Tens of thousands of Deadheads descended on San Francisco’s Golden Gate Park on Friday night for the first of Dead & Company’s three weekend shows celebrating 60 years of the Grateful Dead. The shows were consequential not just for the anniversary they commemorated, but for fans of the group, which had not performed anywhere other than Las Vegas’ Sphere since July 2023, when it concluded its final tour.

After an opening set by jamgrass phenom Billy Strings, Dead & Company – comprised of Grateful Dead founders Bobby Weir and Mickey Hart, alongside John Mayer, Oteil Burbridge, Jeff Chimenti and Jay Lane – dove into its catalog with gusto for two crowd-pleasing sets that spanned material from the Dead’s 30-year career. Highlights included guest appearances by Grahame Lesh (for “Box of Rain,” the beloved Dead song written and sung by his late father, Grateful Dead founding member Phil Lesh) and Strings (for the Dead classic “Wharf Rat”), as well as a touching encore of Bob Dylan’s “Knockin’ On Heaven’s Door” that honored the date, which would have been Grateful Dead frontman Jerry Garcia’s 83rd birthday.

Dead & Company’s setlist choices on Friday leave plenty of options on the table for fans returning on Saturday and Sunday – the band rarely, if ever, repeats a song during these sorts of runs – including classics like “Touch of Grey,” “Casey Jones” and “Truckin’.” On Saturday, Sturgill Simpson will open the show under his “Johnny Blue Skies” moniker, while on Sunday, Phish frontman Trey Anastasio will kick off the festivities.

Here’s a look at Dead & Company’s full opening-night setlist for its three-show San Francisco run celebrating 60 years of the Grateful Dead.

P1Harmony chatted with Brooke Morrison on the red carpet of 2025 KCON LA.

After recent on-stage scares for artists like Katy Perry and Beyoncé, fans in Beverly Hills give their opinions on whether they should be more careful about doing stunts on stage.

Leah LaRosa: Did you guys see BlackPink and Jenny on stage? 

Blink Fan: Well, she was always like that for years. I mean, fans maybe just like her face, her emotions, her attitude.

Leah LaRosa: Hey guys, it’s Leah, and I’m here in Beverly Hills. We’re gonna be chatting with some locals about what they feel about the girlies going viral on stage recently. We got Katy, Perry, J. Lo, a lot to talk about. Let’s go! Alright, guys, did you see the viral Katy Perry moment of her on stage? 

Fan: I think they should be banned. 

Leah LaRosa: I know I was like, should the girlies hang it up? Because this happened with Beyoncé too. 

Fan: We should get rid of it. Man, wide state ban.

Leah LaRosa: What do you think about it? 

Fan: I think there should be more. I think that you know it’s gonna be it’s gotta be safer. Some people do it very successfully. Have you guys seen P!nk? 

Leah LaRosa: Some more tricks.

Watch the full video above!

Friday (Aug. 1) capped a bloodbath for music stocks, as a weak U.S. jobs report added to losses suffered following some of the largest companies’ second quarter earnings reports.

The 20-company Billboard Global Music Index fell 8.5% to 2,743.63 as 17 stocks lost ground and only two posted gains (one was unchanged). Four companies fell more than 10% and nine dropped more than 7%. The index’s worst week in its nearly three-year history experienced a steeper decline than the 8.2% drop in the week ended April 4, after President Trump announced steep tariffs for U.S. trading partners. In the wake of this week’s shortfall, the index’s year-to-date gain stands at 28.7%. 

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Stocks were down everywhere. In the U.S., the Nasdaq composite fell 2.2% and the S&P 500 dropped 2.4%. In the U.K., the FTSE fell 0.6%. South Korea’s KOSPI composite index dipped 2.4%. China’s Shanghai Composite Index fell 0.9%. 

Three of the four music companies that reported earnings this week — Universal Music Group (UMG), Spotify and SiriusXM — had sizable share price decreases. The fourth, Deezer, managed a low single-digit decline. 

UMG finished the week down 13.6% to 24.06 euros ($27.89). Friday’s 5.2% drop stemmed from mixed second quarter earnings results released after the close of trading on Thursday (July 31). Part of that decline could be explained by the overall market’s bad day: On Friday, the AEX, an index of companies that trade on Euronext Amsterdam, fell 1.9%. 

UMG shares started the week poorly, falling 6.7% on Monday (July 28) on news that Cyrille Bolloré had resigned from UMG’s board of directors. Bolloré is chairman and CEO of Bolloré Group, which owns 18.5% of UMG’s outstanding shares, and is also the major shareholder in UMG’s former owner, Vivendi. 

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Some UMG investors may be worried that Bolloré may want to sell UMG shares to help the Bolloré Group’s buyout of Vivendi, which is being mandated by the French financial regulator, AMF. A major shareholder offloading shares would depress UMG’s price; however, J.P. Morgan analysts believe Bolloré “did not resign because Bollore plans to sell shares, but because he does indeed want to focus his time on Bollore Groupe, and it made sense to resign before the anticipated US listing,” analysts wrote in a note to investors on Friday.

Spotify fell 9.4% to $627.80 after the company issued lower-than-expected guidance for the third quarter. Like UMG’s results, Spotify’s second quarter was a mixed bag. Analysts noted strong user trends that were overshadowed by foreign exchange losses — Spotify reports in euros, which have gained versus the U.S. dollar this year — and stagnant average revenue per user due to a lack of price increases. Considering the fact that Spotify’s share price had been up 112% in the year leading up to Tuesday’s earnings release, a sharp pullback isn’t surprising. 

SiriusXM shares fell 10.2% to $21.18 after the company continued to lose subscribers in the second quarter. Total revenue fell 2% to $2.14 billion while adjusted EBITDA dipped to $668 million from $702 million a year earlier. SiriusXM subscribers were down 460,000 from the prior-year period, although most of the decline came from paid promotional subscribers, not higher-value self-pay subscriptions. The company reiterated its full-year revenue guidance of $8.5 billion, approximately 2.3% less than 2024’s $8.7 billion. 

Deezer shares fell 2.4% to 1.24 euros following the company’s second quarter earnings release on Wednesday (July 30). Revenue was flat and subscribers were down, but adjusted gross profit and net loss improved.

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Sphere Entertainment Co. dropped 5.4% on Friday alone and finished the week down 6.7%. Live Nation, which reports earnings on Thursday (Aug. 7), dropped 4.4%. 

Cumulus Media had the week’s best performance, gaining 7.7% to $0.14 per share. SM Entertainment was the only other music company in positive territory, with the K-pop company improving 3.8% to 129,500 KRW ($93.26), bringing its year-to-date gain to 71.3%.

Other K-pop stocks fared relatively well. JYP Entertainment fell just 1.1%; HYBE lost 2.1%; and YG Entertainment sank 4.5%. 

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August 1 2025

Created with Datawrapper

August 1 2025

Created with Datawrapper

Country music trailblazer and Grand Ole Opry star Jeannie Seely died on Friday (Aug. 1) at Summit Medical Center in Hermitage, Tenn., due to complications from an intestinal infection. She was 85.

Seely had been battling health issues since last fall and underwent multiple back surgeries this spring, as well as two emergency abdominal surgeries.

Seely was known as a country music trailblazer, with songs such as “Can I Sleep in Your Arms” and the Grammy-winning “Don’t Touch Me,” and was also known as a fierce advocate for women artists and performers.

Seely was born in Titusville, Penn., on July 6, 1940. By age 11, she was singing on a Saturday morning radio show on WMGW, and by 16 she was performing on TV station WICU in Erie, Penn. At 21, she moved California and eventually landed a job at Liberty and Imperial Records in Hollywood. She began writing songs for Four Star Music and was a regular alongside Glen Campbell on the TV series Hollywood Jamboree. She also earned a recording deal with Challenge Records.

In 1964, Seely earned the most promising female artist honor from the Country and Western Academy (now the Academy of Country Music). She then moved to Nashville and inked a deal with Monument Records, which released her signature song, “Don’t Touch Me,” in 1966.

Inducted into the Grand Ole Opry on Sept. 16, 1967, Seely soon became the first woman to regularly host Opry segments. She was also a trailblazer when it came to the image of women country entertainers, as she was the first to wear a miniskirt onstage at the Opry. Seely played her most recent Grand Ole Opry show on Feb. 22 and made more Grand Ole Opry appearances than any other artist in the show’s 100-year history, with 5,397 appearances. In 2022, she was honored when she reached her 5,000th Opry appearance milestone.

Seely recorded several hit duets with Jack Greene, including “Wish I Didn’t Have to Miss You,” which reached No. 2 on Billboard’s Hot Country Singles chart in 1970. The duo also released songs including “Much Oblige.”

As much a songwriter as a performer, Seely saw her songs recorded by artists including Dottie West, Merle Haggard, Ray Price, Connie Smith, Willie Nelson, Ernest Tubb, Irma Thomas, Rhonda Vincent, Chris LeDoux and Moe Bandy.

In addition to music, Seely starred in stage productions of Always, Patsy Cline, The Best Little Whorehouse In Texas and Could It Be Love, and appeared in Nelson’s film Honeysuckle Rose (she also sang on the film’s soundtrack).

Seely was a creative force right up to her passing. In 2020, she released the album An American Classic, a collection of collaborations. In 2024, She released the single “Suffertime.” And in March 2025, Sony Music Publishing Nashville celebrated Seely by releasing reimagined versions of her songs with ascending women country artists, including Madeline Edwards, Mae Estes, Hannah Dasher and Tiera Kennedy. She also worked as a producer for the bluegrass group Cutter & Cash and The Kentucky Grass.

On the radio, Seely hosted the Sundays With Seely weekly show on SiriusXM’s Willie’s Roadhouse channel, with her most recent episode airing on Sunday (July 27).

Seely’s career and creative talents have been recognized by numerous organizations. In 2018, she was inducted into the Music City Walk of Fame and earned the first standing ovation award at the inaugural Influencing Women Awards Gala in 2019. That year, Seely was also awarded an honorary Doctor of Arts from Lincoln Memorial University. In 2023, she was recognized with the CMA’s prestigious Joe Talbot Award. In 2024, she was honored by SOURCE with the esteemed Jo Walker-Meador Lifetime Achievement Award (Seely was a regular co-host of SOURCE’s annual awards ceremony alongside Brenda Lee). And in April 2025, SAG-AFTRA’s Studio Space on Music Row was named in Seely’s honor.

Seely is survived by many friends and family members, including her cat, Corrie. She was preceded in death by her husband Eugene Ward, who died last year; her parents Leo and Irene Seely; and her siblings Donald Seely, Bernard Seely and Mary Lou Seely Lang. A memorial service will be announced.

Tomorrow night’s Saturday show of the Grand Ole Opry will be dedicated to Seely.

“While I’ve had the privilege of working with Jeannie Seely over the past 25 years, my immediate grief is deeply personal. Early in my tenure at CMA, I shared unforgettable lunches with Jeannie and Jo Walker Meador, full of stories that were occasionally irreverent but always fascinating,” Sarah Tarhern, CEO of the Country Music Association, said in a statement. “Jeannie was at the very first Fan Fair with Jack Greene and remained a beloved fixture for decades. She once told me a hilarious story about switching credentials with Dottie West just to keep people on their toes. When the CMA Board honored her with the Joe Talbot Award in 2023, it was for more than her music and fan relationships — it was for her spark. She mentored countless artists, especially women, and while they learned from her confidence and wit, she reminded us she was learning from them too. That humility was part of her magic.”

 
 

Jelly Roll is learning firsthand just how physically challenging it can be to prepare for a WWE match.

The country music hitmaker has been training in preparation for the WWE SummerSlam for the past few months, and in a recent ESPN interview, he shared that he was injured the very first week of training.

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Jelly Roll and his tag team partner, WWE superstar Randy Orton, appeared on a recent episode of ESPN’s Get Up. During the chat, Jelly Roll said, “I broke my pinky week one of training by accident…it’s a constant collision.”

Gesturing to Orton, Jelly Roll added, “Look at this mountain of a man. I walked in and I looked small compared to the guy I’m wrestling.”

Orton replied, “Well, that’s because you lost 200 freakin’ pounds,” referring to Jelly Roll’s much-publicized, successful journey toward getting healthier.

“Yeah, baby!” Jelly Roll said with his signature enthusiasm.

Earlier in the interview, Jelly Roll offered up praise and admiration for the professional wrestlers of WWE.

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“I gave it everything I had for a couple of months, I dedicated my life to it, and I still can’t crack half of the code, a quarter of the code, that actually is this thing. But it’s been awesome. It taught me a lot about myself,” he said.

He also added that the challenges of training were intense. “Listen, man, that ‘Wrestlin’s fake’ stuff has to go out the door. There’s no fake way to land on a piece of plywood in front of 60,000 people. There’s no fake way to go over a cable rope in front of 65,000 people.”

The WWE SummerSlam takes place Saturday (Aug. 2) and Sunday (Aug. 3). Orton and Jelly Roll will take on Drew McIntyre and Logan Paul.

Watch the interview below:

Eminem made a memorable cameo in Happy Gilmore 2, in which he played the role of Donald Jr. Now, Netflix has released the outtakes from his hilarious scenes, which Em posted to Instagram on Friday (Aug. 1).

In the sequel, Slim Shady pays homage to his character’s father — played by late comedian Joe Flaherty in the original film — by shouting “jackass” during Happy Gilmore’s (Adam Sandler) backswing.

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Instead of handling Donald Jr. himself, Happy Gilmore instructs his kids in the flick to take care of him, disposing of him in a nearby pond. Unfortunately, Donald Jr. meets his demise while attempting to wrestle with a family of gators.

“Come on, fake a— dinosaur, you ain’t got a d—k,” Em jokes while battling the alligators in the outtakes. “Put some respect on my name, b—h! F—k you, Detroit, what? I get some Advil, I’ll be back in 20 minutes.”

Fans seemed to enjoy seeing Eminem back in the acting world. “That was awesome! Detroit what,” one person wrote in the Instagram comments. “You should get out more man, do more of this kind of stuff. Us stans need MORE!”

Another added in his comment section: “You’re naturally funny! Please release the whole 1 hour video of you in Happy Gilmore!”

Happy Gilmore 2 hit Netflix on July 25. On the The Dan Patrick Show last month, Sandler revealed how he convinced Em to be part of the sequel.

“I love Eminem. I’m friends with Eminem, but I don’t want to bother the man,” he said. “And everybody kept saying, ‘Man, Eminem would be so funny in this part.’ I was like, ‘I don’t want to ruin this guy’s time. He’s hanging out. He’s in Detroit. He’s doing his life making records.’”

Eventually, Sandler caved after agreeing that Em would be a perfect fit for the role. “Let me bug Marshall and give him a call and say, ‘Dude, I know it’s a pain in the a—, but it’s pretty funny. You mind shooting out to us for a day?’” To which Eminem obliged and the rest is history.

Watch the outtakes clip below.

Stevie Nicks has had a change of plans after suffering a recent injury, with the Fleetwood Mac frontwoman announcing Friday (Aug. 1) that her next two months of shows will be postponed as she heals.

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In a note shared to her social media accounts, Nicks’ team wrote, “Due to a recent injury resulting in a fractured shoulder that will require recovery time, Stevie Nicks’ scheduled concerts in August and September will be rescheduled.”

Noting that the star will proceed with her shows in October as scheduled, the message concludes, “Stevie looks forward to seeing everyone soon and apologizes to the fans for this inconvenience.”

Fans with tickets to any of the postponed performances are encouraged to hold onto their seats, as all previously purchased tickets will be honored at their corresponding rescheduled shows. More information can be found at point of purchase.

Nicks had been slated to perform in a handful of cities across the United States and Canada across August and September, including Detroit, Toronto, Boston, Cincinnati and Brooklyn, N.Y. All of the postponed shows have already been rescheduled to new dates in late October, November and the first couple of weeks in December, as listed in the rock star’s post and on her website.

The news of Nicks’ injury comes more than three months after she first announced her solo tour in April, writing at the time that she couldn’t “wait to share these nights with you.”

The Rock & Roll Hall of Famer had also been supposed to tour with Billy Joel this year, but the Piano Man similarly had to cancel all of his 2025 and 2026 performances as he battles a condition called normal pressure hydrocephalus. In July, he provided an update on how he’s faring, telling Bill Maher, “I feel good … They keep referring to what I have as a brain disorder, so it sounds a lot worse than what I’m feeling.”

Nicks is currently working on a new album, her first in 14 years. The Grammy winner first revealed that she was getting back into the studio as she was being inducted into the Pollstar Hall of Fame.

“I call it the ghost record,” she said in her speech. “It just really kinda happened in the last couple of weeks because of, you know, the [Los Angeles] fires. I was sitting in a hotel for 92 days, and at some point during that last part of the 92 days, I said, ‘You know what? I feel like I’m on the road, but there’s no shows. I’m just sitting here by myself, because everybody else is at the house, doing all the remediations and everything, and it’s just me, sitting here.’ And I thought, ‘You need to go back to work.’ And I did.”

See Nicks’ post below.

MGK has flexed his acting chops on the silver screen in a plethora of roles, but he turned down a chance to star in the Ryan Coogler-directed blockbuster Sinners over the audition’s requirement of using the “n-word.”

Kels stopped by The Pat McAfee Show on Thursday (July 31), where he opened up about skipping out on a potential audition for a vampire role over the inclusion of a racial slur in his script.

“Like Sinners, I was supposed to be in that,” MGK explained. “The vampire, they had me set up to do the audition — it’s the one that’s in the house, so he’s the second vampire, the one that the guy comes and eats the family. In the audition, he has to say the ‘n-word’ and I wouldn’t do it.”

Former NFL player and The McAfee Show co-host, Darius Butler, appreciated the Cleveland native’s gesture to turn down the role, proceeding to give him a fist-bump.

It seems Kelly was describing the role of Bert, the racist KKK member turned by Remmick (Jack O’Connell) in the first act of the film. The role ultimately went to actor Peter Dreimanis, while Ryan Coogler brought out a loaded cast for Sinners, including stars Michael B. Jordan, Hailee Steinfeld and Miles Caton.

The horror thriller’s release has been a major blockbuster success, as Sinners has grossed over $45,000,000 domestically and more than $60,000,000 at the global box office since its April arrival.

Elsewhere in the interview, MGK had a message for Hollywood directors looking to cast him. “Hey dude, I’d like to be in cinema while I still look young,” he said. MGK is gearing up for a busy August, which will include the release of his Lost Americana album on Aug. 8.

Watch the interview below. Talk about Sinners takes place after the 10-minute mark.

Some earnings results are more difficult to interpret than others, and Spotify’s were no exception. Like Universal Music Group’s Q2 earnings, which contained a jumble of metrics headed in opposite directions, the streaming giant’s results were a mixed bag of wins and losses — a contrast to previous quarters when the metrics were in much better alignment.

The market seemed to take the Spotify results poorly, as the company’s share price dropped more than 11% following Tuesday’s earnings release. (Importantly, a pullback of that scope isn’t a surprise given Spotify’s share price was up 112% over the last year through Monday, July 28.) Analysts, however, were more sanguine and focused on the company’s long-term prospects rather than the quarter-to-quarter bumpiness.

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Some of the factors that influenced Spotify’s mixed quarter were under its control (subscriber growth, lower-than-expected advertising performance). But some factors were out of its control (foreign exchange losses) while others were a combination of external and internal forces (higher stock-based compensation expense related to Spotify’s soaring share price). That’s a lot to digest.

Spotify’s earnings results highlighted the tension between investors’ desire for neat, linear growth and the untidy realities for companies that report earnings every three months. For a variety of reasons, some quarters will be better than others, and CEO Daniel Ek encouraged investors “to be prepared” for those instances where Spotify spends more money to grow the business over the long term.

A drop in advertising prices, for example, might spur Spotify to “double or triple” its marketing expense, Ek explained. “We generally expect to see more efficiencies as we’re leveraging better and better tools,” he said, “but sometimes that efficiency may mean that the right thing is to actually spend more in the short term to then get it back in the long term.” Translation: The path to success isn’t a straight line.

Equity analysts, who love a clean narrative as much as anybody, tried to make sense of the contrasting indicators. J.P. Morgan analysts called it a “messy” quarter for its mix of positives and negatives. Some analysts slightly lowered their forecasts for revenue and operating income. Everybody pointed to the fact that Spotify will encounter some bumps in the road as it makes investments (which are a drag on earnings) in pursuit of long-term growth (which, to Ek’s point, could help earnings down the road).

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But there was nothing in Spotify’s results and executives’ comments that changed analysts’ overall theses. Investors want to see year-over-year growth every quarter, but analysts know that isn’t realistic. In their notes to investors, analysts focused on long-term opportunities to attract subscribers, benefits from current investments and Spotify’s ability to generate additional revenue.

Analysts believe that Spotify will continue to succeed if it makes the platform more engaging. Some of them homed in on two statistics that Spotify mentioned during the earnings call: 350 million users have streamed a video podcast, and video consumption is growing 20 times faster than audio-only consumption. Spotify’s investments in AI could also lead to better engagement. Spotify now has AI playlists in 40 countries, and user engagement with its AI DJ has “nearly doubled” in the last year, Gustav Söderström said during Tuesday’s earnings call.

Another factor in long-term growth is Spotify’s ability to generate revenue in different ways. For most of its history, Spotify has made money selling ads and subscriptions based on music listening. That has changed in recent years, and J.P. Morgan analysts believe the company has the ability to improve monetization outside of the record label/music publisher royalty structure. In other words, podcasts and audiobooks have the potential to help drive revenue without giving 70% of that revenue to music rights holders.

In the end, analysts’ valuation models didn’t change much, if at all. Guggenheim lowered its price target to $800 from $840 and maintained its buy rating. J.P. Morgan maintained its $740 price target. Cantor Fitzgerald left its $640 price target unchanged and reiterated its neutral rating. Bernstein kept its $840 price target and outperform rating. There’s a $200 variance in price targets within those four examples. But considering Spotify closed Friday at $627.15, it’s clear all the analysts feel there is upside for investors willing to hold on through occasional rough terrain.