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Formula 1 returns, as the league travels to Montreal for the only grand prix in Canada in the 2026 season. With all eyes on Andrea Kimi Antonelli and George Russell with Mercedes sitting at the top of the leaderboard, McLaren’s Lando Norris and Ferrari’s Charles Leclerc and Lewis Hamilton are looking for victory to rise in the ranks with more points and podiums.

Meanwhile, an all-Canadian lineup of Simple Plan, Bryan Adams, Alessia Cara, The Beaches and others are set to perform during the grand prix at the CGV Experience at Jean-Doré Beach, Parc Jean-Drapeau all weekend long.

Broadcasting live from Circuit Gilles-Villeneuve in Montreal, Quebec, the F1 Canadian Grand Prix starts with Practice 1 on Friday, May 22, with a start time of 12:30 ET/9:30 a.m. PT. Race weekend ends with race day on Sunday, May 24, at 4 p.m. ET/1 p.m. PT.

Where to Stream the 2026 F1 Canadian Grand Prix Online, At a Glance:

Apple TV is the best way for fans to tune in to every race for the 2026 season, at no additional cost — just the subscription price at $12.99 per month, or $99 per year.

Here’s everything you need to know about how to watch the Canadian Grand Prix.

How to Watch the 2026 F1 Canadian Grand Prix Online for Free

7-DAY FREE TRIAL

Apple TV

Sign Up Here

Subscriptions start at $12.99 per month after free trial.

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New Apple TV subscribers can take advantage of a seven-day free trial, which is more than enough time to watch the F1 Canadian Grand Prix for free.

In addition, Apple TV has all F1 races for the 2026 season. It has all warmups, practices, sprints and qualifying coverage and other extras, such as Drive to Survive (in U.S. only), with no blackouts. All races livestream in 4K Dolby Vision with 5.1 surround sound and Apple’s “Multiview” experiences.

I like Apple TV for its wide range of originals, like Severance, Pluribus, Ted Lasso, Slow Horses and others, as well as live sports, such as MLB Friday Night Baseball and all Major League Soccer matches. The streaming service also has excellent original music documentaries and programming, including Billie Eilish: The World’s a Little Blurry, Beastie Boys Story, Watch the Sound with Mark Ronson and others.

2026 F1 Canadian Grand Prix Schedule

The Canadian Grand Prix starts with practice, sprints and qualifying races on Friday, May 22, and concludes with race day on Sunday, May 24. Here’s the full schedule below:

Friday, May 22

Saturday, May 23

Sunday, May 24

Want more? For more product recommendations, check out our coverage of the best Xbox deals, studio headphones and Nintendo Switch accessories.

Postie will deliver his biggest-ever headline shows in Australia and New Zealand when his BIG ASS World Tour swings down under this October.

Produced by Live Nation, Post Malone’s four-date stadium jaunt gets underway Oct. 9 at Melbourne’s Marvel Stadium, then stops at Brisbane’s Suncorp Stadium (Oct. 12), Sydney’s ENGIE Stadium (Oct. 15), and wraps up at Auckland’s Go Media Stadium on Oct. 21. Don Toliver will be joining Post Malone as “special guest” on those dates.

The U.S. singer and rapper’s fans in the regions won’t miss out. Malone’s lap of Australia will include spots on the Strummingbird Festival bill in Ballarat (Oct. 10), Newcastle (Oct. 17) and Queensland’s Sunshine Coast (Oct. 18).

The “Rockstar” artist is familiar with the biggest venues in these parts. He opened for Red Hot Chili Peppers’ on the rockers’ six-date Australasian stadium run in early 2023, and later that year headlined headline Spilt Milk festival, which visited Canberra, Ballarat and Perth. On that festival run, he enamored himself even further with locals when he performed a “shoey” by drinking beer out of fans’ boots while on stage.

Post Malone gets it done on the Australia charts, too. His seven albums have all impacted the ARIA top 10, including No. 1s for Beerbongs & Bentleys in 2018, Hollywood’s Bleeding in 2019. His most recent collection, the 2024 country album from F-1 Trillion, flew to No. 2.

Spreading over two years, and two legs, the Big Ass world tour marks a continuation of Malone’s recent pivot toward country and roots-influenced sounds, a direction that has broadened his audience in recent years.

As previously reported, Postie pushed back the opening of his U.S. run earlier this year with Jelly Roll, as he got down to work on completing his forthcoming album, reportedly titled The Eternal Buzz. A release date hasn’t been announced.

Tickets for Postie’s Australasian shows will be available starting with an artist presale beginning Tuesday, May 26. The general onsale then starts on Thursday, May 28. 

Visit postmalone.com, livenation.com.au/register and livenation.co.nz/register for more. See here for further information on Strummingbird Festival dates.

The “Big Ass World Tour” Australia & New Zealand 2026 Dates:
Oct. 9 – Marvel Stadium, Melbourne, AUS
Oct. 10 – Strummingbird Festival, Ballarat, AUS
Oct. 12 – Suncorp Stadium, Brisbane, AUS
Oct. 15 – ENGIE Stadium, Sydney, AUS
Oct. 17 – Strummingbird Festival, Newcastle, AUS
Oct. 18 – Strummingbird Festival, Sunshine Coast, AUS
Oct. 21 – Go Media Stadium, Auckland, NZ

SYDNEY, Australia — There’s a changing of the guard at TEG, as Brad Banducci announces his departure a year to the month since he was unveiled as the new chief executive of the Australia-based live entertainment, ticketing and tech giant.

At the same time, Cameron Hoy, chief operating officer and head of global ticketing, rises into the vacant, top position.

“When I joined the Group just over a year ago, I came in to do a specific role – to set the Group up for the next horizon of growth,” Banducci comments in a statement. “I felt the time was right to transition leadership of the group.”

Hoy is appointed as group CEO, with effect from June 1. “Cam has been part of the live entertainment and ticketing industry for more than 20 years,” Banducci adds, “through growth, change and every version of this industry and it feels appropriate to pass on the baton to someone who has made such a major contribution to building the Group we have today and who is committed to the next chapter of delivering as the partner of choice for venues across the live events spectrum.”

South Africa-born Banducci joined TEG with upwards of 30 years’ leadership experience in the retail and consumer spaces, most recently as CEO of Woolworths Group, the market leading Australia supermarket chain, serving in the top role from 2015 to 2024. Earlier, he was managing director of Woolworths Liquor (Endeavour Group), CEO of Cellarmasters Group, and CFO of Tyro Payments, and spent 15 years with The Boston Consulting Group, specializing in retail and corporate development.

Banducci’s appointment to TEG signaled a switch-up at the helm with long-standing CEO Geoff Jones transitioning into the chairmanship.

Hoy has been climbing the ladder at TEG since he joined the company in January 2019. In 2023, he was elevated from managing director at Ticketek to his most recent group-wide role as COO and head of global touring at TEG.

“TEG exists to partner with the world’s best venues, promoters and rightsholders to connect fans to the moments that matter most and I am honored to lead such an entrepreneurial business and team,” Hoy said on his promotion to group CEO.

TEG Group is owned by Silver Lake, the U.S.-based private equity company which specializes in technology investing, through a deal struck in 2019 worth more than A$1.3 billion.

Based in Sydney, TEG’s empire collects the ticketing powerhouse Ticketek, TEG Dainty, TEG Van Egmond, plus TEG Live, TEG Sport, TEG Experiences, Ovation and other businesses.

Founded in 1979, Ticketek’s Australian presence sells over 23 million tickets to more than 20,000 events each year, according to a statement on its official website, including concerts at ANZ Stadium, Qudos Bank Arena, Rod Laver Arena, Hisense Arena, Suncorp Stadium, and Brisbane Entertainment Centre.

An updated version of the Nurture Originals, Foster Art, and Keep Entertainment Safe (NO FAKES) Act was reintroduced in the U.S. House of Representatives and Senate on Wednesday (May 20) with a wide coalition of music industry support, including from the three major music companies, the Recording Industry Association of America (RIAA), the Recording Academy and the National Music Publishers Association (NMPA).

The bill, which aims to establish federal rights around likeness for individuals portrayed in digital deepfakes, was first introduced in 2024. While it has maintained steadfast support within the music industry ever since, including a co-sign from country star Randy Travis last year, it has also increasingly gained the support of the tech giants. Last year, OpenAI, Google and IBM announced their support of the bill, and now, with this latest reintroduction, Spotify and Getty are signing on as well.

Some critics, however, have warned that such legislation is too aggressive and could hamper free speech. By granting people a broad new way to sue over the use of their likenesses on the internet — existing state laws are more limited, covering only commercial exploitation — opponents of previous versions of the NO FAKES Act have warned that it could force online platforms to self-censor and remove too much content out of fear of legal liability.

The bill’s authors say they’ve avoided those pitfalls with the latest version, which they say has “carefully calibrated exceptions” aimed at ensuring “open discourse,” including explicit carve-outs for news coverage, biopics and criticism. There is also protection from liability for libraries and similar organizations.

The other updates to the bill are to ensure that the enforcement mechanisms work for a wide variety of platforms — whether it’s a user-generated platform, like YouTube, or a more curated one, like Spotify. Now, the way disputes are processed and enforced will be tailored to what kind of platform the issue occurs on. For a site that relies on user-generated content, it offers a “safe harbor,” meaning the platform will not be held liable for a user’s deepfake upload to its site as long as it follows the rules and takes down the content when it’s alerted to it. The updated bill also now allows for challenges to incorrect takedown notices.

The goal of NO FAKES is to provide nationwide protection over one’s voice and likeness in the case of “digital replicas,” which include — but are not limited to — deepfakes created by artificial intelligence. This is an increasingly pressing issue for the music industry, as artists, including Taylor Swift — who recently applied for new trademarks on the sound of her voice, a move seemingly designed to combat deepfakes — face issues with the dissemination of images and songs that contain AI recreations of themselves.

Currently, artists’ only protection against AI deepfakes is from some states’ right of publicity laws, which vary widely in the level of protection they provide. Some states, like Tennessee, have updated their publicity rights laws to cover issues specific to the AI age, but many have not. NO FAKES’ proponents believe the bill could create a baseline level of protection for all citizens.

The NO FAKES Act was first introduced as a draft bill in 2023 and formally introduced to the Senate in the summer of 2024. Other music industry supporters include CAA, BMI, American Association of Independent Music (A2IM), Academy of Country Music, Human Artistry Campaign, Music Artists Coalition, American Federation of Musicians (AFM), ASCAP, SAG-AFTRA, SESAC, Songwriters of North America (SONA), Sound Exchange, Christian Music Trade Association, Folk Alliance International and more.

Additional reporting by Bill Donahue.