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When Toronto-based entertainment and hospitality magnate Charles Khabouth heard that Taylor Swift would be bringing her record-breaking Eras Tour to the city he’s called home for more than 50 years, he knew immediately what to do.
“I opened a bottle of Dom Perignon to celebrate,” Khabouth, the founder/CEO of INK Entertainment, which operates a series of hotels, bars and restaurants and produces live events in the city, says, laughing. “I’ve been around 43 years in this business; I’ve never seen this hype in my life around anything. We do, I don’t know, 200, 300 live shows ourselves every year. We’ve had everybody in the city from the Stones to Madonna to Prince. This got much bigger support from everybody than ever possible.”
The city of Toronto is about to play host to one of the most significant events — culturally and economically — of the past two years, as Swift and her legion of fans descend upon the city for six nights across two weekends (Nov. 14-16, 21-23), the penultimate stop on a tour that has spanned two years and five continents and changed the fortunes of several cities along the way. And Toronto — known as a savvy, cosmopolitan city in its own right, though one that has at times had to fight to be considered in the same category as cultural capitals such as New York, Los Angeles or Chicago — has risen to the occasion.
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On Nov. 4, the city of Toronto and Rogers Communications renamed Blue Jay Way — the street in front of the Rogers Centre that is usually home to its hometown Major League Baseball team and extends from Nathan Phillips Square to the venue — as Taylor Swift Way, complete with 22 ceremonial street signs that will be auctioned in support of the Daily Bread Food Bank after the run is over. (Rogers is also matching donations to the Daily Bread Food Bank up to $113,000 — a nod to Swift’s favorite number, 13.)
And that’s just the opening enchantment that the city would eventually roll out. Since then, the city has announced a poetry-inspired pre-concert initiative overseen by Toronto Poet Laureate Lillian Allen, while other announcements have included the Toronto’s Version: Taylgate ’24 event, which is expected to draw some 60,000 people; an Eras! Eras! Eras! performance by the singing group Choir! Choir! Choir!; and a 13-site scavenger hunt tied to different songs from Swift’s catalog spread across the city, among many other things. There are Eras-themed city tours, dance parties, drag and trivia nights and pop-up shops around the city, plus giveaways from a slew of businesses. Destination Toronto — the tourism bureau for Canada’s biggest city — expects some $282 million in economic impact from Swift’s two-week mini-residency, including $152 million in direct spending, 93% of which is expected to come from tourists flocking to Toronto — an astronomical uplift for the city’s local businesses.
“We’ve seen the entire city getting caught up in the action — from a Taylgate party at the Metro Toronto Convention Centre to Taylor-themed hotel rooms and special menus at restaurants around the city,” says Kathy Motton, Destination Toronto’s senior manager of communications. “Major events like Taylor Swift bring visitor spending into Toronto, and that spending circulates long after visitors return home impacting a broad set of businesses. The obvious positive benefit is for hotels, restaurants and other tourism-related businesses, but that benefit also extends to businesses that are indirectly impacted by visitor spending.”
And many of those establishments have met the moment by overhauling their own properties to cater to the estimated 500,000 tourists flooding into the area.
“We’ve got so much happening on property,” says Liza McWilliams, director of marketing at the 1 Hotel Toronto, which transformed its Flora lobby lounge into the Folklore Lounge for the next two weeks, complete with a moss-covered piano, tapestries hanging on the wall with lyrics from Swift’s Folklore album and daily acoustic performances open to guests and the public. They also partnered with the Little Words Project, the original word-based friendship bracelet company, which is doing a pop-up shop in the 1 Hotel’s lobby for the first time in Canada. “I think it’s just really fun to be that much more creative and to dream up some really amazing things that kind of stay with the guests for a longer time,” McWilliams says. “Other than the [Toronto International] Film Festival, I would say we’ve never really been this specific when it comes to an actual city event.”
“This is like preparing for Toronto’s Super Bowl,” says Aaron Harrison, general manager of the Bisha Hotel, a short walk from the Rogers Centre. The Bisha also redesigned its entire lobby space (it went Reputation era), while the common spaces on each of its seven hotel floors are also getting era-themed makeovers, one suite has been entirely rebranded The Taylor (which had been running around $4,000 per night if you could snag it), and the hotel will be offering friendship bracelets, a glitter station and themed food and drinks for guests, among other things, in its Lover Lounge. “We wanted Bisha Hotel to feel like the ultimate fan headquarters,” Harrison adds.
In downtown Toronto, it’s almost more difficult to find a bar or restaurant that hasn’t leaned into Taylor-mania than one that has. (Talk about champagne problems.) The night before the shows kicked off, on Nov. 13, the iconic space needle was flashing rainbow colors in honor of Swift, and bartenders and restaurant staff were all talking about the influx of people in town for the shows. Streets are closed off, the city has dedicated websites aimed at helping both tourists and locals alike navigate the area, and Rogers spent $8 million to upgrade the 5G wireless service at the Rogers Centre ahead of the concerts.
Of the more than half-dozen people who spoke with Billboard for this story, almost all equated the preparations for the Eras Tour to those that go into the build up to TIFF — one of the world’s most prestigious film festivals, held in the city each September — but all said the Eras Tour hype went beyond even that. Some hospitality officials and locals are looking at it as a test run for the FIFA World Cup, which will stage six matches in the city in the summer of 2026, and as helping to prove that Toronto can accommodate, and with aplomb, the types of huge events that are often staged in the great cities of the world, ones that invite people to fly in from all over the globe.
There is one thing, however, that nobody is particularly looking forward to: “It’s going to be hell on earth in a sense of the traffic and the amount of people,” Khabouth says, laughing again. (He’s planning to ride his scooter through downtown “with a smile on my face” on the days of each show to avoid driving.) “But it’s a happy moment for all of us in Toronto, to have that energy, that vibe. It’s a concert that’s very positive, you’re gonna see a lot of happy faces, people excited. It’s a very good opportunity for Toronto to stand out and say, ‘Hey, we can play with the big boys.’”
Israel’s Netta Barzilai has not found it easy to create during the 13 months since the Oct. 7 Hamas attack on her homeland and the ensuing war. But a brand new single, “Big Love,” brings the 2018 Eurovision Song Contest winner’s thoughts and emotions into focus.
“My job, my calling, is to bring people together over light and enhance the light in them,” Netta tells Billboard via Zoom from her apartment in Jaffa, an ancient port city near Tel Aviv. “I believe that music and art, especially in dark times, is important to any free world. It’s important for people to consume and create.”
Yet, she adds, “I felt this year I’m in no mood to create. The war isn’t something inspiring. It’s the darkest part of humanity. This year I’ve witnessed pain in amounts and in magnitude that I could not function. I tried, but I could not write. I’m a very happy person, and I tried all the mechanisms that I know that make me happy and they didn’t work. Usually when I walk in a studio and create it feels like the right thing, and every time I walked in the studio (after Oct. 7), it didn’t.”
With the uncharacteristically ethereal and moody “Big Love” – out now on S-Curve Records — Netta found a way to address her circumstances, acknowledging the situation and declaring in its chorus that, “This world may crumble but I’m by your side, with a big love.”
“This is a song that was written with friends out of desperation,” explains Netta, who composed the track with producer Theron “Neff-u” Feemster, Paul Duncan and Avshalom Ariel. “It’s for me to feel stronger and for me to just let myself know that this is my answer to the darkness growing inside — of all of us. War and conflict have always been part of human nature…and it’s soul-crushing. And in order for us to fight it we have to create light. (The song) is very personal, and it’s the little that I can do just to put it out there. But it is what it is.”
The sentiments of “Big Love,” Netta adds, aren’t limited to one side of the conflict or the other. “It’s to anyone who needs it. In my song I say if I had the moon and stars I would get them for you. If I could sing and stop the war, I would do it for you, if it could be that easy. It might sound cliché, but I really believe that making music is a calling, and I don’t think you have control over who finds power in it and who finds comfort in it. I hope whoever needs comfort anywhere finds comfort and light in this.”
On Oct. 7, Netta was slated to open for Bruno Mars in Tel Aviv and film a video during the show; those plans were scuttled, of course, and in the wake of the attack she found herself in the wrenching position of helping to take care of children whose families were tending to the dead and injured, as well as singing at funerals. Netta also scratched plans for a world tour and an English language album she had recorded and returned to Israel full-time — “I needed to be here,” she says — and released a Hebrew album, Hakol Alai (All On Me). She appeared as a contestant on the 10th season of Rokdim Im Kokhavim, Israel’s Dancing With the Stars, and also performed at a May rally in Tel Aviv calling for the release of hostages still held by Hamas.
Netta also watched this year’s Eurovision, which was marked by protests over Israel’s involvement, while contestant Eden Golan faced threats and harassment throughout the competition.
“I felt really bad for her,” Netta says. “I thought she was a champ dealing with so much hate. When a girl stands on stage and she sings and so many people are trying to bring her down…I think it ruined Eurovision. Eurovision is supposed to be about having a safe space for art and a safe space for people to unite and be brought together. Eurovision is supposed to be the answer to, yes, there are geographical debates and politicians have their wars, but this should be the place to show them that we can talk and we can understand. It was very, very sad.”
Netta says her own situation in Israel right now is safe, which she considers “a gift.” She’s not yet sure if “Big Love” will rekindle her muse, but she’s confident that whatever comes next will have a similar purpose.
“I find small hopes,” she says. “As goofy and as funny and as colorful as my music has always been, it’s always been about love, and it’s always been about light. I’m so sad the world isn’t a perfect place. It crushes me. I really wish it was different, but…it is so complex. But I believe in humans. I believe they can restore and rebuild. I have to.”
KATSEYE are turning up the girl power. The group’s single “Flame” is featured on the upcoming soundtrack for Netflix’s Jentry Chau vs the Underworld, and was officially released on Thursday (Nov. 14). The song, which will also be the animated series’ theme song, is included in a new teaser for the show, starring and executive […]
It’s only been a handful of years since singer-songwriter and Oregon native Max McNown was inspired to pursue a music career in earnest thanks to a stranger he met while strumming his guitar on the San Clemente Pier in California. Since then, he’s topped Billboard’s emerging artists chart and seen his song “A Lot More Free” rise to No. 29 on the Hot Country Songs chart.
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The song, which highlighted his raspy, conversational vocal, was the centerpiece of his debut album, Wandering, which released in April. In the process, that song, along with followups such as “Love Me Back,” have placed McNown squarely in the ranks of acoustic-driven, folk-country artists such as Wyatt Flores and Sam Barber.
Named as Billboard’s Country Rookie of the Month for November, McNown will launch 2025 with a new full-fledged album, the nine-song set Night Diving, out Jan. 24, 2025, Billboard can reveal.
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As with songs his fans have come to know, such as “A Lot More Free,” the new music centers on his poetic, observational writing style, while adding polish to his personally-crafted songs. The upcoming album will include songs such as his new release “Better Me for You,” his recent outing “Hotel Bible,” and a collaboration with Hailey Whitters on “Roses and Wolves.”
Though McNown says he always harbored hopes of being a singer, he says, “It was kind of a pipe dream. I never thought I’d pursue it. Realistically, I wanted to do something in architecture or business management, but it wasn’t until I was 21 that I even took a step toward music.”
After graduating high school at the height of the COVID-19 pandemic, McNown began working at a coffee company while taking university courses online. Within months, he found himself feeling burnt out and restless. “It was all kind of building up. One day, I decided I needed to change up the scene and try something new,” he says.
Armed with a guitar his father gave him, McNown set off for California. He again worked for a coffee shop, and a co-worker encouraged him to play guitar down by the San Clemente Pier. As he was singing through songs such as Tyler Childers’ “Lady May,” a stranger came up to him and introduced McNown to Zach Bryan’s music.
“She showed me three songs, and one of them was ‘Get Out Alive,’” he explains. “I loved it and loved his voice. He did sound very similar to my tone, and it gave me so much courage because my whole life I’d been trying to sing pop songs from Shawn Mendes or Justin Bieber and my voice sounded nothing like them. I was like, ‘Okay, if he can do this with guitar and poetry, maybe I can, too.’”
Now based in Nashville, McNown spoke with Billboard about the success of “A Lot More Free,” his upcoming album, collaborating with country artist Hailey Whitters and his musical ambitions.
How are you handling the success of “A Lot More Free” and adapting to a career in music?
It’s completely life changing. It’s like everything on the exterior feels like it’s just spinning everything. We’re hitting all the different points that we need to hit in our journey. I’m just so extremely grateful and I’m definitely prioritizing keeping my foundation strong and humility in that department.
“A Lot More Free” took off about a year after the song released. What spurred that?
When “A Lot More Free” first released, I remember the first video I made for it. I was with my sister at the Columbia River Gorge in Oregon. She filmed scenes of me walking in front of the gorge and I said, ‘What if this became a travel song?’ That breakdown in the song of the harmonica and the instruments, just the feel it created started resonating with people, and they started creating their own videos of traveling to their favorite places. I saw the momentum, so I started to create compilation videos of their videos.
I would post those and say, ‘Oh, thirty-three videos have been made, thank you so much.’ Then the next day, maybe 400 videos have been made and I would make compilation videos of those and thank people for making them. It snowballed and that was the beginning of the first round of growth.
When views [eventually] started falling a bit, we put out a video of me singing the song — that second massive growth that happened was linking song to artist. I saw this massive influx of followers on TikTok and Instagram — we went from 90,000 Instagram followers to like 950,000 in a matter of under two months. We saw the difference in concert as well — at first, I would play an entire show and at the end I would play the song and you could hear the murmurs, like, ‘Oh, I love this song. Is he covering this song?,’ but after all the social media growth, on the [10-show fall] Canadian tour, people were singing the words and they knew it was me singing it.
On the new album, you team with Hailey Whitters on the song “Roses and Wolves.” How did she come to be part of the project?
I’ve been a fan on Hailey for forever. Evan Honer did a collaboration [“Fighting For”] with her and Hailey has a very distinct, pretty country voice, but she went into this register that I hadn’t really heard from her before on that collaboration, and I was like, ‘Man, I’m dying to know what she would sound like on Roses and Wolves, specifically that song. And she is just such a credible country singer.
I think part of my journey has been trying to shake the TikTok kid stigma that a lot of people will have, but I like to think that what’s coming is greater than a ‘flash-in-the-pan TikTok kid.’ To have Hailey come on to this song with her beautiful voice – I also heard from a lot of people in my camp who are connected to her, and everyone loves Hailey. So we reached out, and she said “yes” to the song. We actually just filmed some content for it and she’s the sweetest, sweetest human being.
You also circle back to another song that fans have related to, “Freezing in November,” which was inspired in part by your brother’s battle with cancer. How is it different revisiting this song on the new album?
When I wrote “Freezing in November” initially, I had no vocal training, no vocal experience, and the song was just a simple melody that stayed consistent. I been playing shows and over time I’ve started to alternate between different melodies at each show, to find a different way of driving home the emotion I want to get across. I started belting out the second verse, in the second chorus and I can just feel the different vocal capability. So to re-sing it, I feel like I did it justice the second time around.
What drives you, creatively?
I definitely prioritize writing. The lyrics are the most important thing in my music. I’m maybe not the best instrumentalist, and so I rely on lyrics anyway. The music that I’ve always loved has always been lyric centric. It’s always been about the story that you’re telling and the emotion that it’s invoking. And so yeah, lyrics and poetry are definitely where I start with all my music.
What is your favorite concert you have ever been to?
NF, which is maybe out of left field. On the topic of honest lyricism, there’s not many better than NF. I was a huge fan in high school, so to see him in person, it’s the only time in my life where I’ve seen somebody—and I had some nosebleed seats—but I watched him walk out on the stage and to see someone you adore and deeply respect, to see them there and think, ‘He’s in the same room. He’s a real human being.’ That’s crazy.
What is your go-to album that you can always listen to?
Forever by Noah Kahan. Just sonically, the instruments and the feeling…my songs are very heavily influenced by that album. Artists like Noah, Zach Bryan, Tyler Childers gave me that launchpad courage. These are basically guys with guitars, writing beautiful poetry over four chords.
When you are on the road, what is your favorite road snack?
You can never go wrong with a Snickers. If I’m a little hungry, but don’t need a full meal, that’s my go-to.
11/14/2024
Hearing your name called even once is a thrill, but repeating is the ultimate goal.
11/14/2024
Zach Bryan only has a handful of shows on his schedule for next year so far, and on Wednesday (Nov. 13) he announced a major new addition. “Always been a dream to play MetLife Stadium, so we’re doin it with Kings of Leon on July 20th, 2025,” the “I Remember Everything” singer revealed in an […]
Kelly Clarkson has turned the Kellyoke segment of her syndicated daytime talk show into a signature moment. Sometimes it’s touching, sometimes it’s fun and occasionally the singer and her crack house band turn around a cover that is so unique and totally Kelly that it makes you wonder if she’s casually created the perfect version […]
The whole world has fallen in love with pygmy hippo Moo Deng. Now the adorable land mammal is coming for year ears after already winning over your heart. A new single honoring Moo has come out in four languages and it should go without saying that it is one of the most irresistible things you will hear today.
The 50-second “Moodeng Moodeng” has been released in English, Thai, Chinese and Japanese with lyrics that are 100% guaranteed to be stuck in your head for eternity. Over a shagadelic 1960’s variety TV show theme song vibe, a group of vocalists sing, “Moodeng Moodeng deng deng deng deng deng deng,” before things really get wacky.
“Moodeng boing boing/ Boing boing boing boing,” the 51-second track continues , before a chirpy woman’s voice slides in for the too-cute verse, “Mommy mommy, play with me/ Please mommy come play with me/ Bounce with me mom.” The male voice then comes back around with another inanely alluring couplet: “Mommy mommy play with me/ Please mommy come play with me/ Are you ready? Hip hop hooray!”
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It all unfolds over a too-cute series of looped videos of the shiny-skinned four-month-old hippo (whose name translates into “bouncy pork”) taking an adorably faltering step and slipping onto her belly in her enclosure and playing with her mom. Moo Deng has gained global fame over the past month after she made her debut on the FB page of Thailand’s Khao Kheow Open Zoo.
The song was produced and written by Thai composer Mueanphet Ammara and released by one of Thailand’s biggest music companies, GMM Music. The videos for the songs are available on YouTube as well as for streaming on Apple Music and Spotify.
Back in September, SNL‘s Bowen Yang dressed as Moo Deng to channel Chappell Roan on the season 50 premiere in a bit in which the viral hippo lamented the vicissitudes of instant, global fame. “Reminder: Women owe you nothing. When I’m in my enclosure, tripping over stuff, biting my trainer’s knee, I am at work. That is the project. Do not yell my name or expect a photo just because I’m your parasocial bestie or because you appreciate my talent,” Yang and Deng said.
After some critics thought the impersonation felt like a backhanded diss of the “Hot to Go” singer who has openly talked about the pressures of being in the spotlight, Yang explained in a since-expired Instagram Story that mockery was the last thing on his mind. “oh geez. ‘mocks’???,” he wrote. “If my personal stance and the piece aren’t absolutely clear in terms of supporting her then there it is i guess.”
Listen to all four versions of “Moodeng Moodeng” below.
Linkin Park fans are receiving what they’ve been hoping for: The band announced that it is adding 50-plus dates to its From Zero World Tour for the new year on Thursday (Nov. 14), one day before new album From Zero arrives via Warner Records.
“Getting back out on the road has been incredible,” Mike Shinoda said in a statement about the trek promoting the band’s new set. “The fans’ support is overwhelming, and we’re ready to take this energy even further around the world. From Zero is a new chapter for us, and we’re so excited to share it with everyone on a bigger scale.”
Linkin Park previously played several shows around the world after announcing new co-vocalist Emily Armstrong and drummer Colin Brittain, and dropping album singles “The Emptiness Machine” and “Heavy Is the Crown.”
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The next leg of the trek will feature special guests Queens of the Stone Age, JPEGMAFIA, AFI, Spiritbox, Grandson, Jean Dawson and Pvris on select dates as it makes its way to stadiums and arenas around the world, including North America, Europe, Asia and Latin America. It kicks off Jan. 31 at Mexico City’s Estadio GNP Seguros, and ends Nov. 15 in Porto Alegre, Brazil.
Prior to announcing the tour, banners reading “Counting From Zero” appeared near the venues and seemingly teased the 2025 world trek was coming. And in the band’s September Billboard cover story about its comeback, Shinoda teased that Linkin Park would be “touring heavily” in the coming year, while bassist Dave Farrell noted, “I’m sure we’re going to do some hard touring in 2025.”
General on sale for shows in North America begins Thursday, Nov. 21, at noon local time, while Europe and the U.K. will be available the following day at 10 a.m. local time. For those in the Linkin Park Underground fan club, presales will kick off on Nov. 18, with more information available on the band’s website.
See below for the From Zero World Tour dates below:
Jan. 31, 2025 | Estadio GNP Seguros – Mexico City, Mexico
Feb. 3, 2025 | Estadio 3 de Marzo – Guadalajara, Mexico
Feb. 5, 2025 | Estadio Banorte – Monterrey, Mexico
Feb. 11, 2025 | Saitama Super Arena – Tokyo, Japan
Feb. 12, 2025 | Saitama Super Arena – Tokyo, Japan
Feb. 16, 2025 | Venue TBA – Jakarta, Indonesia
April 12, 2025 | Sick New World Festival – Las Vegas
April 26, 2025 | Moody Center – Austin, Texas
April 28, 2025 | BOK Center – Tulsa, Okla.
May 1, 2025 | Van Andel Arena – Grand Rapids, Mich.
May 3, 2025 | CFG Bank Arena – Baltimore
May 6, 2025 | Lenovo Center – Raleigh, N.C,
May 8, 2025 | Bon Secours Wellness Arena – Greenville, S.C.
May 10, 2025 | Sonic Temple – Columbus, Ohio.
May 17, 2025 | Welcome to Rockville – Daytona, Fla.
June 12, 2025 | Novarock Festival -Nickelsdorf, Austria
June 14, 2025 | Rock for People Festival – Hradec Kralove, Czech Republic
June 16, 2025 | Heinz-Von-Heiden Arena – Hannover, Germany
June 18, 2025 | Olympiastadion – Berlin, Germany
June 20, 2025 | Bernexpo – Bern, Switzerland
June 24, 2025 | I-DAYS Festival – Milan, Italy
June 26, 2025 | Gelredome – Arnhem, Netherlands
June 28, 2025 | Wembley Stadium – London
July 1, 2025 | Merkur Spiel Arena – Dusseldorf, Germany
July 3, 2025 | Rock Werchter Festival – Werchter, Belgium
July 5, 2025 | Open’er Festival – Gdynia, Poland
July 8, 2025 | Deutsche Bank Park – Frankfurt, Germany
July 11, 2025 | Stade de France – Paris
July 29, 2025 | Barclays Center – Brooklyn, New York
Aug. 1, 2025 | TD Garden – Boston
Aug. 3, 2025 | Prudential Center – Newark, N.J.
Aug. 6, 2025 | Bell Centre – Montreal, Quebec
Aug. 8, 2025 | Scotiabank Arena – Toronto, Ontario
Aug. 11, 2025 | United Center – Chicago
Aug. 14, 2025 | Little Caesars Arena – Detroit, Mich.
Aug. 16, 2025 | Wells Fargo Center – Philadelphia, Pa.
Aug. 19, 2025 | PPG Paints Arena – Pittsburgh, Pa.
Aug. 21, 2025 | Bridgestone Arena – Nashville
Aug. 23, 2025 | Enterprise Center – St. Louis, Mo.
Aug. 25, 2025 | Fiserv Forum – Milwaukee, Wis.
Aug. 27, 2025 | Target Center – Minneapolis
Aug. 29, 2025 | CHI Health Center – Omaha, Neb.
Aug. 31, 2025 | T-Mobile Center – Kansas City, Mo.
Sept. 3, 2025 | Ball Arena – Denver, Colo.
Sept. 6, 2025 | Footprint Center – Phoenix
Sept. 13, 2025 | Dodger Stadium – Los Angeles
Sept. 15, 2025 | SAP Center – San Jose, Calif.
Sept. 17, 2025 | Golden 1 Center – Sacramento, Calif.
Sept. 19, 2025 | Moda Center – Portland, Ore.
Sept. 21, 2025 | Rogers Arena – Vancouver, B.C.
Sept. 24, 2025 | Climate Pledge Arena – Seattle
Oct. 26, 2025 | Venue TBA – Bogota, Colombia
Oct. 29, 2025 | Venue TBA – Lima, Peru
Nov. 1, 2025 | Venue TBA – Buenos Aires, Argentina
Nov. 5, 2025 | Venue TBA – Santiago, Chile
Nov. 8, 2025 | Venue TBA – Rio de Janeiro, Brazil
Nov. 10, 2025 | Venue TBA – São Paulo, Brazil
Nov. 13, 2025 | Venue TBA – Brasilia, Brazil
Nov. 15, 2025 | Venue TBA – Porto Alegre, Brazil
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