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Romeo Santos arrives wearing a face mask and a hoodie. He’s not sick, just determined to avoid being recognized as he enters our New York studios, and immediately heads to his dressing room with his small entourage. Minutes later, Prince Royce walks through the door, just as quickly and discreetly, with a cap under the hood of his sweater covering half his face.
The two have been seen together in the past, but only as friends on social media. Today, the last Wednesday of October, they’re here to announce something completely different: Romeo Santos and Prince Royce, the “king” and “prince” of bachata, respectively, are finally collaborating, not on a single song, but on an entire album.
Their collaboration has been the best-kept secret in Latin music in years. Appropriately titled Better Late Than Never, the 13-song album will arrive Nov. 28 on Sony Music Latin, where only a small group of people knew of its existence.
Close friends and family were also unaware. (Coincidentally, Royce’s brother, who works as a photographer in New York, only learned of the project when he joined the team that shot the cover for this Billboard Español story and saw both artists’ names on the call sheet.) Many of the musicians who played on the album think it’s by one or the other, since both artists deliberately summoned their sidemen separately and were never seen together in the studio.
The result is pure synergy: “There’s no one taking center stage here,” Santos says. “There isn’t a song where he sings more than me or me more than him.”
I listened to the album the day before, when Santos — as he’s done in the past with Billboard — picked me up in a Cadillac Escalade V and played it for me from beginning to end, responding to my questions and reactions with the joy of someone who knows he has something special in his hands. He’s never been one to share files of his work through email before their release, and he certainly wasn’t going to risk it this time.
Better Late Than Never has the essence of Santos and Royce throughout but also offers something fresh for both artists. There are classic bachatas, more modern takes and mostly romantic lyrics, and the fusion of their recognizable voices is captivating from the first track, which shares the album’s title.
Songs such as “Dardos” and “Jezebel” stand out, the latter displaying strong R&B influences, as well as “Ay San Miguel,” a Dominican palo, and “Menor,” a surprising first collaboration for Santos with an emerging talent, Dalvin La Melodía — who also hadn’t yet been informed about Royce’s participation.
Santos and Royce wrote four of the songs together, starting with “Mi Plan,” penned during a friends trip to St. Barts in 2023, and “Better Late Than Never,” “Jezabel” and “Loquita Por Mí.” The rest were mostly written by Santos, always with Royce’s participation and honest input. But the seed of this production has been germinating since at least 2017, when they recorded the first of three failed attempts that will likely never see the light of day.
“I don’t want to sound cliché or overly religious, but God’s timing is perfect,” Santos says, explaining why now was the right time. “When we started recording the first song seven years ago, there was a little resistance from both of us. I felt convinced at the time… the vibe was there, but then we started evaluating it and [realized], ‘Mmm, this is not the song.’”
“There was a moment where I said, ‘Man, are we ever going to find that fusion, that muse, where we both feel comfortable and can say, ‘This is great?’ ” Royce adds. “And it wasn’t that I doubted it, but it required going in and really delving into it — and suddenly there was a switch.”
Santos
Malike Sidibe
The launch strategy was equally secretly planned. On Oct. 31, Halloween, Santos, unrecognizable in an Ace Ventura costume, announced on his Instagram account “new album November 28” — with a link in his bio to preorder it — along with a video of him partying in New York with an album in his hands. Days later, on Nov. 10, a massive listening party for his fans scheduled for Nov. 26 at Madison Square Garden was announced on Univision shows such as Despierta América and El Gordo y La Flaca and radio station WXNY-FM (La X 96.3) New York, where listeners could call in to win tickets. According to Santos’ publicist, at the time of the announcement, 7,000 people were online looking for tickets, all assuming that “it’s a [solo] Romeo album.”
Of course, there were no singles or previews. A music video featuring two songs — “Estocolmo” and “Dardos” — will be released simultaneously with the album. To communicate with the director, they used the code names “Batman” and “Robin.”
The collaboration between the two powerhouses is highly anticipated by bachata fans, and the fact that the project wasn’t rushed gives it new urgency and importance. Superstars of the genre from different generations, they are also very different in style — Santos with his sweet, high-pitched voice and use of traditional guitars; Royce with his light lyric tenor and a more pop/urban sound. And both have redefined the genre. Santos, 44, revived bachata when it was considered traditional regional music, giving it a sensual twist with touches of contemporary New York that captivated a new generation. Royce, 36, came later with bachata versions of Motown classics.
Santos rose to fame in the mid-1990s as leader of the group Aventura before launching a brilliant solo career in 2011 with Fórmula, Vol. 1, the longest-running bachata album by a solo artist on Billboard’s Top Latin Albums chart (17 weeks at No. 1); more recently, he was No. 2 on the Top Latin Artists of the 21st Century list (behind only Bad Bunny). Royce debuted in 2010 with a self-titled set that reached No. 1 on Top Latin Albums, which he has topped five times.
Both born in the Bronx to Dominican parents (except for Santos’ mother, who is Puerto Rican), they met at a family party. “Aventura was huge at the time,” Royce recalls. “I was in my room playing PlayStation. I heard the revolú [commotion], so many people outside. I went out and took a picture [with him],” adding that he was starstruck by the singer’s presence. Now, “This is a full-circle moment. What Romeo and Aventura have done has inspired me.”
“Romeo Santos and Prince Royce are two wonderful artists, two exceptional professionals — and even better human beings — who have dedicated their careers to bringing bachata to the world,” Afo Verde, chairman/CEO of Sony Music Latin Iberia, told me days after the interview. “Each of the songs on this brilliant album reflects the talent, creativity, passion and dedication of both of them. We can’t wait for all the fans to experience this magical album they’ve created together.”
Sitting down to talk for the first time about their most closely guarded secret in an exclusive interview with Billboard Español, Santos and Royce delve into the project, their friendship and the future of the genre that made them famous.
Prince Royce
Malike Sidibe
To begin, who approached whom? Who said, “Let’s do it”?
Romeo Santos: I’d like to take credit, but the truth is, the first person to mention the idea of recording not one, not two, but a whole album, was this gentleman right here. (Gestures to Royce.) And that was literally seven years ago, right?
Prince Royce: A long time ago, yes. I felt a lot of pressure from the public, really. If we make a song, what will it be? It can have pop elements, it can have very traditional elements, it can be a fusion. And I was thinking about how to fuse these two worlds, which, although it’s bachata, are two different styles of bachata. I always thought, “Man, how iconic would it be if we made an album, if we could give everyone these different kinds of flavors and colors?”
Santos: Yes, because that’s a valid point. When he says “the pressure,” it’s like a song will have an audience who will say, “I like this one,” but there will be another type of fan who will say, “Yes, but it’s too slow.” There are those who say, “Yes, but it’s too fast.” “Yes, but it doesn’t have that bitterness or it’s too depressing.” We have a production that fills all the gaps.
You recorded three previous tracks — one in 2017 for Golden, another in 2022 for Fórmula, Vol. 3 and a third later — and none of them were released. After three attempts, what motivated you to keep trying and not give up?
Santos: I think we started evaluating the three songs we had already recorded. “Where was the problem? How could the chorus of these three songs be improved? Was it the verse, the arrangement?” And at least I had the goal of making the songs feel organic, not like we took a song, sent a verse to Royce or vice versa, just to say we collaborated. I think it had to happen this way: three failed attempts to lead to this production. I don’t think I could have worked with Royce in a more ideal way. The best songs we were able to create are on this album.
Royce: I think for me it was, “We shouldn’t rush things.” Nowadays a lot of people lack patience, and I’ve always been very patient. I’m not a quitter, and he’s definitely not a quitter.
Santos: And you know what I respect? He was honest with me about those three songs. I mean, if he had been a hypocrite and told me, “They’re great,” this project wouldn’t have happened. But he was like, “I don’t know, loco, they’re OK, but do you think so?” So I kind of analyzed them. And honestly, every time I presented him with a song, I felt it was better than the last one.
How is it possible that none of this leaked in all these years?
Santos: Well, I’ll just say that in the world of privacy, I’m an expert. I feel very comfortable, even if it’s a little stressful, working on projects with the element of surprise. I’m used to it; I don’t like to prepare people.
Royce: In my case, I just don’t want to jinx it either. I know how he works, I’ve known him for many years. For me it was such an important project that I wanted the element of surprise, I wanted to surprise the audience, I wanted to focus on the project without anyone interfering and simply work.
Santos: Another factor was that we genuinely posted photos and videos together because we were hanging out. I think that when people saw those pictures and didn’t hear any music, they kind of overlooked it. And I didn’t know at the time that this was also what would work as a strategy for us. We managed to keep it a secret for several reasons. Also because technology has changed so radically these days that you can record a production, an album, whatever at home. We didn’t go to public studios; everything was recorded during vacations — we were in a villa with our friends and family, in my home studio in New York. We visited his house many times. That part was easy, honestly.
Royce (left) and Santos
Malike Sidibe
Tell me about “Batman” and “Robin.”
Santos: Ah, that was the code.
Royce: I called it the “Bora Project” with my small team.
Santos: We created this “Batman” and “Robin” thing, but for different aspects; for filming music videos, talking to the director: “Remember, Royce is Robin, I’m Batman.” Until it became second nature. Now I say to him: “What’s up, Robin?”
The fact that the record label hasn’t even heard the album speaks volumes about the creative freedom the label has given you to work together.
Santos: Look, I’m very grateful to Afo [Verde], to the whole Sony team really, but Afo is one of those people who respects the creative side of artists. And I remember sending Afo a message about two months ago, more or less, saying, “Brother, I have a project that I think is going to excite you. You’re going to love it, and I want to share this project with you. I want you to listen to it, to be one of the first.” Afo tells me, “I knew you were planning something,” because my last post was, if I’m not mistaken, on Jan. 8 of this year, and I’ve been ghosting on social media.
How easy or difficult was it working together as two big artists with such distinctive styles?
Royce: From the moment we made that first song [that actually worked], everything flowed for me. It was like there was a whole year where I felt like we were creating something incredible. I was so happy. And I really admire how he pushed me in the studio.
Santos: Thank you. I’m kind of a maniac.
Royce: I hadn’t felt like that in a long time. The fact that I thought I was doing well and [he’d tell me], “No, you can do better, bro,” and just keep at it…
Santos: And vice versa, because I’m so used to directing myself that sometimes you overlook certain things you stop doing as a performer. … The interesting thing about this project is that it has his essence, my essence, but musical proposals that neither of us has offered to the fans before.
Who was more involved in the production?
Santos: I would say I was… [But] I reiterate: He was very key because he trusted me, but also kind of challenged me. When I showed him a song, he was very honest, as he’s always been. So I went in already with that challenge.
What new elements will the audience hear?
Royce: There are new elements like “Dardos,” which has a lot of fusion. There are Afrobeat vibes, tropical vibes, different types of guitars, violins. [The song] “Better Late Than Never” starts off very pop, a cappella. And I think there are many elements, within bachata as well, in the way the guitar is played; there’s a bit of a rock flow.
Santos
Malike Sidibe
What did you think when you heard the album for the first time in its entirety?
Santos: We hugged with happiness.
Royce: I was jumping around, I was tipsy. … I was super excited. For me, it has been an honor to record this album. It has been a very beautiful experience in the studio as well.
Santos: You know what I used to tell him? “This pendejo sings beautifully!” Because I was listening to him from a different perspective. I love producing, and when you create a melody thinking of someone else, in my case, I enjoy it more than I enjoy singing it myself. And sometimes he sang a melody even better than what I envisioned.
Were you already a fan of Prince Royce’s music?
Santos: There’s a mutual respect. I’ve always told him about the songs I love from his repertoire. For me, “Incondicional” is one of those songs that, if you ask me what Romeo hasn’t done in bachata, both with Aventura and as a solo artist, when I heard that song I said, “F–k, mariachi with bachata!” That was great.
Royce, is there a song by Romeo you wish you had written?
Royce: There are many. I’ve always been a fan of “La Novelita” by Aventura. “Infieles.” “Eres Mía”… I think he’s a walking encyclopedia of bachata; he knows every bachata song and has a lot of musical knowledge. And he’s a genius with lyrics, truly.
As friends and colleagues, do you ever call each other for advice?
Santos: Of course. We’ve talked a lot long before this project. It’s a truly genuine friendship.
Prince, what’s the best advice you remember Romeo giving you?
Royce: There are many that I probably can’t say on camera. No, just kidding. (Laughs.) In terms of advice — not just musical; it could be business, it could be personal — we’ve had many conversations and he’s always been, I really mean it, very real with me… And I’ve always respected that.
Santos: I can tell you that one piece of advice he gave me once was, “Don’t take things so seriously.” I have that problem. Sometimes we forget to have fun. Especially when you have a plan, the rollout, marketing, a million things, and I feel like he has that quality. He loves what he does, just like I do, but maybe I’m too… What’s the word?
Royce: Particular, detail-oriented…
Santos: Yeah, sometimes that kind of takes away the fun.
Royce
Malike Sidibe
Let’s talk about the state of bachata. How do you see the genre right now?
Santos: How far the genre has come is impressive, especially when you see artists who aren’t bachata singers navigating this genre of heartbreak. When I listen to Rosalía, Manuel Turizo, Maluma, Shakira, Rauw Alejandro, Karol G, that’s an excellent sign that good work has been done since the beginning.
However, a superstar on the level of Romeo Santos and Prince Royce hasn’t emerged. Why do you think this has happened?
Santos: I think there are a lot of Prince Royces and Romeos in an attic, in a basement, creating the new sound. The thing is, this business isn’t easy. And when I say it’s not easy, it’s not easy for us either. There’s a very essential key that few apply, and that’s perseverance. If you analyze my career, people remember Aventura from “Obsesión,” but we’d been hard at work six years prior to that.
Royce: I think a lot of people always see the success but they never see the failures, what didn’t happen, the doors you knocked on. And I think that nowadays it’s very important to be different… and to bring something that Romeo Santos didn’t bring and that Prince Royce didn’t bring, because they’re already here.
Going back to your wonderful project, an album is usually followed by a tour. Do you plan to go on the road together? What do you envision for that show?
Santos: Obviously, yes, we are considering a tour, God willing, and a worldwide one so people can enjoy both of our repertoires. And when it happens, God willing, we don’t want it to feel like a show where he goes onstage, sings his setlist, then I sing mine. No. We want it to be an experience where, whether you’re a fan of Royce and me or just a fan of him or just of me, it’s a musical journey through both of our repertoires.
What would you say to Prince Royce fans who aren’t Romeo Santos fans, and to Romeo Santos fans who aren’t Prince Royce fans?
Royce: Well, personally, I think they’re going to become fans of all of us.
Santos: You want to know what I’d tell his fans? That they’re going to have to put up with Romeo! (Laughs.) No, but seriously, this is a treat, a gift for both sets of fans, because I think — and I don’t want to sound repetitive — that it’s a production where each song is dedicated to different styles, to his essence, to mine. But there’s something else you’ll notice about it: There’s no one taking center stage here. There isn’t a song where he sings more than me or me more than him. Maybe your favorite part of this particular song is Royce’s chorus, and maybe your favorite part is the pre-hook I did, but I hope you like it, that it evokes some kind of emotion in you in a positive way, because we made it with all the love we could put into a project.
Trending on Billboard Romeo Santos arrives wearing a face mask and a hoodie. He’s not sick, just determined to avoid being recognized as he enters our New York studios, and immediately heads to his dressing room with his small entourage. Minutes later, Prince Royce walks through the door, just as quickly and discreetly, with a […]
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SiriusXM is serving up the soundtrack to this year with the Billboard 2025 #1s Channel.
Listeners can relive 2025’s biggest chart-topping songs, according to Billboard’s weekly rankings, spotlighting pop, country, R&B/hip-hop, rock and alternative, Latin and more. Plus, flashbacks will highlight No. 1 favorites from throughout the 2020s.
The channel premiered Tuesday (Nov. 25) and is available exclusively on the SiriusXM app (channel 502) through Dec. 8.
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The Billboard 2025 #1s Channel features a range of music that defined this year and beyond, including Sabrina Carpenter’s “Manchild,” Lady Gaga and Bruno Mars’ “Die With a Smile,” HUNTR/X’s “Golden,” Kendrick Lamar and SZA’s “Luther,” Taylor Swift’s “The Fate of Ophelia,” Morgan Wallen’s “What I Want,” featuring Tate McRae, and Alex Warren’s “Ordinary.”
The Billboard 2025 #1s Channel marks the latest partnership between SiriusXM and Billboard — and accompanies the recently premiered Billboard Holiday Countdown, which is dashing through the 100 biggest seasonal favorites according to historical performance on Billboard’s Holiday 100 chart. The festive feature is available for streaming on-demand on the SiriusXM app through Dec. 26.
Previous SiriusXM and Billboard collaborations include the Billboard Latin Music Week Channel, the Billboard Top 500 R&B Countdown, the Billboard Top 500 Summer Hits Countdown, the Billboard Women of Pop Countdown and the Billboard #2 Countdown Channel. Additionally, SiriusXM’s Big 40 Countdown, on 80s on 8, and the Back in the Day Replay, on ‘90s on 9, are based on historical weekly Billboard Hot 100 charts, with other surveys counted down on 70s on 7 and Prime Country.
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Ciara has obviously adjusted well to her newest home sweet home.
In an epic new video, which Billboard is premiering exclusively below, Ciara takes to the streets of New York City for a 40-dancer Times Square flash mob celebrating her latest single “Nice n’ Sweet.” In addition to the CiCi deluxe track, which features Afropop artists MOLIY and Oxlade, the dancers also get down to “BRB” and the TikTok-viral “Low” in the “NYC Takeover” video, filmed on Nov. 17 during the early morning commute.
“I just knew being in the streets of New York dancing to ‘Low’ and ‘Nice n’ Sweet,’ which are very New York-ish, there’s an Afro-Caribbean influence in it — we know New York breeds that kind of energy throughout the streets,” Ciara told Billboard‘s Delisa Shannon. “So it just felt like the perfect place to have this moment and another ‘this place feels like home’ moment for me, which I loved.”
Alongside her NFL quarterback husband Russell Wilson and their four children, Ciara relocated to NYC ahead of the current football season, when Russ got picked up by the New York Giants.
“Everyone knows I’m from Atlanta, but at the same time, New York is showing our family tremendous love,” Ciara tells Billboard. “And as an artist, I feel like New York has put their arms around me too. And so this is another place that I call home. There’s just something so magical about being in the streets of New York. So I’ve never done a flash mob before. There was years ago where my team had put together a flash mob to celebrate me, but I never had done it where I just pop out in the middle of the streets and start dancing.”
The video begins with a small group of dancers taking turns in the center of a high-energy dance circle, set to “BRB” from the August album CiCi, before Ciara joins the chat in a Yankees ball cap, black sunglasses and blond braids past her waist for “Low,” featuring Diamond Platnumz.
The CiCi deluxe standout has been having a moment on TikTok, thanks to the “Low” Dance Challenge, and Ciara is grateful for the way the platform is spreading her music worldwide.
“The digital footprint has allowed for even more global expansion, you know?” Ciara tells Billboard. “And you get to see the influence of technology, where everyone and their mama can join in on the dance. And guess what? Everyone gets to see people shine in their own living rooms, right? I think there’s some kind of sense of ownership that people have, or a sense of empowerment when their videos go viral. And if we didn’t have these digital platforms, that opportunity wouldn’t exist. So I’ve learned to appreciate those moments and the power of those moments.”
Finally, the Nov. 14-released “Nice n’ Sweet” has its big moment, with Ciara joining the squad for some group choreography set to the Caribbean-influenced single. The star took the opportunity to take pics with all the dancers before hopping in her car and saying of the dance moment: “That was nice and sweet!”
Watch the video below, exclusively on Billboard.
–Reporting by Delisa Shannon
Trending on Billboard Christina Aguilera counts down a few of her favorite things in the latest teaser video for the singer’s upcoming international holiday spectacular. “‘My Favorite Things‘ — the first single from my upcoming Christmas special, recorded live from the Eiffel Tower — arrives tomorrow,” Xtina wrote on Monday (Nov. 24) of the first […]
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Berklee College of Music is announcing the recipient of the inaugural Nat King Cole and Natalie Cole Scholarship: Paris Pineyro. The $75,000 scholarship — a joint presentation from the Natalie Cole Foundation and Nat King Cole Generation of Hope — was established to commemorate the 75th anniversary of Natalie Cole’s birth this year as well as celebrate the trailblazing and enduring legacies of pianist/singer Cole and his singer-songwriter daughter.
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In a joint statement given to Billboard, twin sisters Casey Cole and Timolin Cole-Augustus, said, “Our father and sister were known for their vocal abilities and emotional delivery, even with dad often insisting he was a pianist first and foremost. Their dedication to their vocal craft is one of the reasons we’re so happy that Paris is the inaugural recipient of the Nat King Cole and Natalie Cole Scholarship. Paris is a talented singer and an exemplary student, and we’re honored to connect our family’s legacy to a voice of the future through this scholarship with Berklee College of Music.”
Pineyro, a sophomore at Berklee who goes by the artist name Paris Dior, is studying music business/management and performance. In the Berklee press announcement, Pineyro commented, “It’s more than recognition — it reflects every late night, every struggle and every moment I pushed through my doubts. It reminds me that even when the path feels impossible, perseverance can lead to something truly ‘unforgettable,’ to quote the iconic Nat King Cole and Natalie Cole. I wish to express my sincere appreciation for being selected as the first recipient of this scholarship. It was an unexpected honor that fills me with deep gratitude. I am so grateful to the Natalie Cole Foundation and Nat King Cole Generation Hope for believing in my potential and investing in my journey.”
A jazz and pop vocalist as well as a pianist, Nat King Cole is known for standards such as “Mona Lisa,” “Nature Boy” and holiday classic “The Christmas Song.” Daughter Natalie won nine Grammys during her career — including best new artist. Her repertoire includes “This Will Be,” “I’ve Got Love on My Mind” and “Unforgettable,” a 1991 duet with her late father that reprised his own 1951 hit. Natalie was also awarded an honorary doctorate from Berklee College of Music in 1995.
“It is an absolute privilege to be part of the first ever Nat King Cole and Natalie Cole Scholarship, honoring the legacy of two of the most inspirational artists of all time,” said Phil Lima, assistant chair of the Voice department at Berklee, in a statement provided to Billboard. “It is fitting for Paris to become the inaugural recipient of this award as she has already inspired so many of her instructors and peers in our community through her impressive abilities and instincts as a creator, and her generous and affirming nature as a collaborator and supporter. The scholarship opens more doors for Paris to advance her education and her career. We are excited for many more young Berklee musicians to have the same opportunity in the years to come.”
Find more information about Berklee scholarships here.
Trending on Billboard The KPop Demon Hunters train could keep rolling right through awards season. According to the Associated Press, the animated Netflix mega-hit movie is among 35 features that are officially eligible for the animated feature category at the 2026 Academy Awards. Demon Hunters made the first cut on the list released by the […]
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Tributes from across the music world are pouring in for Jimmy Cliff, the reggae pioneer whose death was announced earlier this week.
Cliff, 81, died following a seizure and pneumonia, according to a statement shared by his wife, Latifah Chambers, on Monday (Nov. 24). While the family confirmed his passing, artists across genres — dancehall, pop, rock and reggae royalty — are now publicly honoring the singer’s legacy.
Sean Paul was among the first to share a tribute, posting a black-and-white image of Cliff on Instagram and writing, “R.I.P 2 a real general. He hit them the harder they came. Fly high my G.” Fans immediately echoed the sentiment, remembering Cliff as one of the musicians who helped shape the global identity of reggae.
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Yusuf/Cat Stevens, whose 1970 song “Wild World” became one of Cliff’s signature recordings, shared a heartfelt message on Facebook. “A powerful presence,” he wrote. “God bless him. His songs always had some message of peace — may he find it now and forever.”
The Marley family also honored him, noting Cliff’s pivotal role in Bob Marley’s early career. “Jimmy was an instrumental figure in Bob’s coming up,” they wrote on Instagram. “He brought him to producer Leslie Kong in 1962 to record his very first singles, ‘Judge Not’ and ‘One Cup of Coffee.’” The post included a smiling throwback photo of Cliff, a reminder of the deep roots the two shared inside Jamaica’s music history.
Shaggy added his own tribute with a photo of the pair onstage together. “Saddened to hear about the passing of the legendary Jimmy Cliff,” he wrote. “His voice, his message, and his spirit helped shape the soul of reggae music. We’ve lost a true icon, but his light and legacy will live on forever.”
UB40 frontman Ali Campbell described Cliff as a “reggae forefather,” writing, “A true foundation, a pillar of our music, and one of the first to carry reggae out into the world. Rest Easy King, ‘Many Rivers to Cross.’”
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Ariana Grande is rethinking what touring looks like as she heads into a new chapter of her career.
In a newly published conversation with Nicole Kidman for Interview magazine on Nov. 24, the singer and actress opened up about her upcoming Eternal Sunshine world tour, revealing that the run will be intentionally smaller than the massive global treks she’s mounted in the past.
“We’re doing a small amount compared to what I used to do back in the day. I think it’s 45 shows,” Grande said. “It’s not that small, but it’s at least half of what I used to do.”
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The 2026 tour follows her Billboard No. 1 album Eternal Sunshine, released earlier this year, and marks her return to full-scale live performance after stepping away from music to film the two-part Wicked movie franchise. That period, Grande said, played a transformative role in reshaping her relationship with fame, creativity and the pressures that accompany commercial success.
“I’ve just been healing my relationship to music and touring over the past couple of years,” she told Kidman, explaining that acting helped her reconnect with the joy of creating without the intensity that once accompanied her pop stardom. She described Eternal Sunshine as an album that allowed her to rebuild her process: “I think the time away from it helped me reclaim certain pieces of it and put certain feelings that maybe belonged to my relationship to fame… in a box somewhere else.”
Grande said her time playing Glinda in Wicked and Wicked: For Good helped her “take baby steps toward healing,” particularly around the anxiety she felt early in her pop breakout. “I think it just held some traumas for me before, and I feel those dissipating,” she said. “That is such an extraordinarily beautiful thing.”
She also reflected on how she has learned to detach from public commentary and criticism, saying that she now relies on meditation rather than internalizing negative reactions. “Should that dance have to be a part of being an artist,” she wondered, “or should that just be put in a box far away from me?”
Grande’s Eternal Sunshine tour will launch in June 2026 in Oakland, Cali., before heading through North America and Europe, concluding in London in late August.
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Anthrax will return to Australia in March 2026 for four shows across Brisbane, Adelaide, Melbourne and Sydney, Live Nation announced Tuesday.
The run marks the thrash-metal veterans’ first Australian headline tour since 2019, extending a global touring period that has seen the band revisit material spanning more than four decades.
Hailing from New York and widely regarded as one of the “Big Four” of thrash alongside Metallica, Slayer and Megadeth, Anthrax have sold more than 10 million albums worldwide and remain one of heavy music’s most enduring live acts. Their 2026 Australian dates will feature a career-spanning setlist mixing fan favorites, deep cuts and selections from the band’s more recent catalog as they continue celebrating their legacy on the road.
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According to the announcement, the tour will kick off March 23 at Fortitude Music Hall in Brisbane before moving through Adelaide’s Hindley Street Music Hall on March 25 and Melbourne’s Festival Hall on March 26. The run will wrap March 28 at Enmore Theatre in Sydney. It marks the group’s return to all four cities after several years of international touring and festival performances.
Tickets go on sale Nov. 28 at 11 a.m. local time. A Mastercard presale runs Nov. 26 from 11 a.m. until Nov. 28 at 10 a.m., with additional Live Nation presale access beginning Nov. 27 at 11 a.m. and concluding Nov. 28 at 10 a.m. All times are local.
Anthrax has also finished mixing its forthcoming studio album, marking the band’s first full-length release in nearly a decade following 2016’s For All Kings, with drummer Charlie Benante confirming the milestone via Instagram on Nov. 24.
Key recording sessions and all final mixing took place at Dave Grohl’s Studio 606 in Northridge, California — a space long associated with major hard-rock productions. The band reunited with producer Jay Ruston, who previously oversaw For All Kings and 2011’s Worship Music, bringing continuity to the project as Anthrax enters its next era.
More information is available at livenation.com.au.
Anthrax Australian Tour dates:
March 23 – Fortitude Music Hall, BrisbaneMarch 25 – Hindley Street Music Hall, AdelaideMarch 26 – Festival Hall, MelbourneMarch 28 – Enmore Theatre, Sydney
