Music

25 Nov 2025

Ariana Grande Says Her 2026 Tour Will Be ‘Half’ the Size of Her Past Runs

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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.

25 Nov 2025

Anthrax Set 2026 Return to Australia for Four-Show Run

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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, Brisbane
March 25 – Hindley Street Music Hall, Adelaide
March 26 – Festival Hall, Melbourne
March 28 – Enmore Theatre, Sydney

24 Nov 2025

Aminé Sets 2026 Australia Dates for ‘Tour de Dance’ Run

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Aminé is bringing his Tour de Dance world tour to Australia in early 2026, confirming a four-show run across Sydney, Brisbane, Melbourne and Perth.

The dates extend a touring cycle that has already taken the Portland rapper through more than 40 shows across the United States, the United Kingdom and Europe behind his latest album, 13 Months of Sunshine.

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The album, released earlier this year, marked Aminé’s first solo full-length since 2020’s Limbo and arrived after Kaytraminé, his 2023 collaborative project with Kaytranada. 13 Months of Sunshine saw the rapper take a more introspective turn, weaving themes of heritage, grief, identity and growth into a 16-track set featuring guest appearances from Waxahatchee and Toro y Moi.

Tour de Dance has become Aminé’s most expansive run yet, hitting major festivals and headlining venues across North America and Europe throughout 2024 and 2025. The Australian leg marks the rapper’s first return to the country since 2023 and the fourth visit of his career. His most recent Australian shows followed the release of Kaytraminé and included festival appearances and sold-out headline dates.

Aminé has remained a consistent presence on the touring circuit since breaking through with “Caroline,” which peaked at No. 11 on the Billboard Hot 100 in 2017. He followed that with charting singles including “REDMERCEDES,” “Spice Girl” and “Shimmy,” and landed two albums on the Billboard 200: Good for You and Limbo, the latter peaking at No. 16.

The upcoming Tour de Dance dates will see Aminé return to mid-size theatres and halls, beginning Jan. 10 at Enmore Theatre in Sydney. The run continues Jan. 13 at Fortitude Music Hall in Brisbane and Jan. 15 at The Forum in Melbourne, before wrapping Jan. 20 at Metro City in Perth. Pre-sale tickets open Nov. 26 at 10 a.m. local time, followed by general on-sale Nov. 28 at 10 a.m. local time.

13 Months of Sunshine is available now via CLBN and distributed by Virgin Music Group. Ticketing and tour information can be found via Live Nation.

24 Nov 2025

Lil Uzi Vert Kicks Off Journey as Independent Artist With Super-Charged Singles ‘Relevant’ & ‘Chanel Boy’

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It’s a new era for Lil Uzi Vert. The Philly rapper is no longer signed to Atlantic, and Uzi returned on Monday (Nov. 24) to release a pair of singles independently with “Chanel Boy” and “Relevant.”

The 31-year-old joins Rihanna and Jay-Z as the only two artists both signed to ROC Nation Distribution and managed by Roc Nation.

“UZI is a global icon and a dynamic force in the music industry, so we’re thrilled to work together with them in this new capacity,” said ROC Nation Distribution President Krystian Santini in a statement. “Our partnership is centered around empowering UZI to continue building their legacy, with full creative control and the resources to take their artistry to new heights.”

“Relevant” hit streaming services around 9 p.m. ET on Monday evening, as the second of two releases from Uzi today. Trillion and Rima helm the chaotic production as Uzi stamps their relevancy never fading in the game. Lil Uzi also released a sharp visual to accompany the single, which finds the rapper laced in red bandanas and Balenciaga Boots.

As for “Chanel Boy,” the first of Uzi’s two-pack arrived Monday morning. The galactic track feels like a return to the Eternal Atake era for Uzi as they dive head-first into the synth-filled ZeeGoinXrazy production.

The French designer could use “Chanel Boy” to soundtrack its next campaign, as Uzi raves about being draped in the double C’s. “Chanel on my feet, Chanel when I geek/ Chanel on the beach, Chanel on the beach/ Everyday of the week, I know Chanaynay ain’t cheap,” Uzi raps on the chorus.

A gritty video also arrived alongside “Chanel Boy,” which follows Uzi’s travels around a night in the Big Apple. The Philly native flexes their Chanel threads and hops out of a chopper and into a Black SUV for a ride to the studio.

Lil Uzi Vert’s last album as part of their deal with Atlantic Records was Eternal Atake 2 in November 2024, which debuted at No. 3 on the Billboard 200.

The next chapter of Lil Uzi Vert has begun. Listen to “Chanel Boy” and “Relevant” below.

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24 Nov 2025

Inside SEVENTEEN’s ‘NPR Tiny Desk’ Taping: 3 Things You Didn’t See

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In early November, one cluttered corner of the NPR office in Washington, D.C., received a new type of memento. As global superstars SEVENTEEN became the first K-pop group to make their official Tiny Desk debut in the U.S., their light stick took its rightful place on the set’s iconic bookshelf alongside a hoard of trinkets left by previous musical guests, including Sabrina Carpenter’s bedazzled martini glass — and Billboard was once again on hand to witness it all, from rehearsal to goodbyes.

While a few offshoots of NPR’s concert series have welcomed K-pop acts in the past, SEVENTEEN members Joshua, Mingyu, Seungkwan, Vernon and Dino were the first to perform behind the actual desk. And filming in the office base meant the most rigorous of standards were set in place: no floor monitors, no in-ears, no post-production magic or vocal touch-ups. Taken together, these are no small asks, even for veteran performers now a decade into their careers.

Then there’s the matter of size. “Any group with a large number of lead singers is hard to bring to the desk,” says Suraya Mohamed, executive producer for NPR Music, who adds that vocalist DK was originally supposed to attend the shoot before losing his voice. While a sprawling ensemble in its entirety may technically be able to squeeze into the space, she explains, that’s without accompanying band members and several instruments. Plus, only around five or six people comfortably fit in the front of the desk.

All these challenges combined, beyond creating the raw, authentic atmosphere that Tiny Desk has come to be known for, stretch artists to reach new highs, say its producers. And trust SEVENTEEN to rise to the occasion. All the world’s a stage for K-pop’s main theater kids, who recently wrapped the U.S. leg of their NEW_ world tour. Whether they’re playing to 18,000 cheering fans or an office of public media employees, it’s hard not to walk away from one of their shows inexplicably and irrevocably charmed.

In the video posted to NPR’s YouTube channel on Monday (Nov. 24), the group confesses to having experienced some nervousness before the shoot. But while working through a medley of nine songs spanning years of their catalog — from blistering hits “Hot” and “Clap” to beloved b-side “To You,” with a fair share of stellar high notes sprinkled in — those nerves were more than melted away by the warm reception in the room. “I don’t think I’ve ever seen such a response on Tiny Desk,” Vernon says, visibly blown away by the energy the crowd gives them throughout. “This is awesome. Thank you so much.”

Given all that went on behind the camera, here’s a roundup of 3 things you didn’t see in SEVENTEEN’s Tiny Desk debut.

The Rehearsal

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About forty-five minutes before the taping begins, the members emerge already in glam and almost fully outfitted (except Vernon, sans jacket in the warm afternoon office space) for the last round of rehearsal. As soon as they assemble behind the desk, Seungkwan corrals everyone together for a selfie; their staff rush around with vlogging cameras, always having content to make. Still, this is the group as the public seldom gets to see it, focused and discerning as they run through the setlist with their five-piece band — comprised of close, longtime collaborators like Park Kitae — one final time.

Even in serious work mode, though, this is clearly a team that loves its job. Dino breaks Seungkwan’s composure by staring directly into his eyes while the vocalist belts ad-libs; Joshua gets a kick out of sharing a name with the shoot’s audio engineer: “Easy to remember!” quips sound guy Josh, as the L.A.-born singer smiles and laughs beautifically. Mingyu, meanwhile, gussied up in a cowboy hat and shades even before cameras are rolling, playfully pokes fun at how squished their keyboardist appears with his instrument and back flush against two different surfaces of the small stage.

Since the Tiny Desk space is, after all, quite tiny, it takes some maneuvering to make sure every performer fits into the wide shot. Vernon has a habit of stepping back and vibing when it’s not his turn to sing, inadvertently making him disappear from view. (“I move a lot,” he nods in confirmation.) Since the rapper also has one of the softer voices, it also takes him a few tries to calculate exactly how close to get to the super sensitive mic. Then, once he finds that balance — “Don’t breathe!” someone jokes — the group is dismissed until it’s time to shoot the real thing.
Taking the Stage

Image Credit: PLEDIS Entertainment

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After a hyped-up audience of NPR staff and guests clad in tour jerseys and bearing concert signs pile into the space, Mohamed gives a few brief opening remarks from her makeshift podium — that is, behind a light stick propped onto a mic stand. While Tiny Desk intros can often get quite emotional, the producer later tells Billboard, she forgoes her planned speech, instead simply imploring the room to give the guys their all.

Explicit permission to bark is also granted, if the spirit so moves them. And while there is a distinct lack of barking during the taping — it is 1 p.m. on a Monday, after all — those present inside the office space deliver in just about every other way imaginable over the next thirty minutes: even before SEVENTEEN emerge from their green room, the small but mighty crowd is already chanting their name.

It seems to go above and beyond their expectations, since they look bowled over by the sheer volume of cheers during high-energy opener “Super.” “We expected a more calm and quiet environment,” an extraordinarily smiley Vernon translates for Seungkwan, while Joshua finishes with an astonished, “Because…it’s an actual office.”
The Encore

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Would it be a SEVENTEEN concert without a little bit of audience participation? Like on their tour, the floor is opened to requests, yielding pleas for impromptu performances of overlooked b-sides, such as “My I” and “Q&A.” (During rehearsal, their staff suggests “Fronting,” to which the guys gasp, “It’s been ten years!”) On tape, “HBD” is the winner, and it doubles as a particularly heartwarming birthday message for one lucky fan in the crowd.

But their encores are another level entirely. In fact, it pays to practice: before the group comes out, everyone is asked to hop in place three times to get their blood pumping. By the time “Aju Nice,” their eternal encore song, rolls around, the crowd is warmed up and ready to jump — despite the concerned singers inquiring if it’s safe to do so. The building does indeed hold, though the bouncing is a hilariously muted version of what tends to go down at their live shows, since the carpeted flooring muffles all the footsteps.

In addition to grabbing the “Aju Nice” poster shown in the video, the guys take a moment to point out another banner with the faces of enlisted bandmates Jeonghan, Wonwoo, Hoshi and Woozi. (“They’re watching with us!” Joshua’s exclaims.) Then, once everything is a wrap, their crew finally whisks them away, but not before the members oblige a few photos and sign photocards, practically grinning ear to ear.

24 Nov 2025

Jason Kelce Says This Is the ‘Coolest’ Thing About His Brother Being in a Relationship With Taylor Swift

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Jason Kelce has had a front-row seat to brother Travis Kelce‘s love story with Taylor Swift, and in his opinion, one of the “coolest” facets of their romance has been how it’s impacted families all over the world.

While the Kelce brothers were speaking to Erin Andrews and Charissa Thompson on the latest episode of New Heights posted Monday (Nov. 24), Jason pointed out how much he’s loved seeing more women and girls become football fans thanks to the pop star. “You just mentioned Taylor and how much she’s gotten girls into the sport and dads and daughters together,” he said to Thompson, who’d brought up the NFL‘s rise in female viewership Swift’s presence at games has catalyzed.

“That’s one of the coolest things I get when people talk about Taylor and Travis and hearing from dads or hearing from daughters about that,” Jason continued. “It’s an awesome thing.”

Travis was in agreement about his famous fiancée’s impact. “For sure,” he said, nodding as Thompson raved, “Those little girls that maybe didn’t have an interest in football and then sit down because it’s her … all of a sudden the dads have a bond with their daughter over her, like, [it’s] so special.”

Young women have indeed been watching football games more than ever before, a trend that has largely been attributed to Swift. For many Swifties, what started out as tuning in to Kansas City Chiefs games just to see the 14-time Grammy winner in attendance has become a genuine love of the sport.

And if Swift gets credit for bringing more women and girls into the sport, so do Thompson and Andrews. In addition to being two prominent women working in the sports industry, the ladies indirectly played a part in Swift and Travis getting together, famously urging the singer to give the football player a chance on their Calm Down podcast in 2023.

Watch the full new episode of New Heights above.

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24 Nov 2025

MGK Says He’s Not ‘Far Off’ From Becoming an F1 Driver in the Bedroom: ‘I’m Very Fast’

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MGK compared his sexual performance to that of an F1 driver during a Las Vegas Grand Prix show, and the hilarious clip is going viral.

Originally shared by The Daily Mail, the rapper and singer made the crass joke before playing his song “Bloody Valentine” from his 2020 Billboard 200-topping album Tickets to My Downfall.

“Well, I don’t know if you guys know who we are, but we’re mgk,” he told the audience at the T-Mobile Zone at Sphere during the F1 Grand Prix in Vegas over the weekend. “I appreciate you guys standing in the rain, even though I don’t really think you had a choice because the cars are out there. And just so you know, I’m not much far off from an F1 racer when I’m in the bedroom because I’m very fast and it takes me a long time to get to the finish line.”

He concluded: “Anyway, if you did come to see us today, like this beautiful group right here, I’m gonna go ahead and dedicate this to you.”

The F1 weekend was full of exciting celebrity spottings, including Jay-Z and Beyoncé. Bey made a surprise appearance on track at the Formula 1 Las Vegas Grand Prix on Sunday, drawing widespread attention as she and Jay arrived ahead of the big race. The R&B superstar also took a seat in a Ferrari supercar before taking a high-speed hot lap with Lewis Hamilton.

As for MGK, he recently kicked off his Lost Americana Tour with Wiz Khalifa. The extensive tour features recent November Chartbreaker Julia Wolf as his tour opener.

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24 Nov 2025

Here Is Every Taylor Swift Track 5, Ranked (Critic’s Picks)

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Taylor Swift’s diaristic writing lends itself to the poignant and emotive songs that run through her catalog. In particular, the tracks positioned in spot five on her albums have customarily been seen by fans as her most sensitive – something she later grabbed onto and ran with.

“Track five is kind of a tradition that really started with you guys,” Swift explained in a 2019 Instagram Live. “Because I didn’t realize I was doing this, but as I was making albums, I guess, I don’t know why, but instinctively I was just kind of putting a very vulnerable, personal, honest, emotional song as track five.”

“Because you noticed this,” she continued, “I kind of started to put the songs that were really honest, emotional and vulnerable and personal as track fives.” And during Folklore: The Long Pond Studio Sessions, Swift elaborated on the pressure she feels when choosing a number five. “Picking a track five is sort of a pressurized decision,” Swift told her frequent collaborator Jack Antonoff in the documentary.

On the 12 cuts, Swift employed a variety of co-writers, and penned two of them on her own (“Dear John” and “my tears ricochet”). Liz Rose and Max Martin each appear as writers on three songs (Rose with “Cold as You,” “White House,” and “All Too Well’; Martin with “All You Had to Do Was Stay,” “Delicate” and “Eldest Daughter”). Antonoff (“The Archer,” “You’re on Your Own, Kid”), Shellback (“Delicate” and “Eldest Daughter) and Aaron Dessner (“tolerate it” and So Long London”) each are credited on two. Dessner’s twin Bryce also joined for “tolerate it.”

Read below for all of Swift’s track fives ranked. (And while some count “How Did It End?” from The Tortured Poets Department: The Anthology in the special club, it sits as number 21 on the second half of the double release – although the self-reflective cut certainly fits the theme.)

“The Archer”

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Album: Lover
Year: 2019
Hot 100 Peak: 38
Most Vulnerable Lyric: “All the king’s horses, all the king’s men / Couldn’t put me back together again / ‘Cause all of my enemies started out friends / Help me hold on to you.”

Swift echoes with an anxious request and an internal wariness of those around her: “Who could ever leave me darling / but who could stay?”
“White Horse”

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Album: Fearless and Fearless (Taylor’s Version)
Year: 2008, 2021
Hot 100 Peak: 13, N/A
Most Vulnerable Lyric: “Stupid girl, I shoulda known, I shoulda known / That I’m not a princess, this ain’t a fairytale / I’m not the one you’ll sweep off her feet, lead her up the stairwell / This ain’t Hollywood, this is a small town / I was a dreamer before you went and let me down / Now, it’s too late for you and your white horse / To come around.”

A sweet, winsome but world-weary Swift wreaks havoc with the devastating realization that not everything has a storybook ending.
“Eldest Daughter”

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Album: The Life of a Showgirl
Year: 2025
Hot 100 Peak: 9
Most Vulnerable Lyric: “We lie back / A beautiful, beautiful time-lapse / Ferris wheels, kisses and lilacs / And things I said were dumb / ‘Cause I thought that I’d never find that / Beautiful, beautiful life that / Shimmers that innocent light back / Like when we were young.”

The breathtaking and confessional bridge that swells among the graceful piano notes elevates the message of “Eldest Daughter.” “It’s a love song about kind of the roles we play in our public life because nowadays everyone has a public life. You have a life that you portray to other people or what you portray on social media,” she explained on her track-by-track of Showigirl. “And then you have the you that everyone gets to know who has earned the right to be closest to you. It’s really hard to be sincere publicly because that’s not what culture rewards.”
“Cold As You”

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Album: Taylor Swift
Year: 2006
Hot 100 Peak: N/A
Most Vulnerable Lyric: “You put up walls and paint them all a shade of gray / And I stood there loving you and wished them all away / And you come away with a great little story / Of a mess of a dreamer with the nerve to adore you.”

From a young age, Swift exhibited an uncanny ability to capture a mature sense of heartbreak and the sometimes uncaring thoughtlessness of those gifted hearts to break.
“Dear John”

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Album: Speak Now and Speak Now (Taylor’s Version)
Year: 2010, 2021
Hot 100 Peak: 54, 26

Most Vulnerable Lyric: “Dear John, I see it all now that you’re gone / Don’t you think I was too young to be messed with? / The girl in the dress cried the whole way home / I should’ve known.”
Muses aside, Swift lays her feelings bare and wonders what led to certain paths of devastation on the sing-songy, guitar-laden Speak Now number.
“All You Had to Do Was Stay”

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Album: 1989 and 1989 (Taylor’s Version)
Year: 2014, 2023
Hot 100 Peak: N/A, 20
Most Vulnerable Lyric: “Had me in the palm of your hand, then / Why’d you have to go and lock me out when I let you in? / (Stay) Hey, now you say you want it back / Now that it’s just too late, well, could’ve been easy.”

Despite her tormented cries of “stay” on the lively and energetic 1989 banger, Swift renders an emphatic statement: “People like me are gone forever / When you say goodbye.”
“my tears ricochet”

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Album: folklore
Year: 2020
Hot 100 Peak: 16
Most Vulnerable Lyric: “I didn’t have it in myself to go with grace / ‘Cause when I’d fight, you used to tell me I was brave / And if I’m dead to you, why are you at the wake?”

Haunting and cinematic, Swift offers a foreboding portrayal of people who can’t let go, even long after it’s over. “It’s definitely, I think, one of the saddest songs on the album,” she said in the Folklore doc.
“So Long London”

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Album: The Tortured Poets Department
Year: 2024
Hot 100 Peak: 5
Most Vulnerable Lyric: “I didn’t opt in to be your odd man out / I founded the club she’s heard great things about / I left all I knew, you left me at the house by the Heath / I stoppеd CPR, after all, it’s no use / The spirit was gonе, we would never come to / And I’m pissed off you let me give you all that youth for free.”

Swift’s voice softly twinkles like tolling bells on the reflection of a devastating end to a relationship. Then, as she quickens the pace, her breathless lilt becomes both delicate and icy cold while recounting the sentiments that led to the lovers’ downfall.
“You’re on Your Own, Kid”

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Album: Midnights
Year: 2022
Hot 100 Peak: 8
Most Vulnerable Lyric: “I gave my blood, sweat and tears for this / I hosted parties and starved my body / Like I’d be saved by a perfect kiss.”

“You’re on Your Own, Kid” launched a thousand friendship bracelets, which also incidentally caught her a fiancé. (And it even has another very famous fan in Stevie Nicks, who used the song to grieve her longtime friend Christine McVie.) But more importantly, beyond the traditions and the ring, Swift taps into the self-reliance earned through years of disappointments and triumphs.
“tolerate it”

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Album: evermore
Year: 2020
Hot 100 Peak: 45
Most Vulnerable Lyric: “I made you my temple, my mural, my sky / Now I’m beggin’ for footnotes in the story of your life / Drawin’ hearts in the bylines / Always takin’ up too much space or time.”

Swift scrounges for the scraps of affection on “tolerate it” – and literally crawled on a table to try to force a confrontation during its Eras tour performance.
“All Too Well”

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Album: Red and Red (Taylor’s Version)
Year: 2012, 2021
Hot 100 Peak: 80, 1
Most Vulnerable Lyric: “And you call me up again / Just to break me like a promise / So casually cruel in the name of being honest / I’m a crumpled up piece of paper lying here / ‘Cause I remember it all, all, all / Too well.”

A fan favorite from its original release – and lifted into the Swift hall of fame by the “10 Minute Version” – Swift’s elegant and angsty “All Too Well” paints a gorgeous picture of a relationship gone wrong – and the passion, frenzy, and questioning that goes along with a painful dissolution of uncoupling. (It’s super-sized and superior Taylor’s Version, not a track 5, keeps it from the no. 1 spot.)
“Delicate”

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Album: Reputation
Year: 2017
Hot 100 Peak: 12
Most Vulnerable Lyric: “Sometimes, I wonder, when you sleep / Are you ever dreaming of me? / Sometimes, when I look into your eyes / I pretend you’re mine all the damn time.”

At the height of her cancelled era, Swift wrote a deeply anxious yet wildly romantic ballad about what happens behind closed doors when you start to open up again – perhaps with quieter expectations. Emotionally cathartic and effortlessly sexy, the synth-pop masterpiece expertly builds a sense of melancholia when wondering what’s on someone else’s mind. So, is it cool that we said all that?

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24 Nov 2025

Sabrina Carpenter Links Up With Paul McCartney, Says ‘Sorry for Crying’ at Last Short n’ Sweet Tour Show

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This month, Sabrina Carpenter said hello to Paul McCartney and goodbye to her Short n’ Sweet Tour.

In an Instagram post on Monday (Nov. 24) — one day after the pop star played her final show of the year-plus tour — the former Beatle shared a photo of himself and Carpenter in a backstage area at one of his concerts. In the snap, McCartney poses with an arm around the Gen Z star’s shoulders as she smiles at the camera.

In his caption, the Rock & Roll Hall of Famer called his meet-up with Carpenter one of the “highlights” of his ongoing Got Back Tour. “best show ever,” the Girl Meets World alum commented on the post, which she reshared onto her Story.

Also on her Story, Carpenter reflected on wrapping her own tour in support of the Billboard 200-topping albums Short n’ Sweet and Man’s Best Friend, with her final show going down at Crypto.com Arena in Los Angeles on Sunday (Nov. 23). “short n sweet tour for life,” she wrote, posting a photo of herself posing beneath the stage.

Carpenter added, “sorry for crying during espresso.”

The two-time Grammy winner definitely has cause to feel emotional. The close of Short n’ Sweet comes after she spent more than a year on the road, originally kicking off the trek in September 2024. She’s since completed two North American legs, plus a run of shows in Europe.

Midway through the tour, she dropped Man’s Best Friend, which features Billboard Hot 100 No. 1 single “Manchild.” Along the way, she also made headlines numerous times for her series of “arrests” at shows, giving out fuzzy pink handcuffs to celebrity guests such as Millie Bobby Brown, SZA, Gigi Hadid, TWICE and, at the last show in L.A., Miss Piggy.

“You’re so funny, Miss Piggy, wow!” Carpenter said during the hilarious exchange with the Muppet. “You’re like the only celebrity I get nervous to be around. I’m getting really flustered … We’ve arrested so many beautiful individuals and I feel like tonight is your night.”

24 Nov 2025

Joni Mitchell to Receive Lifetime Achievement Award at 2026 Juno Awards

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Joni Mitchell is coming to the Junos.

The legendary singer/songwriter will receive a lifetime achievement award at the 2026 Juno Awards on March 29. The announcement was made at a media event in Hamilton, Ontario on Monday (Nov. 24). She’ll become just the third person to receive the honor, following executive Pierre Juneau (1989) and Anne Murray (2025).

“The distinction recognizes Joni Mitchell’s outstanding artistic contributions and enduring impact on global music culture,” the Junos share in a statement. “Mitchell, a four-time Juno Award winner and Companion of the Order of Canada, will be celebrated for her trailblazing artistry that has inspired generations of creators across genres.”

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The Canadian icon was recently honoured by the SOCAN Awards, but was not able to make the trip to Toronto for the awards, instead receiving a special ceremony at her home in Los Angeles. Due to health concerns, Mitchell rarely travels and has toured modestly since her 2022 comeback. The organizers of the Junos say she will be in Hamilton to receive the 2026 honour.

Mitchell has received many prestigious career accolades both in her native Canada and internationally. She was inducted into the Canadian Music Hall of Fame in 1981 and received the Governor General’s Performing Arts Award for Lifetime Artistic Achievement, Canada’s highest honour in the performing arts, in 1996. In 2002 she was named a Companion of the Order of Canada, Canada’s highest civilian honour. In January 2007 she was inducted into the Canadian Songwriters Hall of Fame.

Mitchell received a Lifetime Achievement Award from the Recording Academy in 2002. She was named MusiCares Person of the Year in 2022. In 1995, Mitchell received Billboard‘s Century Award. In 1996, she was awarded the Polar Music Prize. In 1997, Mitchell was inducted into both the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. In 2020, she received the Les Paul Award, becoming the first woman to be so honoured. In 2021, Mitchell received the Kennedy Center Honors. In 2023, she was named by the Library of Congress as that year’s recipient of the Gershwin Prize for Popular Song.

In another announcement at the event, held at the just-opened TD Coliseum in downtown Hamilton, the site of the upcoming awards, global pop artist Nelly Furtado was named as an inductee into the Canadian Music Hall of Fame, an honour she’ll accept at the 2026 Junos. A 10-time Juno winner and 2024 host, Furtado also has one Grammy and one Latin Grammy to her name and has sold more than 35 million albums worldwide.

The biggest cheers of the morning came when the parochial Hamilton attendees welcomed the news that hometown rock heroes Arkells will perform at the big show. The group has won nine Junos, while The Beaches, the other star rock act named as a performer, have won five trophies, including group of the year at the 2025 Juno Awards. The band were recently also named Billboard Canada’s Women of the Year 2025. Other artists to appear on the awards show will be named later.

Those speaking at the event included Juno host committee co-chairs Tim Potocic, head of Sonic Unyon and Supercrawl, and Ryan McHugh, manager of tourism & events for the city of Hamilton. In welcoming the Canadian music industry to Hamilton, Potocic declared that the Junos “mean that the whole music scene here gets electric for a whole week, and beyond. The spotlight is f— huge.”

Hamilton mayor Andrea Horwath and Stan Cho, the Ontario minister of tourism, culture and gaming were also at the announcement. After quoting a Luke Combs song lyric, Cho noted that the province is investing $1.5 million in the 2026 Junos. Horwath reiterated the commitment of Hamilton city council to support and strengthen the music community and declared that serving as Juno hosts “is another incredible moment for Hamilton.”

“We have a deeply rooted passion for music here,” she said. “It is part of who we are and the fabric of our city. Hamilton has nurtured generations of extraordinary performers, songwriters, producers and industry professionals.”

Allan Reid, president & CEO of CARAS/Juno Awards added that Hamilton has previously hosted six Juno Awards ceremonies, the most of any city other than Toronto, with 2026 marking the city’s return as host for the first time in a decade. “Hamilton has always been a city that lives and breathes music,” he said. “2026 is Hamilton’s Year of Music, and that is fitting for a city that may well host more independent musicians per capita than just about any other city in the world.”

On hand representing Oak View Group (owner of the new TD Coliseum) was senior VP and TD Coliseum general manager Nick DeLuco, while Chiefs of Mississaugas of the Credit First Nation and Six Nations of the Grand River extended a welcome.

The Hamilton Junos host committee has set a target of raising $100K for MusiCounts, Canada’s music education charity associated with CARAS/The Juno Awards, with two-thirds of that figure already raised. In turn, the MusiCounts Industry Exchange program will bring together 10 educators and 10 emerging artists from the Hamilton area. The Junos will air live across Canada at 8 pm on CBC’s radio, TV and digital channels. Tickets go on sale Friday, November 28 at 10 am ET at ticketmaster.ca/junos

Additional reporting by Paul Grein.

This story originally appeared in Billboard Canada.

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