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Trending on Billboard The Minnesota Timberwolves brought back their Prince-inspired City Edition uniforms for the first time this season during Saturday’s (Nov. 15) home game against the Denver Nuggets, debuting a matching on-court design and arena programming that paid tribute to the Minneapolis icon. Explore See latest videos, charts and news The return of the […]
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Sharon Osbourne is pushing back against an attempt to release early Black Sabbath recordings, publicly challenging former band manager Jim Simpson after he issued a press release claiming legal ownership of the tapes.
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The dispute, which escalated over the weekend, comes months after the death of her husband, founding Black Sabbath frontman Ozzy Osbourne.
Simpson, who managed the group in their earliest days, announced on Nov. 14 that he intends to release a collection of 1969 demos recorded before the band adopted the Black Sabbath name. The material, titled Earth: The Legendary Lost Tapes, was initially expected for release in July. The project has yet to materialize, but Simpson maintains he has the right to distribute the recordings.
Sharon publicly disputed those claims in a detailed Instagram post shared on Saturday (Nov. 15). Her post included screenshots of a July 2 email she says she sent to Simpson, warning him against moving forward without the band’s approval.
“As you know, the Band do not want these tapes released, not least as they haven’t heard them despite you saying you would provide copies long ago,” she wrote. “You know that, as a band, Black Sabbath don’t take things lying down and you can be assured that if you go ahead with this against the Band’s wishes we will take any action where their rights are infringed, both here and in America.”
The demos in question feature the band’s original lineup—Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward—during the brief period when they performed under the name Earth. While recordings from this era have long been of interest to collectors, the group has historically kept tight control over their early catalog and archival releases.
The dispute adds to a high-profile week for the Osbourne family. Earlier in the week, Sharon and her children Kelly and Jack Osbourne publicly criticized Roger Waters on The Osbournes Podcast after the Pink Floyd co-founder made disparaging comments about Ozzy in an interview with The Independent Ink. Sharon responded by calling Waters “one of the most twisted, sick individuals I’ve come across in years.”
For now, Simpson’s proposed release of Earth: The Legendary Lost Tapes appears stalled, but Sharon’s post signals the band’s intention to challenge any distribution that doesn’t involve Black Sabbath’s approval. With legal questions unresolved and no release date announced, the future of the recordings remains unclear.
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Alex Warren is hitting the road on his first arena tour in the United States and Canada — with Jennifer Aniston’s approval. Aniston portrays a judge in a comedic sketch promoting Warren’s upcoming concert trek, the Little Orphan Alex Live Tour.
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Warren — who just received a Grammy nomination for best new artist — appears in court in a short video premiering alongside an announcement of new tour dates on Friday (Nov. 14); his co-stars include Aniston, Max Greenfield and a child acting as a particularly entitled version of little orphan Annie. The clip is a continuation of a bit he started when announcing the European leg of the tour.
“You are here today because little orphan Annie is suing you, preventing your U.S. tour from happening,” Judge Aniston says to Warren in the scene’s opening, which then has a young redhead going by “Annie” accusing “that little b—-” (Warren) of “stealing my whole brand.”
“I can’t control the fact that both my parents are dead,” Warren says.
Not to worry — the tour will go on! Parodying a dramatic twist, Greenfield strolls in to reveal some pertinent information that’s in favor of Warren’s defense.
“MY FIRST ARENA TOUR!!! presale wednesday and general sale next friday at 10am… see you soon,” Warren wrote in an Instagram post that features the promo clip.
Warren’s 2026 tour begins at Nashville’s Bridgestone Arena on May 25 and runs through July 15, when he’ll take the stage at New York City’s Madison Square Garden.
Ticket presales for Verizon customers and for Citi cardmembers both launch at 10 a.m. local time on Tuesday, Nov. 18 for select shows. For the Verizon presale, more information is available in the MyAccess section of the My Verizon app, or can be found here. For details on the Citi presale, visit the Citi Entertainment website here. (Citi is the official card of the Alex Warren Presents: Little Orphan Alex Live Tour.)
There will be an artist presale on Wednesday, Nov. 19. Fans should register in advance here for access to this presale, and set an alert for 10 a.m. local time to get tickets. VIP packages will be available at this time.
In partnership with PLUS1, Warren is giving $1 from every ticket sold to Camp Kesem, which provides free camp and programs to children whose parents are fighting cancer. Warren’s debut album, You’ll Be Alright, Kid, reached No. 5 and charted in the top 10 on the Billboard 200 for 13 nonconsecutive weeks this year. The set features his Hot 100 No. 1 hit “Ordinary,” plus his singles “Eternity,” “Bloodline” featuring Jelly Roll, “On My Mind” featuring Rosé and “Burning Down” with Joe Jonas.
More information on purchasing tickets can be found on Warren’s official website.
See the full list of dates below.
Alex Warren’s Little Orphan Alex Live Tour kicks off in Nashville on May 25, 2026.
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After 61 years of smashing guitars and raising the bar on rock music as an art form, The Who wrapped up their farewell tour six weeks ago in California. But even if the song is over, Pete Townshend is far from finished exploring the creative opportunities presented by the band’s sprawling catalog.
On Friday (Nov. 14), Townshend brought a ballet production of the band’s acclaimed 1973 rock opera, Quadrophenia, to the New York City Center in Manhattan. Directed by Rob Ashford and soundtracked by an orchestral version of the double-album arranged by Rachel Fuller, Quadrophenia, A Rock Ballet—which previously played in London as Quadrophenia, A Mod Ballet—made its Stateside debut. The show boasts a remarkably talented cast (including Ansel Elgort as the bare-chested, guitar-bashing Godfather) who deftly split the difference between stunning dance moves and the expressive yet subtle dramatics this story–about a young man struggling to find his place in the world while clashing with friends, family and himself–demands.
Lead performer Paris Fitzpatrick as Jimmy was revelatory, especially in the final scene where he writhes and spins through a near-suicidal emotional breakdown on a cliff overlooking a raging sea. (When it comes to the Who’s rock operas, Tommy, for all its virtues, is campy and outrageous, while Quadrophenia feels gritty and grounded.) Aside from the orchestral score—which includes two full-on rock detours, “My Generation” and “I Can’t Explain,” era-appropriate Who tunes not present on the 1973 LP—Paul Smith’s costume designs for mods, rockers, British soldiers and bellhops are a delight.
But what really makes Quadrophenia, A Rock Ballet land on the right foot is the choreography. A balletic interpretation of a ‘70s rock opera could go astray or painfully wrong in so many ways, yet choreographer Paul Roberts managed to convey the nervous thrills and impotent frustrations of youth with movements that are frenetic yet graceful, jaw-dropping but never showy. Jimmy’s fantasy about a bisexual three-way was a standout moment, marvelously expressing the potent cocktail of erotic longing and societal shame that accompanies adolescence.
Tragically, Roberts, who was also a frequent collaborator of Harry Styles, died of cancer on Sept. 26 at the age of 52. After several bows from the cast, Townshend—who also appears during the show as a guitar-strumming elder statesman (no, Pete doesn’t plié or jeté)—came out to a standing ovation and said a few words about his late collaborator.
“He’s not with us anymore,” Townshend said, dedicating the show to Roberts. “We worked right through to the end of the show in rehearsals and sessions in Sadler’s Wells and London. Then he went off to sadly pass away from cancer. This show, hopefully, we brought it—I brought it to New York out of my own pocket,” he said to appreciative applause. “You know how I feel about the U.S. of A and, in particular, this city. I really wanted to bring it here for him, his husband Phil (Griffin) and everybody in this company. It’s a British company and we brought some of our crew here to New York. It’s not the usual thing and I’m so grateful to all the unions for helping this happen. Thanks for supporting us here.”
Following the show, Townshend joined Elgort, Fitzpatrick and the rest of the cast and crew for tapas, drinks and even a mini The Fault in Our Stars reunion (Shailene Woodley came out to support her former co-star) at the venue’s VIP lounge.
Quadrophenia, A Rock Ballet wraps its New York City Center run on Sunday (Nov. 16), but hopefully this won’t be the last time it graces Stateside stages. While it’s far different from the recent (also excellent) Broadway revival of The Who’s Tommy, both productions demonstrate that the Who’s catalog remains fascinating fodder for a variety of art forms.
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Britney Spears and Kim Kardashian reunited for what appeared to be an epic pajama party.
On Friday (Nov. 14), the Skims mogul shared a glimpse of the group getting cozy on a bed with Khloé Kardashian, along with the pop star’s longtime manager, Cade Hudson.
“Calabasas Nights,” Kim captioned the first snapshot on her Instagram Story.
In the image, Spears sticks out her tongue while Kim puckers her lips and flashes a peace sign, with Khloé and Hudson looking on. The “Toxic” singer wore a yellow off-the-shoulder top, while Kim sported a dark hooded jacket.
A second photo shows the quartet playfully posing under dark pink lighting, as Khloé dons festive holiday-themed PJs and flashes a cheeky smile.
Britney and Kim’s friendship dates back to the early 2000s. In 2021, the Keeping Up With the Kardashians star reacted to the Framing Britney Spears documentary, which exposed the misogynistic media scrutiny Spears endured for years.
“So I finally watched the Britney Spears documentary this week and it made me feel a lot of empathy for her,” Kim wrote on Instagram at the time. “The way the media played a big role in her life the way it did can be very traumatizing and it can really break even the strongest person. No matter how public someone’s life may seem, no one deserves to be treated with such cruelty or judgement for entertainment.”
In recent weeks, Spears has made headlines after deactivating and then reactivating her Instagram amid drama surrounding the release of her ex-husband Kevin Federline’s tell-all memoir, You Thought You Knew, which contains several sensational claims about their two-year marriage.
“So much has happened this year, it’s crazy …,” Spears wrote on IG in early November after reactivating her account. “I try to live within my means and the book, ‘Draw the Circle’ is an incredible perspective. Get your ballerina 🩰, circle, and own your boundaries.”
She added, “It’s incredibly strict and somewhat of a form of prayer but with so many endless possibilities in life, it’s important to do you and keep it simple. I know there is a confusing side too. The devil is in the details but we can get to that later 😳😂🤧.”
Check out Kim’s selfies here and here on her Instagram Story.
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The first day of the 2025 Corona Capital festival took place on Friday (Nov. 14), marking the grand return of Foo Fighters to Mexico City after a three-year absence. The explosive and unforgettable performance turned into a celebration filled with hits from Dave Grohl’s rock band’s 30-year career.
On day one, the musical feast — which is celebrating its 15th edition — was filled with 1990s nostalgia but also showcased new talents from genres like indie, soul, electro-pop, and folk. It drew over 78,000 attendees (according to promoter Ocesa) who enjoyed performances by Queens of the Stone Age, Franz Ferdinand, Garbage, Kaiser Chiefs, 4 Non Blondes, Jet, Lucy Dacus, Bad Bad Hats, Debby Friday, and other acts. The audience, demanding yet warm, kept the energy and good vibes throughout the day, which stretched into the early hours of Saturday at the Curva 4, the Formula 1 venue in Mexico City.
One of the surprises this year was the performance by veteran band 4 Non Blondes, who won over both old and new fans following the viral trend of the Nicki Minaj mash-up “Beez in the Trap” fused with “What’s Up?” The new song has been used in hundreds of thousands of TikTok videos and brought the ’90s anthem, written by singer-songwriter Linda Perry, back onto the Billboard Hot Rock & Alternative Songs chart.
The program continues on Saturday (Nov. 15) with performances by U.S. star Chappell Roan, whose appearance at Corona Capital marks her debut on Mexican stages, as well as shows by Vampire Weekend, Damiano David, Aurora, Mogwai, Alabama Shakes, Jehnny Beth, Haute & Freddy, Half-Alive, and more.
Find out which were our favorite five acts from the first day of the 2025 Corona Capital festival below.
Foo Fighters, the Best of the Best
Trending on Billboard The surviving members of KISS paid tribute to their late bandmate Ace Frehley during the opening performance of their three-day KISS Kruise: Landlocked in Vegas on Friday (Nov. 14). Before launching into the “unmasked” set, Paul Stanley shared heartfelt words about the late Spaceman, who died at age 74 in October. “Obviously, […]
Todd Snider, a singer whose thoughtfully freewheeling tunes and cosmic-stoner songwriting made him a beloved figure in American roots music, has died. He was 59.
His record label said Saturday (Nov. 15) in a statement posted to his social media accounts that Snider died Friday.
“Where do we find the words for the one who always had the right words, who knew how to distill everything down to its essence with words and song while delivering the most devastating, hilarious, and impactful turn of phrases?” the statement read. “Always creating rhyme and meter that immediately felt like an old friend or a favorite blanket. Someone who could almost always find the humor in this crazy ride on Planet Earth.”
Snider’s family and friends had said in a Friday statement that he had been diagnosed with pneumonia at a hospital in Hendersonville, Tennessee, and that his situation had since grown more complicated and he was transferred elsewhere. The diagnosis came on the heels of the cancellation of a tour after Snider had been the victim of a violent assault in the Salt Lake City area, according to a Nov. 3 statement from his management team.
But Salt Lake City police later arrested Snider himself when he at first refused to leave a hospital and later returned and threatened staffers, the Salt Lake Tribune reported.
The scrapped tour was in support of his most recent album, High, Lonesome and Then Some, which released in October. Snider combined elements of folk, rock and country in a three-decade career. In reviews of his recent albums, The Associated Press called him a “singer-songwriter with the persona of a fried folkie” and a “stoner troubadour and cosmic comic.”
He modeled himself on — and at times met and was mentored by — artists like Kris Kristofferson, Guy Clark and John Prine. His songs were recorded by artists including Jerry Jeff Walker, Billy Joe Shaver and Tom Jones. And he co-wrote a song with Loretta Lynn that appeared on her 2016 album, Full Circle.
“He relayed so much tenderness and sensitivity through his songs, and showed many of us how to look at the world through a different lens,” the Saturday statement from his label read. “He got up every morning and started writing, always working towards finding his place among the songwriting giants that sat on his record shelves, those same giants who let him into their lives and took him under their wings, who he studied relentlessly.”
Snider would do his best-known and most acclaimed work for Prine’s independent label Oh Boy in the early 2000s. It included the albums New Connection, Near Truths and Hotel Rooms and East Nashville Skyline, a 2004 collection that’s considered by many to be his best.
Those albums yielded his best known songs, “I Can’t Complain,” “Beer Run” and “Alright Guy.”
Snider was born and raised in Oregon before settling and making his musical chops in San Marcos, Texas. He eventually made his way to Nashville, and was dubbed by some the unofficial “mayor of East Nashville,” assuming the title from a friend memorialized thusly in his “Train Song.” In 2021, Snider said a tornado that ripped through the neighborhood home to a vibrant arts scene severely damaged his house.
Snider had an early fan in Jimmy Buffett, who signed the young artist to his record label, Margaritaville, which released his first two albums, 1994’s Songs for the Daily Planet and 1996’s Step Right Up.
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Amyl and The Sniffers turned a last-minute cancellation into an unforgettable night for Melbourne’s live-music community on Friday, after their free all-ages show at Federation Square was shut down minutes before they were due to take the stage.
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The Aussie rockers, who had been set for a triumphant hometown performance, redirected their entire AU$5,000 performance fee to seven local venues — a gesture that quickly grew into a AU$35,000 bar tab shared across some of the city’s most beloved rooms.
According to ABC Australia, the gig was halted after multiple breaches of the security barrier raised concerns about crowd safety. The Melbourne Arts Precinct Corporation said the decision “wasn’t made lightly,” citing risks to the audience, staff, and the band. Fans watching the livestream were stunned as the plug was pulled just eight minutes before showtime.
Rather than let the night end there, frontwoman Amy Taylor posted a video explaining the cancellation before announcing the band would give the money back to local venues that helped launch their career.
“Have a drink on us,” Taylor said in the video posted to social media over the weekend, which has since clocked more than 1 million views. “Just have some fun tonight.”
Tabs were immediately placed at local haunts The Tote, The Curtin, The Old Bar, Labour in Vain, Hell’s Kitchen, Last Chance Rock & Roll Bar, and Cherry Bar, where fans flocked from across the city after the news spread on social media. Several venues reported packed rooms, lines down the street, and tabs running dry within hours.
The moment arrives during one of the biggest years of the band’s career. Their 2024 album Cartoon Darkness debuted at No. 2 on the ARIA Albums Chart and later landed in the U.K. top 10. It also collected major honors at the 2025 AIR Awards, including Independent Album of the Year and Best Independent Punk Album or EP. The band is up for multiple ARIA Awards this year — including Album of the Year and Best Group — marking a new peak in their national profile.
Their international momentum has accelerated, too. Amyl and The Sniffers earned a Grammy nomination earlier in 2025 and are nominated at the Brit Awards for International Group of the Year. They also joined AC/DC for a run of Australian stadium dates in November, cementing a milestone for a band that cut its teeth in the same small rooms they helped support on Friday night.
Friday’s bar-tab blowout underscored the deep roots Amyl and The Sniffers maintain in Melbourne’s grassroots scene, even as their profile accelerates worldwide. For many fans who raced between venues to claim a drink, the night became an instant chapter in the city’s music mythology — a chaotic, communal celebration born from a disappointment that could have easily overshadowed a landmark homecoming.
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Megan Moroney cracks the top 10 of Billboard’s Country Airplay chart for a third time, as “6 Months Later” rises 11-10 on the ranking dated Nov. 22, up 6% to 18.3 million in audience Nov. 7-13, according to Luminate.
The track, which Moroney co-wrote with Rob Hatch, David Mescon and Ben Williams, brings the Georgian back to the Country Airplay top 10 just shy of, well, six months later, after her “Am I Okay?” hit No. 2 in June. She first reached tier with her debut entry, “Tennessee Orange” (No. 4, June 2023).
Dating to her first week in the Country Airplay top 10 in May 2023, Moroney ties Ella Langley for the second-most top 10s among women. Only Lainey Wilson has more in that span, with five. Six other women have notched one each in that stretch: Priscilla Block (“You, Me & Whiskey,” with Justin Moore); Ashley Cooke (“Your Place”); Dasha (“Austin”); Jessie Murph (“High Road,” with Koe Wetzel); Carly Pearce (“We Don’t Fight Anymore,” with Chris Stapleton); and Carrie Underwood (“I’m Gonna Love You,” with Cody Johnson).
Meanwhile, Moroney’s “Beautiful Things” picks up traction further down the latest list, climbing 39-37 (3.2 million, up 15%). Both “6 Months Later” and “Beautiful Things” will appear on Cloud 9, her third studio album, due Feb. 20.
CoJo Travels In
Cody Johnson & The Rockin’ CJB arrive at No. 57 on Country Airplay with a cover of The Chicks’ “Travelin’ Soldier” (1.2 million). The song, written and first recorded by Bruce Robison, has been part of Johnson’s live set for several years; he initially recorded it during a 2020 livestream before it became a frequent crowd request, prompting a new studio version released Nov. 7, just ahead of Veterans Day (Nov. 11).
The Chicks’ version of the song topped Country Airplay for a week in March 2003, becoming their sixth and most recent leader (a run halted soon after when, as since dissected in-depth, the group’s Natalie Maines spoke out against then-U.S. president George W. Bush).
