Lisa Knowles-Smith and Darrel Walls were the big winners at the 2026 Stellar Gospel Music Awards, which were taped live from the Spectrum Center in Charlotte, North Carolina, on Saturday (Aug. 15). Gospel superstar Kirk Franklin hosted the show.
Knowles-Smith, 42, won five awards, four of them for the hit album Revival: Live in Dallas, which she recorded with The Brown Singers. Knowles-Smith won the Albertina Walker female artist of the year award; duo/chorus/group of the year and quartet of the year alongside The Brown Singers; producer of the year in tandem with Frederick Perry; and song of the year for “Promises (Live),” which she wrote under her real name, Alescia Knowles-Smith. The song reached No. 5 on Billboard’s Hot Gospel Songs chart in June.
Walls, 35, won two awards: artist of the year and contemporary male artist of the year, both for Heart of Mine.
Vincent Bohanan & SOV won three awards, all for their album Live in New York: album of the year, choir of the year (in a tie with JJ Hairston & Youthful Praise), and contemporary choir of the year.
The show will premiere on The Stellar Network, available on Charter Spectrum and Verizon Fios, with the broadcast debuting on Saturday, Aug. 29, at 8 p.m. ET with an encore presentation at 10 p.m. ET. The celebration will make its national cable premiere on BET on Sunday, Aug. 30, at 8 p.m. ET and 10:30 p.m. ET before expanding to audiences nationwide through broadcast TV syndication from Sept. 5 through Sept. 27. In Charlotte, WBTV (CBS) will serve as the local television broadcast partner. Bounce TV will air the ceremony on Saturday, Sept. 5, at 1 p.m. ET.
The 41st Stellar Gospel Music Awards is executive produced by Don Jackson (founder of the Stellar Awards and chairman of Central City Productions, Inc.) with Jennifer J. Jackson serving as producer and executive in charge of production; Michael A. Johnson as producer and director, Erin Johnson-Pressley as talent producer, and Daniel Moore as music director.
Here’s the full nominations list, with winners marked.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-08-16 03:03:452026-08-16 03:03:45Lisa Knowles-Smith, Darrel Walls & More Win Big at 2026 Stellar Gospel Music Awards: Full Winners List
‘Violent Fairy Pop Core’ reads the block-capitals slogan emblazoned across Ariana Grande’s new, hardcore-inspired merch line. It appears to be the singer’s personal embodiment of the sound and aesthetic of her latest LP, Petal, which arrived last month (July 29) and feels like a distillation of the music itself: equally ethereal and defiant, with guitar-driven, lightly abrasive sounds propelling themes of femininity, freedom and contending with life in the public eye.
In the fortnight since it dropped, Petal has topped both the Official U.K. Albums Chart and the Billboard 200, with Grande scoring her best single-week performance of the 2020s thus far on the latter. All 12 songs from the album landed in the Billboard Hot 100’s top 40, while the newly-released video for its title track has also sparked intense online discourse about the singer’s physical appearance. The conversation has, at times, threatened to eclipse the contents of a project that is already preoccupied with the pressures of visibility.
Suffice to say, then, that Grande arrives in London at a charged moment. It makes for a particularly intriguing juncture in the wider Petal campaign, which has had a notably darker, disillusioned and more confrontational feel across its lyrics and imagery compared to the singer’s previous output — particularly given that, earlier in the month (Aug. 2), her representatives confirmed she is set to take a hiatus once these shows conclude her Eternal Sunshine Tour. She has also pulled out of leading the revival of Stephen Sondheim’s Sunday in the Park With George, which was expected to open next summer in the capital.
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That sense of an ending — or, to reference a previous Grande project title, a “bye for now” — inevitably hung over opening night at The O2 (Aug. 15), the first of a sold-out 10-show residency at the 20,000-capacity arena. The venue was previously at the center of the 33-year-old’s 2020 Netflix special, Excuse Me, I Love You, and it’s one she will call home again through Sept. 1.
But if Grande is approaching these shows as a farewell to this particular chapter, and potentially a more significant break from the spotlight, she certainly isn’t performing like someone ready to quietly bow out. It was an evening blazing with vertiginous vocal runs, an abundance of intricate video imagery, as well as live sample looping and the fans’ elaborate ‘fit checks and fervent enthusiasm.
Below, find the five best moments from Grande’s opening night of the London (and final) leg of her Eternal Sunshine Tour.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-08-16 03:03:452026-08-16 03:03:45Ariana Grande Reclaims the London Stage After 7 Years: 5 Best Moments
Accusations that Selena Gomez duped investors into putting $1.2 million into mental health startup Wondermind are baseless, the star’s lawyer, Mathew S. Rosengart, says after Gomez was named in a lawsuit filed Thursday (Aug. 13). Rosengart will be filing a motion to dismiss claims made in the suit.
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On Saturday (Aug. 15), the litigator denied allegations made against Gomez in the statement seen below, which was first published by People. Billboard independently verified the statement with Rosengart.
“The allegations that Selena Gomez engaged in any way whatsoever in any purported ‘fraud’ or other wrongdoing are completely meritless, both factually and legally. We will vigorously defend these false allegations and indeed are filing a motion to dismiss the baseless claims against her,” Rosengart said.
The lawsuit was filed on behalf of a group of five investors — Brent Saunders, Marc Roberts, EJ Solimine, Andrew Resnick and Mark Peikin — who are seeking the return of the money they invested in Wondermind, as well as additional financial damages for alleged wrongdoing by leadership at the company, which they say “quietly collapsed around them” while “not one of its founders, officers, or directors said a word to the investors.”
The group claims that Gomez, Mandy Teefey (Gomez’s mother) and Danielle Pierson (former executive), who co-founded the mental health-focused company in 2021, led them to inves in the company in 2022.
Wondermind was envisioned as a suite of mental health media initiatives, including a digital magazine, a mobile app and a podcast.
The plaintiffs allege they were promised Gomez would be actively involved as Wondermind’s head of marketing, leveraging her huge fanbase and social media following to promote companity initiatives.
The plaintiffs allege Pierson — who no longer works at the company — told them Wondermind had a “potential future valuation” of more than $4 billion, and that she’d generated $40 million a year at her prior media company, The Newsette. They were also allegedly told the company had partnerships in place with JPMorgan and Fidelity, as well as major ad deals and interest in cover story features with stars like Drake, Megan Thee Stallion, Elton John and Camila Cabello.
The lawsuit claims pitches turned out to be false, and that the investors only learned “the sheer magnitude of the fraud that the defendants had foisted upon them” when an exposé was published by The Cut last year that painted a picture of an apparently troubled financial state at Wondermind.
“The accounts in the Cut article collectively show that, from the outset, Wondermind had no plan for its future — much less a plan for achieving a multi-billion dollar valuation,” the lawsuit says.
The Cut reported in part that, after speaking with 14 current and former Wondermind employees, they’d learned Gomez distanced herself from the company soon after its launch, that finances were dire due to Teefey’s alleged erratic behavior and substance abuse issues, and that Pierson left Wondermind in 2023 due to a power struggle with Teefey; Pierson’s work at her previous employer was also under scrutiny.
“The information unearthed in this article proved not only that the company was, and is, in a state of financial calamity; it proved that the defendants’ representations about the company’s operations, personnel and financial prospects were a fiction. There was no legitimate enterprise in the works, much less a lucrative one,” Thursday’s lawsuit alleges.
Teefey denied allegations of company mismanagement, and said Wondermind remained viable, when The Cut article went to publication last year. “I started Wondermind because I wanted to help people with mental illness. It’s unfortunate that a few disgruntled employees with an ax to grind can spread lies about me and distort the truth. Even more disappointing that the media is willing to amplify their lies,” she said.
The Greatest Showman is heading to London’s West End.
On Friday (Aug. 14), Disney Theatrical Group announced that the stage adaptation of the hit 2017 film will open at Theatre Royal Drury Lane in spring 2027.
The announcement follows the production’s sold-out world premiere run earlier this year at Bristol Hippodrome. The news was revealed during D23: The Ultimate Disney Fan Event at Honda Center in Anaheim, California.
The West End production will star Oliver Tompsett as P.T. Barnum, with Samantha Barks as his wife, Charity Barnum. The principal cast also includes Ben Joyce as Phillip Carlyle, Vajèn van den Bosch as Jenny Lind and Malinda Parris as Lettie Lutz. Additional casting will be announced at a later date.
The musical is based on the 2017 film starring Hugh Jackman as Barnum, who goes from being unemployed and struggling to creating a spectacular circus that eventually grows into the famous Ringling Bros. and Barnum & Bailey Circus.
The film’s soundtrack became a major commercial success, spending two weeks at No. 1 on the Billboard 200 in 2018. The album features songs performed by the film’s cast, including Jackman, Barks, Zac Efron, Zendaya, Michelle Williams and Keala Settle.
The movie’s “This Is Me” also won the Golden Globe for best original song in 2018.
The West End production will bring back the film’s signature songs, including “The Greatest Show,” “A Million Dreams,” “Come Alive,” “Rewrite the Stars,” “Never Enough” and “This Is Me,” while introducing new music created specifically for the stage musical.
Benj Pasek and Justin Paul, who wrote the film’s songs, will return to write the stage production’s score. Tim Federle is penning the book, while Casey Nicholaw will direct and choreograph, according to Variety.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-08-16 03:03:432026-08-16 03:03:43‘The Greatest Showman’ Musical Sets London’s West End Premiere for 2027
After nearly 30 years together, Slipknot is parting ways with keyboardist and DJ Sid Wilson.
The news came in a since-deleted Instagram and website post from the Grammy-winning heavy metal band on Friday (Aug. 14) after weeks of speculation about Wilson’s status in the group. The statement remains posted on the Instagram account for Knotfest, the music festival created in 2012 by Slipknot.
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“Effective immediately, Slipknot will no longer be associated with Sid Wilson,” the statement reads. “We wish him the best in his future endeavors.”
The Knotfest Instagram caption adds: “Slipknot have parted ways with Sid Wilson. The announcement could briefly be found on the band’s website.”
Billboard has reached out to a rep for Slipknot for further details.
Wilson joined Slipknot in 1998, having been recruited by the Des Moines, Iowa-founded heavy metal band as its ninth member for his impressive DJing skills. He joined just before the group’s mainstream breakthrough, when they signed to Roadrunner Records and released their 1999 self-titled debut album.
The project was the band’s first on the all-genre Billboard 200 albums chart (peaking at No. 51 in May 2000), where they’ve since landed six top 10s and three No. 1s: 2008’s All Hope Is Gone, 2014’s .5: The Gray Chapter and 2019’s We Are Not Your Kind. In 2006, the band took home their lone Grammy, best metal performance for the song “Before I Forget,” among 11 career nominations.
Last month, TMZ reported that Wilson — known for wearing a gas-mask-like face covering amid the famously masked band — was notified July 31 that he’d been let go from the group. With no official word from the band or Wilson himself, comments from Slipknot guitarist Jim Root on Instagram planted seeds of doubt around the report. “Don’t believe everything you read,” Root wrote in a since-expired Instagram Story post, according to People. “Stop. Think. Take a breath. Sit with it for awhile. Maybe. Just maybe even wait until there’s more information.”
Friday’s posted-and-deleted statement exactly two weeks later is the first word from Slipknot on the status of Wilson, who also reportedly broke off his engagement to Kelly Osbourne in March.
Slipknot’s most recent album was 2022’s The End, So Far, which debuted and peaked at No. 2 on the Billboard 200.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-08-15 03:04:512026-08-15 03:04:51Slipknot Cuts Ties With Sid Wilson After Nearly 30 Years
While Colombia grapples with the aftermath of its highest-magnitude earthquake recorded in the 21st century, the music industry is mobilizing to support relief efforts.
Artists in the United States and Colombia are joining forces, using their influence and music to raise funds for organizations and communities that need support in rebuilding cities and assisting families in need.
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Colombian artists including Maluma, Karol G, Feid and Carlos Vives and artists from other countries such as Puerto Rico, Cuba and Venezuela are participating in events and fundraisers, or simply using their nonprofits and social media for visibility and assistance as Colombia and Venezuela recover from devastating earthquakes.
On Monday, just six weeks after Venezuela was struck by two earthquakes of 7.2 and 7.5 magnitude in June, a 7.4-magnitude earthquake shook Colombia’s Pacific Coast, with the epicenter in San José del Palmar, a city in the department of Chocó, 150 miles west of Bogotá. According to The Associated Press, as of Thursday, at least 281 people had died, 348 had been rescued, more than 3,900 had been injured, and nearly 400 remained missing. Civilian databases listed more than 4,200 people as missing. The earthquake destroyed 10,600 homes and damaged another 65,800. Rescue efforts continued Friday, though the likelihood of finding survivors was declining.
Following Monday’s earthquake, Colombian artists including Shakira, Camilo, Greeicy and Maluma spoke out on social media platforms to offer their support and raise awareness about the devastation of the earthquake.
Here are the events and initiatives underway to support earthquake relief efforts in Colombia and Venezuela.
Unidos Por Los Nuestros
Taking place on Sunday (Aug.16) at the Kaseya Center in Miami, Unidos Por Los Nuestros — previously promoted as Unidos por Venezuela, before Colombia’s earthquake disaster took place on Monday — the benefit concert will bring together more than 30 artists. Marc Anthony, Jay Wheeler, Ricardo Montaner, Luis Fonsi and Gilberto Santa Rosa are among the biggest names in the lineup.The benefit concert, along with an international telethon and a global fundraising campaign, aims to raise funds for key programs such as food assistance, health care, shelters, housing, child protection, mental health, education and infrastructure reconstruction. The concert will be available at 6 p.m. ET and PT/ 5 p.m. CT across various platforms, including Univision and ViX.
On Saturday (Aug. 15), more than 25 artists will come together at Centro de Eventos La Macarena in Medellín, Colombia, for a benefit concert called “Colombia, Medellín Te Quiere,” or “Colombia, Medellín Loves You.” The lineup includes Kapo, Pipe Bueno and Juan Duque.The event will collect monetary donations and supplies for families affected by the earthquake. One-hundred percent of ticket proceeds will go directly to disaster victims. Doors will open at 11 a.m., and the event will run from noon to 8 p.m.
Si Nos Organizamos, Cabemos Todos
“Si Nos Organizamos Cabemos Todos” is a marathon of interviews featuring comedian and actor Alejandro Riaño and some of Colombia’s biggest music stars. Riaño, host of The Juanpis Live Show, will appear as his character Juanpis González, a satirical portrayal of a member of Colombia’s upper class, at Movistar Arena on Aug. 29 from 4 to 11 p.m. The lineup includes Feid, Carlos Vives, Piso 21, Manuel Turizo, Kapo, Mike Bahía, Monsieur Periné and ChocQuibTown, among others. The event will feature both performances and interviews.
Nicky Jam and Grupo Empresarial Argos have launched “Adopta Un Hogar (Adopt a Home),” a campaign supporting the reconstruction of homes in Colombia’s hardest-hit regions. The partners will donate COP 13 billion in cement and concrete and match public contributions peso for peso, with a goal of raising COP 26 billion to rebuild or repair homes in Chocó, the Coffee Region and Valle del Cauca.
“Colombia, my people, my heart is with you,” Nicky Jam said in a press release.“To all the artists and everyone who can join us, I’m calling on you: Let’s adopt homes and stand with those who are losing everything in this tragedy. Together, we are stronger. Colombia is not alone.”
Morat partners with UNICEF
Morat is turning its six-concert Bogotá residency into an opportunity to support Colombia beyond the stage. During their shows, which take place at the Movistar Arena on Aug. 14, 15, 16, 21, 22 and 23, there will be donation points available for fans who want to contribute to the cause. They also announced that part of the proceeds will go to UNICEF, with a focus on rebuilding schools in the areas most affected by the earthquake, including Chocó, Quindio, Valle del Cauca and Antioquia.
La Magdalena Fest will take place this weekend (Aug. 15-16) in Honda, Colombia, to support families and communities affected by the recent earthquake. Artists, partners, vendors and attendees are looking to turn the festival into a benefit to bring aid to those most in need. There will be collection points throughout, and the proceeds from the festival’s official store will also go to communities impacted by wildfires in Tolima.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-08-15 03:04:502026-08-15 03:04:50Here Are Events Marc Anthony, Feid, Karol G & More Latin Music Artists Are Joining in Support of Colombia and Venezuela Earthquake Relief
Jack’s back, with a new, numbered vinyl and range of merchandise to mark a special occasion.
John Farnham’s benchmark-setting 1986 album Whispering Jack enjoys the 40th anniversary treatment with an expanded edition pairing the original LP with the live recording, Whispering Jack Live In Concert.
Recorded in Melbourne back in 1987, at the very peak of Whispering Jack’s success, Live In Concert has never been available on vinyl until now (it was original distributed on DVD-only).
With an expected shipping date of Sept. 18, the limited-edition release is pressed on black and white vinyl, and individually numbered from one to 2,500, with the collector’s edition reimagining the iconic artwork through an inverted design (see below). A two-CD set is also available.
To celebrate the milestone anniversary, Farnham rolls out a range of fresh merch, including apparel, t-shirts, mugs, accessories and more.
Whispering Jack is no ordinary ‘80s album. With the release, Farnham, a former teen idol who found himself at a crossroads in his career, enjoyed a hit quite like nothing the domestic industry has seen before or since. Released through Sony Music, the album spent 25 weeks at No. 1, en route to shifting more than one million copies, becoming the first homegrown LP to do so. It remains the highest-selling album ever in Australia by a local talent.
The collection houses the hits “Pressure Down,” “A Touch Of Paradise,” and Farnham’s signature song “You’re The Voice,” a top 10 hit in the U.K. and, four decades on, the unofficial anthem of Australia.
The legendary, ARIA Hall of Fame-inducted singer is the subject of the 2023 film John Farnham: Finding the Voice, which became the all-time highest-grossing Australian music documentary in these parts, and his life, career and catalogue will be celebrated with the new musical Whispering Jack: The John Farnham Musical, the world premiere for which will be presented Nov. 15 at the Roslyn Packer Theatre, presented by the Sydney Theatre Company.
Farnham’s fame has barely dwindled in his homeland, though the star is rarely seen in public since he underwent major surgery to remove a cancerous growth in August 2022, and embarked on a lengthy rehabilitation process.
John Summit has added a Los Angles date to his upcoming CTRL ESCAPE tour, and it’s a big one. The producer will play the Los Angeles Memorial Coliseum, which has a capacity of roughly 77,500, on Dec. 12.
A press release about the show advises that this will be Summit’s biggest headline show to date. It will also be the final show of the 20-date arena run, which begins Oct. 1 in Champaign, Ill., the city where Summit studied accounting at the University of Illinois Urbana-Champaign. Organizers report that tour stops in Boston, Fort Worth and Brooklyn are sold out. See the complete tour schedule below.
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“Over the years LA has made some of the most special moments of my career,” Summit wrote in his post announcing the show, referencing the pipeline of local venues he’s risen through. “From the Palladium to the Shrine, then BMI Stadium to Kia Forum.. we knew we had to end the album tour on the highest note in Los Angeles.”
Summit recently closed his 2026 Ibiza residency at [UNVRS] and headlined Lollapalooza on July 30.
CTRL ESCAPE Tour Dates
October 1 – Champaign, IL – State Farm Center October 23 – Montreal, QC – Centre Bell October 24 – Hamilton, ON – TD Coliseum October 25 – Toronto, ON – Scotiabank Arena October 29 – Boston, MA – TD Garden (SOLD-OUT) October 30 – State College, PA – Bryce Jordan Center October 31 – Washington, D.C. – Capital One Arena November 5 – Houston, TX – Toyota Center November 6 – Austin, TX – Moody Center November 7 – Fort Worth, TX – Dickies Arena (SOLD OUT) November 8 – Fort Worth, TX – Dickies Arena November 13 – Columbus, OH – Schottenstein Center November 14 – Charlotte, NC – Spectrum Center November 15 – Atlanta, GA – State Farm Arena November 20 – Miami, FL – Kaseya Center November 21 – Miami, FL – Kaseya Center November 24 – Chicago, IL – United Center November 25 – Chicago, IL – United Center November 27 – Philadelphia, PA – Liacouras Center November 28 – Brooklyn, NY – Barclays Center (SOLD-OUT) December 4 – Oakland, CA – Oakland Arena December 5 – Oakland, CA – Oakland Arena December 12 – Los Angeles, CA – Los Angeles Memorial Coliseum
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-08-14 03:03:422026-08-14 03:03:42John Summit Adds L.A. Memorial Coliseum Show to His Arena Tour
It’s been almost two decades since fans first met Mitchie Torres and the campers of Camp Rock. Now, the beloved franchise grows with the release of Camp Rock 3.
The new film introduces a fresh batch of campers hoping to earn their place in the spotlight while also bringing back some familiar faces, including the beloved members of Connect 3, played once again by the Jonas Brothers. When the band announces that they are looking for an opening act for their tour, the campers are put through a series of three challenges that test not only their musical chops, but also their ability to work together.
The challenges lead to the film’s climatic final jam, where the remaining campers get one last opportunity to prove that they have what it takes to support Connect 3 on the road. During the journey, some of the movie’s most memorable scenes have little to do with winning. The campers find themselves forming unexpected friendships, confronting their own insecurities and discovering that making music can be just as much about connecting with other people as it is about putting on an amazing performance.
For longtime fans of the Camp Rock films, this new addition has a few surprises of its own. From an unexpected songwriting lesson with a Camp Rock alum to a surprise appearance before the final jam, here are five of the biggest moments from Camp Rock 3.
The following contains spoilers for Camp Rock 3, including details about the film’s final jam and its outcome.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-08-14 03:03:422026-08-14 03:03:425 Best Moments From ‘Camp Rock 3,’ From a Surprise Demi Lovato Cameo to the Final Jam
California’s most comprehensive ticketing bill to date, AB 1720, failed to make its way out of the state’s Senate Appropriations Committee on Thursday (Aug. 13). The bill, originally introduced by state assembly member Matt Haney in February, would have made it illegal to resell a concert, theater, comedy or other live entertainment ticket (sports were not included) at a price higher than face value (the cost of the ticket plus fees from the primary ticketing source) plus 10% for shows taking place in California.
“AB 1720 would have helped remove the incentives that fuel predatory ticket resale while still allowing someone who can’t attend a show to resell their ticket and recover their costs,” Haney said in a statement provided to Billboard. “I’m disappointed the bill did not advance, but this outcome doesn’t change the reality that fans, artists, and venues are losing out while middlemen extract more and more profit.”
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Haney continued: “It’s not surprising that a bill designed to put power back in the hands of fans, artists, and venues faced opposition from an industry that profits from speculation and artificial scarcity.”
The California bill faced aggressive lobbying efforts from secondary ticketing companies like StubHub, which spent $3.4 million opposing the legislation, according to publicly available records. (The Hollywood Reporter was first to report on the lobbying sum.)
“Started in California 26 years ago, StubHub exists to give fans access to live events on their own terms through a secure, verified marketplace — including fans who couldn’t get tickets during the original on-sale, or who want the option of grabbing a great deal as prices shift closer to the event,” a StubHub spokesperson said in a statement to Billboard. “We believe that more choice, flexibility, and access put fans first and help everyone get into the events they love.”
The bill was backed by the nationwide National Independent Venue Association (NIVA), the local NIVA CA chapter and musician advocacy group Music Artists Coalition.
Since AB 1720’s introduction in February, the language of the bill was stripped back to only include a resale ticketing cap for independent venues with a capacity of 3,000 or fewer. With those amendments, the bill would no longer have impacted larger arena and stadium shows that fans have felt priced out of in recent years.
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“Anyone who has tried to buy tickets to a concert, comedy show or live event knows the frustration. Tickets go on sale and, within moments, professional brokers and bots buy up large blocks of inventory, only to relist them at two, three, sometimes ten times the original price,” Haney’s statement continued. “By the time real fans reach the front of the line, affordable tickets are already gone. And none of that markup supports the people who actually create live events. It doesn’t go to artists, independent venues, touring crews, workers, or the staff who make these experiences possible. Those profits go to middlemen whose business model depends on scarcity and speculation.”
Haney continued, “This isn’t a fringe idea, and it isn’t partisan. From Kid Rock to Noah Kahan, artists across genres have called for solutions to runaway ticket resale practices. Independent venues have spoken out. Fans have demanded change. Several states and countries have already adopted resale caps because they recognize the urgency of this issue.”
“I’m going to keep working with the coalition of fans, artists, and venues who recognize the urgency of this issue and continue pushing for solutions that put tickets back in the hands of the people they were intended for,” he added.
Ticket resale cap bills have been popping up all over the country. In May, Vermont governor Phil Scott signed a resale cap bill into law, making it the second state in the country to pass such legislation after Maine. Most recently, Massachusetts Governor Maura Healey introduced An Act Relative to Closing the Great Divide between Ticket Prices and Affordability, or The Great Divide Act, named after Noah Kahan’s Billboard 200 No. 1 album The Great Divide. The proposed bill would cap resale prices of concert tickets at 110% of the original ticket’s face value. It would also limit the service fees and charges that can be imposed by secondary ticketing platforms on tickets for both sporting and non-sporting events to no more than 10% of the total price.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-08-14 03:03:422026-08-14 03:03:42California Ticket Resale Cap Bill Fails to Move Forward