely on that weird Jonas Brothers performance in the middle of the game,” one incensed fan wrote on X, with another adding, “I’m trying to watch the World Series and they doing a damn Jonas Brothers concert after the 5th inning.”
Joe Jonas heard you and the singer had the perfect response to the chorus of concern in the comments on a Major League Baseball post featuring a still pic and a video of the siblings posing on the field with the caption, “SPEECHLESS, OVER THE EDGE, JUST BREATHLESS.” Joe seemed to humorously sympathize with the confusion, commenting, “Why these guys?“
Self-deprecation aside, there were plenty of fans there to support him, with a number commenting on his comment, with one writing, “@joejonas Because they are the boys with the most beautiful soul in the world” and another adding, “@joejonas cause they’re awesome.”
MLB has been hosting the Stand Up to Cancer tribute since 2009 in which people in attendance at games hold up placards honoring those who’ve been impacted by cancer. The JoBros dedicated “I Can’t Lose” — which was the official anthem of ESPN’s Sunday Night Baseball coverage, with a video in support of the charity airing during July’s MLB All-Star game — to “everyone standing up to cancer.” Joe also kicked off the performance by holding up a placard for their dad, Kevin Jonas Sr., who was diagnosed with colon cancer in 2017.
The band’s 20th anniversary tour continues on Monday night with the second of two shows at Orlando’s Kia Center.
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The Boss is very much back.
Just days after walking the red carpet (and delivering a typical powerhouse performance) for Disney’s biopic Springsteen: Deliver Me from Nowhere, Bruce Springsteen made another surprise appearance, this time for Steven Van Zandt’s Party at the Pony.
Per Rolling Stone, Springsteen joined his decades-long bandmate on stage Sunday, Oct. 26 at Asbury Park, New Jersey, for several performances, including “I Don’t Want to Go Home,” the opener and title track to Southside Johnny and the Asbury Jukes’ first album from 1976, which was produced and arranged by Van Zandt and includes contributions from Springsteen.
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Guests were also treated to a rendition of “Tenth Avenue Freeze-Out” from Springsteen’s third album, 1975’s Born to Run, and, reportedly, a performance of Eddie Floyd’s “Raise Your Hand,” a staple of Springsteen shows since the 1970s.
The evening’s program was billed as featuring members of the “E Street Band Family” with appearances by Jesse Malin, Darlene Love & Gary US Bonds, and musical guests Marc Ribler, Anthony Almonte, Curtis King Jr., Ozzie Melendez, Eddie Manion, and Barry Danielian.
The concert benefited TeachRock, a not-for-profit founded by Van Zandt which aims to improve “students’ lives by bringing the sound, stories, and science of music to all classrooms.”
Springsteen has been front and center in recent days, thanks to the theatrical release of the biographical drama, Deliver Me from Nowhere, and the well-timed arrival of Nebraska 82’: Extended Edition.
According to The Hollywood Reporter, Deliver Me had to settle for fourth place in its debut after coming in behind expectations with $9.1 million domestically and $7 million internationally from 28 markets for a global start of $16.1 million, though it has yet screen in a number of major markets. The film which had been on track for an open in the $10 million-$12 million range domestically and $20 million globally.
Springsteen doesn’t have any concerts on the slate. But he has hinted at another tour Down Under. Speaking with Rolling Stone earlier this year, the Rock Hall-inducted legend admitted he was long-overdue a long haul to Australia. “I’m doing my best as we speak to get down there, hopefully next year sometime. And I feel bad,” he remarked. “I apologize to my Australian fans for not getting down on this stretch, but I want them to know that we are planning to get down there as soon as feasible, probably in the next year sometime.”
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With two nominations, Ninajirachi could seriously cash in at the first-ever New South Wales Music Prize, the finalists for which were unveiled on Monday, Oct. 27.
The Central Coast-raised artist, DJ and producer’s 2024 girl EDM collection is shortlisted for the main prize, the most lucrative in the Australian music industry which carries with it a A$80,000 ($52,000) winner’s check.
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Ninajirachi is also a chance for NSW Breakthrough Artist of the Year, with a A$40,000 ($26,000) cash prize.
The 26-year-old’s star is on the rise. With eight nominations at next month’s ARIA Awards, Ninajirachi (real name: Nina Wilson) is the leader of the pack. Separately, her debut full length album I Love My Computer (via NLV Records) is one of nine titles shortlisted for the coveted 2025 Australian Music Prize, awarded each year to the outstanding Australian album of original work from the previous year, judged by a music industry panel. In August, she was named as Billboard’s dance rookie of the month.
Other two-time NSW Music Prize nominees include 3% (Kill the Dead), BARKAA (Big Tidda), Shady Nasty (Trek) and SPEED (Only One Mode). Also in the hunt is Royel Otis, RÜFÜS DU SOL, ONEFOUR and more.
The Minns government in July announced the new prize to “celebrate, support and incentivise” the state’s most talented artists, with “the aim of inspiring the next generations of stars.”
All told, 15 artists have a chance of winning a combined prize pool of A$160,000 ($104,000), delivered by Sound NSW and decided by panels of contemporary music experts.
The three categories are:
• A$80,000 NSW Music Prize, to be awarded to the NSW artist or act whose release has had the most significant impact.• A$40,000 NSW First Nations Music Prize for an NSW First Nations artist or act whose release has had significant and meaningful impact.• A$40,000 NSW Breakthrough Artist of the Year for an emerging
Awarding the prize “will provide a vital financial boost for the winners and a big incentive for the next generation of aspiring stars,” says John Graham, NSW Minister for Music and the Night-time Economy. He adds, “we want to boost their careers, recognize the cultural importance of local music and inspire the next generation of prize winners.”
“Unless we back local musicians, the wave of algorithmically enhanced American music will continue to swamp us. We have amazing song writers and world class live performers here in NSW and this is a moment to celebrate them.
The winners will be announced at the NSW Music Prize awards ceremony at the Museum of Contemporary Art Australia in Sydney on Nov. 24 — the week following the ARIA Awards.
“When you look at these names you can see how much talent we have in NSW,” Graham adds. “We want to boost their careers, recognise the cultural importance of local music and inspire the next generation of prize winners.”
Visit the Sound NSW website for more.
NSW Music Prize
3% (Kill the Dead)
BARKAA (Big Tidda)
Kobie Dee (Chapter 26)
Ninajirachi (girl EDM)
ONEFOUR (Look At Me Now)
Party Dozen (Crime in Australia)
RÜFÜS DU SOL (Inhale / Exhale)
Shady Nasty (Trek)
SPEED (Only One Mode)
Vv Pete & Utility (Varvie World)
NSW First Nations Music Prize
3% (Kill the Dead)
BARKAA (Big Tidda)
Djanaba (Did I Stutter?)
Stiff Gins (Crossroads)
Ziggy Ramo (Human?)
NSW Breakthrough Artist of the Year ($40,000)
Don West
Ninajirachi
Royel Otis
Shady Nasty
SPEED
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LE SSERAFIM’s new collaboration with BTS’ j-hope has topped this week’s new music poll.
In a poll published Friday (Oct. 24) by Billboard, music fans chose the powerhouse team-up’s “Spaghetti” as their favorite new release of the week.
“Spaghetti” earned 77% of the vote, beating out new projects from Demi Lovato (It’s Not That Deep), Megan Thee Stallion (“LOVER GIRL”), Bruce Springsteen (Nebraska ’82), Daniel Caesar (Son of Spergy), Leon Thomas (Pholks), and more.
The track serves as the lead single from LE SSERAFIM’s eight-track HYBE compilation of the same name and marks j-hope’s first-ever feature on a K-pop girl group song.
Earlier in the week, the song was teased through a YouTube video titled “The Kick,” featuring j-hope in a Matrix-inspired outfit and shades, surrounded by flashing strobe lights. The clip ends with a snippet of LE SSERAFIM members — KIM CHAEWON, SAKURA, HUH YUNJIN, KAZUHA, and HONG EUNCHAE — delivering the line “eat it up.”
Speaking with Billboard Philippines, LE SSERAFIM shared insights into the making of “Spaghetti.” The song “expresses LE SSERAFIM’s charm that you just can’t get away from, like spaghetti that’s stuck in your teeth,” SAKURA said. “The part where we sing ‘eat it up’ over and over is the highlight, and since each of us members delivers it in our own styles, it adds even more playfulness to the song.”
LE SSERAFIM have been on a hot streak this year. In March, the group’s album HOT debuted at No. 1 on Billboard’s Top Album Sales chart, marking their fifth top 10 entry and second chart-topper after 2024’s Crazy.
Placing second in this week’s poll was Lovato’s new album, It’s Not That Deep, which secured 7% of the vote.
Check out the full results of this week’s poll below, and visit Billboard’s Friday Music Guide for more must-hear new releases.
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Since Pinkpantheress first snuck into cool kids’ playlists with 2021’s “Break It Off” — and truly exploded into the world of mainstream pop with 2023’s Ice Spice-assisted “Boy’s a Liar, Pt. 2” — the British singer-songwriter has consistently offered an incisive reflection of Gen Z’s Internet-driven, hyper-self-aware, irony-anchored humor and culture. Her bite-sized tracks helped her become one of TikTok’s earliest favorites, but her witty, honest lyricism and infectious self-produced records that blend drum and bass, garage, and alternative pop helped her transcend the volatile social media app.
On Friday night (Oct. 24), just a week after dropping her inventive Fancy Some More remix project, Pinkpantheress delivered the strongest, most fully-realized show of her career at the launch of the North American leg of her An Evening With… Pinkpantheress Tour. Kicking off her two-night residency at Brooklyn’s Kings Theatre with “Stateside,” Pinkpantheress spent her set hitting all of her marks across a tri-staired platform flanked by her hilarious DJ on one end and her terrific drummer on the other. Over the course of a little over an hour, she played her entire Fancy That mixtape, which hit No. 4 on the Dance Albums earlier this year, as well as catalog highlights like “Just for Me,” “I Must Apologise,” “Another Life” and “Mosquito.”
Marking her third headlining trek in as many years, this latest tour seizes every opportunity to flaunt Pinkpantheress’ growth onstage. Not only is she visibly more comfortable — her facial expressions, banter, and sass were dialed up considerably on Friday night — but she and her creative team have also truly figured out how to streamline her aesthetics when translating her music to a live setting. Part of why Pinkpantheress has proven to be one of the most alluring new pop stars of the decade is because of its cozy DIY energy; to bring that to a 3,250-capacity venue, she enlisted the Pinkettes, the adorable faux girl group she forms during the show with her two backup dancers, both of whom donned their best Pinkpantheress-inspired garb. With The Pinkettes helping fill the stage and giving Pinkpantheress co-stars to bounce off of, the show felt much more visually complete than last year’s Capable of Love Tour.
Of course, Pink’s signature 2009 JCPenney-evoking remained paramount to the show’s visual identity, helping present her as a soft antithesis to the ultra-glamorous glitz of some of her contemporaries. Pink finds the sparkle in both the mundane and the profound, which is why she can seamlessly shift from a kitschy flip of Shakespeare’s Romeo & Juliet (“Romeo”) to referencing nice Internet memes during her banter intermission. That intermission also proved strikingly candid, with Pink giving a heartfelt speech about her growth in confidence and comfort onstage over the past four years. “I don’t know if anyone was there for those [early shows], but I was shuffling [around],” she said. “I’m 24 now, and I started when I was 19… to be showing this newfound confidence in front of people is really exciting.”
From her Lalaloopsy-esque styling and classic jazz choreography to a surprise Zohran Mamdani appearance, here are the five best moments of Pinkpantheress’ latest tour.
DJ Joe
Trending on Billboard Daft Punk’s Thomas Bangalter made a rare live appearance during a surprise DJ set with Fred again.. in Paris. On Saturday (Oct. 25), the duo went B2B at Paris’ Centre Pompidou as part of Because Beaubourg, a two-day celebration marking the 20th anniversary of French record label Because Music. They were joined […]
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Snoop Dogg is celebrating his time with the No Limit crew.
The veteran hip-hop star made a surprise appearance on Saturday (Oct. 25) to show support for his former record label during its battle against Cash Money Records at ComplexCon in Las Vegas.
The “Drop It Like It’s Hot” rapper hit the stage to perform C-Murder’s classic “Down 4 My N****z,” sending the crowd at the Las Vegas Convention Center into a frenzy.
After leaving Death Row Records, Snoop joined Master P’s No Limit Records in 1998, releasing three albums — No Limit: Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999) and Tha Last Meal (2000) — during his brief time at the label.
Saturday’s Verzuz showdown celebrated two of Louisiana’s most iconic rap labels. No Limit’s lineup included Master P, Mia X and Silk the Shocker, while Cash Money brought heavy hitters like Juvenile, B.G., Mannie Fresh and Birdman.
Fans were treated to performances of legendary tracks including “400 Degreez,” “I’m Still Fly,” “Bling Bling,” “Break Em Off Something,” “How U Do That There,” “Slow Motion,” “Project Chick,” “Bout It Bout It,” “Real Big,” and “Make Em Say Unh,” according to Complex.
In early October, Complex announced a partnership with Verzuz to relaunch the music battle series at ComplexCon. “Rather than talking so much, we just want to get to the action,” Verzuz co-founders Swizz Beatz and Timbaland said in a joint statement.
Verzuz was launched in March 2020 by Timbaland and Swizz Beatz as a creative outlet during the COVID-19 pandemic. The platform was sold to Triller Network in March 2021 but had been largely dormant for nearly three years. Its most recent battles before ComplexCon included Cypress Hill vs. Onyx; 8Ball & MJG vs. UGK; Omarion vs. Mario; and Luny Tunes vs. DJ Nelson.
Watch Snoop’s surprise appearance at the No Limit-Cash Money Verzuz battle on Instagram here, and see more photos from the event here.
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Taylor Swift’s The Life of a Showgirl adds a third week at No. 1 on the Billboard 200 albums chart (dated Nov. 1), with 194,000 equivalent album units earned (down 43%) in the United States in the week ending Oct. 23, according to Luminate.
The Life of a Showgirl is only the second album in 2025 to spend its first three weeks at No. 1, following Morgan Wallen’s I’m the Problem, which spent its first eight weeks atop the list (of its total 12 at No. 1).
Elsewhere in the top 10 of the latest Billboard 200, Tame Impala claims its third top five-charted album, as Deadbeat debuts at No. 4.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new, Nov. 1, 2025-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 28). For all chart news, follow @billboard and @billboardcharts on both X and Instagram.
Of The Life of a Showgirl’s 194,000 equivalent album units earned in the latest tracking week, SEA units comprise 156,000 (down 34%, equaling 200.68 million on-demand official streams of the set’s tracks — it ranks at No. 1 on Top Streaming Albums for a third week), album sales comprise 38,000 (down 63% — it’s No. 1 on Top Album Sales for a third week) and TEA units comprise less than 1,000 (down 42%).
The chart-topping KPop Demon Hunters soundtrack holds at No. 2 on the latest Billboard 200 (96,000 equivalent album units, down 8%) and Wallen’s I’m the Problem is stationary at No. 3 (83,000, up 5%).
Tame Impala’s first full-length studio album in five years, Deadbeat, debuts at No. 4 with 70,000 equivalent album units earned. Of that sum, pure album sales comprise 37,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 33,000 (equaling 41.72 million on-demand official streams of the set’s tracks; it debuts at No. 7 on Top Streaming Albums) and TEA units comprise a negligible sum.
Deadbeat is the third top five (and top 10) project for Tame Impala, following 2020’s The Show Rush (No. 3) and 2015’s Currents (No. 4).
The new album was preceded by a trio of charted songs: “End of Summer” (No. 20 on Hot Rock & Alternative Songs, No. 7 on Hot Dance/Pop Songs), “Loser” (No. 15 on Hot Rock & Alternative Songs) and “Dracula” (No. 7 on Hot Rock & Alternative Songs, No. 19 on Alternative Airplay, No. 55 on the all-genre Billboard Hot 100).
Deadbeat’s first-week sales were bolstered by its availability across seven vinyl variants and five deluxe CD boxed sets (containing a copy of CD and branded merch), alongside a standard CD, cassette and digital download album.
Sabrina Carpenter’s chart-topping Man’s Best Friend is steady at No. 5 on the latest Billboard 200 (43,000 equivalent album units, down 5%) and Cardi B’s former leader AM I THE DRAMA? falls 4-6 (40,000, down 21%).
Olivia Dean’s The Art of Loving is pushed down 6-7, though it gains 1% in its fourth week on the chart (and fourth week inside the top 10).
SZA’s former No. 1 SOS holds at No. 8 (31,000 equivalent album units, down 2%), Wallen’s chart-topping One Thing at a Time rises 10-9 (30,000, down 3%) and Alex Warren’s You’ll Be Alright, Kid dips 9-10 (nearly 30,000, down 7%).
