Led Zeppelin frontman Robert Plant has paid tribute to Liverpool footballer Diogo Jota, who tragically died in a car accident in northern Spain on July 3. The Portuguese international was 28.

Plant, a lifelong Wolverhampton Wanderers supporter and Vice President of the club, expressed his grief on X (formerly Twitter), writing: “What a tragic loss. The dimming of a bright, shining light. Thank you for your magic, Diogo.”

The accident reportedly occurred in the early hours of Thursday morning as Jota was traveling from Portugal to Santander, where he planned to take a ferry back to England for pre-season training. He had been advised not to fly following minor surgery.

His younger brother, Andre Silva, also a professional footballer in Portugal, was killed in the crash at age 25. According to CNN, Spain’s Guardia Civil said the accident was likely caused by a “burst tire while overtaking.”

Plant’s connection to Jota goes beyond music fandom. The rock icon has been a vice president at Wolves since 2009 and has attended countless matches at Molineux over the years. Jota’s time at Wolves was a pivotal chapter in his career; after arriving on loan in 2017, he helped secure the club’s promotion to the Premier League and stayed on to establish himself as a standout forward.

Tributes poured in from across the football and entertainment worlds following the news. Cristiano Ronaldo shared an emotional message: “It doesn’t make sense. Just now we were together in the national team, you had just got married. Rest in peace, Diogo e Andre. We will miss you.” Former Liverpool manager Jürgen Klopp described Jota as “not only a fantastic player, but also a great friend, a loving and caring husband and father.”

Jota’s sudden passing comes just 11 days after he married his long-time partner, Rute Cardoso. He is survived by Cardoso and their three young children.

Black Sabbath and Ozzy Osbourne (long the band’s famed frontman) have a heavy (metal) legacy of hit albums on the Billboard 200 chart, dating to when the group notched its first chart entry with its self-titled debut in 1970. Through the years, the band, and Osbourne with solo projects, has rocked the chart with a series of high-charting albums.

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The band logged a series of top 40-charting efforts over the decades, first reaching the top 10 in 1971 with Master of Reality, which climbed to No. 8. The group last hit the chart with the reunion project 13, released in 2013, which marked the group’s second top 10, and first No. 1.

Osbourne himself as a soloist has claimed nine top 10-charting sets on the Billboard 200, including at least one in every decade from the 1980s through the 2020s. He most recently hit the top 10 with the No. 3-peaking Patient Number 9 in 2022. Along the way, Osbourne also claimed a pair of top 10 charting songs on the Billboard Hot 100, with his Lita Ford duet “Close My Eyes Forever” (No. 8 in 1989) and his featured turn, alongside Travis Scott, on Post Malone’s “Take What You Want” (No. 8 in 2019).

Below is a combined top 10 ranking of both Black Sabbath and Osbourne’s biggest albums on the Billboard 200 chart. The ranking is based on actual performance on the weekly Billboard 200 through the July 5, 2025, chart. Titles are ranked on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 200 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.

We finally get some background behind Amanda Seales telling Shannon Sharpe and the rest of the world that Boldy James owes her some bail money.

The Detroit rapper sat down with Brian “B. Dot” Miller for his interview series Cover Lines and was asked directly if he owes her some bread.

“I’m glad you brought this up, Lord have mercy,” an exasperated Boldy replied as he shook his head. “She’s talkin’ about $2,000 of a bond she had to pay for me, right? I had a situation. She sent the money to help look out for me. But this is what ends up happening. This is the honest to God truth.”

He then went on to explain a complicated a tale of a business arrangement that fell through that ended up costing him thousands of dollars and expressed disappointment in her making their situation public, while also adding that he doesn’t have any ill will toward Seales.

Last April, the actress made an appearance on Shannon Sharpe’s Club Shay Shay and the topic of her dating life came up, during which she revealed that she has an interesting history with the Detroit rapper. “If I hate Black men, I want a refund, Shannon,” she told Sharpe. “You know how many brothers I have lifted up? I want a refund! I done paid probation fees because n—as could rap and I want them to be able to live in their talent and their truth. I done talked to a damn P.O. to vouch. Boldy James. And you owe me money.”

Fans of James were taken aback and realized that he was serious when he mentioned her character Deonne Wilburn from the cult classic Nickelodeon show My Brother and Me on his song “Guilt” from 2021 rapping, “Hundred a G/ ‘Member I got fronted the key/ ‘Fore the bag came, my gas tank was under the E/ Life took a ill turn on that Sunderland spree/ Now I’m f—in’ Miss Wilburn from My Brother and Me.”

You can watch the full interview below.

The Help Independent Tracks Succeed (HITS) Act, the long-in-the-works legislation that would allow musicians to deduct 100% of their production expenses in the year they’re incurred, passed in Congress as part of President Trump’s tax and spending cuts bill on Thursday (July 3). The milestone was quickly celebrated by Harvey Mason jr., CEO of the Recording Academy, which has long lobbied for the bill to become law.

Co-sponsored by Rep. Linda T. Sánchez (D-Calif.) and Rep. Ron Estes (R-Kansas), the HITS Act was first introduced in July 2020 at the height of the COVID-19 pandemic, when many musicians struggled due to widespread shutdowns in the U.S. A companion bill was introduced in the Senate in December of that year by Sens. Dianne Feinstein (D-Calif.) and Marsha Blackburn (R–Tenn.). It was reintroduced in the Senate in January after being dropped from several previous legislative packages and subsequently added to the Trump-endorsed One Big Beautiful Bill Act, which now requires only the president’s signature to become law.

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“The Recording Academy is proud to have partnered with Reps. Estes and Sánchez and Senators Blackburn and Cortez Masto over many years to bring the HITS Act to life, and we are deeply grateful for their unwavering support,” said Mason in a statement.

The Recording Academy CEO also praised the removal of another component of the Republican-led bill: a clause that would have banned state-level AI protections for 10 years.

“As the industry navigates rapid technological advancements and an evolving musical landscape, this moment represents meaningful progress toward protecting creators and sustaining a vibrant music ecosystem,” Mason continued. He added: “We also thank Senators Blackburn and Cantwell for their thoughtful leadership in removing the AI provision that could have posed serious risks to the creative community. This is a powerful win for those who make music, and for the future of music itself.”

The HITS Act, which requires a change in the tax code, allows musicians to fully expense the costs of new studio recordings up to $150,000 in the year they were produced, with the goal of easing the financial burden on creators. The current tax code requires producers and artists to amortize production expenses for tax purposes over the economic life of a recording, which typically ranges from three to four years.

“We wanted to incentivize musicians to get back in the studio and put more music out into the world when we need it right now and give them an immediate financial benefit by having this deduction in the first year,” The Recording Academy’s then-chief advocacy officer Daryl Friedman told Billboard when the bill was first introduced in the House of Representatives. “But this will be an ongoing tax provision that will live beyond the pandemic and will be a benefit to artists for years to come.”

A juror in the trial of Sean “Diddy” Combs is opening up about the decision-making process behind Wednesday’s verdict, when the disgraced rap mogul was convicted of illegal prostitution but acquitted of sex-trafficking and racketeering charges.

Speaking to ABC News on Thursday (July 3), the juror, who requested anonymity citing concerns of potential online abuse and cyber harassment, said they heard a legal pundit today suggest that Combs’ celebrity status may have influenced the jury’s decision, an idea that the juror slammed as “highly insulting and belittling to the jury and the deliberation process.”

“We spent over two days deliberating. Our decision was based solely on the evidence presented and how the law is stated,” the juror told the outlet. “We would have treated any defendant in the same manner regardless of who they are. I have nothing else to say.”

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U.S. District Judge Arun Subramanian denied Combs’ request for bail and ruled that he will have to remain in jail, where he’s been since his arrest 10 months ago, until a sentencing hearing later this year. Judge Subramanian said his history of domestic violence still makes him a danger to society despite his acquittal on the more serious charges. The judge proposed a sentencing date of Oct. 3 but also set a remote hearing for Tuesday, July 8 to further discuss the sentence scheduling.

Aubrey O’Day and Kesha both recently showed support for Cassie, who took the stand for several days during the seven-week trial. Meanwhile, 50 Cent, Combs’ son King, Funkmaster Flex and more also weighed in on the verdict.

The Fourth of July is here and Billboard went out to ask people what song best represents the holiday’s spirit, along with what must be at the cookout. From Katy Perry’s “Firework” to Miley Cyrus’ “Party In The USA,” the people speak up.

What song do you think best represents July 4th and what do you need at the cookout? Drop your opinion in the comments! 

Tetris Kelly:

Happy Fourth of July everyone. It’s Tetris Kelly with Billboard News in the streets of Hollywood. I’m trying to find out, what are the Fourth of July anthems and what do I need to bring to the cookout? Fourth of July this weekend. What song represents Fourth of July the best? What are you playing? 

Guest 1:

Ooh, definitely a song by Megan Thee Stallion- any song.

Okay, so it’s the Fourth of July. When you’re thinking about America and what songs should be playing, what’s gonna be on?

Guest 2:

“This Is America.”

“This Is America,” come on okay, she was right on it. 

Guest 3:

I was thinking about mainly New York, because I love “Empire State of Mind” from my perspective.

Which version of “Empire State of Mind”? 

Alicia Keys version.

What music are y’all playing at the cookout?

You know, you got a little R&B, you got a little bit of Pacific reggae, got a little bit of Caribbean reggae, you know, we gotta do it with the old school blues, little bit of Bruno.

What songs shall you people be playing on Fourth of July? 

All the way can’t you see.

Oh, the Star-Spangled Banner? It took me a second, I would say, a couple vocal lessons there, you know, but a little pitchy, but I found it. 

Keep watching for more!

Jim Jones sat down with Angie Martinez for her IRL podcast recently and talked about the debate that’s had a stranglehold on rap social media.

The legendary journalist and radio host said that the day after she booked Jim for an episode, the Nas debate went viral and asked if he’s been trolling people a bit with some of his quotes surrounding the situation.

“I mean you’re definitely correct,” he said with a smile before explaining how the conversation started in the first place. “But I didn’t start it. There was a young gentleman that they asked a question to and his clip went viral. He was on a podcast and they asked him who’s more relevant: Jim Jones or Nas? That went super viral and that led to all these people with platforms to ask that question.”

Adding that he was only defending himself after being asked a question, he then brought up his earlier back-and-forth with fellow Diplomat Cam’ron earlier this year. “Even from the beginning of the year when I did the Justin [Laboy] interview — I didn’t start it,” Jones said. “They asked me how I felt about what was said about me from another platform from some other people. I’m not a troublemaker, but I like trouble if that’s the case. I’m built for it. My whole type of thing has been that engagement, and here we are.”

Jones then talked about how easy it is to go viral with today’s social media landscape and how something like that can benefit an artist in the digital age. “I gave people a prerequisite,” he told Martinez. “I know how to go viral, this is easy. We’re in a community where everything goes viral… and turns into a revenue stream. I’m on everybody’s Explore page, I’m at the top of this page, the top of that page. You like me, don’t like me, know who I was… one click away from making me some money. I also have a record label, I have artists, I have music out. It makes it that much easier to know who Jim Jones is. I’m worried about myself when I make these moves. I know how to turn my negatives into a positive.”

The kicker, though? He underestimated how many people have Nas at the top of their favorite rapper list.

“Man, I didn’t know how many people loved Nas, though,” he said before making himself and Angie burst into laughter. “I’m watching people go absolutely batsh– crazy, like goddamn. But that’s hip-hop. There’s people that I adored as a fan too that I’ll probably go batsh– crazy for in the same situation, I love it, that’s what the game was built on. Let’s not make no mistake, I put in a lot of work and I did a lot of incredible things that a lot of people have not gotten to do in this industry.”

A few weeks back, a clip of a young 22-year-old from New Jersey went viral because he said the Harlem rapper was more relevant to him than Nas. This opinion predictably got people up in arms and Jones’ subsequent media run after continued to fan the flames. Jones defended himself on Fat Joe and Jadakiss’ podcast and told the people to pull up the Billboard stats and he told the BagFuel podcast that he basically did Nas a favor by talking about him so much. “What I did for Nas probably never been done for him in his life. He’s never been that viral at all. Ever,” he said. “Ever. He’s never been talked about like this ever in his life.”

You can watch the full episode below.

It’s the week of Canada Day (July 1), and some of the nation’s favourite legacy artists are back on the charts.

On the Billboard Canadian Albums chart dated July 5, L’amerique Pleure, the concert film soundtrack by Quebec rock band Les Cowboys Fringants, reemerges at No. 97. Loosely translating to “America cries,” the soundtrack’s name comes from a track on the group’s 2019 album, Les Antipodes.

The concert film follows Les Cowboys Fringants, one of Quebec’s most beloved bands, through the open spaces and suburbs of Quebec, as they perform 16 songs from their discography, including the film’s title track.

Following the death of former lead singer Karl Tremblay, the album peaked at No. 3 on the Canadian Albums chart dated Dec. 2, 2023. That same week, songs from the concert film entered the Billboard Canadian Hot 100, including “L’amerique Pleure” at No. 27 and “Sur Mon Epaule” at No. 36.

Two spots down, Shania Twain has re-entered the chart at No. 99 with Greatest Hits. The 2004 album spans the first decade of Twain’s masterful career, boasting country-pop bangers like “Man! I Feel Like a Woman!” and “Up!” and ballads like “From This Moment On” and “You’re Still the One.”

The album peaked at No. 1 on the Canadian Albums chart, holding the top spot for five consecutive weeks. Greatest Hits charted for 130 weeks in Canada and became Twain’s fourth consecutive Diamond album in the country. Across the border, it just missed the top spot on the Billboard 200, peaking at No. 2.

Additionally, The Tragically Hip had a dramatic rise this week, climbing 59 spots to No. 28 with Yer Favourites. Often a mainstay on the charts, the 2005 compilation album includes over 30 remastered classic songs (including hits like “Bobcaygeon” and “New Orleans Is Sinking”) selected by the band’s fans on its website, along with two new tracks.

Upon its release, the record debuted at No. 8 on the Canadian Albums chart and has been in and out of the ranking since. Following the Hip’s final shows in 2016, the compilation reached No. 1 on the Canadian Albums Chart. Over a year later, after lead singer Gord Downie‘s passing in October 2017, it again climbed 80 spots to No. 2.

Read more here. – Heather Taylor-Singh

Live Nation Opens Rogers Stadium, One of Canada’s Biggest Music Venues

Toronto’s biggest concert venue has opened its doors.

Billboard Canada got a tour of Rogers Stadium, the new 50,000-capacity music-first venue from Live Nation, before its opening on June 29 with its first concert of the summer season, a performance by K-pop stars Stray Kids.

Sitting in an office in a temporary trailer just outside the stadium bowl, Wayne Zronik, Live Nation Canada’s president of business operations, was ready to welcome fans in.

“We’ve had a great team on this from the beginning. BaAM Productions and Nathalie Burri, who’s leading the project for us, have built these kinds of significant large-scale events before, so we have great confidence,” he said.

Since Live Nation unveiled plans for Rogers Stadium at YZD (formerly Downsview Airport Lands) last September, anticipation has been high.

Though the capacity is 50,000 (and sometimes more, depending on configuration), it’s actually only 32,000 seats. The rest — between 16,000 and 20,000 — is floor seating and general admission standing tickets. That’s considerably more than any baseball stadium or hockey arena (like Toronto’s Rogers Centre and Scotiabank Arena), or even an NFL or European football stadium.

With its open and spacious concrete environment, Rogers Stadium in some ways feels more like a summer music festival site than a typical sports venue that hosts concerts. That’s closer to what it is, since no sports teams will play there. It is purpose-built solely for music, which is rare for music venues this size but becoming more of a reality as the mega-concert market expands.

Rarely is a stadium built with music in mind, so Live Nation and its partners have been able to focus on fan and artist experience first, making sure there are good sightlines and amenities for both fans and talent backstage.

The venue is temporary, both seasonally — as it will only be open during the summer — and in the long-term. Since the land is owned by Northcrest Developments to eventually be redeveloped into residential and retail space, the stadium, which came together quickly and out of necessity, will only be there for five to six years.

Zronik says they knew they could pull it off because Live Nation has done it before in other markets. He cites large-scale events like the temporary 75,000-capacity venue in Munich that housed Adele‘s residency last year, as well as the FivePoint Amphitheater in Irvine, Calif., which existed for six years before reaching its planned end date.

“Festivals are great multi-day events. They drive a lot of economic impact for the communities in which they operate. They’re great vehicles to expose artists,” he says. “But at the same time, they’re a huge undertaking. It’s three days or so, and you build it all up and you take it down. This is a bit different than that. You can leave the infrastructure for a few months and use it for multiple shows, which allows you to benefit from the scale of it.”

Coldplay will be the second act to perform at Rogers Stadium, playing four nights: July 7, 8, 11 and 12.

Read more here. – Richard Trapunski

Three Days Grace Becomes Second Canadian Group in Spotify’s Billions Club

Three Days Grace is making history. The Canadian rock band’s 2003 single, “I Hate Everything About You,” has surpassed one billion streams on Spotify. The song, which explores the tension of a love-hate relationship, originally appeared on the band’s self-titled debut album.

Since its release, the track has been embedded in rock music history and shines as one of the band’s signature songs. The track earned Gavin “Golden” Brown producer of the year at the 2004 Juno Awards.

The song peaked at No. 2 on the U.S. Modern Rock chart and No. 4 on the Mainstream Rock chart. While it never reached No. 1, it holds the record as the band’s longest-running song on both charts, remaining on them for 45 and 46 weeks, respectively.

“As crazy as it is to think that this band of ours formed as teens from a small town in Canada would have a song that has a billion streams, the craziest thing is how many people’s wedding songs it is,” Three Days Grace shared in a statement.

In January, the multi-platinum band’s comeback single, “Mayday,” hit No.1 on Billboard’s Mainstream Rock Airplay chart in both the U.S. and Canada.

Featuring original frontman Adam Gontier and current lead singer Matt Walst, the dual-vocal track marked the band’s 18th No. 1 and remains on the chart, currently sitting at No. 13 in Canada.

Three Days Grace is now the second Canadian band to join Spotify’s Billions Club, after Magic! with its 2014 hit “Rude.”

The band joins fellow Canadians Justin Bieber, Drake, Tate McRae, Alessia Cara and Shawn Mendes in crossing the milestone, as well as Quebec’s Patrick Watson, whose song “Je te laisserai des mots” is the first French-language song to enter the Billions Club.

Read more here. – HTS

After years of lurid accusations against Sean “Diddy” Combs, the rap mogul’s acquittal on sex-trafficking and racketeering charges came as a surprise to much of the world. So how did Combs manage to defeat the most severe counts in his bombshell criminal trial?

While a New York jury found Combs guilty on Wednesday (July 2) of transporting girlfriends and male escorts across state lines for drug-fueled sex marathons, they were not convinced beyond a reasonable doubt that this conduct amounted to sex-trafficking or occurred as part of a criminal enterprise. The partial acquittal is a major victory for Combs, as it tees up a far shorter potential prison sentence.

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Jury deliberations are secret, so we can’t know for sure what tipped the scales on the verdict. But legal experts tell Billboard that it may have been a stretch for prosecutors to indict Combs under the Racketeer Influenced and Corrupt Organizations Act, the federal “RICO” statute often deployed against mobsters and cartels.

“The government overreached,” says David Ring, a lawyer who specializes in sexual abuse cases. “They wanted a RICO conviction so they could then go seize Comb’s assets under RICO forfeiture laws. That’s not going to happen now.”

To win on RICO, prosecutors would have had to prove that Combs and his underlings operated a wide-ranging criminal syndicate. The government’s evidence, it seems, was not enough to convince the jury that Combs’ business ventures represented this type of racketeering enterprise.

Jennifer Beidel, a defense lawyer who previously worked as a federal prosecutor in the office that brought Combs’ case, hypothesizes that jurors may have been dubious of the RICO charges due to what she called the “two empty seats.” She’s referring to the lack of testimony from Combs’ chief of staff, Kristina Khorram, and his longtime security guard, D-Roc.

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Prosecutors described both Khorram and D-Roc throughout the trial as participants in Combs’ alleged crimes, but neither one faced charges or appeared in court as a cooperating witness. Since RICO is a conspiracy charge, prosecutors typically secure guilty pleas from at least one accomplice and have them admit their crimes on the witness stand to prove that they broke the law as a group.

“RICO without a cooperator — I would at least call that a pretty creative charging decision,” says Beidel.

Beidel says prosecutors probably had a better shot with the sex-trafficking charges against Combs, since there was some testimony and video evidence that could point to singer Cassie Ventura and an anonymous woman known as “Jane” being coerced into Combs’ dayslong sex parties. But these counts, too, faced tall hurdles due to other testimony and text messages that showed both women consenting to at least some of the sexual encounters with Combs.

“We have to take from the result that the jury did not find that there was sufficient evidence of coercion,” Beidel explains.

Strong lawyering by the defense team was obviously a contributing factor in Combs’ acquittal. Beyond shrewd cross-examination and a focus on the evidence that supported their position, New York Law School criminal defense professor Anna Cominsky says Combs’ attorneys were smart to draw a bright line between domestic abuse and the crimes at issue in the trial.

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Defense lawyers admitted from the very first day of trial that Combs was physically abusive towards Ventura. They owned that this was ugly behavior, but emphasized repeatedly that Combs was not charged with domestic abuse and that his conduct was not equivalent to trafficking or racketeering.

“The defense did a good job of owning the bad facts,” observes Cominsky. “By taking ownership of those bad facts, owning the domestic abuse component, that gives them instant credibility with respect to the jury.”

That said, Combs’ acknowledgment of domestic violence has already come back to bite him. Judge Arun Subramanian cited this confession in rejecting Combs’ request to be let out on bail following the guilty verdict, and it could very well be a factor for the judge when he decides the rapper’s sentence in a few months.

“That definitely shows you the judge’s attitude towards his domestic violence,” says Beidel of the bail denial. “The judge definitely thinks he’s still a danger to the community.”

Liam Gallagher has apologized after using a racial slur in a post on X, telling fans Tuesday that he meant no harm.

“Sorry if I offended anyone with my tweet before it wasn’t intentional,” Gallagher wrote on the platform. “you know I love you all and I do not discriminate.”

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The rocker signed the post, “peace and love LG x.”

In the since-deleted, one-word reply, the Oasis singer used a term that is highly offensive to Asian people. One fan replied to the post, “liam you can’t say that,” to which Gallagher simply replied at the time, “Why.”

Before apologizing, Gallagher had also replied to a fan telling him he would be canceled over the offensive post with, “Whatever.”

The offensive post casts a slight shadow over Oasis’ upcoming reunion, which has been more than 15 years in the making. After putting an end to their yearslong feud, Liam and brother Noel Gallagher have gotten the band back together for a global tour, kicking off Friday with a show at Principality Stadium in Cardiff, Wales.

In the weeks leading up to the kickoff show, Liam has teased that the group is sounding better than ever. “We have LIFT OFF Rastas sounded f—ing FILTHY,” he wrote on X during rehearsals in June.

In lighter news about Gallagher’s recent X activity, the musician recently praised a fan who hilariously trolled Billie Joe Armstrong at a recent Green Day show. After the prankster joined the band onstage under the pretense of stepping in to play “Good Riddance” on guitar but instead started strumming “Wonderwall” and was swiftly kicked offstage, Gallagher replied to a video of the incident, “Best song of the night.”