Music
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In many ways, country music tells the story of America. There is the celebration of rural life and the yearning to recapture a seemingly simpler time. There are murder ballads, cheating songs, tunes that herald Saturday night’s debauchery and Sunday morning’s redemption. There are bring-you-to-your knees, heartbreak songs and songs that embrace both fleeting and […]
After receiving a cease-and-desist from the owner of Las Vegas’ Sphere, Beyoncé has replaced the venue with another Nevada landmark in her Cowboy Carter Tour visuals.
Days after Billboard confirmed that Sphere Entertainment Co. CEO James Dolan’s attorneys had sent a letter to the superstar’s Parkwood Entertainment demanding that Bey remove a reference to the Sphere in a video that plays during one of her show’s interludes, fans at the tour’s third night in Los Angeles Sunday (May 4) were the first to see that she had done just that. In lieu of a ginormous Bey bending down to pick up the iconic spherical concert space — as was depicted in the original visual dubbed “Attack of the 400 Foot Cowboy” — she now reaches for Allegiant Stadium, seemingly edited overtop of where the Sphere was initially.
The following morning, Parkwood posted the updated footage on Instagram, writing, “What happens in Vegas starts with a BANG.”
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“Bey really said ‘you want petty? here’s petty,’” one fan commented on the post.
Another person wrote with a cry-laugh emoji, “Oh the shade.”
Sunday’s show came two nights after the New York Post first reported that Dolan’s company had sent Bey’s team the cease-and-desist, alleging that “the prominent appearance and manipulation of SEG’s Sphere™ venue in the video [had been] unauthorized.” In addition to accusing the 35-time Grammy winner of showcasing the Sphere without permission, the letter also reportedly criticized the visual for supposedly misleading fans by creating “significant speculation that Beyoncé will end her tour with a Sphere residency,” despite the fact that the Cowboy Carter trek is actually scheduled to end with two shows at Allegiant in July.
Billboard previously reached out to reps for Beyoncé and tour promoter Live Nation, but did not hear back.
Prior to the change, the Sphere had been just one of several global landmarks included in the visual. Featuring Bey modeling several glamorous looks and towering over various cities worldwide, the “Texas Hold ‘Em” singer also interacted with the Statue of Liberty in New York City, the Eiffel Tower in Paris and the Washington Monument in Washington, D.C., in the interlude.
Following two more nights at SoFi Stadium in L.A. this week, Bey is set to bring the tour supporting Billboard 200-topping album Cowboy Carter to Chicago and East Rutherford, N.J., before heading overseas for performances in London and Paris. In late June, she’ll circle back to the states for shows in Texas, Maryland and Georgia before closing out with her Nevada performances.
See Bey’s updated, Sphere-less tour visual below.
Doja Cat heard from the fans, and she’s giving them a little Cinco De Mayo gift. There’s been demand for her to release a track titled “Crack” she previewed in 2022 on Instagram Live, and it’s finally available on her website for download on Monday (May 5). Explore Explore See latest videos, charts and news […]
She came — and she delivered one of the greatest shows at Rio de Janiero’s Copacabana Beach has ever seen on Saturday (May 3). At 10:10 p.m., with a 25-minute delay, Lady Gaga took the stage at Todo Mundo No Rio in Brazil and gave a performance lasting more than two hours — a display of excellence that moved the audience of 2 million-plus people and the artist herself. According to Riotur, the number was half a million more than expected. With this attendance, she became the female artist with the highest concert attendance, surpassing Madonna’s previous record of 1.6 million fans at Copacabana Beach in 2024.
The forecast was also right for the evening, and there wasn’t a trace of rain before or after Lady Gaga’s show. During the performance, the sky was clear with few clouds, and the ocean breeze kept the temperature pleasantly cool. While rain ponchos stayed tucked away, the real stars of the show were hand fans — used more as percussion instruments than for cooling off. Waved to the rhythm of the music to applaud the singer and even to complain about the delay, the sound of the fans (one of the top-selling accessories during Gaga’s visit to Brazil) became a defining feature of her Copacabana show.
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With fireworks, record-breaking numbers and tributes to Brazil, Lady Gaga made every minute of the 13-year wait since her last performance in the country worth it.
The Queen of Copa
Tributes to Brazil were plentiful throughout the show. The first came with the outfit revealed at the end of “Abracadabra,” during which Mother Monster appeared in green attire with blue and yellow stripes. During “How Bad Do U Want Me,” her dancers took the stage wearing CBF jerseys.
Gaga directed several messages to the Brazilian crowd. Before singing “Poker Face,” she addressed the audience: “Brazil! I missed you so much. Are you ready for tonight?”
But her most emotional moment came before performing the classic “Alejandro.” Standing on one of the stage structures, Lady Gaga unfurled a Brazilian flag and invited young interpreter Nicholas to help her deliver a heartfelt message. In a speech that lasted nearly five minutes, an emotional Gaga moved the crowd. “Tonight, we’re making history. But no one makes history alone,” she said. “Without you, the incredible people of Brazil, I wouldn’t be living this moment. Thank you for making history with me. Brazilians are the reason I can shine. You’re as vibrant and beautiful as the sun and moon rising over the ocean, right here on Copacabana Beach.”
From the Fans’ Perspective
None of the fans interviewed were disappointed with the show. During and after the performance, the crowd’s joy was undeniable — though some organizational issues were pointed out by the Little Monsters.
Carol, 28, Isabela, 25, and Julia, 29, traveled from Sorocaba to see Lady Gaga. They felt the discomfort of being in the middle of the crowd. “We were near the platform and almost got trampled. It was poorly organized,” Carol said. About the setlist, she added, “The show was amazing. I wish there had been more hits, but I get that it’s the album tour. Either way, it was an incredible performance.”
Gabriel, 23, came from Espírito Santo. Despite some initial hiccups, the fan had an unforgettable night. “It was crazy. I lost my friend, and there was chaos at first,” he shared. “But once I found a calmer spot, I sang, I cried — it was so special. The moment that hit me hardest was ‘Born This Way,’ a song that represents me. It was totally worth it.”
For public servant Camila, 35, and administrator Edvaldo, 36, the show was a great experience shared between longtime friends. “I thought it was better than her Coachella set. Loved her using Brazil’s colors,” Camila said.
“The fireworks were the perfect finale. We found a comfortable spot, not too far from the stage, and had a blast,” Edvaldo added.
A Letdown for Street Vendors
Many street vendors felt that Lady Gaga’s show didn’t bring significant sales, for various reasons.
Grill vendor Rafael Mourão, 37, managed decent sales, but only reached Avenida Atlântica around 7 p.m. “Sales were much lower than Madonna’s show,” he said. “I had trouble getting into the area because of police blockades. The city throws a party but makes it hard for the less fortunate to work.”
Thiago, a drinks seller, believed fans bringing their own supplies hurt sales. “It wasn’t a total loss, but sales were just OK,” he shared. “People are being cheap — bringing beer from home instead of supporting local workers.”
Luciene, 23, also struggled. “I didn’t sell well, and it seems most didn’t either. I got here at 9 a.m. and am going home with most of my stock,” said the vendor. “On New Year’s, I did great — today was really slow.”
Will Lady Gaga Return to Brazil Soon?
If it’s up to the Mother Monster, she won’t stay away for so long again. Beyond her many declarations of love for Brazil, she expressed her desire to return soon: “I want to come back soon, soon — I don’t want to wait so long next time.”
She also shared how at home she feels in the South American country. “In Brazil, I feel like part of a community, and that’s so pure. I feel how much music means to you — and it means everything to me too.”
Let’s wait for the Mother Monster’s next steps — and hope she doesn’t take another 13 years to return to Brazil!
This article was written by Lucas Vieria for Billboard Brasil.
This week’s crop of new music finds Luke Combs and Bailey Zimmerman pairing up on a hard-charging anthem about grit and determination. Elsewhere, Trisha Yearwood offers up new music, from her forthcoming first album in six years, while HARDY, Rebecca Lynn Howard, Jedd Hughes and Mason Via also issue meshes of country, rock, blues and/or bluegrass on new songs.
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Bailey Zimmerman feat. Luke Combs, “Backup Plan”
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Zimmerman just logged a Billboard Hot 100 top 5 hit with his BigXThaPlug collaboration “All the Way,” and he quickly follows by teaming with fellow country hitmaker Luke Combs — this time on a hard-charging, motivational anthem about tuning out naysayers in favor for chasing one’s own ambitions. Combs’s full-bodied vocal is a natural for this type of commanding track, while Zimmerman cranks up the vocal energy to another level. The two filmed the video for “Backup Plan” live at Stagecoach Country Music Festival in California, when Zimmerman made a guest appearance during Combs’ Sunday evening set.
Trisha Yearwood, “Bringing the Angels”
Three-time Grammy winner Yearwood is set to return with her first album in six years with the July 18 release of The Mirror, which also features Yearwood as a writer on all of the set’s songs. She offers a stellar preview on that album with this bluesy-rock fueled number, as careening guitars and soulful gospel choir vocals aid in giving a vigorous reminder of Yearwood’s emotional and vocal firepower, as she calls on the support of a higher power as she rails against haters and doubters. Yearwood wrote “Bringing the Angels” with her sister Beth Bernard, as well as writers Leslie Satcher and Bridgette Tatum.
HARDY, “Girl With a Gun”
From his newly released EP Country! comes this ballad that finds HARDY singing about allaying the fears of a lover concerned that his night out with a group of friends could lead to infidelity–but he’s quick to bring a reminder of his undying devotion, plus, he’s aware his lover knows her way around a firearm and cheating could lead to deadly consequences. “You really think I’d teach you to shoot it/ If I was gonna be the reason you’d use it,” he sings, bringing a track that manages to be both the EP’s most tender — yet ominous — song, while also highlighting HARDY’s signature way with making a lyric both powerful and unexpected.
Rebecca Lynn Howard, “I’m Not Who You Think I Am”
The title track to Howard’s first album in 15 years, it showcases that her vocal prowess hasn’t diminished, and that her songwriting has only grown more nuanced and fearless. She delves into redemption (“A Good Place to Turn Around”), pleas for societal change (the twangy jamband track “Mess Down Here”), and offers boot-stomping declarations of a lover willing to fight (“Hoedown”), while elsewhere lending her voice to the full-throttle twang of “Flowerbed.” Howard is known for her powerful vocals on early hits such as the ballad “Forgive,” but on this set, she delivers an array of country-rock bangers, twangy bluegrass-tilted tracks and deeply introspective tunes with aplomb.
Jedd Hughes, “Kill My Blues”
Two decades ago, Hughes made his debut in Nashville circles with a polished, bluegrass-inflected project that demonstrated his skills as a triple threat singer-songwriter-guitarist. Since then, he’s proven an in-demand studio and touring musician and an ace artist in his own right. “Kill My Blues” is featured on Hughes’ new album Night Shades, and an older co-write with revered artist Guy Clark. The pristine production and layered instrumentals kick this bluesy-rocker up a notch, and proves Hughes’s expressive singing as well as his towering instrumental talents.
Mason Via feat. Ronnie Bowman and Junior Sisk, “Oh Lordy Me”
Via has forged several sterling stints in bluegrass and Americana circles, including work as the youngest member of Old Crow Medicine Show, and writing songs for Del McCoury Band’s album Almost Proud as well as Molly Tuttle’s City of Gold. Via continues etching his own musical path with his new project, which includes a stellar collaboration with bluegrass titans Ronnie Bowman and Junior Sisk on “Oh Lordy Me,” a piece that simultaneously nods to bluegrass tradition while feeling progressive and boundary-less. Fiddle, mandolin, banjo and the singers’ bright harmonies wrap around this celebration of rural living, from taking in the mountain air and lush scenery, to taking pride on one’s station in life, regardless of financial position.
Keith Urban will be honored at the 60th Academy of Country Music Awards on Thursday (May 8) with the prestigious Triple Crown Award.
The award signifies an achievement that only 11 previous artists have reached by winning new artist of the year and artist of the year in their respective genre or designation and entertainer of the year. Urban qualified by winning top new male vocalist in 2001, male vocalist of the year in 2005 and 2006, and entertainer of the year in 2019. He is the first artist to receive this honor on the ACM Awards telecast since Carrie Underwood in 2010 at the 45th ACM Awards. (The award is generally given at the ACM Honors in August now as it was to Lainey Wilson last year).
Urban will be celebrated by Brothers Osborne, Chris Stapleton and Megan Moroney at the show.
Urban’s 18-year span between top new artist and entertainer of the year is the longest of any recipient and is a testament to his enduring career. He is also the first non-American to win the award: Urban was born in New Zealand and raised in Australia.
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“I came halfway around the world to live in Nashville,” says Urban who moved to Music City permanently in 1992. “It was my dream since I was seven years old. All I ever wanted to do was write songs, try and get them recorded, try and get them on the radio, and now get them on streaming. And hopefully people like them and want to come and see me live. That’s never changed.”
Urban recalls his first win for top new male and how unreal it felt even to be nominated.
“I remember the first time seeing my name in the nominees and it felt like when you go to the theme park and you can get your picture taken and put on the front of a fake Time Magazine as a souvenir. I felt like that,” he says. “It wasn’t real. It had that surreal quality.”
But it was real, and Urban has been on a winning streak ever since, landing 20 No. 1 songs on Billboard’s Country Airplay chart and selling out arenas around the world.
When he won entertainer of the year, he’d been nominated and lost eight times before and was expecting the same result.
“I would just celebrate the nomination, not really thinking I’m going to win and I’m good with that. I was very content and grateful,” he says. “And so [to win]— and in hindsight, now, for it to happen the year before COVID— was particularly a wonderful blessing because it was a big night, an arena full of people celebrating.”
He will soon be joined by people celebrating in full arenas later this month when his first tour in three years, the High and Alive world tour, kicks off May 22 in Orange Beach, Alabama.
He hopes that his Triple Crown victory can encourage other artists from outside the U.S. to come to Nashville and pursue their musical dreams as well.
“In particular, if it inspires some people from other countries who have a dream of coming to America, then that’s a good thing,” he says. “It took a lot of years of living in [Nashville] and becoming part of the community. But it’s absolutely achievable if you’re willing to put in the hard work and the time.”
The ACM Awards, hosted by Reba McEntire, will stream live for a global audience across 240+ countries and territories on Prime Video and the Amazon Music channel on Twitch on May 8, at 8 p.m. ET / 7 p.m. CT / 5 p.m. PT from the Ford Center at The Star in Frisco, Texas.
The ACM Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
Benson Boone could be back-flipping his way through your town this fall. The singer announced the dates for his 30-date fall 2025 American Heart arena tour on Monday morning (May 5), with the outing slated to kick off on August 22 at the Xcel Energy Center in St. Paul, MN, before hitting Chicago, Columbus, Cleveland, […]
Hawk-eyed fans spotted Bad Bunny‘s signature white plastic chairs from Debí Tirar Más Fotos in different cities across the world over the weekend (May 3-4), leading many to believe that he’s set to announce a world tour soon.
Although the Puerto Rican superstar has not posted on his socials or officially announced a stint, the chairs were spotted outside of venues and stadiums across Latin America and Europe, including in Peru, Chile, Mexico, Brazil, Poland, France, England, Spain and Costa Rica.
It’s not totally surprising that he’d eventually announce a world tour. In fact, he hinted at it earlier this year when he announced his residency at El Choli.
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“Thanks to music and the love you give me through my music, I’ve had the privilege of traveling to sing in different places of the world. I appreciate and love to do it,” Bad Bunny said in January. “There are places I for sure will return to, like Mexico, Argentina, Chile, Costa Rica, Colombia. And some I’ve never been to but would like to visit, like Brazil and Japan. And there are places I haven’t been to in a long time, like Italy, London, Spain, I know, and I promise before the year ends, I’ll tell you the date and time I will be visiting.”
The tour would follow other Bad Bunny mega tours, including World’s Hottest Tour and, most recently, the Most Wanted Tour. The former set the record in 2022 for the highest grossing Latin tour in Boxscore history, and the latter grossed more than $207.8 million, selling 703,000 tickets across 30 concerts.
Bad Bunny’s Debí Tirar Más Fotos was released Jan. 5 on Día de Reyes. The set — which scored the artist his fourth Billboard 200 leader — is a celebration of Puerto Rico and the sonic heritage that has soundtracked the island for generations, including plena and jíbara. Bad Bunny’s unprecedented 30-day residency at the Coliseo de Puerto Rico is set to draw an estimated 250,000 visitors to the island over the summer.
Ivan Cornejo made history the weekend of May 3-4 as the youngest regional Mexican artist to headline the iconic Radio City Music Hall. The 20-year-old singer-songwriter — known for his heartbreaking sierreño ballads — performed two back-to-back sold-out shows at Radio City Music Hall over the weekend as part of his 30-date Mirada Tour Parte 2. A second date was added due to overwhelming demand, further cementing his role as a generational voice for Gen Z Latin fans.
At the start of his hour-and-a-half set Sunday night, Cornejo walked onto the stage wearing a rhinestone-encrusted cardigan, his subtle swagger shining through despite fighting off a cold. Holding a cup of tea for much of the evening, he expressed gratitude to his devoted audience: “Thank you for pulling through with me,” he said to roaring cheers.
The energy in the venue was ecstatic, with fans — mostly teenagers and young adults — filling the historic space to sing every lyric at full volume. Excited fans often chanted “Ivan, Ivan, Ivan!” in between songs, and their fervor was met with Cornejo responding, “New York! New York!”
Throughout his tight, 20-song set, Cornejo delivered fan favorites such as “Está Dañado,” “La Última Vez,” “Dónde Estás” and his newest single “Me Prometí,” which was released just three days prior. Each song showcased his ability to tug at the heartstrings with a signature blend of acoustic melodies, riveting electric guitar solos, and soulful vocals. The show ended on a fiery note with Cornejo’s high-energy rendition of “La Curiosidad,” leaving fans on an emotional high.
Meanwhile, dazzling stage lighting incorporated sunsets, shooting stars and a shimmering starry night, perfectly complementing the moody and emotive tone of his music throughout the night.
While the genre has seen legends such as Vicente Fernández headline Radio City nearly 30 years ago in 1995, such appearances have been rare for regional Mexican artists in the iconic venue. “I feel like it’s a historical and monumental moment,” Anahí Díaz, the booking coordinator at Radio City, tells Billboard Español. “Representation is important. I hope it’s not the first of any.”
As part of his Mirada Tour Parte 2, the artist will continue to bring his unique blend of sad sierreño ballads to audiences across the country before heading to Mexico. Having kicked off the trek at Coachella in April, his tour includes stops at major venues such as the United Center in Chicago, the Moody Center in Austin, Texas, and the SAP Center in San Jose, Calif. The 30-date journey will wrap on June 22 in Sacramento, Calif.
Check out the full setlist below from his Radio City Music Hall performance in New York.
“Atención”
Image Credit: Mario Millan
Fat Joe and Jadakiss have joined forces to launch their Joe & Jada podcast. Produced by Colin Cowherd’s The Volume and Roc Nation, the podcast will tackle all things music, sports and culture.
Starting this week, two episodes will be released weekly on YouTube and all major audio platforms. The pair of New York rap titans wear their hearts on their sleeves and are as authentic as they come in the music world. But their in-depth knowledge and respect span plenty of industries outside of the music game, so it only made sense to bring their brash commentary and expertise to the podcasting world.
“My brother Jadakiss and I will be delivering a podcast experience like none other,” Fat Joe said in a statement. “We’re both passionate and opinionated about music, sports, entertainment and culture, so you can definitely expect to get unfiltered analysis, versatile interviews and untold stories. We’re coming to shake up the podcast game and set a new blueprint.”
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Fans can expect plenty of special guests to join the pair of diehard New York Knicks fans, with athletes, actors and celebrities from all walks of life sitting down for interviews and embracing debate.
“I’m looking forward to teaming up with Joe on this podcast and showing another side of my personality,” Jadakiss added. “We’ve been friends for a long time, so we have the right chemistry and foundation to make this a really special show. Everyone is finally going to get to hear what we debate and discuss all the time behind the scenes.”
Joey Crack and Jada are no strangers to collaborating. They represented the Big Apple on Ja Rule’s “New York” anthem in 2004, which peaked at No. 27 on the Billboard Hot 100.
“Fat Joe and Jadakiss are legends. Joe & Jada is everything we aim to do at The Volume — bring together strong, authentic voices to create conversations that connect with fans,” said Logan Swaim, who serves as chief content officer at The Volume.
The Bronx native has hosted his show Fat Joe Talks on Starz, but Joe & Jada is the first podcast venture for the duo. Look for the first episode to drop later this week and follow the pod’s official Instagram here.