Smashing Pumpkins frontman Billy Corgan will be playing classics from his beloved group when he hits the road this summer, though his backing group will look a little different.

Hitting the live trail throughout June, Corgan will be joined by his new band, the Machines of God, for the 16-date tour of North America. 

Dubbed A Return to Zero, the trek sees Corgan and his band touring in support of the 30th anniversary of the Smashing Pumpkins’ Mellon Collie and the Infinite Sadness, and the 25th anniversary of the 2000 albums Machina/The Machines of God and Machina II/The Friends & Enemies of Modern Music. The tour will feature classics and deep cuts from the records, along with selections from 2024’s Aghori Mhori Mei.

Joining Corgan in the Machines of God is nascent Smashing Pumpkins guitarist Kiki Wong, drummer Jake Hayden, and bassist Kid Tigrrr (aka Jenna Fournier of NIIGHTS).

This isn’t the only retrospective look that Corgan is taking in 2025. In early March, Corgan detailed a forthcoming series of performances which sees him and the Lyric Opera of Chicago reimagining Mellon Collie and the Infinite Sadness in a new operatic light in November. “Opera and rock both tell stories of heightened emotions, and I am excited for both fans of my music and traditional opera fans to hear some truly inspired work; for the balance here is to honor both traditions in a magisterial way,” Corgan explained.

Mellon Collie was issued in 1995 as the band’s third album, and managed to become the Smashing Pumpkins’ first release to debut atop the Billboard 200. The record also garnered seven nominations at the 1997 Grammys, including album of the year and best alternative music album, ultimately winning best hard rock performance for lead single, “Bullet with Butterfly Wings.”

Meanwhile, Machina/The Machines of God arrived in February 2000 as the band’s last studio album to be commercially released ahead of their breakup later that year. The record hit No. 3 on the Billboard 200, and received a Grammy nomination for best recording package.

Its follow-up, Machina II/The Friends & Enemies of Modern Music, was released in September of 2000 as a free download after plans to release the records as a double album fell through. A long-awaited reissue of the Machina albums is set to arrive later in the year.

Billy Corgan and the Machines of God – A Return to Zero North American Tour

June 7 – Baltimore Soundstage, Baltimore, MD
June 9 – Paradise Rock Club, Boston, MA
June 11 – Kee to Bala, Muskoka, ON
June 12 – History, Toronto, ON
June 13 – Beanfield Theatre, Montreal, QC
June 15 – Irving Plaza, New York, NY
June 16 – Theatre of Living Arts, Philadelphia, PA
June 17 – Archer Music Hall, Allentown, PA
June 19 – St. Andrew’s Hall, Detroit, MI
June 20 – Taste of Joliet, Joliet, IL
June 21 – Intersection, Grand Rapids, MI
June 23 – Roxian Theatre, Pittsburgh, PA
June 25 – House of Blues Cleveland, Cleveland, OH
June 26 – Bogart’s, Cincinnati, OH
June 27 – Summerfest, Milwaukee, WI
June 29 – Varsity Theater, Minneapolis, MN

Japanese heavy outfit BABYMETAL are preparing to kick off their latest era, announcing the release of their fifth album today.

As is tradition, news of the group’s latest happenings was shared on Fox Day (April 1, Japanese time), a day typically used by the group to unveil big announcements. The big headline for 2025 is the forthcoming release of BABYMETAL’s fifth album, Metal Forth, which will be released on June 13.

The ten-track release is a heavily-collaborative effort, featuring appearances from the likes of Spiritbox, Polyphia, Bloodywood, and Slaughter to Prevail. The album will also include previous singles released by the band, including the 2023 Tom Morello-featuring “METALI!!”and their 2024 collaboration with Electric Callboy, “Ratatata.” News of the forthcoming record will also be bolstered by the impending arrival of new single “From Me to U,” which drops on Friday (April 4) with guest vocals from Poppy.

BABYMETAL first formed in 2010, releasing their self-titled debut in 2014. While the record peaked at No. 187 on the Billboard 200, subsequent albums performed better, with 2016’s Metal Resistance hitting No. 39 and 2019’s Metal Galaxy reaching No. 13. 

In 2023, the band released fourth album The Other One, which became their first not to chart on the Billboard 200, and their first to be released as a duo following the departure of Yuimetal in 2018. Now, following the inclusion of Momometal as an official member in 2023, the forthcoming record is said to represent a new era for the band, with its title meaning “beyond metal,” and a new signing to Capitol Records being detailed alongside its announcement.

In a statement issued on Monday (March 31), Capitol Records noted that the deal makes BABYMETAL “the first Japanese artist to sign a frontline deal with the label.”

“BABYMETAL’s groundbreaking sound and compelling artistic vision have not only cultivated a worldwide following, but have also demonstrably shifted global music culture,” said Capitol Records Chairman & CEO, Tom March. “We at Capitol Records are privileged to join them in this next chapter as we continue to amplify their international reach and influence with the upcoming release of Metal Forth.”

The arrival of Metal Forth on June 13 will also coincide with the launch of a 24-date North American tour for the band, with dates in Europe, the U.K., and Asia also set to complement their current schedule.

UPDATE (MARCH 31): After concluding her historic residency in Mexico on Sunday (March 30) with her last of seven concerts at the GNP Seguros Stadium in the capital, Shakira announced two more dates in the Latin American country on Monday (March 31), extending her own record to 22 shows on a single tour. This is the fourth time in five days that the Colombian superstar has added dates in Mexico as part of her Las Mujeres Ya No Lloran world tour.

“The She-Wolf continues breaking records and making history. We have the 11th date of the Las Mujeres Ya No Lloran World Tour at the Estadio GNP Seguros and a new date at the Akron Stadium in Guadalajara!” OCESA announced on social media.

With these two new shows, the Colombian superstar reaffirms her position as the first artist in history to perform that number of shows on a single tour en Mexico, 11 of which will be at the aforementioned stadium, where she is expected to draw a total of 715,000 people, according to the promoter.

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The new date at the GNP Seguros Stadium is scheduled for August 26th, adding to the previously announced dates for the 27th, 29th, and 30th of the same month. The new show announced for the Akron Stadium in Guadalajara is scheduled for September 7th, adding to the one scheduled for the 6th.

Named on Monday by Billboard as No. 1 among the Best 50 Female Latin Pop Artists of All Time, Shakira is poised to break the record of eight shows at the GNP Seguros Stadium (formerly Foro Sol), currently held by Grupo Firme.

PREVIOUSLY (MARCH 29): About to wrap up the first part of her historic residency at the Estadio GNP Seguros in Mexico City this Sunday (March 30) with a seventh show, Shakira has announced four additional dates in Mexico, including one more at the aforementioned venue on August 27, which adds to the already scheduled shows on August 29 and 30, promoter OCESA announced Saturday (March 29).

With these four concerts, the Colombian superstar brings the total of dates of her first world stadium tour to 20 in Mexico, 10 of them at the Estadio GNP Seguros (formerly Foro Sol), setting a new record as the act with the most shows at this major venue. Regional Mexican band Grupo Firme have held the title so far with eight.

“As a thank you to her fans and in response to unprecedented demand, the singer has announced four more dates. The first stop will be in the city of Monterrey,” OCESA said on social media.

The promoter specified that Shakira’s second leg of the Las Mujeres Ya No Lloran tour in Mexico will kick off on August 23 at the iconic Parque Fundidora, which has opened its doors for the Colombian singer to return to this northern border city. The other three dates include Sept. 3 at Estadio Corregidora in Querétaro and Sept. 11 at Estadio Cuauhtémoc in Puebla.

PREVIOUSLY (MARCH 28): Shakira continues breaking records in Mexico, where she will perform five additional shows as part of her Las Mujeres Ya No Lloran world tour, including two dates dates at the Estadio GNP Seguros in the capital on August 29 and 30, the latter announced on Friday (March 28) by the promoter OCESA.

With this new show, the Colombian superstar brings the total number of dates on her first world stadium tour to 16 in the Latin American country.

“Shakira continues to make history in Mexico! Due to high demand, another date of the Las Mujeres Ya No Lloran World Tour has been added at the GNP Seguros Stadium,” OCESA said in a statement.

Pre-sale for Banamex cardholders began Friday at 1:20 p.m. (local time), one day before the general sale.

ORIGINAL STORY (MARCH 26): Shakira continues breaking records in Mexico, where she will perform four additional shows as part of her Las Mujeres Ya No Lloran world tour, including one more date at the capital’s GNP Seguros Stadium on August 29, OCESA announced on Wednesday (March 26).

“11 dates are not enough; the She-Wolf will return with four more dates in August and September,” the promoter said on social media.

With this, the Colombian superstar will reach the historic milestone of eight performances at the aforementioned venue (previously known as Foro Sol) over two separate phases of her tour. The feat surpasses shows by other international icons such as Paul McCartney, Metallica, Coldplay, and Taylor Swift.

The other three tour dates in Mexico will be at Estadio Corregidora in Querétaro on September 2, Estadio Akron in Guadalajara on September 6, and Estadio Cuauhtémoc in Puebla on September 12. Presale tickets for Banamex cardholders will take place on March 28, while general ticket sales will begin on March 29, added the promoter.

On Tuesday night (March 25), Shakira performed the fourth of seven concerts that make up her unprecedented residency at Estadio GNP Seguros, making her the first artist to sell out such a number of nights at the imposing venue, which will bring together a total of 455,000 attendees, according to OCESA.

Launched on February 11 in Rio de Janeiro, Brazil, the Las Mujeres Ya No Lloran tour is set to visit the Dominican Republic, Chile, and Colombia before arriving in the United States on May 13.

In an interview with Billboard Español in Mexico City, Shakira said that the tour has become something more intimate and profound. “These are more than just concerts. They are deep encounters where healing happens,” she said, adding that, with each performance, she feels “stronger and happier.”

Check out OCESA’s announcement below.

The Wonder of Stevie, a podcast about music legend Stevie Wonder, won best entertainment podcast at the fifth annual Awards for Excellence in Audio (The Ambies). The awards were presented on Monday (March 31) at McCormick Convention Center in Chicago, with comedian Tig Notaro serving as host. The awards are voted on by members of The Podcast Academy.

Las Culturistas with Matt Rogers and Bowen Yang won best comedy podcast. Bowen Yang has received four Primetime Emmy nominations for his work on Saturday Night Live.

Hysterical, which explores a mass psychogenic illness that occurred in 2011 to some cheerleaders in Le Roy, N.Y., won podcast of the year and best reporting (for Dan Taberski).

Ira Glass was honored with the Governors Award, which recognizes a podcast or individual for the influence they’ve had on the industry; and Sam Sanders received the Impact Award, which recognizes an individual or podcast that has made a significant, positive effect on its listeners.

Ronan Farrow, Jon Cryer, Matt Rogers, and Meena Harris were among presenters and guests at the event.

Here are the nominees for The 2025 Ambies in categories most relevant to the music and entertainment industry, with winners marked.

Podcast of the year

99% Invisible: Not Built for This

Beyond All Repair

Cement City

Dragon Age: Vows & Vengeance

Empire City: The Untold Origin Story of the NYPD

Faraway

Fire Escape

Hot White Heist 2

WINNER: Hysterical, Wondery, Audacy’s Pineapple Street Studios

Throughline

Best entertainment podcast

Infamous

Lemme Say This

Rattled & Shook

Scamfluencers

Split Screen: Kid Nation

The Road to Joni

WINNER: The Wonder of Stevie, Audible, Higher Ground, and Pineapple Street Studios

Best podcast host or hosts

Diallo Riddle and Blake ‘LUXXURY’ Robin – One Song

Glennon Doyle, Abby Wambach and Amanda Doyle – We Can Do Hard Things

Jon Stewart – The Weekly Show with Jon Stewart

Rainn Wilson – Radio Rental

WINNER: Ronald Young Jr. – Weight for It, ohitsBigRon studios LLC

Sam Sanders – The Sam Sanders Show

Wesley Morris – The Wonder of Stevie

Best original score and music supervision

WINNER: Dan Leone – Ripple, Western Sound, APM Studios

Daniel Lloyd-Evans, Louis Nanke-Mannell and Toby Matimong – Extrasensory

Deron Johnson – Dungeon Masters

Jonathan Pfarr, Carson Graham and Bobby Mota – Celebrity Pets

Peter Nashel, Ross Hopman, Gio Lobato, Dana Hom, Brad Fischer, Jordan Lieb, Lucas Villemur and Lindsay Dievert – Hammerless: A True Crime Podcast in a Fantasy World

Skyler Gerdeman, Martin Lynabel, Nicholas Alexander, Max O’Brien and Caroline Thornham – Kill List

Stro Elliot and Eric Gersen – Historical Records

Best production and sound design

Casandra Tinajero and Andrés Bahena – Nocturno: Tales From the Shadows

Jeremy S. Bloom – Hot White Heist 2

Kenny Kusiak and George Drabing Hicks – The Confessions of Anthony Raimondi

WINNER: Michelle Macklem – Girl v. Horse, ESPN Podcasts, 30 for 30 Podcasts

Realm – Narcosis

Sagafilm and Skybound Entertainment – Impact Winter Season 3

Ted Bonnitt – Hindsight: The Day Before

Best society and culture podcast

Hysterical

In Retrospect with Susie Banikarim and Jessica Bennett

WINNER: Inheriting, LAist Studios

Mind Your Own with Lupita Nyong’o

My Divo

Sixteenth Minute (of Fame)

Weight For It

Best podcast for kids

Culture Kids

Grimm, Grimmer, Grimmest

Historical Records

Mysteries About True Histories

PJ Library Presents: Beyond the Bookcase

Skylar & Bones – Funny Stories for Kids!

WINNER: Wow in the World Wondery, Tinkercast

Best Spanish language narrative podcast – fiction or nonfiction

¡No Vengan!

Greal: El Secreto de las Ocho Llaves

Hechos Reales

WINNER: HUMO: Murder and Silence in El Salvador, Sonoro

No quieren que sepas

Pantallas & Mentiras [Screens & Lies]

Pétrea

Best sports podcast

30 for 30 Podcasts

WINNER: Broomgate: A Curling Scandal, Kelly&Kelly, CBC Podcasts, USG Audio, and Pacific Electric

Good Game with Sarah Spain

Pablo Torre Finds Out

Shadowball: The Rise of the Black Athlete

The Raven

The Rich Eisen Show

Best comedy podcast

Conan O’Brien Needs a Friend

Hot White Heist 2

WINNER: Las Culturistas with Matt Rogers and Bowen Yang, iHeartPodcasts, Big Money Player

Scam Goddess

SmartLess

We’re Here to Help

Who Replaced Avril Lavigne? Joanne McNally Investigates

Best indie podcast

Sightings

The Insurgence: Sheriffs

The Man Who Calculated Death

The Nightingale of Iran

The People’s Recorder

The TMI Project Story Hour

WINNER: What Happened in Skinner, Mazama Entertainment

Best indie podcast host or hosts

WINNER: Dallas Taylor – Twenty Thousand Hertz, Defacto Sound

Deja Perkins and Purbita Saha – Bring Birds Back

Jill Jonassen – The Cost of Extremism

Kate McCoy and Kevin Corbett – Horrorwood: True Crime in Tinseltown

Lisa Phillips – From Now On

Lisa Woolfork – STITCH PLEASE

Susan Lambert Hatem and Sharon Johnson – 80s TV Ladies

Best interview podcast

American Masters: Creative Spark

Apple News in Conversation

Overlooked: Women’s Health Can’t Wait

WINNER: Thanks Dad with Ego Nwodim, Headgum

The Assignment with Audie Cornish

The Integrated Schools Podcast

Tomorrow’s Cure

Best performance in audio fiction

Bowen Yang, Cynthia Nixon, Shannon Woodward, Jane Lynch, Jesse James Keitel, Sarah Steele, Ian McKellen, Raul Esparza, Sara Ramírez, Joel Kim Booster, Bianca Del Rio, Cheyenne Jackson, Abbi Jacobson, Stephanie Beatriz, Katya Zamolodchikova, Trixie Mattel, Yvie Oddly, Jane Krakowski, Sandra Oh, and Tony Kushner – Hot White Heist 2

WINNER: Caitlin Stasey, Jake ‘The Snake’ Roberts, David Yow, Caroline Morahan, Guinevere Turner, Elizabeth Halpern, Travis Harmon, Brad Griffith, James Bacon, Jameson Cush, Jonathan Shockley, Ayla Glass and Chris Goodwin – The Skies Are Watching, Goldhawk Productions

Fredi Bernstein, Cody Wilkins and Dana Domenick – The Box

Mikki Hernandez, Toby Meuli, Geri-Nikol Love, Rachel Kylian – Ominous Thrill

Ruth Righi – Winnie Taylor’s 4th & Inches

Sanaa Lathan – The Justice

Tisha Campbell – Snoriezzz

The world of electronic music is currently coming to terms with news of an international ruse which has seen former Kraftwerk member Wolfgang Flür reportedly tricked into a false collaboration with Daft Punk’s Thomas Bangalter.

Flür, who rose to fame as part of Kraftwerk between 1973 and 1987, issued his third solo album, Times, on Friday (March 28). Early reports of the record indicated the effort was a star-studded affair, featuring collaborations with the likes of Yello’s Boris Blank, New Order’s Peter Hook, and more. One of the most notable collaborations was with Daft Punk’s Thomas Bangalter, who was to be credited on the record under the name Thomas Vangarde.

According to a recent interview with Flür, the apparent collaboration began innocently enough when Bangalter got in touch with the veteran musician via social media to request a signed copy of Flür’s 2022 album, Magazine 1. “He said, ‘It’s so wonderful. Can I have a signed album? I collect albums but it must be signed personally from you. We love you guys. Without Kraftwerk we would not find our own robot style, being on stage with the helmets, you know. And I love you Wolfgang. And please, can you send me [an album]?’”

After the signed record landed at Bangalter’s house, Flür explained that he suggested the two work together on a track. Following some technical alterations to ensure Bangalter’s contributions fit the key of the initial musical ideas, his work was combined with Hook’s bass line, and both Flür and musical partner Peter Duggal completed the track. The final record actually features two songs credited to Bangalter/Vangarde; “Über_All” and “Monday to the Moon.”

However, following the release of Flür’s Times album, Daft Punk archivist Luke Perez took to their blog to confirm the collaboration was in fact a hoax, outlining the chronology of events that led up to the release of the final product.

According to research conducted by Perez, Flür had spoken about being contacted by Bangalter via Facebook back in 2023, admitting he was unaware of the Daft Punk member or his influence at the time. 

Though initially suspicious of the news, given the reclusive social media presence of Daft Punk and its members, Perez further noted that something seemed amiss when Thomas Vangarde was credited on the record instead of Bangalter. Further compounding the mystery was the fact that Bangalter’s father had reportedly used the surname as a moniker during his own musical past, providing a reasonable explanation for the different name.

Ultimately, Perez concluded by mentioning that an individual in close contact with Daft Punk’s management had confirmed that Bangalter was not behind the collaboration with Flür, and that the former Kraftwerk musician had been duped by an as-yet-unknown individual on social media.

“I’m assuming the fake Bangalter must have convinced Flür’s camp that he was now going by Thomas Vangarde in some sort of effort to cover their tracks,” Perez concluded in their post. “Bizarrely, it seems no one in the real Thomas Bangalter’s sphere found out about this or brought this up to him until after the tracks released despite over two years of this being known about. It’s equally bizarre that at no point did Cherry Red Records (or any other involved party) question or debunk this bold claim that Thomas Bangalter was involved.”

Daft Punk officially announced their split in 2021, having not released new music since their fourth and final studio album, 2013’s Random Access Memories. The record was their first to top the Billboard 200, and earned the group five Grammys, including album of the year and best dance/electronic album, while lead single “Get Lucky” took out record of the year and best pop duo/group performance.

Since their dissolution, Bangalter has been active musically, curating scores for ballet, film, and other art projects, while fellow Daft Punk member Guy-Manuel de Homem-Christo has remained active in the world of production.

Doechii accepts the Woman of the Year Award at Billboard Women In Music 2025.

Doechii:

Hello! Where’s the swamp? Do I have any fans in here? I cannot believe this. It was just two years ago that I stood on this very stage and accepted Billboard’s Rising Star Award. I had literally performed so hard that I danced my shoes off, and I had to hop up to this mic. And now, here I am—right back at the mic. That moment really reflects how I’ve approached my entire career: always go full out, always go hard, and always be fab. Okay? Always. So now, as I thank God and my family, I’m standing in a full-circle moment as Billboard’s Woman of the Year. But more importantly, I stand here as a fierce ally. And that word, ally, is a key reason why there is a Billboard Women in Music. At the time of the award show’s launch in 2007, women working in the music business were tired—tired of not getting their fair share of seats at the table, tired of not getting the credit they deserved, or the roses they absolutely earned for their contributions to the industry. Because y’all, stop cutting up! My point is that this event was created out of a necessity. And that word, necessity, is important. It hits me because my mixtape, Alligator Bites Never Heal, was a space that I created out of necessity—a necessity for a place where I could feel seen, where I could feel heard, and where I could connect with other people through shared experiences.

Keep watching for more!

aespa performs “Whiplash” at Billboard Women In Music 2025. 

DJ Miss Milan & Jayda Love present Doechii with the Woman of the Year Award at Billboard’s Women in Music.

DJ Miss Milan & Jayda Love:
What’s up ladies? I am DJ Miss Milan and I’m Jayda Love. And we are so thrilled to be here tonight to honor our girl, Doechii. Two years ago on this very stage, Doechii was honored with the Billboard Women in Music Rising Star Award. And that was just the beginning. We’re only three months into 2025, and she already earned five more Hot 100 hits. And let’s not forget about the Grammy Award for best rap album, Alligator Bites Never Heal. It’s no surprise that everyone from SZA to Janelle Monáe to tonight’s Global Force honoree Jennie has collabed with her. She brings something truly special to the mix. As her longtime engineer and collaborator I get to watch Doechii take on all her creative ideas, break them down, build them back up to make them truly hers. We do. She’s a collaborator in every sense of the word, whether it’s music, visuals, styling, performances. She’s there alongside her team as a leader and as a decision maker. That’s right. Working together on the Grammy Award winning Alligator Bites Never Heal mixtape with Doechii and the rest of the team has been a phenomenal experience. It’s been an incredible ride as Doechii and myself have literally performed damn near all around the world. Okay, we got a lot more to go though. She brings out the amazing sense of honest sisterhood in everyone she works with, encouraging us all to stand out in our own ways. Although she stands dominating every scene and every stage she’s on, let’s take a look at our favorite Swamp Princess. 

Lee Zeidman, longtime president of Crypto.com Arena, Peacock Theater and LA Live, announced his retirement on Friday (March 28).

“After 45 years in the industry, opening numerous venues and hosting approximately 6,500 events, I have decided I’m no longer interested in working full time and will move on to write the next chapter in the book of Lee,” Zeidman tells Billboard. “I’m looking forward to doing whatever I want, whenever I want, wherever I want and however I want.”

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Zeidman says he has agreed to assist with the leadership transition with an official end date no later than Oct. 31, 2025. The building’s ownership group, AEG, has engaged an executive recruitment team to find Zeidman’s replacement and is splitting the job into multiple positions.

Zeidman is a graduate of Cal State Northridge and got his big break working at the Great Western Forum in Los Angeles. When the Lakers and Kings decided to move to Downtown Los Angeles, Zeidman was the first employee hired at their new home, Staples Center, and he helped manage the construction of L.A. Live, one of North America’s first entertainment districts.

In 2020, Zeidman was honored with the Association of Luxury Suite Directors’ 2020 Visionary Award. Under his management, Staples Center, later renamed Crypto.com Arena, hosted nine NBA championships, three Stanley Cup Finals and five WNBA Finals. The arena has also hosted a multitude of sold-out concerts, awards shows and high-profile events, including the Grammys and funerals for Michael Jackson, Kobe Bryant and Nipsey Hussle.

Zeidman says he has no immediate plans in his retirement but would like to teach and serve on the board of different non-profit groups or associations.

“I’m most looking forward to doing nothing,” Zeidman says. “Iv’e done this for 45 years, I’ve worked for some incredible leaders and feel incredibly lucky to have had this career.”

There was an unmistakable current of Canadian nationalism running through the 2025 Juno Awards, which aired live on CBC from Vancouver’s Rogers Arena on Sunday (March 30).

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The awards gala – and its night-before invite-only gala where most of the awards are given out – is always a chance for the music industry to tout its successes. This year, those affirmations had a different flavour. Canada has a wave of national pride that tends to arise when the country is threatened, and with tariffs imposed by the United States among threats of annexation by U.S. President Donald Trump, it was ever-present at this year’s Junos.

Here is how it played out.

“Canada Is Not for Sale”

“Canada Is Not for Sale” has become a defiant slogan of pride of late, opposing Trump’s repeated threats of turning the country into the “51st state.” Junos host Michael Bublé was the latest star to use the phrase recently sported on a t-shirt by Mike Myers on Saturday Night Live. In an opening monologue that echoed the famous “I Am Canadian” Molson ad of the early 2000s, Bublé asserted a number of vaguely political affirmations of what he called “the greatest nation on earth.” “When they go low, we go high,” he said. “We love this country, and when you love something, you show up for it,” he said.

Allan Reid, president and CEO of CARAS, the organization that administers the Junos, also asserted culture as a form of Canadian identity in his speech at the industry gala on Saturday. Canada is the third largest exporter of music to the world, he said, likely referring to Luminate’s recent year-end report, and that’s an important distinction. “It is our culture that defines who we are and it is the touchstone of what it means to be Canadian,” he said. The music crosses borders, and that strengthens Canada internationally.

Winning the Walt Greilis Award, which recognizes individuals who have strengthened the growth or development of Canadian music, Live Nation Canada chairman Riley O’Connor echoed that sentiment. “It’s a time not to retreat, but to show innovation and talent,” he said. He was recognized for playing a big part in building the national touring network in Canada and showing international acts that there are fans in the country who want to hear the world’s music on live stages. He quoted Rush‘s “The Spirit of Radio,” then said, “now it’s time to turn up our Canadian volume.”

Behind-the-Scenes Success Stories

There is a tendency for the Canadian music industry, and the Junos, to speak to itself. That can be a problem when some of the biggest international stars strive for international success but don’t always show up for Canadian recognition.

While the Junos were a building block of a self-sufficient Canadian music industry, along with Canadian Content regulations and a strong system of government arts funding through organizations like FACTOR, it now has an issue of star power. Tate McRae was this year’s biggest winner with four awards, but wasn’t there to accept, and stars like The Weeknd and Shawn Mendes were also missing.

Some of the country’s biggest recent success stories, however, are behind the scenes, and this year they got an important overdue gesture of recognition. The Junos introduced the inaugural songwriter of the year (non-performer) category, and the winner was Lowell. The same winner of the Billboard Canada Non-Performing Songwriter Award, which she also accepted at the Billboard Canada Power Players in 2024, Lowell has been pushing for the category for years. “I’ve been here [at the Junos] eight or nine times before and watched hits I wrote win,” she said on Saturday night. “But never moi.” She shouted out her Canadian co-writer Nate Ferraro and all the other artists who should have won the award before her.

Lowell co-wrote some big hits recently, including Beyoncé’s “Texas Hold ‘Em,” and that shows a major impact made by Canadian musicians behind the scenes. Jack Rochon won the producer of the year award for his work with major international artists like Beyoncé, Kehlani and local R&B favourite Charlotte Day Wilson. Serban Ghenea, meanwhile, won recording engineer of the year for work with two of the biggest charting artists of the last year, Sabrina Carpenter and Teddy Swims (Ghenea has been nominated for 50 Grammys and won 21). Producer Boi-1da, meanwhile, won the international achievement award for work on some huge songs by stars like Drake, Rihanna and Eminem.

Canada is a heavy hitter for its relatively small population, and its fingerprints are on some of music’s biggest hits. It’s a good time to bring those accolades into the open.

Diversity as a Strength

There’s no one distinct Canadian sound, but the country has a cultural fluidity that is well-suited to the increasingly globalized music industry. There is music being made in multiple languages, well beyond even English and French.

Canada has become a global hub for the ascent of Punjabi music – what Billboard Canada coined the Punjabi Wave – and that’s become a big part of the Junos over the last few years. This year, the awards introduced the South Asian recording of the year award, which AP Dhillon won for “The Brownprint.” Unfortunately, the category was not televised and Dhillon wasn’t there to accept, but there was still a Punjabi performance by Gminxr, Jazzy B, Inderpal Moga and Chani Nattan.

Elisapie, meanwhile, won alternative album of the year for Inuktitut, an album of covers of songs by artists like Blondie and Pink Floyd in the title language. Accepting, she said she was proud to be an Inuk woman, singing in her language. Winning rap album of the year for their album RED FUTURE, Snotty Nose Rez Kids talked about Indigenous excellence and creating a vision for Indigenous people to see themselves in the future. In a year when Buffy Sainte-Marie had her awards revoked amidst questions of her own Indigenous identity, the Junos also recognized new and present cultural voices.

“Elon Musk Is a Piece of Garbage”

While many of the criticisms of the U.S. were more subtle or centered around Canada – the name Trump was barely spoken – there were a couple of sharper criticisms. One came from bbno$ on Sunday’s televised broadcast. After saying his thank yous for winning the fan choice award, he had one last thing to say: “Also, Elon Musk is a piece of garbage.” The crowd cheered for the jab at Trump’s head of DOGE [Department of Government Efficiency]. Introducing the next segment with Max Kerman of Arkells, Bublé said he didn’t hear what was said but could tell the crowd loved it. “I heard it,” Kerman said. “And it was right.”

At Saturday’s gala, Montreal band NOBRO brought real punk energy to their performance while lead singer Kathryn McCaughey sported a tank top that said “Pussies Against Fascism.” They won rock album of the year for their album Set Your Pussy Free and advocated for equal representation of women and for abortion as health care. “No pussy is free until they all are,” they proclaimed.

Made in Canada

In recent weeks in response to tariffs, American products have been pulled off liquor store shelves and grocery stores have hung signs letting shoppers know which products are Canadian-made. The messaging of the Junos also touted Canadian success stories, but there was a criticism below the surface of overrepresentation of major label acts in both the nominations list and televised performances. Sony, Universal and Warner all have Canadian offices and are thriving Canadian operations, but are also adjuncts of American companies.

There were some notable exceptions, however. The Beaches, who won group of the year for the second year in a row, gained bigger success after splitting with their former label, Universal Music Canada.

Sum 41 have been a major-label band throughout the majority of their career, but remarked on the strangeness of getting industry recognition. “We’re not really an award show band,” Deryck Whibley said. Being honoured with an induction into the Canadian Music Hall of Fame, they remembered sending their demo to every label and having it turned down by all of them. “One even told me it was the worst he had heard in a decade,” he said. “Maybe he’s here tonight.” They persisted, though, and became a major-label success story.

If resilience was a theme of the Junos, Nemahsis provided a different example. The Palestinian-Canadian artist told the story of being dropped from her major label shortly after Oct. 7 and releasing her breakout album Verbathim fully independently with the help of her manager Chass Bryan.

“So many labels are being thanked and mentioned,” she said on Saturday night accepting the alternative award, right in front of many major players of the Canadian music industry. “Labels have money. Money pays for albums. Artists need money to make art. I was cut off and left with nothing, and this album still came out because of Chass and my parents and the people of Palestine.”