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Travis Kelce Calls Taylor Swift ‘Ballsy’ for Taking Him Up on Chiefs Game Invite: ‘She Looked Amazing’

Brothers Jason and Travis Kelce just shared their first New Heights podcast episode since Taylor Swift made headlines with her Kansas City Chiefs game visit over the weekend — and of course, they had to talk about it.

After conceding that the siblings had, up until now, been steering clear of the subject on the show “out of respect” for Travis’ personal life, the Chiefs tight end joked, “Yeah, my personal life that’s not so personal. I did this to myself, Jason!” He also noted on the episode — which dropped Wednesday (Sept. 27) — that he’s under a brighter spotlight now following Swift’s visit to Kansas City. “I’m on a roller coaster, man!” he said. “I’m noticing a few things — paparazzi outside my house, s–t like that.”

“Shoutout to Taylor for pulling up!” he continued. “That was pretty ballsy. That was pretty ballsy, yeah. I just thought it was awesome how everybody in the suite had nothing but great things to say about her, the friends and family — she looked amazing. Everybody was talking about her in great light and on top of that, the day went perfect for Chiefs fans, of course.”

In case you somehow missed it, the “Anti-Hero” singer was the guest of honor — at Travis’ invitation — at Sunday’s Chiefs-Bears game at Arrowhead Stadium, where she was captured cheering on Travis’ team and talking excitedly with the Kelces’ mother, Donna. Afterward, she left the stadium with the younger Kelce in his convertible, something that has fans more convinced than ever that a romance has sprung up between the two stars after weeks of speculation.

“To see the slow-motion chest bumps, to see the high-fives with Mom, to see how Chiefs Kingdom was all excited that she was there,” Travis added. “It was definitely a game I’ll remember, that’s for d–n sure. Then we just slid off in the getaway car at the end. Took my Chevelle to the game.”

Unfortunately for Travlor shippers, it doesn’t seem like the Kansas City player has any plans to share more about his connection with Swift, whom he first admitted to having a crush on after failing to slip her his phone number at an Eras Tour concert in May. “It is my personal life and I want to respect both of our lives,” he told his brother before joking, “She’s not in the media as much as I am, doing this show every single week … I’m enjoying life, and I sure as hell enjoyed this weekend.”

“Everything moving forward, I think me talking about sports … is kinda where I keep it,” he added.

Travis and Jason did, however, take some time to answer some basic football questions sent in by Swifties who, in light of recent events, have taken a new interest in the NFL. The two also reacted to some of the most newsworthy comments made about the public interest caused by Swift’s attendance Sunday, including Patriots manager Bill Belichick joking that the musician might just turn into the “biggest catch” of Travis’ career.

“Even Bill Belichick! Belichick, he hasn’t talked much about me outside of, you know, game weeks that we played,” Kelce laughed. “But dude made sure to remind me that’s the best catch I’ve ever had in my life!”

Watch Travis Kelce talk about Taylor Swift’s Chiefs game appearance below:



The Ultimate Billboard Latin Music Week Guide: Full Schedule

Welcome Remarks by Leila Cobo, chief content officer, Latin/Espanol, Billboard

Time: 10:00 AM

Everything You Want To Know About Billboard, But Were Afraid To Ask

Time: 10:05 AM – 10:40 AM

Charts, pitches, awards and more with Pamela Bustios, senior chart and data analyst, Latin and Billboard Español; Ingrid Fajardo, social media manager/staff writer, Latin; Jessica Roiz, assistant editor, Latin, Billboard; and Sigal Ratner-Arias, Billboard Español deputy editor.

How To Manage Your First Big Paycheck: Step 1, Don’t Buy That Exotic Car

Presented by: CN Bank
Time: 10:45 – 11:15 AM

Everything that you need to know about managing and protecting your music revenue with Rodrigo Nieto-Galvis, vp/team leader, Entertainment Banking Miami, CN Bank and Leila Cobo, chief content officer of Billboard Latin and Billboard Español, as moderator.

Exactly Who Is Listening To Latin Music? Everyone! — Luminate Unveils Its New Latin Music Report

Presented by: Luminate
Time: 11:20 – 11:45 AM

Luminate will unveil its new Latin Music Report exclusively at Billboard Latin Music Week. Never-before-revealed metrics and insights will include the growing power of Latin superfans, how and why the genre is expanding to non-Spanish-speaking listeners, the rise of regional Mexican music and the subgenres and artists to watch in the coming months. The findings will be presented by Rob Jonas, CEO of Luminate, which has fueled the Billboard charts for over three decades.

The Rise Of Mexican Music Touring

Presented by: Live Nation
Time: 11:50 – 12:25 PM

The hottest genre on the charts is the hottest genre on the road. Fuerza Regida’s frontman JOP and Live Nation’s Hans Schafer and Jorge Garcia on how to book, market and sell out Mexican music shows. Moderated by Billboard’s senior writer, Latin, Griselda Flores.

So You Have a Million Streams… Now What? Optimizing Your Songwriting and Production Earnings in the Streaming Era

Presented by: Rimas Publishing
Time: 12:35 – 1:10 PM

How to maximize your songwriting and production revenue with panelists Lyanno, artist-songwriter; Miky Woodz, artist-songwriter; Emilio Morales, managing director, Rimas Publishing; and Enrique Marquez París, songwriter and publishing relations, Latin music, Spotify. Moderated by Pamela Bustios, senior charts and data analyst, Latin and Billboard Español.

The Power of Latin Catalog

Presented by: HarbourView
Time: 1:15 – 1:50PM

How Latin catalogs are valued, marketed, bought and sold in a global economy with panelists Sherrese Clarke Soares, founder/CEO, HarbourView; Denny Marte, founder/consultant, MPA Advisors; and Angela “Angie” Martinez, Esq., attorney at law, AngieLaw. Moderated by Hannah Karp, editorial director, Billboard.

The Art of the Festival

Presented by: Viña del Mar
Time: 1:55 – 2:30 PM

Learn what goes on behind the scenes of crafting and sustaining a successful Latin music festival from the most successful festival producers in the world. Panelists include Chris Den Uijl, co-founder, La Familia Presenta; John Frias, CEO, Frias Entertainment Group, Besame Mucho Music Festival; and Daniel Merino, producer, Festival Viña del Mar. Bruno Del Granado, head of global Latin music touring group, CAA, will moderate.

Networking: The Industry Roundtables

Time: 3:00 – 5:00 PM

Latin Music Week attendees will have the chance to meet with the experts who run the business in these exclusive, intimate roundtable sessions.

MONDAY SHOWCASES SCHEDULE HERE.

Jimmy Fallon, Seth Meyers, Stephen Colbert, Jimmy Kimmel Prep Quick Returns After Writers Strike Settlement

Get ready for a bumper car of monologue jokes about how they spent their summer. The four hosts of the major networks’ late-night talk shows will all be back in the saddle on Monday (Oct. 2) following the resolution this week of the 146-day strike by Hollywood writers.

NBC announced in a statement that The Tonight Show Starring Jimmy Fallon (11:35 p.m. ET) and Late Night with Seth Meyers (12:35 a.m. ET) will be back in their usual time slots next week for the first time since the Writers Guild of America went out on strike on May 2.

The Hollywood Reporter added that ABC’s Jimmy Kimmel Live! and CBS’ The Late Show With Stephen Colbert will also be back on Oct. 2 and that HBO’s Last Week Tonight With John Oliver will beat them by 24 hours and return on Sunday night (Oct. 1).

The news is welcome for the Voltron-like group of talkers who banded together last month to launch the Strike Force 5 podcast to raise funds for their out-of-work staff members. In a tweet on Wednesday, the Strike Force (thunder sound effect) dubbed their “mission complete,” adding, “the founding members of Strike Force 5 will return to their network television shows this Monday 10/2. And one of them to premium cable on 10/1.”

After announcing plans to bring back his HBO show Real Time With Bill Maher last week in the midst of the strike — then pulling back those plans amid backlash, and saying that the backtrack move came as the two sides resumed negotiations — Maher announced on X (formerly Twitter) that his writers planned to return to work on Wednesday (Sept. 27), with the first show back slated for Friday night (Sept. 29).

The Writers Guild of America voted on Tuesday to end the summer-long strike after reaching a tentative agreement with Hollywood studios, with the guild’s 11,500 members now cleared to immediately return to work; a deal has not yet been reached with the SAG-AFTRA actors union, which will make it difficult for actors and other SAG members to talk up their upcoming projects on the late night shows.

See tweets from the hosts below.

NEEDTOBREATHE & Maverick City Music Debut Atop Faith-Based Album Charts

NEEDTOBREATHE adds its sixth No. 1 on Billboard’s Top Christian Albums chart, as Caves blasts in atop the survey (dated Sept. 30). In its opening week, encompassing Sept. 15-21, the set earned 10,000 equivalent album units, including 7,000 in album sales.

The rock group, which formed in 1998 in Seneca, S.C., last led the list with Into the Mystery in August 2021. All six of NEEDTOBREATHE’s No. 1s have opened on top, starting with The Reckoning in 2011.

Caves sports 11 tracks, including collaborations with country artists Old Dominion (“Wasting Time”) and Carly Pearce (“Fall on Me”). The former is being promoted to Christian radio by Capitol Christian. In its third week on Christian Airplay, it holds at its No. 29 high (536,000 in audience).

Maverick City Music ‘Way’ Up

Maverick City Music’s The Mav Way: EP Vol. 1, The Maverick Way, with Chandler Moore and Naomi Raine, begins at No. 1 on Top Gospel Albums and No. 2 on Top Christian Albums. In its first week, it earned 7,000 units, with 3,000 in album sales.

The 11-song set marks the Atlanta-based music collective’s third No. 1 on Top Gospel Albums and its seventh top 10 on Top Christian Albums.

Chandler Moore and Naomi Raine are both members of Maverick City Music. Moore notches his first No. 1 billing on Top Gospel Albums and first top 10 on Top Christian Albums. He adds his second top 10 on the former, after Feelings debuted at its No. 4 peak in 2020.

Raine likewise nets her first Top Gospel Albums chart-topping credit. She has one additional top 10, as her solo Cover the Earth: Live in New York started and peaked at No. 6 in June. On Top Christian Albums, she achieves her first top 10.

Bobby Braddock, Lainey Wilson, Morgan Wallen, Ashley Gorley & More Celebrated at Nashville Songwriter Awards

The motto of the Nashville Songwriters Association International (NSAI) is “It All Begins With a Song.” But on Tuesday evening (Sept. 26), Tim McGraw told the audience of music industry denizens and country music fans gathered at the Ryman Auditorium in Nashville that he wanted to briefly amend that statement.

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“It all begins with the songwriter,” McGraw said.

Since 1967, NSAI has worked in service of songwriters at all stages of their careers and across various musical genres, working to advocate for songwriters’ rights. It was those songcrafters — and those who support songwriters — who were honored on Tuesday evening, during the sixth annual Nashville Songwriter Awards.

Chief among them was songwriter-producer (and 2011 Country Music Hall of Fame inductee) Bobby Braddock, who was saluted with the Kris Kristofferson Lifetime Achievement Award. Braddock, of course, is a co-writer on George Jones’ signature hit, the ballad often lauded as the best country song ever made: “He Stopped Loving Her Today.” (“Stopped” was powerful enough to win the CMA Award for song of the year honor twice, in 1980 and 1981.) Braddock got his start performing as part of Marty Robbins’ road band, and earned his first hit as a songwriter with Robbins’ 1965 hit “While You’re Dancing.” Demonstrating the breadth of his influence, Braddock has earned chart-toppers in five different decades.

Braddock’s considerable gifts to country music also include Tammy Wynette’s “D-I-V-O-R-C-E” and the Wynette-Jones duets “Golden Ring” and “(We’re Not) The Jet Set,” all of which were performed Tuesday evening by Jimmy Yeary (wearing a shirt Jones had owned) and Sonya Isaacs in honor of Braddock. Other songs in his sterling catalog include T.G. Sheppard’s “I Feel Like Loving You Again,” John Anderson’s “Would You Catch a Falling Star,” Bill Anderson’s “Peanuts and Diamonds,” Lacy J. Dalton’s “Hard Times” and Billy Currington’s “People are Crazy.”

Or, as Garth Brooks put it more succinctly while honoring Braddock on the Ryman stage, “Bobby Braddock is country music.”

Blake Shelton honored Braddock by performing “He Stopped Loving Her Today,” but also offered his gratitude to Braddock for being a champion for Shelton’s own career. “Bobby Braddock is the guy that found me when I was just a kid here in Nashville trying to make it,” Shelton told the audience. “He took me under his wing, literally took me around Music Row, got me a record deal, produced my first three albums. He’s literally the reason that I am standing here tonight.”

Tracy Lawrence performed his Braddock-penned 1996 hit “Time Marches On,” while Toby Keith offered a mighty-voiced rendition of his 2001 hit “I Wanna Talk About Me,” which Braddock also wrote. “This lyric to me is an epitome of country music; it’s a work of art,” Lawrence said of “Time Marches On.”

“I love country music and I feel fortunate to play a small part in country music,” Braddock said from the podium, as Lawrence, Shelton and Brooks watched. “Long live country music, God bless country music and thank you for this.”

Later in the evening, songwriter exemplar Ashley Gorley earned his seventh songwriter of the year honor, and was feted by Cole Swindell, performing his ACM single and song of the year award-winning hit, “She Had Me at Heads Carolina.” Meanwhile, Russell Dickerson performed “God Gave Me a Girl.”

Morgan Wallen was honored with the songwriter-artist of the year award, for songs including “You Proof” and “Thought You Should Know.” Though Wallen was not in attendance, one of his “Thought You Should Know” co-writers, ACM Awards triple crown winner Miranda Lambert, sent in a video discussing the day Lambert and Nicolle Galyon wrote “Thought You Should Know” with Wallen. “Morgan wanted to write a song about his mama, and he had the two perfect girls in the room that day. There was magic in the air,” Lambert said.

Two of country songwriters’ biggest supporters — the National Music Publishers’ Association (NMPA) chairman/CEO David Israelite and country star Tim McGraw — were also celebrated. McGraw was honored with the NSAI President’s Keystone Award.

McGraw has earned 29 No. 1 Billboard Country Airplay hits. NSAI president Steve Bogard called him “a touchstone of modern country music,” while Lori McKenna performed a tender rendition of the hit that became one of McGraw’s signature hits, “Humble and Kind,” which also earned McKenna a Grammy for best country song, and earned CMA song of the year honors. Brett Young celebrated Israelite with a rendition of the Leonard Cohen classic, “Hallelujah.”

“Thank you for trusting me with your songs and thank you for this wonderful award. It means so much to me,” McGraw said.

Israelite was honored with the NSAI Advocacy Award, honoring his work in fighting for the songwriters’ and publishers’ rights to fair compensation for their art, including his important work toward passing the Music Modernization Act in 2018. He noted the shared goals and progress of NMPA and NSAI, and the work still to do in the era of A.I. He noted a key line in Jordan Davis’s song “Buy Dirt”: “Do what you love and call it work.”

“A brilliant line,” Israelite said. “I have yet to meet a songwriter who doesn’t live their life doing that–doing what they love and calling it work, and I am so fortunate to say the same.”

The night’s biggest song honor, song of the year, went to Lainey Wilson’s “Heart Like a Truck,” written by Wilson, Dallas Wilson and Trannie Anderson. “Heart Like a Truck” is also currently nominated for both single and song of the year at the forthcoming CMA Awards.

Anderson recalled writing her first songs at age seven, and playing in bands since before she was old enough to drive. “The stars that had to align for something like this to happen is a miracle,” she said, adding, “I will forever be grateful.”

Dallas Wilson is the son of musician and songwriter Lonnie Wilson, known for writing songs including Luke Bryan’s “All My Friends Say” and Rascal Flatts’ “Love You Out Loud.” Dallas honored his father, saying, “I’ve always wanted to be just like you.” He said that it was an incredible to be recognized with the song of the year award, but even more so to be celebrated “with friends you have been writing with for years.” Dallas also noted that Lainey could not be in attendance to accept the song of the year honor, because she was playing a sold-out show at Red Rocks.

It was perhaps McGraw who summed up the evening’s aim best, when he charged songwriters to “keep changing the world with your words and melodies.”

Woven throughout the evening, 22 songwriters were saluted with the coveted “10 Songs I Wish I’d Written” accolade, voted on by NSAI songwriter members to honor the work of their songwriting peers, and acknowledge songs featuring Nashville writers across the spectrum of country, Christian, mainstream Top 40, rock and other genres. Megan Moroney offered up a rendition of her own current CMA song of the year-nominated “Tennessee Orange.” Meanwhile, Renee Blair joined HARDY to perform his Lainey Wilson collaboration “Wait in the Truck,” which is up for multiple awards, including single and song of the year, at the CMAs. Others who took the stage to perform some of the night’s honored songs were Nicolle Galyon, ERNEST, Tony Lane and Emily Shackelton.

Here is the full list of “10 Songs I Wish I’d Written” honorees:

“Anti-Hero”
Written by: Jack Antonoff, Taylor Swift (recorded by: Taylor Swift)

“Flower Shops”
Written by: Ben Burgess, Mark Holman, Ernest Keith Smith
(recorded by: ERNEST feat. Morgan Wallen)

“Give Heaven Some Hell”
Written by: Ashley Gorley, Michael Hardy, Ben Johnson, Hunter Phelps (recorded by: HARDY)

“Heart Like a Truck”
Written by: Lainey Wilson, Trannie Anderson, Dallas Wilson (recorded by: Lainey Wilson)

“Human”
Written by: Tony Lane, Travis Meadows (recorded by: Cody Johnson)

“Tennessee Orange”
Written by: David Fanning, Megan Moroney, Paul Jenkins, Ben Williams
(recorded by: Megan Moroney)

“Thought You Should Know”
Written by: Nicolle Galyon, Miranda Lambert, Morgan Wallen (recorded by: Morgan Wallen)

“wait in the truck”
Written by: Renee Blair, Michael Hardy, Hunter Phelps, Jordan Schmidt
(recorded by: HARDY feat. Lainey Wilson)

“What He Didn’t Do”
Written by: Ashley Gorley, Carly Pearce, Emily Shackelton (recorded by: Carly Pearce)

“You Proof”
Written by: Ashley Gorley, Charlie Handsome, Ernest Keith Smith, Morgan Wallen
(recorded by: Morgan Wallen)

Lady A on Maren Morris Deciding to Leave Country Music: ‘You’ve Got to Listen to Your Heart’

Maren Morris shook up the world of country music when she announced earlier this month that she would be leaving the genre, and Lady A are wishing her well as she departs.

In an interview with Billboard, the country trio shared that they heard of Morris’ decision to leave the genre, and felt that she needed to follow her instincts. “I think that, at the end of the day, you’ve got to listen to your heart,” lead singer and guitarist Charles Kelley said. “If this is what her heart is saying, then more power to her.”

Kelley also applauded the singer’s musical chops. “I mean, we love her music,” he said. “If [country] doesn’t feel like it’s where she is right now … I’m always gonna be a fan of her music wherever it’s played. If you’re making great music, you’re making great music.”

Along with the release of her latest singles “The Bridge” and “Get the Hell Out of Here,” Morris told The Los Angeles Times that she couldn’t justify staying in a genre that she felt was sociopolitically out of sync with her beliefs. “After the Trump years, people’s biases were on full display. It just revealed who people really were and that they were proud to be misogynistic and racist and homophobic and transphobic. All these things were being celebrated,” she said. “I thought I’d like to burn it to the ground and start over. But it’s burning itself down without my help.”

For Lady A, country music is less about a system of belief and more about a sound that they enjoy playing. “We just try to focus on authentic music that we love, and as country music fans, we feel like this is the genre for us,” Kelley says.

As for online debates about the political leanings of country music, Kelley said he didn’t have much interest in participating. “I try not to focus on too much of the social media world,” he said. “There is definitely a lot of debate out there, but I can tell you, at least speaking for myself, I just want to focus on the music.”

Fellow lead singer Hillary Scott added that it was important for the band to create “safe spaces for the fans to come and enjoy” their music above all else.

Check out Lady A’s latest single “Love You Back” — a song that Scott says is all about “wanting to give the fans what they want” — below:



Artist-Centric Royalties Is a Good Idea — But It Won’t Solve Everything (Guest Column)

Earlier this month, Deezer announced a new “artist-centric” royalty model with Universal Music Group, under which the streaming service will distribute royalties under what amounts to a weighted system, rather than simply pro rata. The weighted system will attribute a doubled value to streams of “professional” artists, defined as those with 1,000 or more streams per month by 500 or more users, and would double that value again for tracks that fans searched for as opposed to those served up by the platform. 

Assigning more value to music that subscribers deliberately choose to hear is clearly a good idea. In some ways, algorithmically served songs might be more akin to non-interactive radio, which under U.S. law has always generated significantly lower royalty payments.  

Giving additional weight to music from more successful artists simply because they are successful is a less obvious move. Some have said that this new system sounds like a cynical reverse-Robin-Hood move that essentially takes money from the long tail of unsuccessful artists and hands it to the likes of Taylor Swift and Jay-Z simply because big artists are powerful enough to demand it. In fact, however, the proposed cutoff for defining “professional” artist status is pretty low – 1,000 streams per month from at least 500 monthly users. Long tail “noise” would be ineligible for the bonus, though, while even mildly successful developing artists would be treated the same as superstars.

What will all of this mean in practice?  

Thomas Hesse

Thomas Hesse

Deezer says in its press release that “97% of all uploaders on the Deezer platform generated only 2% of the total streams. Whereas only 2% of all uploaders—those artists attracting a consistent fanbase—had more than 1,000 monthly unique listeners.” It’s not clear what percentage of uploaders constitute UMG’s group of professional”artists with more than 1,000 streams from at least 500 monthly users, or what share of total streams they command. But if 2% account for more than 1,000 monthly streams and 3% make up 98% of all streams, then under any reasonable assumption those having at least 1,000 streams from at least 500 monthly users must make up at least 99% of the streams.

If 99% of streams were weighted three-fold under this artist centric policy – all would get doubled, but presumably many tracks would still be served up algorithmically – then, mathematically, that would increase their share to 99.66% (3×99 divided by (3×99+1)). So, the bottom, “noise”, uploaders would see their share of streams and revenues diminished by 0.66% from 1% to 0.34%. 

And what does it mean in real money?

Applying this calculated reduction to IFPI’s published wholesale audio streaming market number of $12.7 billion for 2022 would imply a squeeze on the “noise producers” of $84m (assuming that all labels would eventually follow the UMG model). That’s hardly a large number, but as UMG EVP Digital Strategy Michael Nash says, “we’re fixing the roof while the sun still shines” – the industry leaders want to quash the value of the long tail while it’s still relatively small. Assume that the streaming market grows at 10% a year to over $20 billion within the next 5 years, then assume that, left to the status quo, the revenue take of long tail noise would grow to 5%. If that’s true, UMG’s artist-centric system would cut the noise producer share from 5% to 1.70%, a squeeze of 3.3%, and the professional artist share would go from 95% to 95×3 divided over 95×3+5, or 98.3%. That would amount to a redistribution of $660 million to professional artists, an amount of money that would certainly register.

That means artist-centric royalties do make sense, although they feel like more of a tweak to the existing system than a fundamental change.  

As has been often noted, the current pro-rata model essentially takes subscription money from users who spend less time on a platform (lower intensity users) and passes it to the artists favored by those who spend more time there (high intensity users, or super fans). This redistribution of subscriber revenue does not reflect the proportional tastes of all fans in the market, so it disadvantages deep catalog artists and creators in genres favored by less active users, who tend to be older, such as classic rock, jazz and classical music. Besides being perceived as unfair it also reduces the funds that support a more diverse music landscape and contributes to more streamlined and monolithic business driven by megastars and TikTok. The artist-centric royalty system doesn’t even address this.

It also doesn’t do anything about the fact that heavy users still pay the same low monthly price for access to essentially all the music ever recorded as those who stream far less. Combining a higher monthly price for heavy users with a fan-centric royalty model could represent the leap forward that the industry needs, increasing average revenue per user (ARPU) from heavy users, who would be the least price-sensitive, while distributing the resulting royalties to better reflect the music preferences of everyone who pays for a service. Such a change would grow the overall business and at the same time fund the creative development of a more diverse music landscape.

Thomas Hesse is the former president of global digital business & US distribution at Sony Music Entertainment, and the president and chief digital officer of Bertelsmann. He currently builds and supports the next generation of media companies.

Jason Kelce Says Brother Travis Kelce Is Being a ‘Gentleman’ With Taylor Swift

Jason Kelce has given a much-desired update on the status of his brother Travis Kelce‘s relationship status with Taylor Swift, a rumored match that sent the world into a frenzy after the pop star attended Sunday’s Kansas City Chiefs vs. Chicago Bears game at Arrowhead Stadium.

In a new interview with DeCamara & Ritchie on Audacy’s SportsRadio 94 WIP, the elder Kelce — who plays for the Philadelphia Eagles — fielded questions about Swift’s time in Kansas City over the weekend, during which she spent the NFL game passionately cheering for Travis’ team in a private box suite alongside the Kelces’ mother, Donna, before leaving the stadium with the Chiefs tight end. Swift’s attendance — which has been commented upon by everyone in football from Patrick Mahomes to Bill Belichick — definitely didn’t dispel rumors that the musician and athlete may be dating, which began surfacing in recent months after Travis confessed in May to having a crush on Swift.

“It was fun watching the whole world take it in, to be honest with you,” Jason told the radio show Wednesday morning (Sept. 27). “But yeah, I’m more focused on talking to Trav and Mom after the game and seeing how everything went, and hopefully, everything went smoothly for her.”

“I saw videos of the brigade that the Chiefs had to put outside the suite that she was in – you just hope that somebody of her level and stature can enjoy the game,” he continued, touching on the global superstar’s security needs. “And it certainly, I mean, seemed like she was enjoying it from all accounts and everybody I talked to, so you’re kind of just hoping that she had a good time, and you’re asking questions about her to your mom and whatnot.”

The Eagles offensive lineman went on to address whether his brother and Swift had taken things to the next level following Sunday’s game — although, much like the rest of the world, he doesn’t know that much about it. “I wish I could tell you. I have gotten no inclination from Travis as to what his batting percentage has been or anything like that,” he admitted.

Jason did share, however, that he believes his little bro is opting to take things slow with the “Anti-Hero” singer. “I would say with this one, it definitely seems like he is going above and beyond to be a gentleman,” said the Eagles’ center. “I think that he can probably handle both of those gears when necessary.” 

His latest comments on “Travlor” come about a week after he first fueled the rumor mill by joking that the speculation about his brother’s love life was “one hundred percent true.” Now, he clarifies that he was “just trying to be sarcastic.”

Said Jason: “I’m happy that it finally happened out in the public side, so I can hopefully stop being asked questions about it.”

The 1975’s Matty Healy Says Band Is Going on ‘Indefinite Hiatus’ After Current Tour Wraps

Matty Healy said The 1975 will go on an “indefinite hiatus” when the group completes dates for its current Still… At Their Very Best world tour in late March 2024. The band — who’ve been on the road playing festivals and headlining gigs since March 2022 — kicked off the first leg of their current run on Sept. 16 in Atlanta.

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On the third date of the outing — slated to run through a March 24, 2024 show in Amsterdam — at the Golden 1 Center in Sacramento, CA on Tuesday night (Sept. 26), the NME reported that Healy told the crowd near the end of the set that the 1975 would take an open-ended pause after their two-year global trek.

“It’s wonderful you’re all here,” he told the crowd in video captured by fans. “After this tour, we will be going on an indefinite hiatus with shows, so it’s wonderful to have you guys with us tonight. Thank you so much.” Last month, the band extended the current tour with the addition of a string of 2024 UK and European dates.

The Still… At Their Very Best run of shows has spawned a string of viral moments this year, most of which were focused on Healy’s attention-grabbing stage antics. After the singer made comments critical of Malaysia’s anti-LBGTQ laws and kissed his male bandmate on stage at the Good Vibes Festival in July, the event’s organizer said they are seeking $2.7 million in restitution from the group. Healy then appeared to joke about his group’s Malaysian “ban” during a headlining slot at Lollapalooza in Chicago in August; the 1975 cancelled shows in Indonesia and Taiwan following the incident in Malaysia.

In June, Healy said he was “not very online” following his reported split with Taylor Swift after a rumored brief fling; neither side ever commented on or confirmed any relationship after photos of the two holding hands in New York sparked heated speculation. In other provocations on the road, Healy kissed a security guard in Denmark in June, sort of apologized for offensive racist remarks he made about Ice Spice in a podcast interview in April and sucked a fan’s thumb at a show in January.

At press time a spokesperson for the 1975 had not responded to Billboard‘s request for clarification on whether the announced “hiatus” was a planned break from touring after the lengthy two-year trek or if the time out had another explanation. The 1975 spent two years on the Music For Cars tour in 2018-2020, then took a two-year break from the road before kicking off the At Their Very Best tour on Nov. 3, 2022.

See footage of Healy’s hiatus comment below.

‘Mickey and Friends Trick or Treats’ Stop-Motion Special Won’t Leave You ‘Alone on Halloween’: Song Preview

Just in time for Spooky Season, Disney’s latest stop-motion special Mickey and Friends Trick or Treats is floating to a screen near you.

In the new special — which premieres Sunday on Disney Channel, Disney Junior and Disney XD and hits streaming the next day on Disney+ and Hulu — Mickey, Minnie, Goofy, Donald and Daisy go trick-or-treating at a spooky mansion only to be greeted by the wicked Witch Hazel, who turns the five friends into real-life versions of their Halloween costumes.

Beau Black

Beau Black

Trick or Treats includes new songs from Daytime Emmy-nominated songwriter Beau Black, who is celebrating 10 years making music with Disney Junior. On Friday, Walt Disney Records will release an EP that includes Black’s three original songs from the special: “Fright Night,” “Alone on Halloween” and “Friends Like You Make Halloween.”

Below, Billboard has an exclusive first look and listen of “Alone on Halloween,” performed by Witch Hazel (Misty Lee), while Minnie the spider, Goofy the ghost and the other transformed friends scramble to dodge more magic spells. “Alone” is one of 10 song highlights that Black shared with Billboard as he celebrates a decade of making music with Disney Junior, which has included Mickey Mouse Funhouse, Miles From Tomorrowland, the Lion King spin-off series The Lion Guard and Firebuds, among many others.

Check out Mickey and Friends Trick or Treats starting Sunday, and find Black’s 10 musical highlights for 10 years below, wrapping with “Alone on Halloween.”