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This article was created in partnership with VENU.
Billboard’s highly anticipated Live Music Summit presented by VENU made its return this year, marking its second gathering and celebration since its hiatus in 2019. The summit’s comeback is in response to high demand to refocus on the thriving touring industry.
Attendees experienced a dynamic mix of panel discussions, live performances, workshops, and industry mixers, all culminating in the Touring Awards Ceremony. Among the star-studded panel lineups were Usher, Rauw Alejandro, and top industry executives. It was an invaluable opportunity for those in the music business to gain insights from industry leaders while celebrating the milestones many touring artists have achieved this year.
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The Live Music Summit made its highly anticipated return with exciting new awards and recognitions including the Disruptor Award, presented to Khalid by visionary entrepreneur, J.W. Roth, Founder and CEO of premium live entertainment company, VENU. Over the past 9 years, Khalid has taken the industry by storm, embodying the very definition of a “disruptor.” His bold approach has challenged both fans and music executives to see artists through a new lens.
Accepting the award, Khalid said, “I can remember doing my first venue and there was 125 people at a coffee shop and to be able to see the things that I’ve seen in my career is just such a blessing.” adding, “It wouldn’t have been able to be done without support. So, I just want to thank everyone for supporting me. Especially, me coming into myself as an individual in the public but I’ve seen nothing but love and I hold it with grace and humility.”
Khalid Donnel Robinson in the Green Room during the Billboard Live Music Summit at 1 Hotel West Hollywood on November 03, 2025 in Los Angeles, California.
Christopher Polk/Billboard
Also disrupting the live-music world is Venu Holding Corporation (“VENU”). It isn’t your typical live entertainment company. Rising fast throughout the live entertainment space, the company has built its brand around delivering premium experiences, opening multiple venues nationwide and redefining not only how audiences experience concerts, but how they can own a piece of live entertainment. They’re more than destinations to see your favorite artists. VENU is a fan-founded, fan-owned, artist-inspired movement creating unparallelled, immersive spaces, designed to elevate every part of the concert journey for fans and artists alike. Their mission is to create nationwide, top-tier live music destinations that change how the world experiences and connects with music, shaping the future of live entertainment.
Rashida Zagon for Billboard
After the Billboard Live Music Summit, some of the industry’s top executives gathered at the Sun Rose in West Hollywood for a Music & Money Dinner to reflect on the conversations of the day and engage in insights for the future of live entertainment. During which, VENU Founder, CEO, and Chairman J.W. Roth and industry veteran Tommy Ginoza engaged in a thought-provoking fireside chat, moderated by Billboard’s Editorial Director, Hannah Karp, about the state of the music industry, the evolution of live entertainment, and VENU’s continued expansion of its destination network across the United States. With over three decades of experience as a talent buyer, Ginoza spoke candidly about the future of artist development and the critical role of fan engagement in shaping the live music experience. Roth, meanwhile, highlighted that while recent investment trends have heavily favored music publishing catalogs and master recordings, the live music sector has seen comparatively less attention from investors in recent years.
Rashida Zagon for Billboard
Acknowledging this shift, Roth emphasized that the current landscape presents a unique opportunity to redirect investment toward live entertainment, such as VENU’s unique ownership opportunities in Luxe FireSuites, Aikman Clubs built in partnership with NFL Hall of Famer, Troy Aikman, or common shares, stating, “If you’re going to be innovative in this space, not only do you have to have a concept that is going to be attractive to our customer but you’ve got to figure out a way to finance it… So, we’re not just building amphitheaters. We’re building venues that are multiseasonal, multiconfigurational, and more importantly they are multisensory.”
The event was a true celebration for accomplishments in the live music world and the heights to which this community intends on taking the art of live entertainment in the near and distant future. The prospects of live music are looking bright and Billboard and VENU plan to be a part of every step of the way.
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Good news! Wicked: For Good is coming soon, and so are the Winter Olympics — as advertised in two new magical videos promoting the biennial event featuring Cynthia Erivo and Ariana Grande.
In one clip posted by NBC Sports on Thursday (Nov. 5), the Tony-winning actress who portrays Elphaba in Jon M. Chu’s live-action adaptations of the Broadway musical joins the United States curling team for practice. As they struggle with a faulty broom, Erivo holds up her character’s signature mode of travel and says knowingly, “Try this.”
When the gravity-defying broomstick helps the team achieve its desired results, Erivo does the adorable BFF wave that she and the R.E.M. Beauty founder do in the first Wicked film.
Speaking of Grande, a second clip posted Thursday by NBC opens with figure skating champion Alysa Liu performing a breathtaking routine on the ice before something like an earthquake interrupts her. The camera then zooms out to show that the athlete is actually inside of a snow globe, which the pop star has been gazing into and shaking.
The videos come just a few weeks ahead of the Nov. 21 premiere of the Wicked sequel in theaters, almost exactly one year after the first film arrived and shattered box-office records. Less than three months after the saga comes to a close, the Winter Olympics will kick off Feb. 6 on NBC and Peacock.
The partnership between Wicked and the Olympics marks a full-circle moment, as both Erivo and Grande attended the Summer Games in 2024 as part of their mammoth press cycle for the first film. Universal Pictures also arranged for the real-life Emerald City train from the movies to stop through Paris in honor of the event.
For the second film, the promotional blitz has been noticeably more lowkey, with Grande recently confirming that this was an intentional move to keep the film feeling like it was in the hands of true fans. This week, the first international premiere of Wicked: For Good took place in Brazil, although the two-time Grammy winner was forced to miss the event due to a “safety issue” with her flight.
“i am so heartbroken that i’m unable to be there with you all,” she wrote Tuesday (Nov. 4) on her Instagram Story, urging fans not to “wish danger” on her just because they felt upset by her absence. “we sincerely tried everything we could and i apologize from the bottom of my heart.”
Watch Erivo and Grande star in new ads for the Winter Olympics below.
Trending on Billboard As expected, it was a total eclipse of Taylor Swift on the charts and in the conversation for October — with the pop ultrasupermegastar topping both the Billboard 200 and Billboard Hot 100 for essentially the entire month with her The Life of a Showgirl and its lead single “The Fate of […]
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This decade alone, Jekalyn Carr became the first gospel artist inducted into the Women Songwriters’ Hall of Fame, won her first Grammy (best gospel performance/song for “One Hallelujah”) and topped Gospel Airplay nine times — and she did it all before turning 30.
Carr, 28, is one of contemporary gospel music’s leading talents, and with her forthcoming album, Jekalyn x The Legends, the Memphis-born singer-songwriter is fully realizing her unique status as a bridge between generations. Set for release on Nov. 7 via WayNorth Music, Jekalyn’s new collaborative project will feature gospel music pillars including Pastor Shirley Caesar, Karen Clark Sheard, Yolanda Adams, Kim Burrell, John P. Kee, Bebe Winans, Dorinda Clark-Cole, Dottie Peoples, Harvey Watkins Jr., Lisa Page Brooks, The Williams Brothers and Dr. Bobby Jones.
“I think it’s our duty to continue to make sure that our generation, and the generations after, know about these artists,” Carr tells Billboard. “These aren’t just people whose songs we sang growing up in church — we still sing their songs, and they’re still putting out amazing music! I want to show the world the unity and the togetherness of the gospel industry.”
Jekalyn x The Legends arrives amid a precarious period for gospel music, especially considering five-time Grammy winner Chandler Moore’s bombshell exit from Maverick City Music and the top-selling group’s co-founder’s recent controversial comments. Earlier this year (July 25), Norman Gyamfi, who previously managed Moore, joined an Isaac Carree Show episode, saying, “Choir music would’ve never died if people wanted to listen to it… The gospel norms wasn’t working no more. Y’all sing too hard. Y’all oversing. Stop doing that. Nobody wants to hear no runs.”
With her new record, Carr, a powerhouse vocalist in her own right, reminds the world of the vitality of traditional gospel vocal stylings and its undeniable legacy across musical genres. Packed with inspirational anthems of gratitude, Jekalyn x Legends offers solace and wisdom as much as it edifies. Carr shared the record’s lead single, a Kee-assisted version of March’s “Don’t Faint,” in September, and with a second collaborative album in the works, she’s executing her role as gospel’s generational bridge with absolute precision.
Below, Carr speaks with Billboard about her new album, her favorite recording sessions, and the tense dynamic between traditional gospel and white Christian contemporary music.
How did you come up with the concept of Jekalyn x The Legends?
My dad pitched it to me! Anybody who knows me knows that I love the legends; I always mention them. This is the first time that I get to have a lot of the artists I’ve always wanted to work with on an actual album, from Pastor Shirley Caesar to Bebe Winans to Yolanda Adams. This album is about making sure the gap is being bridged. It’s about honoring these people who have made history not just in gospel, but in music in general. A lot of them have really crossed over mainstream and held onto their core values, which I think is very inspiring.
Which studio session was your favorite?
All of them are great, but one that was very different for me was with Pastor Shirley Caesar. We actually recorded her part a cappella. We had music ready to go, but I was like, “Pastor Shirley, I want you to just go for it and do your thing! I want to take the music out.” And when I tell you… it was just such an amazing [experience].
What did God put on your heart and mind during these recording sessions?
Each song carries its own weight and message. One of my favorite songs is “I Break,” where I’m talking about breaking negative cycles, generational curses, and all these things from the root. Because at the end of the day, you cannot live freely or thrive if you’re weighted down. A lot of people feel like they can’t be free. A lot of people feel like they were held hostage for a long time. But this song reminds you that it doesn’t matter how long you’ve been in it; you can get up from it.
Why did you introduce this album with “Don’t Faint?” Why did John P. Kee feel like the right voice to add to that song?
I always sit back and receive what it is that [I’m] supposed to release for the year — and “Don’t Faint” was that. So many people have heard, “This is going to happen for you! You’re going to see this and that!” And they have not seen it yet. [“Don’t Faint” reminds] you that just because you haven’t seen it, doesn’t mean it’s not going to be your portion. Sometimes you have to push and fight a little harder, but you can’t give up. And John P. Kee, I mean… he’s John P. Kee! I heard his voice on it, and I just felt like he would be the perfect fit for this song. When I reached out to him, it was an automatic yes. It was a wonderful experience having his timeless, classic voice [on my record].
How did you approach arranging a song like “I Love You,” which features three vocal powerhouses between Kim Burrell, Lisa Page Brooks and yourself?
The beauty of this song is that you have three different ladies with three different styles and textures of voices, but we all have the same message: God has been good to us, and we love Jesus! I wanted to mix it up a little bit, so each person has a verse that tells the history of different seasons in our lives that made us love God even more. And it just goes higher and higher. We recorded [our parts for] that song individually, but it felt like we were there together. For each album, I always have a song that just signifies thanksgiving, and “I Love You” is that song [Jekalyn x The Legends].
What did you think of Maverick City Music co-founder Norman Gyamfi’s recent comments about gospel music?
I think we all understand [that] everybody is not the same. If we all were the same, the industry would be boring. What I had to realize is that [I] may not be for every audience, but I’m assigned to somebody. I had to learn how to love what I have to offer. You should never feel like you have to convert to something else because it’s “working.” Be yourself because maybe [those people] are graced for that and that’s what they’re supposed to do. It’s a lot of things I can do. I believe if I really put my mind to it, I could do a little jazz. However, I’m confident in who I am and what I have to offer. We have to learn how to embrace everybody’s style.
There’s been lots of talk about different types of faith-based music, especially Christian contemporary music, thriving in the marketplace, seemingly at the expense of more traditional styles of gospel. Where do you fall on that?
We have to stop looking at it as two different things. The message is the same; it’s just different styles. You have some Black artists who are strictly worship, does that make them not gospel? No. The message is what really matters. As long as the message hasn’t changed and people are still blessed and inspired, that’s all that matters.
How do you hope to translate Jekalyn x The Legends to a live setting?
We’re working on a documentary about the album! I want to show the before, the in-between, and make it a very well-rounded documentary. There may [also] be a tour. I want the legends on the stage — and this is just chapter one. I couldn’t get everybody on this one album, but we’ve already made phone calls, and I still have people to reach out to. It’s very important that this doesn’t stop at an album, and [people] actually see it live in person too.
Source: Dimitrios Kambouris / Getty
Stefon Diggs may have some explaining to do, as he has another baby on the way.
No, we are not talking about his baby with Cardi B. The Patriots Wideout has been identified as the father of IG Baddie, Aileen Lopera’s baby, Charliee Harper Diggs-Lopera. Tamar Arminak, attorney of Lopera, made a statement confirming Stefon is the father, “The paternity has been confirmed, Mr.Diggs is the father of the child. Now that the child’s paternity has been established and Mr.Diggs has acknowledged his daughter, my client hopes they can work toward being great parents to their child.”
Although they have confirmed that Diggs is the father, the case isn’t fully dismissed as of yet. Aileen’s attorney emphasized that if they can’t agree, they will proceed in the court of law: “They will move forward if the parties are not able to resolve [their issue] themselves.”
This comes days after the NFL superstar revealed to the world the gender of his baby he is having with Cardi B. During his time at the CFDA Fashion Awards, he spoke with People Magazine, confirming the gender of their baby, “It’s a boy. That’s enough for me. I can’t wait to make him do push-ups and sit-ups and run around.”
His boo, Cardi, has been in album mode but still made time to watch him ball out at the last Patriots home game. Where the Bronx rapper, of course, stole the show once she stepped in the building.
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As part of its year-long centennial celebration, the Opry will focus on the music that has made it so special with Opry 100: Country’s Greatest Songs. Out Friday (Nov. 7), the Virgin Music Group-distributed double album features 20 previously unreleased live recordings from the Opry stage.
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The collection, which highlights songs from the fan-voted Opry 100 greatest songs list, spans more than 60 years of recordings, starting with Patsy Cline’s “Crazy” captured live in 1962, as well as well-chosen covers like Ashley McBryde’s “Your Cheatin’ Heart” from 2024. There are also a pair of “Full Circle” tracks, which are mixes of two live performances featuring artists of different eras, including a 1981 take of Marty Robbins singing “El Paso” with a later performance of the same song by Marty Stuart.
Below, Billboard premieres a 2007 Opry appearance by Dolly Parton singing her classic, “I Will Always Love You,” to Porter Wagoner on his 50th anniversary of being an Opry member, accompanied by Patty Loveless and Marty Stuart.
“If it hadn’t been for Porter, I wouldn’t have written this song. It was kind of my goodbye song to Porter,” Parton says of her former musical partner.
Dan Rogers, vp and executive producer at the Opry, tells Billboard how the 20 album choices were pared down from the Opry 100 greatest songs list. “We began treating the selection process as if we were putting together a perfect night at the Opry. With every show, we seek not just to create a highly entertaining performance beginning to end, but also to celebrate the past, present, and future of country music and to showcase numerous styles under the country umbrella,” he says.
The selections are meant to take the listener on a journey. “We wanted to ensure that as the listener continues, he hears about everything Opry audiences have experienced for 100 years: Jesus, whiskey, love, heartache, and more from Patsy Cline, George Jones, Vince Gill, Luke Combs, Carrie Underwood, and their contemporaries who have been stepping up to the Opry microphone for decades.”
The Opry owns the recordings of the live performances that take place on its stage, but Rogers says the Opry worked closely “with artists, labels, and publishers to obtain any necessary rights that may be required for using the recordings. Like every piece of music being released, it takes a whole lot of communication and partnership to make it to release day with everyone on board.”
Even as the Opry looks back, Rogers says the 100th anniversary celebration is setting up the beloved institution for the next century. “Our 100th celebration, which will continue well into 2026, is about both celebrating the Opry’s past and paving a path for the next 100 years, and this project is an audio representation of that celebration,” he explains. “The music included features some of the oldest, most authentic sounds from the Opry’s early days to contemporary sounds that help make the Opry relevant for younger fans with broad tastes.”
A number of promotions will surround the project’s release, including Opry member Don Schlitz, who wrote Kenny Rogers’ “The Gambler,” guest hosting on WSM Radio today (Nov. 6). On Friday, SiriusXM’s The Highway channel will celebrate they 100th anniversary during Music Row Happy Hour. On Nov. 8, Opry Live, which airs every Saturday, on the Opry Facebook and YouTube channels, among other outlets, will air a special, hosted by Old Crow Medicine Show’s Ketch Secor, that features performances of 10 songs on the album.
The Opry’s official 100th anniversary show is scheduled for Nov. 28 and will feature more than 20 members of the Grand Ole Opry, including Bill Anderson, John Conlee, The Gatlin Brothers, Vince Gill, Jamey Johnson and Ricky Skaggs.
OPRY 100: Country’s Greatest Songs Track Listing:
1. “Your Cheatin’ Heart” – Ashley McBryde (2024)2. “El Paso” – Marty Robbins and Marty Stuart (1981 / 2024) (Full circle mix)3. “Crazy” – Patsy Cline (1962)4. “Ring of Fire” – Johnny Cash (1967)5. “Coal Miner’s Daughter” – Loretta Lynn (1985)6. “Kiss An Angel Good Mornin’” – Darius Rucker (2021)7. “I Will Always Love You” – Dolly Parton (feat. Patty Loveless and Marty Stuart) (2007)8. “The Gambler” – Don Schlitz (feat. Vince Gill) (2025)9. “Devil Went Down to Georgia” – The Charlie Daniels Band (2015)10. “Elvira” – The Oak Ridge Boys (1980)11. “Tennessee Whiskey” – Luke Combs (2016)12. “He Stopped Loving Her Today (Full Circle Mix)” – George Jones and Alan Jackson (1993 / 2013)13. “I Was Country When Country Wasn’t Cool” – Kelsea Ballerini (2025)14. “Forever and Ever, Amen” – Randy Travis (1989)15. “Don’t Close Your Eyes” – Keith Whitley (1988)16. “Fancy” – Reba McEntire (2017)17. “Chattahoochee” – Alan Jackson (2020)18. “Go Rest High on That Mountain” – Vince Gill (feat. Patty Loveless) (2015)19. “Jesus, Take The Wheel” – Carrie Underwood (2018)20. “Mama Don’t Allow / Will The Circle Be Unbroken?” – Old Crow Medicine Show, Dom Flemons, Billy Strings, and Molly Tuttle (2020)
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After more than 50 years on the road, Journey is preparing for one last victory lap.
On Thursday (Nov. 5), the Rock & Roll Hall of Fame band announced plans for its Final Frontier Tour, a 60-date North American trek that will kick off Feb. 28 at Giant Center in Hershey, Pennsylvania, and run through July 2 in Laredo, Texas.
Billed as “A Special Evening With Journey,” the tour will feature a new stage production and a career-spanning setlist packed with the band’s biggest hits — including “Don’t Stop Believin’,” “Any Way You Want It,” “Faithfully,” “Lights” and more — along with a handful of deeper cuts for longtime fans. All dates are being promoted by AEG Presents.
“This tour is our heartfelt thank-you to the fans who’ve been with us every step of the way,” said founder and guitarist Neal Schon in a statement. “We’re pulling out all the stops — the hits, the deep cuts, the energy, the spectacle. It’s a full-circle celebration of the music that’s brought us all together.”
Schon emphasized that while this marks the final chapter for Journey as a touring act, he has no plans to step away from music entirely. “I want everyone to know I’m not done,” he said. “Music is still burning strong inside me, and there are new creative horizons ahead.”
Keyboardist Jonathan Cain called the farewell run a chance to reconnect with the fans one more time. “We’ve shared our music with millions and this tour is about gratitude, connection and one last chance to feel that magic together,” he said.
Frontman Arnel Pineda, who joined the band in 2007 after being discovered by Schon on YouTube, added: “Every night on stage has been a dream come true. I’m honored to be part of this legacy.”
The current lineup also features Jason Derlatka (keyboards, vocals), Deen Castronovo (drums, vocals) and Todd Jensen (bass).
Since forming in 1973, Journey has sold more than 100 million albums worldwide, scored 18 top 40 Billboard Hot 100 singles, and earned RIAA diamond certification for its Greatest Hits album. “Don’t Stop Believin’” passed 1 billion streams on Spotify in 2024 and remains one of the most downloaded songs in the history of digital music.
The band was inducted into the Rock & Roll Hall of Fame in 2017 and received the Billboard Legends of Live award for its blockbuster co-headline tour with Def Leppard in 2018, which sold more than 1 million tickets.
Tickets go on sale to the general public Nov. 14 at 10 a.m. local time. Citi cardmembers will have access to a presale beginning Nov. 11 at 10 a.m. local time through Citi Entertainment. A limited number of VIP packages — including premium seats and exclusive merch — will be available.
Journey’s Final Frontier Tour dates are below:
Feb. 28: Hershey, PA @ GIANT Center
March 1: Pittsburgh, PA @ PPG Paints Arena
March 4: Washington, D.C. @ Capital One Arena
March 5: Trenton, NJ @ CURE Insurance Arena
March 7: Ottawa, ON @ Canadian Tire Centre
March 9: Hamilton, ON @ TD Coliseum
March 11: Montreal, QC @ Bell Centre
March 12: Quebec City, QC @ Vidéotron Centre
March 14: Hartford, CT @ PeoplesBank Arena
March 16: Columbus, OH @ Nationwide Arena
March 17: Indianapolis, IN @ Gainbridge Fieldhouse
March 19: Milwaukee, WI @ Fiserv Forum
March 21: Memphis, TN @ FedExForum
March 22: Lexington, KY @ Rupp Arena
March 25: N. Little Rock, AR @ Simmons Bank Arena
March 26: Kansas City, MO @ T-Mobile Center
March 28: New Orleans, LA @ Smoothie King Center
March 29: Bossier City, LA @ Brookshire Grocery Arena
March 31: Austin, TX @ Moody Center
April 3: Oklahoma City, OK @ Paycom Center
April 4: Wichita, KS @ INTRUST Bank Arena
April 6: Sioux Falls, SD @ Denny Sanford PREMIER Center
April 8: Des Moines, IA @ CASEY’S CENTER
April 9: Lincoln, NE @ Pinnacle Bank Arena
April 12: Salt Lake City, UT @ Delta Center
April 14: Boise, ID @ ExtraMile Arena
April 15: Spokane, WA @ Spokane Arena
April 17: Vancouver, BC @ Pacific Coliseum
April 19: Eugene, OR @ Matthew Knight Arena
April 21: Sacramento, CA @ Golden 1 Center
April 22: Bakersfield, CA @ Dignity Health Arena
April 24: Fresno, CA @ Save Mart Center at Fresno State
May 15: Tampa, FL @ Benchmark International Arena
May 16: Jacksonville, FL @ VyStar Veterans Memorial Arena
May 18: Columbia, SC @ Colonial Life Arena
May 20: Charlotte, NC @ Spectrum Center
May 21: Greensboro, NC @ First Horizon Coliseum
May 23: Atlantic City, NJ @ Jim Whelan Boardwalk Hall
May 27: State College, PA @ Bryce Jordan Center
May 28: Charlottesville, VA @ John Paul Jones Arena
May 30: Knoxville, TN @ Food City Center
May 31: Savannah, GA @ Enmarket Arena
June 3: Hampton, VA @ Hampton Coliseum
June 4: Roanoke, VA @ Berglund Center Coliseum
June 6: Worcester, MA @ DCU Center
June 7: Manchester, NH @ SNHU Arena
June 10: Buffalo, NY @ KeyBank Center
June 11: Allentown, PA @ PPL Center
June 13: Cincinnati, OH @ Heritage Bank Center
June 14: Grand Rapids, MI @ Van Andel Arena
June 17: Evansville, IN @ Ford Center
June 18: Fort Wayne, IN @ Allen County War Memorial Coliseum
June 20: Champaign, IL @ State Farm Center
June 21: Green Bay, WI @ Resch Center
June 24: Moline, IL @ Vibrant Arena at the MARK
June 25: Springfield, MO @ Great Southern Bank Arena
June 27: Tupelo, MS @ Cadence Bank Arena
June 28: Lafayette, LA @ CAJUNDOME
July 1: Corpus Christi, TX @ Hilliard Center
July 2: Laredo, TX @ Sames Auto Arena
Trending on Billboard SiriusXM is spotlighting the sounds of the season — and Billboard charts — with the Billboard Holiday Countdown. Based on cumulative performance on Billboard’s Holiday 100 chart through last holiday season, the Billboard Holiday Countdown is a festive journey from No. 100 to No. 1 spanning decades and generations of time-honored hits. […]
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After playing games in such countries as Brazil, Germany and Mexico, the NFL is headed to Spain for the first time, where the Washington Commanders and the Miami Dolphins will face each other at Bernabéu Stadium in Madrid Nov. 16. But for music fans, the real face-off will be between Argentine DJ and producer Bizarrap and Puerto Rican star Daddy Yankee.
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Fresh on the heels of yesterday’s release of their “BZRP Music Sessions #0/66,” the pair will perform the track live for the first time at the NFL game in the Spanish capital.
Bizarrap is known for his hit “BZRP Sessions” with top Latin artists, each one tailored to the sound and lyrics of each guest. They include sessions with the likes of Spaniard Quevedo, Puerto Rico’s Rauw Alejandro and “Shakira: Bzrp Music Sessions, Vol 55/66” with Shakira, with its now iconic line “Las mujeres ya no lloran,” which in turn gave name to Shakira’s current tour.
At the NFL halftime show, In addition to the session with Daddy Yankee, Bizarrap will also perform some of his biggest hits.
“Getting the opportunity to headline the halftime show for the NFL’s first game in Spain is a huge honor,” said Bizarrap in a statement. “Especially alongside Daddy Yankee, such a legend”.
“I am really looking forward to performing onstage again with the incredibly talented Bizarrap,” said Daddy Yankee. “I feel so joyful about music and the amazing track we have created together – sharing it with fans around the world has already been so rewarding. Get ready Madrid, get ready NFL, we are going to have an amazing show!”
The NLF’s Madrid game and halftime show follows a September game between the Kansas City Chiefs and the Los Angeles charters played in São Paulo, Brazil, with a halftime show featuring Karol G.
“Across performances at our international games, we’ve elevated Latin artists around the world – showcasing the significance and appeal of the genre globally,” said in a statement Tim Tubito, senior director, global game presentation and entertainment at the NFL. “We’re thrilled to welcome Bizarrap and Daddy Yankee to our first-ever game in Madrid and can’t wait for fans to witness history, including the inaugural performance of the ‘BZRP Music Sessions #0/66’ and a pregame lineup of inspirational talent.”
That pregame lineup includes the Madrid Marine Infantry Group Band playing Spain’s national anthem and Madrid-based vocalist Karina Pasian performing the U.S. National Anthem.
Fans in Spain can tune-in to the Commanders-Dolphins game on Mediaset España’s free-to-air channel Cuatro or on DAZN. Fans in the U.S. can watch the game on NFL Network.
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If two artists are company and three are a crowd, then some Nashville stages are threatening overpopulation.
On three successive nights, Oct. 27-29, a total of 30 artists, three speakers and a pair of comedians assembled at three multi-artist shows with three different themes. For most cities, even one of those concerts would have been a major event, but in Music City, it’s de rigueur; ho-hum; par for the course; been there, done that.
Not to say that other communities can’t produce a big, multi-act show — music capitals such as New York, Los Angeles, Austin or Atlanta certainly do it — but Nashville may have a leg up on the phenomenon, particularly for multi-artist concerts.
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“If you’re in New York, the Friars Club will give you a roast,” says Larry Gatlin, who participated in two of the three Nashville events. “In Los Angeles, they have the Academy [Awards] and stuff. But I think Nashville is unique.”
The parade of large Music City productions started Oct. 27 with The Music of My Life: An All-Star Tribute to Anne Murray, with 14 performers doing one song each at the Grand Ole Opry House while Murray applauded from a floor seat. Collin Raye led with “Daydream Believer,” Shenandoah delivered “Could I Have This Dance,” Canadian Michelle Wright chipped in “Snowbird,” and k.d. lang mirrored Murray’s phrasing while performing “A Love Song” barefoot.
The next night, the Grand Ole Opry stacked six musical acts, including Warner Music Nashville signee Braxton Keith, who was surprised with his first gold record; The Forester Sisters, whose three songs included a cover of the 1950s girl group song “Mister Sandman”; and The Nitty Gritty Dirt Band, who ended the show with a song that’s central to country music history, “Will the Circle Be Unbroken.”
On Oct. 29, the annual Concert for Cumberland Heights raised money for a Middle Tennessee rehab center, with Gatlin and Christian artist Joseph Habedank kicking things off before The Warren Brothers MC’ed an eight-person songwriter round that ricocheted between comedic songs and profound material.
The camaraderie across all three nights was notable.
“This is so vibrant — you know, the sense of community,” says Dirt Band frontman Jeff Hanna, who spent time in Colorado and L.A. prior to moving to Nashville. “If you’re in the music business, you’re always going to have a competitive edge. Everybody wants to win, but you also root for your pals, and I just love that about this town.”
Not many towns could hope to pull off three straight nights of comparable multi-artist shows. They’re larger than a traditional two- or three-act concert, but smaller than a weekend music festival.
It’s not financially feasible — for the artist or the promoter — to have that many people travel long distances to play just a handful of songs. And few communities have the volume of local musical talent.
Other towns also don’t have the Grand Ole Opry. One of the side benefits of the program, which will celebrate 100 years on WSM-AM on Nov. 28, is the infrastructure it has created. The Opry is typically booked four or more nights a week. The artists who play it know ahead of time that they’re part of a big ensemble with lots of moving pieces — very different from a concert with one headliner and an opening act. And the crew has developed a routine for the quick changes that a barn-dance format requires.
“Everything has its challenges,” Opry senior vp/executive producer Dan Rogers allows, “but over the course of all those years and this many shows in a year, you begin to figure out the things that work and don’t work.”
The staff itself has a bigger impact on running a multi-artist show. If The Dirt Band is headlining a date, the group can make adjustments deep into the set by reading the audience. But it doesn’t necessarily know what the crowd is like when it pops out from backstage at the Opry, and since it only does two or three songs in that setting, there’s little opportunity to change the dynamic.
“You’re sitting around for a couple of hours,” Hanna says, “then they go, ‘You’re on in five minutes,’ and you’re plugging in these guitars.”
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Because the artist typically doesn’t have an opportunity to make adjustments, it’s up to the production team to read the room and keep the pace going.
“I’m a time person,” Cumberland Heights development events manager Lee Ann Eaton says. “Like, I’ve jerked Santa [Claus] off the stage because he was taking too long. You know what I mean? ‘Your time is over, Santa. Get up!’ ”
That doesn’t mean the artist is unable to influence a show with an adjustment or two. Rogers points to a recent Jamey Johnson Opry appearance, when an onstage mention of the late Vern Gosdin led him to play three Gosdin songs during his set. Gatlin notes that making the audience laugh can engage a sedate crowd.
“Self-deprecating humor is the secret sauce,” he says. “If you can go out there and, very quickly, make a little fun of yourself or pick on yourself a little bit, the audience immediately relaxes and they take you into their heart.”
Still, because the barn-dance format requires a large cast of performers, all of whom have plenty of downtime, there’s room for a lax production to go off the rails. Making it smooth for the talent and their teams while maintaining a sense of structure is what makes the show work.
“It requires a lot more organization on the back end,” Eaton says. “I’m dealing with eight artists and their dressing rooms and their backstage passes and their parking. But the Ryman makes it easy, too. I mean, they’re so good at what they do, I would say I could do my job from my car.”
It’s that institutional knowledge and experience that makes it possible for Nashville to handle three straight nights of multi-artist packages. The Opry has established an air of normalcy around lineups that would be a major undertaking in most other settings. The production teams know the drill, and the artists see it as part of the heritage in country music.
“This community, as much as any other community, loves to pay respect to the people who paved the way for them — and pay it forward,” Rogers says. “So somebody’s often going to say ‘yes’ when you ask, ‘Do you want to come tip your hat to an artist who you listened to growing up?’ Or ‘to come give a boost to [a young] artist who has said you did the same thing for them.’ ”
In just about any other locale, the production team would be in chaos trying to pull off a live music show with so many moving parts. But in Nashville, three straight nights of heavily populated stages — and backstages — is not such a big deal.
“They’re just so calm about it,” Eaton says of the Ryman team, “because it is commonplace.”
