Will Smith brought out his son Jaden during a Father’s Day performance at London’s Wembley Stadium on Sunday (June 15).

The rapper, singer and Oscar-winning actor performed at the U.K. stadium as part of Capital’s Summertime Ball, and called Jaden on stage to celebrate their father-son bond.

“If you can just come up for a second and say hi,” Smith said to Jaden, who climbed onstage from the audience. “Ladies and gentlemen, this is my son, Jaden.”

“Happy Father’s Day to all the fathers out there,” Smith called out as Jaden embraced his dad before walking off stage. “That’s my guy right there.”

In an equally heartwarming compilation on Instagram, Smith also shouted out his daughter Willow and son Trey.

The show came shortly after he released a new song, “Pretty Girls,” on Friday (June 13). The new track follows his Based on a True Story album, which dropped on March 28.

In other news, Smith sat down with Kiss Xtra over the weekend and revealed that Christopher Nolan offered him the lead role in 2010’s Inception, but he “didn’t get it” and passed on the sci-fi/thriller.

“I don’t think I’ve ever said it publicly before, but I am going to say it now because we are opening up to one another,” he said after revisiting the story of when he turned down The Matrix. “Chris Nolan brought me Inception first and I didn’t get it. I’ve never said that out loud.”

Watch the clip of Jaden and Will Smith sharing a nice Father’s Day moment below.

When Lizzo sang, “Turn up the music, let’s celebrate,” Donald Trump‘s widely protested military birthday parade was not what she had in mind.

After video of a performer singing Lizzo’s Billboard Hot 100-topping hit “About Damn Time” at the event in Washington, D.C., on Saturday (June 14) surfaced online, the hitmaker made her feelings quite clear in a TikTok posted over the weekend. Stitching the clip with a few seconds of footage of the parade singer’s breathless live rendition of the self-love anthem — performed in front of a gathering on the National Mall — Lizzo then cuts to a shot of herself staring pointedly at the camera, looking perplexed and disgusted.

“cease & desist,” she wrote in the caption.

The choice to perform “About Damn Time” at Trump’s procession was certainly an interesting one, as Lizzo — who endorsed Kamala Harris in the 2024 election — has made her disapproval of the twice-impeached POTUS very clear over the years.

She’s not the only one. While Trump was celebrating the U.S. Army’s 250th birthday — as well as his own 79th birthday, which was also Saturday — through a grand show of military might in D.C., a slew of “No Kings” gatherings broke out across the country in protest of his administration. Those overlapped with the ongoing protests in Los Angeles against the country’s Immigration and Customs Enforcement (ICE) agency, which recently launched raids into multiple workplaces across the city in the name of alleged immigration violations.

Lizzo also posted several times about the ICE raids on Bluesky a few days prior to her TikTok about the military parade. “The irony of an ice agent forcing a Mexican person off of their ancestral land when that agent’s ancestors are European immigrants is just…,” she wrote in one post, adding in another: “And still … there are people who voted for this who are going to sleep with a smile on their faces pleased as pie … It’s a wild world y’all.”

See Lizzo’s TikTok below.

Critics of the secondary ticket business are warning that an epidemic of misleading offers on sites like StubHub and Vivid Seats are eroding consumer confidence in the live event ticket business, and they’re asking for lawmakers to intervene. Longtime music managers like Randy Nichols with the band Underoath say online markets are allowing resellers to list tickets to events that haven’t gone on sale yet — from the 2026 World Cup to David Byrne’s upcoming tour — and reap huge profits from fans who think they are buying legitimate tickets to major sporting events and concerts.

Speculative ticketing exists because of legal loopholes, Nichols says, as well as hundreds of millions of dollars spent on Google advertising and fan naivete. For Byrne’s fall Who is the Sky tour, for example, tickets don’t go on sale until mid-June, but ads for tickets on sites like StubHub and Vivid Seats began popping up seconds after it was announced. On Stubhub, front-row tickets for his Nov. 20 show at L.A.’s Dolby Theater were selling for about $1,100.  

Often, the seller of these tickets will only procure them after someone has agreed to buy them, and often the seller will wait until a few days or weeks before the show to buy the tickets, knowing the price almost always goes down closer to the show date. StubHub doesn’t disclose that the person listing these tickets doesn’t have them in their possession. 

“There’s even a hashtag scalpers like to use to make this point titled #itpaystowait,” Nichols says. “The longer they wait, the more profit the scalper makes.”  

Now, Nichols and groups like the National Independent Venues Association and the National Independent Talent Organizations are lobbying hard at both the state and federal level to make such practices illegal. While critics have had success in Maryland passing legislation banning speculative ticketing, lawmakers in New York state recently gutted a bill that would have outlawed it there. Officials like NITO executive director Nathaniel Marro are also worried about federal legislation like the TICKET Act, which originally had language banning the practice but has since been altered with a legal loophole that allows for speculative ticketing as part of a concierge service provided by sites like StubHub and Vivid Seats.  

“Think of it like your favorite grocery delivery service — but for incredible experiences,” Vivid Seats explains on its site. “You cart your selections; we’ll handle the shopping.”   

Marro said these sites don’t make clear to fans what they’re buying; many think they’re buying a ticket, not paying someone to buy a ticket that they themselves could get much cheaper if they shopped around on their own.

“That’s the irony — many fans don’t realize that they could buy these tickets themselves,” Nichols tells Billboard. “The fan is tricked because most begin the process of buying tickets on sites like Google, where secondary sites spend hundreds of millions on deceptive ads and websites to trick consumers into thinking they’re buying tickets directly from the box office.”

Nichols says overcharging the customers means less money for fans to spend and notes that it’s often the box offices that have to deal with customer service problems. And while it’s common for the price of a ticket to go down over time, there are exceptions: with Taylor Swift’s Eras Tour, sky-high demand made it impossible for some scalpers to fulfill their orders at the price they charged the customer. While some brokers fulfilled the orders at a loss to avoid being penalized by Stubhub, others simply cancelled orders, leaving fans without tickets having spent money on travel and hotels. 

Nichols and Marro worry about the problems speculative ticketing will cause for major sporting events like the 2026 FIFA World Cup, which is taking place across North America next summer. Tickets for the global soccer tournament have not yet gone on sale, but hundreds are listed across Stubhub and Vivid Seats. There’s even a listing for tickets to sit on the pitch during the final championship match on July 19, at MetLife Stadium, for $1.1 million. 

While it’s unlikely someone would pay that much money on StubHub for a World Cup ticket, even to the final championship game, the worry is that brokers will flood the site with speculative listings and cause a shortage of actual tickets, leaving some fans who traveled halfway around the world without their tickets. 

Stephen Parker, executive director of NIVA, says his group has made progress at the state level outlawing the practice, but is worried that federal legislation protecting it as a concierge service could keep it legal for decades. Another concern is that the legislation protecting speculative tickets could quietly be added to Trump’s so-called “Big Beautiful Bill” and passed without any debate. “Lawmakers understand the issue but we’re up against a well-funded lobby,” Parker says. “The concern is that much of the progress we made at the state level will be lost with federal legislation.” 

AI music startup Udio is facing another copyright lawsuit — this time a proposed class action on behalf of independent artists who have been “left without a seat at the table” in the high-profile litigation filed by the major labels.

Weeks after news that Universal Music, Warner Music and Sony Music were in talks to potentially settle their billion-dollar lawsuit against Udio, a country singer named Tony Justice is filing his own case against the company in Manhattan federal court.

Seeking to represent “thousands” of other independent artists in a class action, Justice says the earlier lawsuit filed by the Big Three won’t adequately protect the interests of musicians who aren’t signed to a major label deal.

“Independent artists, whose rights have been trampled the most, are the ones left without a seat at the table, unrepresented, and without a meaningful remedy,” attorneys for Justice write in the lawsuit, filed Monday (June 16). “Class members will never be able to claw back the intellectual property unlawfully copied by Udio and used to train its AI.”

A spokesperson for Udio did not immediately return a request for comment on Monday.

AI models like Udio are “trained” by ingesting millions of existing works, thus teaching them to spit out new ones. As AI tech has boomed in recent years, dozens of lawsuits have been filed in federal court over that training process, arguing that AI companies are violating copyrights on a massive scale.

AI firms argue back that such training is legal “fair use,” transforming all those old “inputs” into entirely new “outputs.” Whether that argument succeeds in court is a potentially trillion-dollar question — and one that has yet to be definitively answered by federal judges.

Universal, Warner and Sony sued both Udio and Suno, another AI music firm, last summer, claiming the tech startups had built their models by stealing music on an “unimaginable scale” and “trampling the rights of copyright owners.”

Those cases remain pending, but news broke earlier this month that all three music companies were in talks to potentially settle the litigation by striking licensing deals with the companies. In return for allowing Suno and Udio to train on the vast collections of songs, the proposed deals would see the majors collect fees and receive equity in the startups.

In Monday’s new case against Udio, Justice largely echoes the allegations made by the majors. He says the company has infringed copyrights by training its machines on his songs, including his “Last of the Cowboys,” which has racked up more than 8 million streams on Spotify.

But his case was filed as a proposed class action, meaning he wants to also represent other independent artists who have suffered similar alleged treatment by Udio. He says “thousands” of other artists could eventually be part of the case.

“These acts by Udio were abuse and exploitation of another’s intellectual property of the worst kind,” his lawyers write. “Rather than license copyrighted songs like every other tech-based business is required to do, Udio elected to simply steal the songs of independent artists, plaintiffs, and the class members to then generate AI-soundalike music at virtually no cost to Udio.”