Chappell Roan is responding to claims that her security left Brazilian soccer star Jorginho’s 11-year-old daughter in tears following an incident at a São Paulo hotel.

The 28-year-old pop star, who performed at Lollapalooza Brazil on Saturday (March 21), took to her Instagram Story Sunday morning to share her side of the story after Jorginho posted on social media that his daughter was “extremely shaken” when a security guard allegedly confronted her and her mother during breakfast, accusing the child of “harassment” simply for recognizing the singer and smiling.

“I’m just going to tell my half of the story of what happened today with a mother and child who were involved with a security guard — who is not my personal security,” Roan said, lying in bed at the start of her video.

“I didn’t even see,” she continued. “I didn’t even see a woman and a child. Like, I did not. No one came up to me. No one bothered me. Like, I was just sitting at breakfast in my hotel. I think these people were staying at the hotel as well.”

Roan added, “I did not ask the security guard to go up to talk to this mother and child. They did not come up to me. They weren’t doing anything. It’s unfair for security to just assume someone doesn’t have good intentions. When they have no reason to believe, because there’s no action even taken.”

The pop star concluded her message, assuring viewers, “I do not hate people who are fans of my music. I do not hate children. That is crazy. I’m sorry to the mother and child that someone was assuming something, that you would do something and that if you felt uncomfortable, that makes me really sad. You did not deserve that.”

In his post on Instagram, Jorginho said his wife, Catherine Harding, and 11-year-old daughter were staying at a São Paulo hotel ahead of Roan’s headlining set at Lollapalooza Brazil when they spotted the singer at the hotel restaurant during breakfast.

“My daughter, like any child, recognised her, got excited, and just wanted to make sure it was really her,” the midfielder shared, noting she didn’t approach Roan or ask for anything.

He claimed the encounter quickly escalated when a security guard allegedly confronted his family, speaking “in an extremely aggressive manner” and accusing his daughter of “disrespect” and “harassment,” even threatening to file a complaint with the hotel, leaving his daughter “extremely shaken” and in tears.

The incident follows Roan’s recent experiences with unwanted attention from fans and photographers. Earlier this month, she was seen self-documenting a chaotic encounter with autograph seekers and photographers in Paris.

“I’m just trying to go to dinner, and I’ve asked these people several times to get away from me,” she said to her phone in the video, uploaded by an onlooker. “These are all the people that are completely disregarding my boundaries,” she added later in the clip.

While many have applauded Roan for standing up to paparazzi harassment, Boy George wrote on X in early March that she should “own your fame” and to “cheer up girl. The world is at your feet stop kicking it!” He added, “boundaries are boring” and encouraged her to “break them with the magic of kindness.”

Others have come to Roan’s defense. Folk-rock singer/songwriter Noah Kahan recently took to his Instagram Stories to support the “Pink Pony Club” singer. “Maybe they should just idk leave her alone?” Kahan wrote in his first post. In a follow-up video, he elaborated on his disdain for paparazzi behavior, sharing his own experiences: “These people literally find out where you’re staying, where you’re flying in to, where your team, family, whoever is staying. They are clearly not your fans, they just sit outside places so they can try to guilt you into signing sh–t so they can sell it.”


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Mark Hoppus dropped a significant piece of news from the stage of the Sydney Opera House on Saturday night (March 21) — telling fans that Australian rock band Violent Soho are reuniting.

The blink-182 bassist was performing in Australia as part of his Fahrenheit-182 spoken-word storytelling tour when he made the announcement, before bringing out Violent Soho frontman Luke Boerdam and guitarist James Tidswell for an acoustic performance of blink-182’s “Dammit.”

“I wasn’t joking by the way, they really are getting back together,” Hoppus told the crowd, as per Blunt Mag.

The appearance marked the first time Boerdam and Tidswell had shared a stage since Violent Soho’s final show on September 10, 2022 at Fortitude Music Hall in Brisbane — nearly four years ago. Wall of Sound Neither band member addressed the crowd following the performance, and Violent Soho have not yet issued a public statement confirming a reunion.

The timing carries obvious significance. This month marks the tenth anniversary of WACO, Violent Soho’s landmark fourth album. Released in March 2016, the record debuted at No. 1 on the ARIA Albums Chart and dominated triple j’s Hottest 100, with all six singles making the countdown.

Tracks like “Viceroy,” “Like Soda” and “Blanket” helped define Violent Soho as one of the most important Australian rock bands of the decade. A limited edition vinyl pressing of the album was also announced this week.

“When we made WACO we weren’t thinking about anniversaries or legacy, we were just trying to capture where the band was after years of touring and having some momentum from the release of Hungry Ghost,” the band said in a statement about the reissue. “We created some awesome memories in the studio and really tried to push our sound further.”

Hoppus’ connection to Violent Soho stretches back over a decade. He publicly declared his fandom in 2014, tweeting his admiration for the band’s single “Covered in Chrome” before the two acts formally crossed paths at Good Things Festival in 2019, when Hoppus was touring with his side project Simple Creatures.

Hoppus’ Australian run also included a Melbourne show earlier in the week, where he brought out my Shark to perform “Dammit” alongside a snippet of their 2018 collaboration “Psycho.” The tour wraps in Auckland next week.

Tokischa shaved her head in front of a live audience at the iconic Madison Square Garden in New York City on Saturday (March 21).

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The Dominican artist — who’s yet to unveil a debut album, but has a number of entries on Hot Latin Songs as a lead artist and collaborator and on March 19 just released a new single, “Surfboard” — made the hair transformation during her opening set on FKA Twigs’ 2026 Body High Tour; she’s on night two out of a six-show run as Twigs’ supporting act. (Brutalismus 3000 and Eartheater will join the bill for the concert trek’s remaining U.S. dates.)

Billboard captured Tokischa’s bold moment at Madison Square Garden — see it below.

Tokischa’s forthcoming LP is called Amor & Droga. A release date is yet to be announced.

In August, she told Billboard, “This album really tells a very special story for me, a very difficult time in my life that shaped me and brought me to where I am now. It’s like a diary where I recount certain experiences that I’ve never talked about before. I feel like this was the best concept for a debut album — where I can let it all out.”

Fresh single “Surfboard,” expected to be featured on Amor & Droga, was produced by Skrillex. Tokischa dropped a music video for the track this week, after debuting the song live earlier this month. Fans catching her perform on FKA Twigs’ tour have been among some of the first to get to hear it in concert.

An encounter with Chappell Roan‘s security in São Paulo, Brazil, left pro soccer player Jorginho’s 11-year-old daughter — a fan of the singer who planned to see her perform at Lollapalooza Saturday night (March 21) with her mother — “extremely shaken,” the defensive midfielder alleges in a complaint posted on Instagram before the show.

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“I went through a very upsetting situation with my family earlier today,” Jorginho wrote (in both Spanish and English) in an Instagram Story in which he tagged Roan’s account.

Jorginho says his wife, Catherine Harding, and daughter were staying at a São Paulo hotel ahead of Roan’s headlining set on Saturday. By chance, they spotted the pop star at the hotel restaurant where they were having breakfast.

“This morning, my daughter woke up incredibly excited, she even made a sign because she was so happy to see an artist she really admires, or used to admire,” he shared.

“During breakfast, the artist walked past their table. My daughter, like any child, recognised her, got excited, and just wanted to make sure it was really her. And the worst part is she didn’t even approach her. She simply walked past the singer’s table, looked to confirm it was her, smiled, and went back to sit with her mum. She didn’t say anything, didn’t ask for anything,” wrote Jorginho.

“What happened next was completely disproportionate,” he claimed.

“A large security guard came over to their table while they were still having breakfast and began speaking in an extremely aggressive manner to both my wife and my daughter, saying that she shouldn’t allow my daughter to ‘disrespect’ or ‘harass’ other people. … He even said he would file a complaint against them with the hotel, while my 11-year-old daughter was sitting there in tears. My daughter was extremely shaken and cried a lot,” Jorginho said.

Billboard reached out to a representative for Roan for comment, but did not receive a response at press time. (Roan was taking the stage Saturday night at São Paulo’s Autódromo de Interlagos.)

“It was just a child admiring someone,” Jorginho concluded in his Instagram post.

“It’s sad to see this kind of treatment coming from those who should understand the importance of fans. At the end of the day, they are the ones who build all of this. I sincerely hope this serves as a moment of reflection. No one should have to go through this, especially a child,” he wrote before directing his words at Roan: “WITHOUT YOUR FANS, YOU WOULD BE NOTHING. AND TO THE FANS, SHE DOES NOT DESERVE YOUR AFFECTION.” See Jorginho’s full statement via his Instagram Stories.

Earlier this month, Roan was seen self-documenting her experience being surrounded by a horde of autograph seekers and photographers while in Paris.

“I’m just trying to go to dinner, and I’ve asked these people several times to get away from me,” she was heard saying to her phone, via a video filmed and uploaded online by an onlooker.

“This person I’ve asked several times to go away, and they will not,” the artist said at the time, while capturing video of someone who continued to ask her for an autograph despite the confrontation. “They’re hiding their face, because they’re ashamed.”

Roan was also heard saying that she felt “disregarded as a human” amid “all the people that are completely disregarding my boundaries,” and added, “All of you, I’m asking you kindly to please leave me alone and stop following me and harassing me. No, I’m not gonna sign. This is what it’s like, if you were wondering how it is.”

Roan, whose debut album, The Rise and Fall of a Midwest Princess, reached No. 2 on the Billboard 200 in 2024, most recently released new music last year — a pair of Hot 100 hits, “The Giver” and “The Subway.”

BTS’ long-awaited comeback album is off to a blockbuster start on streaming platforms.

On Saturday (March 21), Spotify announced that the Korean supergroup’s first album in six years, ARIRANG, has become the platform’s most-streamed album in a single day in 2026 so far. The release also set a new record as the most-streamed K-pop album in Spotify history.

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“ARMY made ‘ARIRANG’ the most streamed K-Pop album in Spotify history and the most streamed album in a single day in 2026. Favorite track so far?” Spotify wrote on Instagram.

ARIRANG, which dropped Friday (March 20), was already making waves before its release. Spotify noted that the album is one of the most pre-saved album Countdown Pages in platform history, with more than five million presaves.

To keep the momentum going, Spotify has partnered with BTS to offer fans immersive experiences and in-app activations. Highlights include a BTS Music Quiz, an album listening party, a private fan event in New York City, and a three-day cruise along Seoul’s Han River.

Featuring 14 tracks produced by Diplo, Kevin Parker, Mike WiLL Made-It and Ryan Tedder, presents RM, Jin, Suga, j-hope, Jimin, V and Jung Kook in a more mature, artistically refined light.

BTS last released a full-length album in 2020, when Be debuted at No. 1 on the Billboard 200. That year, the seven-member group also topped the Billboard Hot 100 chart with “Life Goes On” and “Dynamite,” later returning to No. 1 with “Butter,” “Permission to Dance” and “My Universe” with Coldplay.

At the peak of their global dominance, the group’s members began mandatory military service in South Korea, rolling out solo projects on a staggered schedule.

Check out Spotify’s ARIRANG announcement on Instagram below.


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Police body cam footage from Justin Timberlake’s 2024 DWI arrest in Sag Harbor, New York, has been released.

On Friday (March 20), Sag Harbor police provided the redacted footage to news outlets that had submitted public records requests. The 45-year-old singer had initially sued to block the release of the footage but later agreed to the redactions as part of a settlement.

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Timberlake was arrested in June 2024 on suspicion of driving while intoxicated. He ultimately pled guilty to a lesser impaired-driving charge and was sentenced to 25 hours of community service. He also recorded a public service announcement about the dangers of drinking and driving, urging, “Even if you’ve had one drink, don’t get behind the wheel of a car.”

TMZ was among the first outlets to release the body cam footage, which shows the pop superstar struggling during a series of sobriety tests after being pulled over in a BMW SUV on the side of the road.

“Guys, I’m just following my friends back to my house,” he’s heard saying in slowed-down speech. “I’m not doing anything. I’m just following my friends back to my house.”

Timberlake is later instructed by officers to walk a straight line using nine heel-to-toe steps. “Sorry, I’m a little nervous,” the musician says, taking more steps than asked. During another test, in which he’s asked to lift one foot six inches off the ground and count aloud, Timberlake says, “Sorry, my heart is racing,” adding, “These are, like, really hard tests.” He is later placed in handcuffs and arrested.

In legal papers filed on March 2, Timberlake’s lawyers said the arrest footage depicted him in an “acutely vulnerable state” and that its release would “serve no legitimate public interest.” A Long Island judge ordered police not to release the videos until a court review could be completed.

In a statement shared with Billboard on March 20, the Village of Sag Harbor said, “We are pleased that this matter has now been resolved and the village will be able to comply with its statutory obligation to release the material that is subject to disclosure.”

“From the beginning of this matter, after Mr. Timberlake’s arrest, the village has attempted to comply with the mandates of the Freedom of Information Law,” the statement reads. “As would be true in any case involving records or video footage from our police department, such material is reviewed and redacted to address public and officer safety concerns as well as personal privacy considerations.”


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The 37th Annual GLAAD Media Awards is back, celebrating the outstanding achievements of lesbian, gay, bisexual, transgender and queer media persons.

The star-studded award ceremony was held on March 5 at the Beverly Hilton in Los Angeles, and will be available to stream on Hulu beginning Saturday, March 21. The show was hosted by Jonathan Bennett and included head-turning performances by Demi Lovato and pop artist Eli.

The 2026 GLAAD Awards at a Glance:

  • When: Streaming March 21
  • Where: Beverly Hilton in Los Angeles
  • Streaming: Hulu

To stream the event, you’ll want to get a subscription to Hulu. A standard subscription to Hulu with ads will run users $11.99 a month or $119.99 a year. For a subscription without ads, you’ll be paying $18.99 a month or $227.88 a year. You can try the service for free for 30 days before committing to anything. If you’re looking for more bang for your streaming buck, you can also watch the show with a Hulu and Disney+ bundle subscription. The bundle is just $4.99 for the first three months now for new and returning subscribers. With your subscription, you’ll be able to watch the 2026 GLAAD Awards, along with a ton of content from Disney+’s library.

Notable happenings at the pre-recorded event included a surprise appearance from Liza Minnelli, who received GLAAD’s Inaugural Liza Minnelli Storyteller Award in honor of the Grammy winner’s latest memoir, Kids, Wait Till You Hear This! Other notable winners included KATSEYE, who won outstanding breakthrough music artist, and Young Miko, who took home outstanding music artist, beating out impressive names including Lady Gaga and Elton John.

Golden Globe award-winning actor, producer, writer and showrunner Quinta Brunson received the Vanguard Award, while duo Bowen Yang and Matt Rogers, cohosts of the podcast Las Culturistas, received the Stephen F. Kolzak Award. Heated Rivalry won for outstanding new TV series, an award that the cast accepted on stage. The Traitors won for outstanding reality competition program, an award accepted by contestants Chrishell Stause, Parvati Shallow and Monet X Change. You can check out the full list of winners here.

Two more acts from the cancelled Bluesfest 2026 lineup have confirmed they are pressing ahead with their Australian tours.

The Wailers and The Pogues both announced updated plans on Saturday (March 21), joining Sublime and Counting Crows in reassuring fans that their runs would continue despite the Easter festival’s collapse.

The Wailers have announced a new string of intimate East Coast dates, now presented by Noisy Group, with shows in Gosford, Sydney, Port Macquarie, Coffs Harbour and Brunswick Heads running through Easter weekend. A previously announced Melbourne date has been removed from the itinerary.

The band’s 2026 tour marks the 50th anniversary of Rastaman Vibration — Bob Marley’s landmark 1976 album that represented the commercial breakthrough of reggae in the United States. Rastaman Vibration peaked at No. 8 on the Billboard 200, making it the first Bob Marley release to reach the top 10, and spawned “Roots, Rock, Reggae” — the only Marley single to reach the Billboard Hot 100.

The Wailers are led by Aston Barrett Jr., son of legendary bassist Aston “Familyman” Barrett, alongside vocalist Mitchell Brunings.

The Pogues have also confirmed their Australian and New Zealand tour is going ahead as planned, adding a new Brisbane show at Fortitude Music Hall on April 2.

Tickets for the new date go on sale Monday, March 23 at 10 a.m. AEST via Ticketmaster. The Celtic punk band’s tour marks the 40th anniversary of Rum, Sodomy & the Lash, their celebrated 1985 second album. Original members James Fearnley, Jem Finer and Spider Stacy are performing alongside a lineup that includes Daragh Lynch, Iona Zajac, John Francis Flynn and Lisa O’Neill.

The confirmations come amid broader concern about the financial fallout of Bluesfest’s collapse for international touring acts. Counting Crows frontman Adam Duritz warned this week that many acts on the bill had likely not received upfront payment for their festival appearances, and that without the anchor fee, some would be forced to cancel their entire Australian runs.

Bluesfest, which had been scheduled for April 2–5 at Byron Events Farm, was cancelled on March 13 citing rising costs and soft ticket demand, with a liquidator appointed to manage financial matters.

Australian singer-songwriter MAY-A has put her own stamp on a classic.

The 24-year-old Sydney talent covered Stevie Nicks‘ 1981 track “Edge of Seventeen” for triple j’s Like a Version on Friday (March 20), delivering a grunge-inflected, guitar-driven reworking that stripped away the original’s iconic riff and rebuilt the song from the ground up.

Taking to the stage with her live band, MAY-A opened with a restrained, vocally-led arrangement before the track expanded into something heavier — a distortion-led second half complete with both guitar and bass solos.

The approach made room for her own voice to take center stage, balancing tenderness with a raspy, rock-edged delivery throughout. Guitarist and collaborator Chloe Dadd was central to shaping the arrangement, which came together through extended experimentation in rehearsals.

“When we started playing around with the idea of this song, we just played it in so many different ways,” MAY-A said. “And my guitarist Chloe, she sort of built out the tracks.”

The song choice was a deliberate one. MAY-A said she wanted to cover something connected to Nicks specifically because of the way the Fleetwood Mac co-founder writes about loss.

“I haven’t seen someone write about grief and loss in such a powerful and strong way,” she said, describing the quality as “unique and inspiring.” The triple j team had teased the cover earlier in the week by sharing a School of Rock scene on Instagram Stories.

The Like a Version appearance came alongside a performance of “Last Man on Earth” from MAY-A’s debut album Goodbye (If You Call That Gone), released February 20.

In a recent interview with The Music, the artist — born Maya Cumming — spoke about her journey into rock music as a teenager, citing Sonic Youth, Bikini Kill, Paramore, Hole and Evanescence as formative influences.

“I was never from this scene — I was always a Taylor Swift pop girl — so when I got into rock in my teens, I felt like a fraud,” she said. “These women made me feel seen, and made me realise I didn’t need to fit into all of these moulds I’d made for myself. I had to carve my own space.”

Of the album itself, MAY-A said she was deliberately resistant to commercial instincts. “This album is a slow burn; you have to sit with it. I deliberately didn’t make it hi-fi, or really catchy and full of hooks. This was as raw as I could make it.”

MAY-A’s Goodbye (If You Call That Gone) tour kicks off April 2 at The Princess Theatre in Brisbane, with further dates in Sydney, Melbourne, Fremantle and Adelaide. The Like a Version appearance was part of triple j’s expanded March slate, which doubled its weekly output for the first time to include both Friday and Tuesday sessions throughout the month.

A jury has rejected legal claims brought against Chance the Rapper by his longtime manager Pat Corcoran, known as Pat the Manager.

Chicago jurors came back with the verdict on Friday night (March 20) following a two-and-a-half week trial in the messy legal battle between Chance (born Chancelor Bennett) and Corcoran, who were once inseparable but parted ways on bad terms a few years back.

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Corcoran first sued Chance in 2020, alleging he was owed $3.8 million in unpaid commissions — including under a so-called “sunset clause” that ran three years post-termination — even though the two never had a written contract. The jury rejected those claims on Friday, according to the Chicago Sun-Times.

Jurors also sided with Chance on his 2021 countersuit, which accused Cocoran of breaching fiduciary duties and exploiting career opportunities for his own benefit.  But they awarded the rapper only $35 in damages, per the Sun-Times, rather than the $1 million sought by Chance.

In a statement sent to Billboard, Jay Scharkey, an attorney for Corcoran, said, “We respect the jury’s decision, but the message to music managers is clear: Get it in writing. The jury award of $35 speaks to how seriously the jury viewed Chance’s case.”

A representative for Chance did not immediately provide comment on the outcome.

The verdict followed closing arguments on Friday, during which lawyers for Chance and Corcoran made their final pitches to the jury in the years-long legal fight.

“This story is about someone who becomes famous and forgets what it took to get him there,” said Robert D. Sweeney, one of Corcoran’s lawyers, setting the tone for his closing statement. 

Sweeney argued that the case centers on securing the money Corcoran says he’s owed under a 15% net deal allegedly struck early in Chance’s career in 2013, including the three-year post-termination “sunset clause.” 

Sweeney pointed to Corcoran as the “common denominator” in Chance’s success, citing the 2016 album Coloring Book’s feats on the Billboard 200, where it spent 125 weeks, plus his three Grammy wins the following year. He went on to compare it to Chance’s 2025 Star Line, released after the two stopped working together, which spent just one week on the Billboard 200. “You can be great, but if you don’t have the right people around you, how’s that going to work out?” Sweeney said.

Sweeney added that there was “no doubt Pat loved this guy,” describing how Corcoran went the extra mile by taking on roles in promotion and distribution. “Pat took his 15% and did everything to prove the big labels wrong and the importance of staying independent,” he said. 

“This [case] is about two guys working their butts off, then having a disagreement, parting ways and someone not getting paid,” Sweeney said, adding: “Pat brings a claim for breach of contract of an oral agreement. It’s hard to know what was said, so it’s about which story makes sense.” 

When Chance’s lawyer, Precious S. Jacobs-Perry, took the floor, she told jurors that there is “no evidence” of a sunset agreement beyond “Pat’s own say so,” framing the case as “all about Pat’s greed and wanting something he doesn’t deserve. Just because you want it, doesn’t mean you take it.”  

Jacobs-Perry presented written communications between the two parties starting in 2014, in which Corcoran outlined the oral agreement, which included the 15% management commission but made no mention of the post-termination agreement. The alleged sunset clause, she said, was first mentioned in Corcoran’s November 2020 lawsuit.

She went on to argue that Corcoran took undue credit for the rapper’s success while building his own ventures, ultimately neglecting Chance’s projects. “All companies he created had nothing to do with Chance, he was investing in himself. Pat used his position to enrich himself repeatedly,” she said, adding, “He chose not to be by Chance’s side like he was before.” 

Jacobs-Perry also pointed to alleged lapses in management, including 24,000 merchandise orders that went unfulfilled in 2019, arguing Corcoran had become “absent” and overly reliant on delegation. 

She further accused Corcoran of seeking equity in Chance’s recordings through UnitedMasters in 2017. According to Jacobs-Perry, Chance confronted him after the fact, “hoping his friend would tell him it wasn’t true.” Sweeney, however, maintained his client was not seeking ownership, but compensation for past work. 

In closing, Jacobs-Perry said two key questions remain: whether the alleged sunset agreement exists, and whether Corcoran “interfered” in Chance’s career by inserting himself into deals without the artist’s knowledge. 

“Pat filed his complaint, Chance decided to stand up for himself,” she said. “Chance chose independence, freedom and Pat had a golden opportunity to work with a talented artist. But he squandered that opportunity by betraying his friend.” 


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