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Fans from all around the world can to tune-in to the Dropkick Murphys’ annual St. Patrick’s Day concert slated for Monday (March 17).
The concert event livestreams from Citizens House of Blues in Boston at 9 p.m. PT/6 p.m. ET on Veeps.
Read on for details on how to stream on Veeps.
How to Watch Dropkick Murphys’ St. Patrick’s Day Concert
Veeps subscribers can stream Dropkick Murphys for $24.99. If you’re not subscribed, you can sign up for at $5.99 per month, or $60 per year. Veeps has a free subscription tier, while you can still purchase access to the livestream feed for the St. Patrick’s Day concert with a free subscription.
Owned by Live Nation Entertainment, Veeps All Access features hundreds of livestream concerts, a catalog of past shows, exclusive bonus interviews, discounts and other benefits. Learn more about Veeps All Access on the Veeps website.
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Dropkick Murphys: St. Patrick’s Day Concert
March 17 at 9 p.m. ET/6 p.m. PT
Want to attend the Dropkick Murphys concert in person? There are still last-minute tickets available via Vivid Seats (get $20 off purchases of $200 and over with code BB30), StubHub and GameTime (score $20 off ticket orders of $150 and over with code SAVE20). Prices vary depending on the city and seats available.
Moreover, you can save $150 off when you spend $500 with promo code BILLBOARD150, or $300 off when you spend $1,000 with promo code BILLBOARD300 at TicketNetwork.com.
Meanwhile, those who want to watch internationally can access different the streaming service with a VPN, such as ExpressVPN or NordVPN.
The Dropkick Murphys: St. Patrick’s Day Concert livestreams from Citizens House of Blues in Boston with a start time of 9 p.m. ET/6 p.m. PT. You can watch the entire event live for $24.99 on Veeps All Access.
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Ticket sales for Beyoncé’s Cowboy Carter Tour are off to a galloping start. Barely a month after pre-sales began and with six weeks until opening night, the world tour is at 94% capacity across all dates, according to new stats from promoter Live Nation. The Cowboy Carter Tour was announced on Feb. 3 with 22 […]
Fans of Sadie Sink may know her best as Max Mayfield on Netflix’s Stranger Things or as the female lead in Taylor Swift’s All Too Well: The Short Film, but they will see a completely different side of her as the titular character in O’Dessa, a dystopian rock opera penned by PattiCake$ director Geremy Jasper.
The Searchlight Pictures film, which also stars Regina Hall, Murray Bartlett and Kelvin Harrison Jr., premiered at SXSW on March 8 and is available on Hulu starting Thursday (March 20).
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Jasper’s plot was ambitious in its breadth. “The original inspiration for the film was a sci-fi musical retelling of the Orpheus myth set in a world that combined the Dust Bowl of the ‘30s with a retro, futuristic, psychedelic sci-fi world,” he says.
In the featurette below, premiering exclusively on Billboard, Sink is a traveling troubadour in a wasteland communicating with her music, but runs afoul of a charismatic dictator, Plutonovich, played by Bartlett. Sink, Jasper and the other main actors also talk about the music in the film in the clip.
It was Sink’s performance in 2022’s The Whale that convinced Jasper to cast her. “Like the rest of the world I knew Sadie as Max, but when I saw her in The Whale, I was knocked out and convinced she could carry this film. Boy, did she,” he says.
Jasper, who has helmed such music videos as Selena Gomez & The Scene’s “Love You Like a Love Song” and Florence + the Machine’s “Dog Days Are Over” (2010 version) also directed the film and co-wrote the songs.
Coming from the world of music videos, Jasper says there was a learning curve when he segued into feature films. “The major skill I learned from making Patti was working with actors, which I had very little experience with,” he says. “It’s become my favorite part of the filmmaking process.”
The movie is billed as a rock opera, which Jasper defines as “the fuzzier, looser, dirtier cousin to the normal musical.” Previous rock operas through the decades left their mark on him. “My favorite is Diamond Dogs by David Bowie. He was trying to make that concept album a stage show and was obsessed with doing a film version. O’dessa is extremely influenced by it,” he says. “Also, The Wall by Pink Floyd and Jesus Christ Superstar are all-time classics.”
The cast album for O’Dessa is out now on Hollywood Records. “I couldn’t be more excited for people to hear Sadie sing these songs,” says Jasper.
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YG shut down Rolling Loud with one of the hardest performances of the weekend, mixing West Coast bangers with real talk.
The Compton rapper made a statement early, bringing out a Donald Trump impersonator who started spitting over-the-top MAGA nonsense like, “We’re going to build a beautiful wall, it will be solid gold.” The crowd was half-laughing, half-booing until YG cut the act short. Right in the middle of the fake Trump’s speech, YG kicked him off the stage, and just like that, the energy flipped.
If keeping the same energy was a person, it would DEFINITELY be YG. As soon as the beat for “FDT” (F**k Donald Trump) dropped, the whole place went crazy. Even though the track came out in 2016, it still hits just as hard today, especially with Trump still making noise in politics. Fans were screaming every word, turning the whole set into a protest anthem moment.
YG didn’t just rap, he made a statement, proving he’s still one of the realest in the game when it comes to speaking on real issues. The Bompton rappers set wasn’t just about politics. YG made sure to rep for the West Coast heavy, running through classics from “My Krazy Life” like “BPT”, “Left, Right”, and “My N***a” Keeping it raw, showing love to his day-one fans while keeping the new generation tapped in. He also took time to touch on serious issues like police brutality, keeping that same energy he’s had since day one.
Check out some of the reactions to YG bringing out a Donald Trump look-alike during his Rolling Loud set.
Yandel is set to take his sinfónico concept on the road.
The reggaetón hitmaker unveiled a four-date U.S. stint that will launch on May 30 in Miami and make stops in Orlando, New York and Chicago. The trek will be preceded by his special Sinfónico show in San Juan, Puerto Rico, on May 10, where he will be joined by the Orquesta Filarmónica de Puerto Rico, directed by Maestro Angel “Cuco” Peña.
The U.S. Sinfónico Tour, produced by Live Nation, is billed as an “innovative live experience” with a live philharmonic orchestra powering Yandel’s reggaetón hits, including “Encantadora,” “Nunca Me Olvides,” and “Noche de Entierro,” to name a few. The songs are also part of his upcoming Sinfónico En Vivo album, scheduled for release on April 3.
For the U.S. shows — directed by Javier Mendoza, professor of the FIU Symphonic Orchestra — Yandel will perform alongside local symphony orchestras. Music arrangements will be done by Rodner Padilla. The Puerto Rican artist’s band and dancers will join with each orchestra in all cities, traveling with a team of around 40 people.
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The U.S. trek follows Yandel’s concert in Miami in October, where he performed for the first time a few of his hits in a classical format, a different approach to música urbana in general fusing reggaetón and symphony.
Yandel launched his solo career in 2013 after countless hits as part of reggaetón pioneering duo Wisin & Yandel. He’s released a total of 11 solo albums, including his latest, ELYTE, which peaked at No. 15 on Billboard‘s Latin Rhythm Albums chart.
Tickets to Yandel’s U.S. Sinfónico Tour will go on sale Thursday, March 20 at 12 p.m. local time at Yandel.com. Check out the dates below.
May 10: San Juan, Puerto Rico (Coliseo José Miguel Agrelot)*May 30: Miami (Adrienne Arsht Center for the Performing Arts)June 1: Orlando, Fla. (Dr. Phillips Center for the Performing Arts)June 7: New York (SummerStage in Central Park)June 8: Chicago (The Auditorium)
*Not a Live Nation date
Stevie Wonder has added another major stop to his Love, Light & Song U.K. tour. The R&B legend will headline BST Hyde Park for the third time when he performs on the Great Oak Stage on July 12; support act will be named later. Explore Explore See latest videos, charts and news See latest videos, […]
Well, that was fast. Just two weeks after Conan O’Brien hosted the Oscars for the first time, the Motion Picture Academy announced that he will be back to host the 2026 show. O’Brien is the first first-time host to host again the following year since Jimmy Kimmel in 2017-18.
“The only reason I’m hosting the Oscars next year is that I want to hear Adrien Brody finish his speech,” O’Brien said with characteristic dry wit. (The best actor winner set a new record for the longest acceptance speech – it clocked in at 5:36 – in Oscar history.)
It can’t be a coincidence that the Oscars chose to make the announcement on St. Patrick’s Day. O’Brien was famously raised in an Irish Catholic family. The host announcement is much earlier in the year than normal, a strong vote of confidence in the new host. Last year, the Academy announced O’Brien as host on Nov. 15. O’Brien’s success as an Oscars host makes up for his bumpy, eight-month run as host of another legendary franchise, The Tonight Show, in 2009-10.
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O’Brien, 61, has won five Primetime Emmys. He is set to receive the Mark Twain Prize for American Humor on March 23.
Last week, the Golden Globes made a similarly early announcement that they are bringing back first-time host Nikki Glaser to host their 2026 show.
The 2025 Oscars, held on March 2, delivered a five-year high in both total viewers (19.69 million) and adults 18-49 (4.54 rating) and ranked as the No. 1 primetime entertainment telecast in both total viewers and adults for the 2024-25 season. The show earned 104.2 million total social interactions, ranking as the No. 1 most social TV program for the season to date, outperforming both The Grammy Awards (102.2 million interactions) and The Super Bowl (62.4 million) this season for the first time on record.
The 2026 Oscars will air live on ABC on Sunday, March 15 at 7 p.m. ET/4 p.m. PT. It’s the third year in a row that the telecast will start at 4 p.m. on the West Coast – in an effort to make it so that East Coast viewers can find out who wins the biggest awards before they go to bed. (This year’s show ended at 10:50 p.m. ET, making that goal a reality for all but the earliest risers.)
The show has aired on ABC every year since 1976, when that network took over from NBC, which had aired it in the five previous years. The Academy’s current deal with ABC, signed in 2016, allows it to televise the show through 2028, which will be the year of the show’s 100th anniversary.
An Academy statement did not mention Hulu, which livestreamed the show this year for the first time. Technical glitches marred the livestream.
The show will again be held at the Dolby Theatre at Ovation Theater in Hollywood, its home base for every year but one since 2002. (The best-forgotten 2021 pandemic show was held at the Union Station in downtown L.A.)
Raj Kapoor and Katy Mullan will return as the show’s executive producers for the third consecutive year. They first served in that capacity in 2024, when Kimmel hosted. They each won Primetime Emmys for outstanding variety special (live) for that show. Kapoor had previously won for outstanding variety special (pre-recorded) for his work on Adele: One Night Only.
“We are both so honored to be returning in our roles for the 98th Oscars,” Kapoor and Mullan said in a joint statement. “We can’t wait to work with Conan and his entire team as we continue to explore even more special and heartfelt opportunities to celebrate next year’s nominees and the impact of film around the world.”
Jeff Ross and Mike Sweeney will return as producers for a second time. Sweeney will also serve as a writer. Sweeney has won three Primetime Emmys for previous productions with O’Brien. Ross has won one.
“We are thrilled to bring back Conan, Raj, Katy, Jeff and Mike for the 98th Oscars!” said Academy CEO Bill Kramer and president Janet Yang in a joint statement. “This year, they produced a hugely entertaining and visually stunning show that celebrated our nominees and the global film community in the most beautiful and impactful way. Conan was the perfect host – skillfully guiding us through the evening with humor, warmth and reverence. It is an honor to be working with them again.”
For Selena Gomez and Benny Blanco love is definitely on the menu. Literally. The couple announced on Sunday (March 16) that they have teamed up with the authentic Thai restaurant Jitlada in L.A. to help other couples enjoy the fried shrimp with curry the singers shared on their first date at the spot. Explore See […]
BTS‘ j-hope previewed his upcoming solo single on Friday, giving ARMY a nine-second taste of the thumping tune. With a buzzy, glitched-out beat and woozy bass line, the first taste of the tune lacked audible vocals, though there did appear to be some chopped-up voices buried in the mix. A first taste on X featured […]
Iggy Azalea has accused Universal Music Group (UMG) of withholding millions of dollars in unpaid royalties, taking to social media to demand what she claims is rightfully hers.
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The Australian rapper, known for her 2014 smash hit “Fancy,” claimed in a series of posts on X (formerly Twitter) on Saturday, claiming that UMG has failed to pay her international royalties throughout her career. “Crazy how in my entire career I was never paid a single royalty by Universal Music for anything outside of the USA. They owe me millions of dollars in back pay, that they technically stole from me, as per my contract I am due payment. The amount owed is in the 8-figure range,” the rapper wrote.
She further revealed that UMG attempted to settle the matter with a payout far below what she believes she is owed. “Last week they tried to respond to my lawyer and offer me a settlement of 18k. I’m told this is a normal response from their lawyers and after appearing in court they end up paying millions as they’re supposed to.”
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Azalea, whose real name is Amethyst Amelia Kelly, signed with Island Def Jam under the UMG umbrella in 2013 before moving to Island Records and eventually parting ways with the company in 2018. Despite her departure, she claims that the label has continued to withhold her earnings, particularly from outside the United States.
Beyond her own case, Azalea expanded her criticism to UMG’s treatment of artists in general.“I’d like to publicly say that I think Universal Music are criminals who actively take advantage of ALL of their artists in perpetuity for their own gain … Universal music really needs to do better in their treatment of the artists who quite literally earn them millions via intellectual property they had zero part in creating. Yuck.”
The rapper didn’t hold back in her final statement, making a direct demand to the label: “Universal music mark my words you ugly b**** – You will pay me what’s owed.” She added that her dispute with UMG has been ongoing for “over two years and counting.”
UMG has not publicly responded to Azalea’s accusations. However, this is not the first time the label has faced allegations of withholding royalties.
Limp Bizkit previously sued UMG, claiming they had not been paid their due earnings due to a software system allegedly designed to “systematically prevent artists from being paid their royalties.”
Azalea has remained independent since leaving the major label system, releasing music on her own terms. While she has not announced any specific legal action, her posts suggest that the fight for her royalties is far from over.
Azalea has earned four career Billboard 200 entries, including her Grammy-nominated debut studio album, The New Classic (No. 3), her highest-charting entry on the ranking to date. On the Billboard Hot 100, she has notched three top ten hits from 13 total entries, including “Problem” (No. 2, with Ariana Grande), “Black Widow” (No. 3, with Rita Ora) and “Fancy” (No. 1, with Charli XCX). Her most recent musical release is last year’s “Money Come,” which received a remix featuring Ivorian Doll and Big Boss Vette.