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Trending on Billboard The Latin Recording Academy hosted its 2025 Best New Artist Showcase on Tuesday night (Nov. 11), giving the spotlight to 10 promising acts in Latin music. Held at the Mandalay Convention Center, the intimate concert kicked off at 9:30 p.m. with a heartfelt performance by Aitana, who also hosted the event. Presenters […]
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Glitz and glam took over the Mandalay Convention Center in Las Vegas on Wednesday (Nov. 12), where industry leaders and Latin music stars alike gathered for a night of celebration at The Latin Recording Academy’s 2025 Person of the Year gala honoring Raphael.
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“We are celebrating a living legend of Latin music,” Manuel Abud, CEO of The Latin Recording Academy, said to attendees before inviting the 82-year-old Spanish singer-songwriter to the stage. “Let’s welcome an iconic artist who is undoubtedly a legend in Spanish-language music. He created a personal style that has transcended generations and borders. Today, we will be telling your story through your music. We’ve invited friends and colleagues, but also artists from the new generation who recognize your career.”
The invite-only gala that finished around midnight included a three-course dinner, a two-hour long tribute to Raphael, and a five-minute video that showcased Raphael’s more than 65 years in music: “I see colleagues of mine retiring. I’m not going to retire,” he said in one of the clips. “I still have many countries to visit, and as long as my voice holds up, I’ll be singing.”
At 9:30 p.m., Enrique Bunbury opened the show with a soft rock version of Raphael’s 1966 classic “Yo Soy Aquel.” He was then joined by Carin León for some jaw-dropping harmonies during a performance of “Ahora.” León then stayed to perform 1988’s “Toco Madera.” Later in the evening, Fito Paez and Rozalen performed “Enséñame a Olvidarte”; Rozalen brought out Susana Baca for a “Chabacano, Limeña” duet; and Pepe Aguilar was joined by Myriam Hernandez for a sweet rendition of “Procuro Olvidarte.”
Cafe Quijano, Gaby Moreno, Elena Rose, Ivan Cornejo, Jesse & Joy, Pablo Lopez, Aitana, Kiki Morente, Angeles Toledano, Vanessa Martín, Kany Garcia, and Carlos Rivera, were among the many artists who also honored El Divo de Linares with their captivating vocals. “I would clone you,” García told him. “You are a magical human being. Long live Raphael, this is your night!”
The highlight of the night, however, was when David Bisbal performed the timeless 1980s ballad “Como Yo Te Amo.” At one point in the powerful performance, Bisbal walked off stage and sat across Raphael at the dinner table, where he was joined by his loved ones. Bisbal passionately sang to him as a teary-eyed Raphael smiled and sang along.
“The truth is, Raphael, we’re friends, and thank you for leaving a legacy of discipline, effort, and sacrifice… I don’t know how many times you sang while sick,” Bisbal said to him. “That’s the legacy you’ve left for all artists. You can count on me to always carry your word. I promise you.”
The evening wrapped up with the rhythmic 1992 tune “Escándalo” performed by tropical stars Willy Chirino (who composed the song for Raphael’s Ave Fénix album), Eddy Herrera, and Victor Manuelle.
Raphael — who was diagnosed last year with primary brain lymphoma — then briefly took the stage to remind his family, friends, and colleagues in the room: “I hope to return for many more years.”
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When the Academy of Motion Picture Arts and Sciences reveals its Academy Award shortlists in 10 categories on Dec. 16, it will constitute an early holiday present for the creators of 15 original songs and 20 original scores. Another round of voting will follow, preceding the nominations announcement on Jan. 22, 2026. A final round of voting will then occur before the 98th annual Oscars telecast on March 15.
Three top contenders for best original song — “Golden” from KPop Demon Hunters, “Lose My Mind” from F1: The Movie and “Dying To Live” from Billy Idol Should Be Dead — are each the work of five co-writers. The academy will award no more than four Oscars in this category. Should any of those songs win, the songwriters must share a single statuette.
Best Original Song
“Dream As One”Miley Cyrus, Andrew Wyatt, Mark Ronson, Simon FranglenAvatar: Fire and Ash, 20th Century Studios
Wyatt and Ronson won in this category in 2019 for co-writing “Shallow” from A Star Is Born with Lady Gaga and Anthony Rossomando. They received a second nod in 2024 for “I’m Just Ken” from Barbie. Cyrus and Wyatt teamed with Lykke Li last year to write “Beautiful That Way” from The Last Showgirl. It wasn’t nominated (or shortlisted), but it generated some buzz. Franglen also scored the film.
“Dying To Live”Billy Idol, J. Ralph, Steve Stevens, Tommy English, Joe JaniakBilly Idol Should Be Dead, Live Nation Productions
This would be Ralph’s fourth nomination in this category and the first for the other songwriters. Idol has received three Grammy nods, including one for “Cradle of Love” from the 1990 film The Adventures of Ford Fairlane. Billy Idol Should Be Dead was directed by Jonas Åkerlund, who has helmed concert and documentary films by such A-listers as Madonna, Paul McCartney, Beyoncé & Jay-Z and Taylor Swift.
“Salt Then Sour Then Sweet”Sara Bareilles, Brandi Carlile, Andrea GibsonCome See Me in the Good Light, Apple Original Films
Gibson, who died of ovarian cancer in July, would be the first person to be posthumously nominated in this category since Howard Ashman, who received four nods (including one win) in the two years following his 1991 death. Bareilles and Carlile executive-produced the documentary about Gibson and her wife dealing with Gibson’s illness. Carlile was nominated in this category at the 2025 ceremony for co-writing “Never Too Late” from Elton John: Never Too Late.
“Just Keep Watching”Tate McRae, Tyler Spry, Ryan Tedder, Amy AllenF1: The Movie, Apple Original Films
This year, McRae landed her first No. 1 album on the Billboard 200 and her first No. 1 single on the Billboard Hot 100. Could she earn her first Oscar nomination in early 2026? Allen is the reigning Grammy winner for songwriter of the year, non-classical. Tedder has three album of the year Grammys for his work with Adele and Taylor Swift. Spry is known for his credits with artists such as OneRepublic and McRae.
“Lose My Mind”Grant Boutin, Ryan Tedder, Amala Zandile Dlamini, Caleb Toliver, Hans ZimmerF1: The Movie, Apple Original Films
Although it’s rare for two songs from one film to be nominated, Emilia Pérez achieved the feat at the 2025 ceremony. F1: The Movie, Sinners and Wicked: For Good are among the films hoping to do the same early next year. If “Lose My Mind” is nominated, it will mark Zimmer’s first nod in this category. He has received 12 nominations (and won twice) in scoring categories.
“Highest 2 Lowest”Aiyana-Lee Anderson, Nicole Daciana AndersonHighest 2 Lowest, A24
Highest 2 Lowest, directed by Spike Lee, is an English-language remake of Akira Kurosawa’s 1963 Japanese film, High and Low. The movie stars Denzel Washington, Jeffrey Wright, A$AP Rocky, LaChanze, Princess Nokia and Ice Spice (in her film debut). Aiyana-Lee Anderson, the niece of David Ruffin of The Temptations, co-wrote the titular track with her mother, Nicole Daciana Anderson. This would be the first song from a Lee film to be nominated.
“Golden”EJAE, Mark Sonnenblick, IDO, 24, TeddyKPop Demon Hunters, Netflix
“Golden,” which topped the Hot 100 for eight weeks, would be the first No. 1 since Justin Timberlake’s “Can’t Stop the Feeling!” from Trolls in 2017 to rule the chart and then land an Oscar nod. (“Shallow” from A Star Is Born hit No. 1 only after its Oscar win.) EJAE, IDO, 24 and Teddy would be the first South Korean-born songwriters to be nominated since Karen O, who was cited in 2014 for co-writing “The Moon Song” from Her.
“Dear Me”Diane WarrenRelentless, Greenwich Entertainment
Earlier this year, Warren tied Sammy Cahn’s record of earning a best original song nomination for eight consecutive years. If she is nominated again in 2026, she’ll stand alone. It would be her 17th nomination in the category, a total surpassed only by Cahn (26) and Johnny Mercer (18). Moreover, it would be her 13th nod as a solitary songwriter, tying Randy Newman for the most solo-written nominated songs.
“I Lied to You”Raphael Saadiq, Ludwig GöranssonSinners, Warner Bros. Pictures
Ryan Coogler produced, wrote and directed Sinners, which was No. 1 at the box office for two weeks in April. The last two films that Coogler wrote and directed — Black Panther and Black Panther: Wakanda Forever — both spawned best original song nominees. Saadiq and Göransson are past nominees in this category: Saadiq in 2018 for co-writing “Mighty River” from Mudbound and Göransson in 2023 for co-writing “Lift Me Up” from Black Panther: Wakanda Forever.
“Last Time (I Seen the Sun)”Alice Smith, Miles CatonSinners, Warner Bros. Pictures
Caton, who turned 20 in March, would be the youngest nominee for best original song since Billie Eilish, who was just six weeks past her 20th birthday in 2022 when she was nominated for co-writing the title song to No Time To Die (which won). In addition to co-writing the song, Caton co-stars in the film. Smith was a Grammy nominee for best urban/alternative performance in 2008 for “Dream.”
“Train Dreams”Nick Cave, Bryce DessnerTrain Dreams, Netflix
Cave is vying to become the third songwriter from Australia to be nominated in this category, following John Farrar (for writing “Hopelessly Devoted to You” from Grease) and Peter Allen (for co-writing “Arthur’s Theme [Best That You Can Do]” from Arthur, which won). Dessner has won two Grammys. Train Dreams stars Joel Edgerton, Felicity Jones and William H. Macy.
“As Alive as You Need Me To Be”Nine Inch NailsTron: Ares, Disney
Trent Reznor and Atticus Ross are submitting this as Nine Inch Nails rather than under their individual names. If the academy keeps it that way, it would be the first nominee in this category to be listed under their group billing. Reznor and Ross have received three Oscar nods for their scores, but this would be their first for a song. Jared Leto stars in Tron: Ares, the third installment in the Tron franchise.
“The Girl in the Bubble”Stephen SchwartzWicked: For Good, Universal
Schwartz has received five nominations in this category, winning the first two times for “Colors of the Wind” from Pocahontas and “When You Believe” from The Prince of Egypt. He was subsequently nominated for co-writing three songs from Enchanted. Wicked: For Good is the sequel to Wicked, which received 10 nominations earlier this year, but none in this category since it didn’t include any new songs.
“No Place Like Home”Stephen SchwartzWicked: For Good, Universal
If both of Schwartz’s songs are nominated, he’ll become the first individual songwriter with two songs in the running since Randy Newman accomplished the feat 16 years ago with The Princess and the Frog. Wicked: For Good adapts the second act of the 2003 stage musical by Schwartz and Winnie Holzman. Jon M. Chu directed both this film and its megahit predecessor.
“Zoo”Blake Slatkin, Ed Sheeran, ShakiraZootopia 2, Disney
Colombian superstar Shakira is vying to become the first songwriter born in Latin America to be nominated in this category since Brazilians Sergio Mendes and Carlinhos Brown were nominated in 2012 for a song from Rio. Sheeran is a four-time Grammy nominee for song of the year, winning for “Thinking Out Loud.” Slatkin was nominated in that category for co-writing Lizzo’s “About Damn Time.”
Best Original Score
Avatar: Fire and Ash (20th Century Studios)Simon Franglen
This is the third installment in the Avatar franchise. James Horner’s score for the original film was nominated in this category in 2010. Horner was set to score the sequel, 2022’s Avatar: The Way of Water, before he died in a 2015 turboprop plane crash. Franglen subsequently got the assignment for that film, though his work wasn’t nominated. This would be Franglen’s first Oscar nod.
Bugonia (Focus Features)Jerskin Fendrix
Fendrix was nominated in 2024 in this category for scoring director Yorgos Lanthimos’ Poor Things. Fendrix also scored Lanthimos’ follow-up, Kinds of Kindness, though that film didn’t receive any Oscar nods. The composer and director are back for a third go-round. Bugonia stars Emma Stone, who won the Oscar for best actress with Poor Things and also starred in Kinds of Kindness.
Captain America: Brave New World (Marvel/Disney)Laura Karpman
Karpman was nominated in this category two years ago for scoring American Fiction. If she’s nominated again, she’ll join a short list of women who have received two or more nods in scoring categories, following Rachel Portman and Angela Morley. (Hildur Guðnadóttir is also hoping to make that list with Hedda.) This is the fourth installment in the Captain America franchise. Alan Silvestri scored the first; Henry Jackman handled the second and third.
Fantastic Four: First Steps (Marvel/Disney)Michael Giacchino
Giacchino was nominated in this category for Ratatouille in 2008 and won for Up in 2010. Fantastic Four: First Steps, the 37th film in the Marvel Cinematic Universe, features an ensemble cast including Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach and Joseph Quinn.
F1: The Movie (Apple Original Films)Hans Zimmer
Zimmer has received 12 nominations in this category, landing at least one in each of the last five decades and winning for The Lion King and Dune. He’s third on the list of living composers with the most score nominations, trailing only John Williams (who has amassed an astounding 49 in score categories) and Thomas Newman (14). F1: The Movie became the top-grossing auto racing film ever and the top-grossing movie of Brad Pitt’s career.
Frankenstein (Netflix)Alexandre Desplat
Desplat has received 11 nominations for his scores, winning for The Grand Budapest Hotel in 2015 and The Shape of Water in 2018. Frankenstein was directed, written and co-produced by Guillermo del Toro, who did the honors on The Shape of Water as well as a third film that Desplat scored, Pinocchio. Frankenstein, which stars Oscar Isaac, Jacob Elordi and Christoph Waltz, is based on Mary Shelley’s classic 1818 novel of the same name.
Clockwise from left: Erivo in Wicked: For Good, Pitt in F1: The Movie, Stone in Bugonia, Grandein Wicked: For Good, Jordan in a dual role in Sinners and Isaac and Elordi in Frankenstein.
Illustration by Klawe Rzeczy; Erivo: Giles Keyte/Universal Pictures. Pitt, Stone: Everett Collection. Grande: Giles Keyte/Universal Pictures. Jordan, Isaac, Elordi: Everett Collection.
Hamnet (Focus Features)Max Richter
Hamnet was co-written, co-edited and directed by Chloé Zhao, who won a pair of Oscars in 2021 for directing and co-producing Nomadland. Based on Maggie O’Farrell’s 2020 novel, Hamnet follows the relationship between William Shakespeare and his wife, Anne Hathaway, and the impact of the death of their 11-year-old son, Hamnet, on their lives. Richter has received two Grammy nominations — best score soundtrack for visual media for Ad Astra and best music video as a featured artist on Woodkid’s “The Golden Age.”
Hedda (Amazon MGM)Hildur Guðnadóttir
In 2020, when Guðnadóttir won best original score for Joker, the Icelandic composer became just the fourth woman to capture an Oscar in a scoring category. Lyricist Marilyn Bergman shared the award for original song score in 1984 for Yentl. Rachel Portman won best original musical or comedy score in 1997 for Emma. Anne Dudley won in that same category the following year for The Full Monty.
A House of Dynamite (Netflix)Volker Bertelmann
This would be Bertelmann’s fourth nomination in this category, following Lion (a collaboration with Dustin O’Halloran) in 2017, All Quiet on the Western Front in 2023 (for which he won) and Conclave earlier this year. A House of Dynamite is an apocalyptic political thriller directed by Kathryn Bigelow. The film’s ensemble cast includes Idris Elba, Tracy Letts and Anthony Ramos.
Jay Kelly (Netflix)Nicholas Britell
This would be Britell’s fourth nomination in this category, following nods for the Barry Jenkins films Moonlight and If Beale Street Could Talk and Adam McKay’s Don’t Look Up. Jay Kelly is a coming-of-age comedy-drama directed by Noah Baumbach that he co-wrote with Emily Mortimer. The film stars an ensemble cast that includes George Clooney, Adam Sandler, Laura Dern and Billy Crudup.
The Lost Bus (Apple Original Films)James Newton Howard
This would be Howard’s eighth nod in a scoring category. He has also been nominated for two songs. The Lost Bus was directed by Paul Greengrass and stars Matthew McConaughey and America Ferrera. The film is based on the true story of a bus driver who navigated a bus carrying 22 children and their teachers to safety through the 2018 Camp Fire, which was the deadliest fire in California history.
Marty Supreme (A24)Daniel Pemberton
Pemberton has yet to be nominated for a score, though he was nominated for best original song in 2021 for co-writing “Hear My Voice” from The Trial of the Chicago 7. Marty Supreme, which stars Timothée Chalamet and Gwyneth Paltrow, is a sports comedy-drama set in New York during the 1950s. It is loosely inspired by American table tennis player Marty Reisman and his at-all-costs pursuit of greatness.
Materialists (A24)Daniel Pemberton
If both of Pemberton’s scores are nominated, he’ll become the first individual composer with two films on the final ballot since Alexandre Desplat scored a double in 2015 with The Grand Budapest Hotel (which won) and The Imitation Game. Materialists, a romantic comedy-drama written and directed by Celine Song, follows a love triangle among characters played by Dakota Johnson, Chris Evans and Pedro Pascal. It’s Song’s second feature as a writer-director following Past Lives.
One Battle After Another (Warner Bros. Pictures)Jonny Greenwood
This would be Greenwood’s third nod in this category, following Phantom Thread in 2018 and The Power of the Dog in 2022. Greenwood, the lead guitarist and keyboardist of Radiohead, and Nine Inch Nails mainstays Trent Reznor and Atticus Ross have yet to be nominated in the same year. One Battle After Another is an action thriller written, co-produced and directed by Paul Thomas Anderson. Leonardo DiCaprio and Benicio Del Toro star.
Sentimental Value (Neon)Hania Rani
This would be the first nomination for Rani, a Polish pianist, composer and singer. Sentimental Value, a comedy-drama directed by Joachim Trier, follows a fractured relationship between an acclaimed director and his two estranged daughters. The film had its world premiere at the Cannes Film Festival in May, where it won the Grand Prix. It was selected as the Norwegian entry for best international feature film at the upcoming Oscars.
Sinners (Warner Bros. Pictures)Ludwig Göransson
Göransson has received two nominations for best original score for Black Panther in 2019 and Oppenheimer in 2024, winning both times. The Swedish composer has scored all five of director Ryan Coogler’s films — Fruitvale Station, Creed, Black Panther, Black Panther: Wakanda Forever and now Sinners. Göransson also has an executive producer credit on this film, which stars Michael B. Jordan in dual roles as twin brothers.
The Testament of Ann Lee (Searchlight Pictures)Daniel Blumberg
Blumberg won this category earlier this year for The Brutalist. He is vying to become the first best original score winner to be nominated again the following year since Alexandre Desplat was nominated for Isle of Dogs at the 2019 ceremony after winning the previous year for The Shape of Water. The Testament of Ann Lee stars Amanda Seyfried as Ann Lee, the founding leader of the Shakers religious sect in the 18th century.
Train Dreams (Netflix)Bryce Dessner
This would mark the first Oscar nomination for Dessner, who has won two Grammys — best chamber music/small ensemble performance in 2016 for producing Eighth Blackbird’s Filament and best alternative music album in 2018 as a band member and co-producer of The National’s Sleep Well Beast. Train Dreams stars Joel Edgerton as a logger who is working to develop the railroad across the United States.
Tron: Ares (Disney)Nine Inch Nails
As with their best original song entry, Trent Reznor and Atticus Ross are submitting this under their group name. If the academy keeps it that way, Nine Inch Nails will be the third group nominated in a scoring category as such, following The Beatles, who won best original song score in 1971 for Let It Be, and Son Lux, which was nominated for best original score three years ago for Everything Everywhere All at Once.
Wicked: For Good (Universal)John Powell, Stephen Schwartz
Powell and Schwartz were nominated in this category at the 2025 ceremony for Wicked. Schwartz previously won in the defunct original musical or comedy score category for Pocahontas and was nominated in that category for The Hunchback of Notre Dame and The Prince of Egypt. Cynthia Erivo and Ariana Grande, who were Oscar-nominated for Wicked, reprise their roles in the sequel, as do Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Michelle Yeoh and Jeff Goldblum.
Additional reporting by Melinda Newman.
This story appears in the Nov. 15, 2025, issue of Billboard.
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Kelsea Ballerini, Brandi Carlile, Kenny Chesney, Riley Green, Miranda Lambert, Patty Loveless, Old Dominion, The Red Clay Strays, and Chris Stapleton have joined the list of performers for the 59th annual CMA Awards. Hosted by Lainey Wilson, the show is set to broadcast live from Bridgestone Arena in Nashville on Wednesday (Nov. 19) from 8:00-11:00 p.m. ET on ABC and will be available the next day on Hulu.
All of the newly-booked performers are established country stars except for Carlile, whose music incorporates Americana, alternative country, pop and folk rock. Ballerini is set to debut her new song, “I Sit in Parks.” Green will perform his hit “Worst Way,” which topped Billboard’s Country Airplay chart. The Red Clay Strays will perform their song “People Hatin’.”
Stapleton, reigning CMA male vocalist of the year and three-time nominee this year, will perform “Bad as I Used To Be” from F1: The Movie. Also, Lambert will join Stapleton for a performance of their duet “A Song to Sing.” Old Dominion — who are vying for their eighth consecutive win as CMA vocal group of the year — will perform a medley of their hits “Break Up With Him,” “Memory Lane,” “One Man Band,” “Hotel Key” and “Snapback.”
Four-time CMA entertainer of the year winner Chesney will mark his 2025 induction into the Country Music Hall of Fame with a performance. The Lambert/Stapleton collaborative performance is one of at least three collabs set for the show, which previously announced a BigXthaPlug/Luke Combs performance and another by Shaboozey/Stephen Wilson Jr.
Other performers already announced are Ella Langley, Megan Moroney, Zach Top, Tucker Wetmore and host Wilson. Presenters for the 59th Annual CMA Awards will be announced soon. Tickets are on-sale now here.
The 59th Annual CMA Awards is a production of the Country Music Association. Robert Deaton serves as executive producer, Alan Carter is director, and Jon Macks is head writer.
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Sarah Jessica Parker has been named the 2026 Carol Burnett Award honoree, recognizing her contributions to the television industry both in front of and behind the camera.
As previously announced, Dame Helen Mirren will receive the Cecil B. DeMille Award, the equivalent award recognizing contributions in film. Both awards will be presented on the new annual primetime special Golden Eve, airing on Thursday, Jan. 8, at 8 p.m. ET/PT on CBS and streaming on Paramount+. The special will air three days before the 83rd annual Golden Globes, which is set to air live on Sunday, Jan. 11.
This marks the first time that women have claimed both awards in the six years that both have been presented. The Carol Burnett Award, created in 2019 and initially awarded to its namesake, has since been presented to Ellen DeGeneres, Norman Lear, Ryan Murphy and Ted Danson.
“Sarah Jessica Parker’s career embodies the very spirit of the Carol Burnett Award,” Helen Hoehne, president, Golden Globes, said in a statement. “Her trailblazing impact on television and her dedication to storytelling across stage and screen have left an indelible mark on popular culture. We are honored to celebrate her extraordinary contributions to entertainment.”
Parker, 60, is best known as the star and producer of HBO’s iconic Sex and the City, which ran for six seasons on HBO and spawned two feature films and the TV sequel And Just Like That. The initial series brought Parker six Golden Globes (four as an actor, two as a producer), two Primetime Emmys (one as an actor, one as a producer) and three Screen Actors Guild Awards (two as part of an ensemble, one solo)
Beyond her defining television achievements, Parker’s career spans film, stage and production. Her filmography includes Hocus Pocus and Hocus Pocus 2, The Family Stone, Failure to Launch, The First Wives Club, Ed Wood and Mars Attacks!
Following the success of last year’s inaugural Golden Gala honoring DeMille Award recipient Viola Davis and Burnett Award recipient Ted Danson, the 2026 edition evolves into Golden Eve, which promises “an unprecedented look at the honorees’ legacy while celebrating their body of work with personal stories, unforgettable Golden Globes moments, curated career retrospectives, and special presenters.”
Golden Eve will air as a marquee event during Golden Week, a weeklong Golden Globes-branded experience across Paramount platforms as well as celebratory kick-off events ahead of the 83rd annual Golden Globes, which is set to air live on Sunday, Jan. 11. Comedian Nikki Glaser is set to host the show for the second year in a row.
The Golden Globes, which likes to call itself Hollywood’s Party of the Year, is the world’s largest awards show to celebrate the best of film, television and now podcasting. Dick Clark Productions will plan, host and produce the annual Golden Globes.
The Golden Globes 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.
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PLUS1 announced the recipients of the second annual PLUS1 Impact Awards on Thursday (Nov. 13), recognizing the artists, industry leaders, and partners driving measurable social impact across music and entertainment. Awardees are determined through PLUS1’s data-driven evaluation of impact, including funds raised, lives reached, and outcomes achieved. The awards are presented in partnership with Wasserman.
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AEG Presents, CAA, Live Nation, $uicideboy$, Sabrina Carpenter and Wasserman are this year’s recipients of the PLUS1 Million Award, which recognizes artists and partners who have raised over $1 million via PLUS1 for charitable causes. The recipients of that award reached the $1 million milestone in 2025 but began their engagements with PLUS1 prior to this year. Mumford & Sons is the artist that raised the most in 2025 alone.
“This year’s honorees exemplify what’s possible when purpose meets action,” Marika Anthony-Shaw, founder and CEO of PLUS1, said in a statement. “Their leadership shows how every corner of the industry — from artists to agents, managers, marketers to venue teams — can turn creativity into collective impact. At PLUS1, we’re proud to help connect and amplify that work, and to celebrate the people driving real, lasting change.”
Carpenter, who was the first PLUS1 artist to reach $1 million in under one year for her fund, shared what her philanthropic efforts mean to her in an exclusive statement to Billboard. “The Sabrina Carpenter Fund began as a way to give back to causes close to my heart — mental health, animal welfare, and LGBTQ+ rights — and seeing its growth and impact over the past year has meant the world to me. I’m proud of what we’ve been able to build with PLUS1, and incredibly grateful to continue using my platform to make a difference.”
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MARINA was one of the recipients of the Above and Beyond Award, which recognizes “artists who have gone above and beyond in their commitment to social impact.”
“It’s an enormous privilege to be able to use my art to create tangible impact for issues I care deeply about, particularly for LGBTQ+ individuals and civilians affected by conflict,” MARINA shared in an exclusive statement to Billboard. “Partnering with PLUS1 has enabled the MARINA Fund to turn our commitment to justice into meaningful action.”
PLUS1 introduced a new award this year, the Avoe and Beyond (and Behind) Award, recognizing industry leaders. (The name is a play on their existing Above and Beyond Award, geared to behind-the-scenes players.) The initial honorees are Merce Jessor, Shira Knishkowy. Lesley DiPietro. Denise Melanson and Ashley Poitevin.
PLUS1, a nonprofit that started with a simple idea to invest $1 from every concert ticket into communities in need, has since partnered with hundreds of artists and granted more than $32 million to nonprofits worldwide. To learn more, visit the PLUS1 site.
Here’s the full list of 2025 PLUS1 Impact Award honorees:
PLUS1 Million Award
Recognizing artists and partners who have raised over $1 million via PLUS1 for charitable causes.
Honorees: AEG Presents, CAA, Live Nation, $uicideboy$, Sabrina Carpenter, Wasserman
Impact Leader Award
Honoring the artist who raised the most funds via PLUS1 in 2025.
Honoree: Mumford & Sons
Rising Star Award
Awarded to an emerging artist who made outstanding contributions to social impact in 2025.
Honoree: Wyatt Flores
Community Hero Award
Recognizing artists and partners who have significantly impacted local communities they have toured through in 2025.
Honorees: Alex G, Diplo’s Run Club, Rainbow Kitten Surprise
Arts Advocate Award
Honoring an artist who uses their platforms to advance creativity, access, and advocacy in the arts.
Honoree: Post Malone
Above and Beyond Award
Recognizing artists who have gone above and beyond in their commitment to social impact.
Honorees: Big Thief, Bright Eyes, Jessie Reyez, MARINA
Above and Beyond (and Behind) Award (New Category)
Honoring industry leaders whose dedication behind the scenes makes meaningful impact possible.
Honorees: Ashley Poitevin (MNRK Music Group), Denise Melanson (Wasserman), Lesley DiPietro (CAA), Merce Jessor (Volara Management), Shira Knishkowy (Another Management Company)
Agent of Change Award
Awarded to agents making a positive difference in the industry.
Honorees: Kevin French (CAA), Lenore Kinder (Wasserman), Zoe Williamson (UTA)
Impactful Management Award
Awarded to a management team making a measurable difference through artist impact initiatives.
Honoree: Volara Management
Promoting Good Award
Recognizing a promotional company making a positive difference in the industry.
Honoree: First Avenue
Venue for Change Award
Recognizing a venue that demonstrates exceptional leadership in sustainability, equity, and community support.
Honoree: The Salt Shed (Chicago)
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Liam Gallagher is clearly having a blast on Oasis‘ reunion tour. You can tell the band’s lead singer and former enfant terrible is enjoying himself because he keeps dropping bread crumbs suggesting that he’s excited for the good times with older brother guitarist/songwriter Noel to roll on.
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Gearing up for the final push of shows in South America that kick off on Nov. 15 in Buenos Aires, Argentina, Liam hopped into the comments on an X user’s post on Wednesday (Nov. 12) asking: “are you sad that tour is ending soon?” The unrelentingly cheeky singer replied in a way that once again gave hope to all the fans who weren’t able to catch this year’s shows, or who just can’t wait to see the Britpop legends again.
“I’m not actually as I know things you don’t know,” Liam wrote, before muddying the waters again when another fan begged to know “LIAM WHAT DOES THAT MEAN.” Without explaining, the singer said, “Google it.” Aware of rampant speculation that the band could be on the road again next year — including incessant rumors that they plan to make a triumphant return to mark the 30th anniversary of their legendary 1996 Knebworth gigs in front of 250,000 fans — Liam was evasive again when asked if that was “code” for “we’re going on tour next year.”
That latter question was tied to an earlier tease, in which Liam said the brothers’ rapturously received reunion was “only starting.” Liam, being Liam, threw a wet blanked on that, writing, “Next year might be a little enthusiastic.”
With no solid information relayed, Liam did weigh in once more, brushing aside a question about those who’ve claimed that reunion was just “for the money.” Gallagher tut-tutted that assertion, replying, “Nobody think that it’s just fake news everybody knows we’re in it for the people and the good vibrations.”
To be perfectly clear, at press time no additional dates have been announced for the band after the planned final show at MorumBIS in São Paulo, Brazil on Nov. 23 and spokespeople for Oasis have not responded to previous requests for comment on whether the tour will continue. But Gallagher has continually raised hopes, telling Australian fans last week, “You’ve got a lovely f–king country. See you again.”
Last month, after a fan complained about one of his favorite songs (“The Hindu Times”) not making the tour’s rigid setlist this time around, Gallagher cheekily responded, “Chill Winston it’s not even HALF TIME yet it’s a tour of 2 half’s.” To be fair, Gallagher has appeared to be playing a long game from the beginning, ending a Sept. 28 gig at Wembley Stadium in London with the first tease of what’s (possibly) to come when he said, “see you next year.”
After a legendarily sibling rivalry-fueled break-up in 2009, Gallagher reunited with Noel earlier this year to reform the group for a sold-out run that kicked off on July 4 at Principality Stadium in Cardiff, Wales. They followed up with a five-night run at Heaton Park in their hometown of Manchester, U.K. and gigs in London, Edinburgh and Dublin before moving on to North America, Mexico City, South Korean, Japan and Australia.
Check out Gallagher’s tweets below.
I’m not actually as I know things you don’t know— Liam Gallagher (@liamgallagher) November 12, 2025
Next year might be a little enthusiastic— Liam Gallagher (@liamgallagher) November 12, 2025
Nobody thinks that it’s just fake news everybody knows we’re in it for the people and the good vibrations— Liam Gallagher (@liamgallagher) November 8, 2025
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The Osbourne family shared some of their collective grief on this week’s episode of The Osbournes Podcast. Wife Sharon and children Jack and Kelly revealed the secret health crisis Ozzy Osbourne suffered before his final, triumphant Back to the Beginning performance, as well as the kind words of condolence the family received from two world leaders following the rock icon’s death on July 22 at 76 years old.
On the first episode of the podcast since Ozzy’s death the trio talked about the rocker’s difficult final year, his “living wake” curtain call show and the powerful way grief has bonded them even more. They also revealed that after years of health struggles that included a Parkinson’s disease diagnosis, pneumonia and a botched spinal surgery, Ozzy took a turn for the worse last December when he took “a little fall.”
Then, just two weeks before the all-star Back to the Beginning show at Villa Park in the rocker’s hometown of Birmingham, England, Jack said Ozzy was hospitalized. “The story, I don’t think even you know it, we had him in the hospital and we were just terrified that people were going to find out,” said Sharon about the unnamed ailment that threatened to derail the triumphant last bow.
“So we had all the security and the hospital… the hospital was amazing, they really were. The people at the front desk were told ‘nobody, if they ask for Ozzy, he’s not here. Nobody’s allowed up’, all of that,” she said during the emotional 90-minute pod that had the trio seated around a large wooden dining table strewn with piles of magazines featuring the rocker on the cover. “They had pictures of all of us who were allowed up, and names, and this guy comes up and says ‘I want to see John Osbourne [Ozzy’s legal name]’ so of course there’s a red light and they go ‘who are you?’ and he goes ‘I’m his brother.’”
When someone from security called up to say that Ozzy’s brother was there to see him, Sharon said she replied that there was “no way” that was true because his brother didn’t even know he was there. “His sisters, his brother didn’t know. So I sent security down and I said ‘find out who this guy is, he’s definitely from the press,’” Sharon said, revealing that, as it turned out, there was another John Osbourne at that hospital and it was that John’s brother. “[We] felt so terrible,” she said.
And while it’s shocking to think that Ozzy essentially went from hospital to stage for his final gig, Jack made it clear that his dad was determined to make it to the massive gig that featured solo and Black Sabbath sets featuring Ozzy, as well as an all-star group of metal offspring, including Metallica, Guns N’ Roses, Slayer, Pantera, Alice in Chains Anthrax and more. “It’s not like we forced him, wheeled him out there… to do this gig,” Jack said. “He was adamant… he was running the show. He said he knew exactly what he wanted. Yeah, and he was determined to do it.”
Amid the torrent of well-wishes and condolences that poured in after Ozzy’s death from friends, fellow rockers and longtime fans was a voicemail from Donald Trump. Sharon — who competed on the 2010 season of Trump’s reality show Celebrity Apprentice — revealed that the American president reached out with kind words before playing the message in which Trump said, “Hi, Sharon, it’s Donald Trump, and I just wanted to wish you the best. Ozzy was amazing. He was an amazing guy. I met him a few times, and I want to tell you he was unique in every way and talented. So I just wanted to wish you the best, and it’s a tough thing. I know how close you were, and whatever I can do. Take care of yourself. Say hello to the family.”
Sharon also noted another message from a world leader: a personal letter the family received from England’s King Charles. “We got a lovely letter from the king,” Jack said, with Sharon adding: “Our king, he’s an amazing person. Not just because he wrote to us when Ozzy passed… if he did it for us, you know he does it for many, many, many people.”
It wasn’t the first time King Charles has reached out to wish Ozzy a happy birthday, according to Sharon. “When Ozzy was sick in hospital with the motorbike accident, he reached out. He’s a good, caring man with a good heart,” Sharon said of the King. “Ozzy, as me… we’re royalists. We respect him, we respect his family. He took the time out of his day to write us, have it hand-delivered to us, a note from the king for Ozzy’s passing with his condolences. And that says so much.”
Watch the Osbournes podcast below.
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There were flames, fireworks, and an unexpected blast of “Smoko,” as Metallica’s M72 tour stopped by Brisbane’s Suncorp Stadium on Wednesday night, Nov. 12.
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The Rock Hall-inducted metal giants have been extra sweet to audiences on this trek, their first down under since 2013, by playing a homegrown classic on each tour date.
For their tour opener Nov. 1 at Perth’s Optus Stadium, the Bay Area legends carved out a rendition of John Butler’s “Zebra,” which the Western Australian native responded to with his own cover of Metallica’s “Enter Sandman.”
Then, at Adelaide Oval on Nov. 5, the rockers covered INXS’ Billboard Hot 100 leader “Need You Tonight,” and segued into the Angels’ classic from 1976, “Am I Ever Gonna See Your Face Again,” led by bass player Robert Trujillo at the mic. For their Melbourne show, at Marvel Stadium, Metallica covered “Prisoner of Society” the alternative rock trio the Living End.
The rumor mill was grinding away ahead of Metallica’s lone show in the Sunshine State. Would they cover a Powderfinger song, or the Go-Betweens? Perhaps the Saints? Or maybe a leftfield choice by performing the Bee Gees, the Veronicas or even Keith Urban.
As it turned out, Metallica hit the right note with a cover of the Chats’ “Smoko,” originally released on the Sunshine Coast punk rock act’s 2017 EP, Get This in Ya!!. Trujillo once again took vocal duties, accompanied by lead guitarist Kirk Hammett. “We like to celebrate music from your hood,” Trujillo remarked.
A “smoko” is, for those uninitiated, an Australian expression for a break from work, or more specifically, a pause to smoke.
Eamon Sandwith and Co. were thrilled with the nod. “Stoked to make it to the ‘doodle’ section of the set, thanks Metallica,” reads a social post from the ARIA Award-winning band.
Metallica opened the show with a mainscreen montage of the fan photos, set to “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)” by AC/DC, whose own tour of Australia kicked off at the same time, 1,000 miles south of Brisbane, at the Melbourne Cricket Ground. AC/DC will visit Brisbane’s Suncorp Stadium, twice, in December.
“Thank you, we missed you a lot,” frontman James Hetfield told the audience, gathered on an unusually cool November night. “We’re very grateful to be here. This is love.”
Hetfield also insisted that he had “the best job in the world,” which he well could, before Metallica launched into “Sad But True,” an anvil of a song.
Metallica may have mellowed through the years, but they’re still hard as hammers, which they proved with a set that flew high and never came down. The encore, of “Master Of Puppets,” “One,” and “Enter Sandman” could’ve woken the dead. Maybe the fourpiece was tipped off that the venue was once Paddington Cemetery, a burial ground.
Late in the set, Hetfield welcomed the capacity house as members of the “Metallica family,” some as veterans, others newcomers. “That’s why we’re here. To forget all the bull**** in life.” As good parents, Hetfield, Hammett, Trujillo and drummer Lars Ulrich stayed on stage well after the last chord rung out, to share gifts of drumsticks, guitar picks and take turns in thanking the fans.
Produced by Live Nation Australia, the tour continues at Sydney’s Accor Stadium (Nov. 15) and wraps up Nov. 19 at Auckland’s Eden Park. Evanescence and Suicidal Tendencies are the support on this leg of the M72 World Tour.
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With the single “Quagmire,” Mandarin singer Zi Yu claimed the top spot in the Vol.01 September Selection of “Star Power Monthly Selection” (held by Billboard China, Tencent Music’s QQ Music and JOOX platforms).
From constant experimentation to commanding the stage, from wearing the “newcomer” label to earning “champion” recognition, Zi Yu has achieved a striking breakthrough with “Quagmire,” emerging as one of the most promising new voices in Chinese music.
The sound of “Quagmire” now lingers as the defining memory of this past September. We look forward to seeing the boy who once rose from the mud continue to dig, through his music, toward a vaster world.
Below, Li Shi Jue, the songwriter of “Quagmire,” speaks with Billboard China to decode the creative force behind the very first “Star Power Monthly Selection” champion song.
Zi Yu
Billboard China
The song Quagmire has resonated widely with listeners. Were you surprised? What do you think made it so moving?
Li Shi Jue: I was a bit surprised, yet not entirely, because our team actually wrote this song a few years ago. Its theme and melodic line have a retro, catchy quality, the kind that naturally evokes emotional resonance. Songs from that same creative period included Dislocated Space-Time, which later became a big hit. I think what really touches people is the combination of a simple, memorable melody and straightforward, relatable lyrics, brought to life by Zi Yu’s heartfelt performance. The overall listening experience just flows smoothly. When we wrote it, we only wanted to capture honestly the feeling of being stuck in a certain emotion or situation. We never imagined it would be embraced by so many people. Looking back now, perhaps what moved listeners was its authenticity — that tangled obsession of “wanting to break free yet sinking deeper,” a struggle everyone encounters at some point in life. The song doesn’t preach any grand truths; it simply passes on the feeling of “breathing inside the Quagmire,” and somehow, someone out there heard their own echo in it.
When writing “Quagmire,” what core emotion or idea did you most want to express? Where did the original inspiration come from?
What I wanted most to convey was a state of emotion—it could be my own feelings, or projections of many different kinds of emotions. It’s about recalling past experiences, being overwhelmed by sadness, crying awake in the middle of the night, falling asleep only to wake up crying again. That cycle of repeating pain mirrors the song’s looping melody. The inspiration naturally came from life: once you’ve lived through something like that, you can’t help but write it down. I believe everyone has their own “Quagmire moment”—a low point in life. It’s not about the inspiration of “getting out of the Quagmire,” but about the courage to “stand firm within it”. The earliest ideas came in fragments: seeing friends torment themselves over a goal that fell through; watching someone repeatedly edit and delete late-night social media moments out of confusion; or even my own frustration when I get stuck—when the harder I try to write, the less I can. These scattered moments came together like scenes of many people circling in their own “Quagmires,” and suddenly I wanted to write a song to tell listeners: It’s okay to be stuck. You don’t have to force yourself to climb out right away. Take a look at the soil beneath your feet—maybe something can grow from it.
When creating music, what do you value most? Does “Quagmire” reflect this philosophy?
When I write songs, I care most about the completeness and directness of the story, and about how catchy the melody is. I used to pursue more avant-garde arrangements or melodies to create relatively niche works, but as I’ve grown older, I’ve realized that what sounds truly good is often simple. “Quagmire” embodies exactly that belief. What I value most is accuracy—not technical precision, but emotional accuracy, staying true to the feeling. For example, the line “tears reach my lips, a little salty” wasn’t written just to rhyme; it’s meant to capture that physical detail of “trying to hold back your tears halfway through crying”. That kind of specific pain carries more weight than simply shouting “I’m so sad”. Quagmire achieves that—it doesn’t rely on ornate language. It sings of tangible emotions: “the darkness when you turn away,” and “the sweetness in dreams and the tears upon waking”. It’s like laying bare the creases of your heart for others to see, without hiding, without pretense.
What special charm do you think Zi Yu’s performance brings to this song?
Zi Yu truly infused this song with a special kind of magic. He’s a young, energetic singer of the new generation, while I wrote the song with a deliberately retro sensibility in mind. That collision between the “new” and the “old” gave “Quagmire” a fresh soul. There’s a kind of restrained resilience in Zi Yu’s voice that fits the song’s temperament perfectly. He doesn’t use explosive power to express the pain of being trapped in the Quagmire; instead, he shapes the details with soft, airy tones. In the line “repeating the sorrow again and again,” you can catch a faint, almost imperceptible tremor. That choice to hold back instead of crying out actually makes the struggle within the “Quagmire” feel more real. It’s like how, in real life, people in distress don’t always scream; more often, they wrestle silently with themselves. And Zi Yu managed to sing out the weight of that silence.
For listeners who found resonance in “Quagmire” and those who might be going through their own “Quagmire moment,” what would you most like to say to them?
If you happen to be living through your own “Quagmire” right now, tell yourself: let the storm rage on. Only time can heal, and there’s no other cure. If you’ve parted ways with someone, don’t disturb their life again. This experience might one day become one of the most beautiful memories on your journey. And when you emerge from the storm, safe and whole, you’ll no longer be the same person you once were. Stay strong!
At the same time, I want everyone to know: you’re not the only one sinking. Every life has stretches of road where people just can’t seem to move forward. Don’t rush to deny yourself, wondering “why haven’t I climbed out yet,” and don’t envy others who seem to have it easier. First, acknowledge “I’m here, right now,” and then take a look beneath your feet—those things that hurt you or twist and hold you down may quietly be helping you put down roots. And perhaps one day, when courage returns, you’ll be ready to step out of the mire—slowly, but surely.
In your songwriting process, are there any particular habits or principles you always stick to, and how do you deal with doubts or criticism?
In my songwriting process, I don’t worry about whether the lyrics or the melody come first. Sometimes I start with the words, sometimes with the tune, but most of the time they emerge together. What I care most about is the first feeling. When a melody suddenly comes to mind, I usually decide on it right away, because the more you revise, the further you drift from your original intention. That’s why I tend to write songs quickly.
With “Quagmire,” for example, the image of the Quagmire came first, and from there the melody and lyrics gradually grew. For me, letting emotions flow naturally is far more important than following a rigid process.
In fact, every song carries its own unique expression and emotion—each differs in theme, harmony design, and arrangement style. There are plenty of works out there that sound similar in mood or atmosphere, but art ultimately comes from life—and respecting originality matters most.
Zi Yu
Billboard China
