Honored in 2025 with induction into the Grammy Hall of Fame for his 1981 debut album Never Too Much, Luther Vandross is in the running for another major accolade. As announced last week, the late singer-songwriter-producer is among the Class of 2026 nominees — also including Phil Collins, P!nk, Billy Idol and Lauryn Hill — for induction into the Rock & Roll Hall of Fame.

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So how would eight-time Grammy Award winner Vandross feel about his nomination and possible induction? Bassist-producer Marcus Miller, a longtime collaborator of the studio singer-turned-star solo artist, tells Billboard with a laugh, “He’d probably start figuring out what he’s going to wear. But like I said in the documentary [2024’s Luther: Never Too Much], he made no bones about wanting a Grammy. And when he got one, he was very proud. Being recognized was important to him — and this will be the icing on the cake.”

In addition to the critically acclaimed documentary tracing Vandross’ life and musical legacy, the late artist’s enduring influence was further underscored by the 2024 release of “Luther” by Kendrick Lamar featuring SZA. The song — which samples Vandross’ 1982 hit duet with Cheryl Lynn, “If This World Were Mine” — reigned atop the Billboard Hot 100 for 13 consecutive weeks last year. This year, “Luther” scored two Grammy Awards: record of the year and best melodic rap performance.

In sharing the Luther Vandross Estate’s reaction to the Rock & Roll Hall of Fame nod, estate manager David Gottlieb remarks, “This is the culmination of a long time coming. I’ve been with the estate since 2010, and it’s been on the to-do list. It’s also very easy to make Luther’s connection to rock and roll. David Bowie’s ‘Young Americans’ doesn’t happen without Luther in the room. The song is the first top 40 hit that Bowie had, and Luther’s voice is all over that song and its structure. His credentials for being a singer, songwriter, producer, composer, everything. Isn’t that rock and roll? He personifies all of it.”

Both Miller and Gottlieb note that Vandross’ creative inspiration and ultimate legacy stem from what Miller calls “his love for love. We used to call all the songs he wrote ‘the Luther Vandross Book of Love.’ He just really valued love. It was the inspiration for most of his songs.”

“Luther was always saying something about the universal topic of love,” adds Gottlieb. “It’s one that all of us as human beings feel, strive for and want. That’s why his legacy is timeless, something that’s constantly called back. Every generation is going to look at him the same way that generations look at Frank Sinatra or someone like that. It is never going to go away.”

One of country music’s singular figures made his first appearance on a Billboard chart four decades ago when Dwight Yoakam debuted on the Hot Country Songs list dated March 1, 1986, with “Honky Tonk Man.”

Born in Kentucky and raised in Ohio, Yoakam emerged out of the cowpunk scene in Los Angeles, where his unique musical persona was allowed to flourish in the city’s nightclubs. He played an aggressive rhythm guitar, employed stylized dance steps and applied a hard-edged vocal tone with an arresting hiccup in his phrasing. After he broke nationally with his Reprise debut, Yoakam would quickly be paired with Randy Travis as the leading lights among the New Traditionalists, a cadre of acts — including George Strait, Ricky Skaggs and The Judds — who combined classic country influences with modern, CD-era sound quality.

Yoakam wrote much of his material, but “Honky Tonk Man” came from another source: the late Johnny Horton, who was credited as a cowriter with songwriter Howard Hausey and manager Tillman Franks. Horton rose to No. 9 with his version of the song 30 years prior, and it was released again in 1962 — 17 months after Horton’s death in a car accident — rising to No. 11.

Yoakam bested Horton’s chart runs, peaking at No. 3 on June 14, 1986. It was the first of 39 titles to hit the list, including 14 top 10 releases, led by two No. 1 singles: a 1988 collaboration with Buck Owens on “Streets of Bakersfield” and 1989’s “I Sang Dixie.”


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By now you’ve probably seen the dirty bottoms of Benny Blanco‘s feet, whether you wanted to or not. In case you somehow missed them, though, here’s the deal: last week on the debut episode of Blanco’s new podcast with his BFF, Dave “Lil Dicky” Burd, Friends Keep Secrets, Blanco caused a ruckus when he hoisted his dirt-covered soles onto the couch at Burd’s home, where the podcast is taped.

Blanco and Burd then appeared on Jimmy Kimmel Live!, during which the producer explained that there was dust and dirt on the set from moving equipment around, so, technically, it wasn’t his fault. Still, the internet did not like it one bit.

You know who did? Selena Gomez. The singer/actress dropped by the pod for its second show on Tuesday (March 3) to let the team go through her DMs, talk about mental health, the couple’s wedding last year and their future plans for kids. Oh, and at one point, Gomez leaned over and kissed Benny’s not-dirty-this-time feet.

Seriously.

While chatting with third host, Kristin Batalucco (Burd’s wife), about the pros and cons of “leashes” for toddlers, without any prompting Gomez leaned over and gently smooched Blanco’s toes, which once again were exposed and propped up on Burd and Batalucco’s coffee table. The sweet gesture elicited a smile from Blanco as he grinned over at Burd and asked, “you like that?”

Selena then gently tapped Benny on the leg and said, “don’t make it a moment.”

Too late.

“Oh no, I liked it,” Blanco smiled. “It made me feel good. I love you so much.”

Elsewhere in the pod, Gomez confirmed that BFF Taylor Swift’s Evermore track “Dorothea” was written about her. “There’s this song Taylor wrote about us, and it was called ‘Family,’” she added about the unreleased song inspired by her. “It was basically saying, ‘You have these amazing dreams, you want to be in movies — like, in every crowd I still see you.’ And then her part was, ‘You believe in my stupid dreams, like playing stadiums.’ Now when I listen to that song, both of those things have happened for us. And that’s really sweet, because back then, she was just, like, ‘I wrote this song about us. It was just our story, kind of.’ And it was the sweetest thing.”

Watch the toe-kissing moment below.


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Create Music Group said it raised $450 million through a combination of equity investments and debt capital on Wednesday, valuing the fast-growing independent company at $2.2 billion up from a $1 billion valuation less than two years ago.

Founded in 2015, Los Angeles-based Create Music Group says it has invested more than $500 million over the past year acquisitions, advances, and other growth initiatives, including most recently Nettwerk Music Group, in which it invested $300 million to support a management buy-out.

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Create’s co-founder and CEO Jonathan Strauss says Create is supporting “visionary entrepreneurs” who are capitalizing on changing tastes in music and preferences for new media, and the new capital will go to support future growth.

“This capital will not only accelerate our roadmap, expanding our footprint in media, IP and technology, but also empower our partners to build generational businesses that redefine culture and value creation across the global entertainment ecosystem,” said Strauss.

The new funding round brings institutional investors Ares Management and 2 Mile into the company as minority stakeholders, while Create’s founders remain majority owners.

Flexpoint Ford invested $165 million in Create in mid-2024, which at the time was part of a funding round that Create says gave it a valuation of $1 billion.

Create operates the Gen Z-focused digital entertainment and marketing agency Flighthouse and the independent music distribution platform Label Engine, as well as electronic and dance labels Monstercat, !K7 Music and Cr2 Records and Broke Records.

“The music industry is as dynamic as it has ever been, with rapid growth in new consumption channels and means of creation, which is creating vast opportunities for agile, digital-first companies to reshape the status quo,” said Will Smith, Create’s chief financial officer. “The newly raised capital will support continued acquisitions, strategic investments, technology development, and global expansion.”

Truist Securities and Bank of California served as joint lead arrangers for the financing.

“Golden” may be on the verge of making history at the Academy Awards. The global smash, which won best original song at the Critics Choice Awards and Golden Globes, appears to be the front-runner to win in that category at the Oscars as well. The awards will be presented on March 15 at Dolby Theatre in Hollywood.

The song from KPop Demon Hunters topped the Billboard Hot 100 for eight weeks and helped the soundtrack top the Billboard 200 for two weeks. The soundtrack spent its first 35 weeks on the Billboard 200 inside the top 10. It’s one of only 10 soundtracks to log 35 or more weeks in the top 10 since Billboard merged its previously separate stereo and mono charts into one comprehensive chart in August 1963. (The Billboard 200 began publishing on a regular weekly basis in March 1956 but split into mono and stereo LP charts from 1959-63.)

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“Golden” is one of two best original song nominees that will be performed live on the Oscar telecast. The other is “I Lied to You” from Sinners, which has been a cultural phenomenon. The film received a record 16 Oscar nominations,

We rounded up five records that “Golden” will set if it wins best original song, but first, a quick reminder of this year’s nominees:

  • “Dear Me” from Diane Warren: Relentless; Music and Lyric by Diane Warren
  • “Golden” from KPop Demon Hunters; Music and Lyric by EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo and Teddy Park
  • “I Lied to You” from Sinners; Music and Lyric by Raphael Saadiq and Ludwig Goransson
  • “Sweet Dreams of Joy” from Viva Verdi!; Music and Lyric by Nicholas Pike
  • “Train Dreams” from Train Dreams; Music by Nick Cave and Bryce Dessner; Lyric by Nick Cave

Here are five records “Golden” will set if it wins.

A month after iconic singer Dee Snider resigned from Twisted Sister due to “health challenges,” the group announced on Tuesday (March 3) that their planned 50th anniversary run of shows will still take place with another legendary hard rocker stepping in to handle lead vocals.

“Twisted Sister members Jay Jay French and Eddie Ojeda are thrilled to announce that iconic vocalist and front man Sebastian Bach will be fronting the band for a handful of select dates this fall,” the band’s longtime guitarists said in a statement. “These appearances do not affect or conflict with Sebastian’s current or future solo touring schedule, which remains fully intact”; Bach reposted the announcement on his Instagram page.

At press time the band had not announced the full roster of shows for its golden anniversary outing outside of a Sept. 4 stop at the Alaska State Fair.

The news came a month after the “I Wanna Rock” band announced that Snider, 70, was forced to resign from the group due to “a series of health challenges“; Snider suffers from degenerative arthritis, which has required multiple operations, as well as heart issues exacerbated by life on the road. That led to the cancellation of shows that were scheduled to take place in Sao Paolo, Brazil on April 25 and run through the summer. At the time, they said that their touring future would be “determined in the next several weeks.”

Coincidentally, Skid Row announced a month ago that they were launching a worldwide search for their next lead vocalist. The group founded in Toms River, New Jersey in 1986 with singer Matt Fallon — who was replaced by Bach the next year — was led by Bach through 1996, after which a series of lead singers have filled his shoes including Johnny Solinger (1999-2015) and a series of four short-time vocalists over the past decade, including Halestorm’s Lzzy Hale in 2024.

Twisted Sister is best known for their 1984 anthem “We’re Not Gonna Take It,” which hit No. 21 on the Billboard Hot 100; the song appeared on the band’s third studio album, Stay Hungry, which peaked at No. 15 on the Billboard 200.

Check out the announcement and listen to a snippet of Bach rehearsing “You Can’t Stop Rock n’ Roll” with the band.


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This summer’s Outside Lands Festival in San Francisco’s Golden Gate Park will feature headliners Charli xcx, Rüfüs Du Sol, The Strokes, The xx, Baby Keem, Turnstile, Griztronics (Subtronics + Griz), DJO, Labrinth, Empire of the Sun and Dijon.

The festival, which will take place from Aug. 7-9, will also host sets from GloRilla, Ethel Cain, Geese, Mariah the Scientist, Modest Mouse, Death Cab For Cutie, Clipse, Lucy Dacus, Wet Leg, Sierra Ferrell, Snow Strippers, Tinashe, DJ Trixie Mattel and The Story So Far, among many more.

Loyalty and Chase presales are open now through Thursday (March 5) at 11:45 a.m. PT, with a Ranger presale slated to open at 12 p.m. PT on Wednesday (March 4) and a general on-sale kicking off at 12 p.m. PT on Thursday; click here for ticketing information.

In a statement, Outside Lands co-founder and Another Planet Entertainment president of concerts and festivals said, “Every year, we strive to deliver a lineup that excites and surprises — letting fans see their favorites while discovering new music. The experience at Outside Lands is just as much about unexpected moments and fresh discoveries as it is about our incredible headliners.”

Among the other hip-hop, rock, pop, electronic and country acts on the bill are: Malcolm Todd, Lane 8, Boris Brejcha, The Temper Trap, It’s Murph, Hyperbeam, Jade, Sienna Spiro, Boyz Noize, Wunderhorse, Balu Brigada, Miss Monique, Dylan Brady, Marlon Funaki and Luke Alessi, among others.

In addition to the Lands End, Twin Peaks, Sutro, Panhandle, Soma Dolores, Duboce and Triangle stages, the fest will once again welcome the Taste of the Bay Area, Wine Lands, Beer Lands, Cocktail Magic and Grass Lands areas, as well as City Hall, where amorous concertgoers can get hitched.

Check out the poster for this year’s Outside Lands Festival below.


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Charlotte de Witte won’t make it to Australia this weekend, as planned, due the aftershock of military strikes in the Middle East.

The high-profile Belgian techno DJ and producer was booked for an exclusive show this Friday, March 6 at Sydney’s Hordern Pavilion, followed by a headline set at Pitch Music & Arts festival, set for March 6-10 in Moyston, Victoria.

Those shows are now scrapped.

“It is with a heavy heart that I have to cancel my upcoming shows in Australia this weekend,” she writes on Instagram Stories. “Due to the recent escalation of conflict and drone attacks in the Middle East, it is not possible to risk free reroute travel for myself and my crew. This decision was not taken lightly.”

De Witte signs off, “I am truly sorry for the disappointment and was very much looking forward to being with you.”

Those dates are produced by Untitled Group, the Melbourne-based independent festival, concert and events specialist. A statement from Untitled points to the “ongoing global travel disruptions amid conflict in the Middle East.”

The Sydney show is postponed, not canceled, the message continues. “We know how much these shows meant to fans and share in the disappointment, however the safety of Charlotte and her crew remains the priority.  A new date for the Sydney show is currently being finalized, with an update to be provided within the next 7 days. We look forward to welcoming Charlotte back to Australia as soon as possible.”

All tickets will remain valid for the rescheduled date, or refund information will be shared when a new show is announced.

According to Untitled, 27 performers for this year’s Pitch program were scheduled to travel via stopovers through the Middle East with their journeys being directly affected. Of those, 25 artists were able to be rerouted and will make their way to Pitch. However, de Witte and German producer Sedef Adasï are “no longer able to join us this year,” reads a statement from Pitch, posted on Instagram Stories.

Those disruptions are the result of aerial strikes launched on Iran last Saturday, March 28, by the United States, alongside Israel, which Donald Trump said were aimed at targeting the country’s nuclear program.

Iran has responded by firing missiles and drones at Middle Eastern nations allied to the United States, the BBC reports, as the US-Israeli war threatens to spread and escalate. The U.S. State Department on Monday warned Americans to “depart now” from 14 countries in the region due to “serious safety risks”.

MELBOURNE, Australia — After 30 years with Mushroom Group, and upwards of four decades in the Australian music industry, Dean McLachlan is calling it a day.

The label veteran joined Mushroom Group in 1997 as promotions manager, initially working on Kylie Minogue’s Impossible Princess and Hunters & Collectors’ Juggernaut. 

Then, he served in various roles with Mushroom Music Publishing, Mushroom Pictures and Liberation Music, and in 2017 became general manager of Bloodlines, the label co-founded by the late Michael Gudinski and Warren Costello and now part of Mushroom Music.  He was promoted to managing director of Bloodlines in 2021.

With the creation of Mushroom Music in July 2024, McLachlan was appointed senior director, iconic artists and catalogue, working across the business’s recording and publishing divisions, with a remit to continue steering the songwriting and releases of Mushroom’s artists, writers and prestigious catalogues.

Mushroom Music was described at the time of formation as a “powerhouse operation” which gathered the roster of artists and writers from across the music specialist’s recording, publishing and neighbouring rights activities, from Vance Joy to Kylie Minogue, The Teskey Brothers, Jimmy Barnes, Childish Gambino, Kehlani, Julia Jacklin and many others.

Matt Gudinski, CEO of the Melbourne-based independent music colossus, lauds McLachlan for his integrity, passion, unwavering loyalty, and enduring contribution to the business and its artists.

“A few years ago,” remarks Gudinski in a statement, “when we launched a new annual staff award to recognise the person who best embodies the energy and spirit of Mushroom, there was only one possible first recipient – Dean.” McLachlan, he continues, “has helped shape the careers of so many remarkable artists in both the recording and publishing business – and having learned his craft under my father and Warren Costello, he is a student of two of the best in the industry.”

McLachlan now moves into a consulting role on an advisory capacity, for a three year period.

“It’s impossible to overstate the mark Dean’s made,” adds Mushroom Music co-CEO Linda Bosidis. “No one matches the passion, loyalty or the depth of relationships he’s built. A true music lover, he listens on repeat, buys the t-shirt, stands front row, drives to regional gigs no one else can find, with stamina to outlast half the crowd.” The outgoing exec “brings the vibe and his authenticity draws artists and industry icons, not just out of respect but genuine affection. Dean is one of the most steadfast, incomparable and generous people you’ll ever meet. Our industry is better for having him”

Early on, McLachlan cut his teeth in retail with a three-year stint with Katies Cards and Records, followed by a decade at EMI Records.

“I leave with lifelong friendships,” continues McLachlan in a statement, “some stretching back more than four decades – and an enormous sense of pride in being forever connected to Mushroom and our artists. These relationships and memories are, without question, the greatest achievements of my career.”

Nine Inch Nails are active, and on the road. But the end might be closer than we realize.  

NIN spearhead Trent Reznor gave fans a surprise warning when the industrial rock heavyweights visited Tulsa, OK last Friday night, Feb. 27.

“I don’t know if we’re going to be touring anymore after this,” he remarked in a video film from the crowd at the BOK Center, “but I’m proud of the show that we’re doing right now. And I’m f—ing grateful that you’ve chosen to spend your evening with us tonight. Thank you very much.”

Reznor shared his thoughts as the recounted a performance in Tulsa “many years” ago when NIN was the support act for Peter Murphy at Cain’s Ballroom. That night, Reznor had a life-affirming moment, as he watched a member of the audience scream back the lyrics of “Head Like a Hole,” a classic early NIN song from the 1989 album Pretty Hate Machine.

On the same day that Reznor hinted at the end of the road for his Rock And Roll Hall of Fame-inducted band, another surprise: NIN released a companion album to its Tron: Ares soundtrack, titled Tron Ares: Divergence. It’s the followup to TRON: Ares, the first-ever film score from Oscar-winning composers Reznor and Atticus Ross (credited under their Nine Inch Nails), which debuted at No. 5 on the Billboard 200 album chart.

NIN ensured the 1980s were buried under a ton of metal with Pretty Hate Machine. Although it only peaked at No. 75 on the Billboard 200, the album marked ground zero in a new movement of heavy edged music, with the synth in its stable. It’s one of 18 NIN appearances on the all-genres albums chart, including two leaders: 1999’s The Fragile (one week at No. 1) and 2015’s With Teeth (one week).

Reznor and Co. are currently on the second leg of its Peel It Back tour, which scheduled to wrap up March 16 at the Golden 1 Center in Sacramento, CA. The first leg got underway June 15, 2025, in Dublin, and ended with two shows at the Kia Forum in Los Angeles last September.

Check out the remaining 2026 dates for NIN’s Peel It Back North American tour below.

March 3: American Airlines Center — Dallas, Texas
March 6: Desert Diamond Arena — Glendale, Arizona
March 7: MGM Grand Garden Arena — Las Vegas, Nevada
March 9: Pechanga Arena — San Diego, California
March 10: Honda Center — Anaheim, California
March 13: Delta Center — Salt Lake City, Utah
March 15: Chase Center — San Francisco, California
March 16: Golden 1 Center, Sacramento, California