Ryo Asai’s In the Megachurch hits No. 1 on the Billboard Japan Book Hot 100 list released April 23 — its first time atop the chart in 25 weeks on the tally.
The novel, which weaves together three characters’ contrasting experiences around Japan’s “oshikatsu” culture (devoted fan support for a favorite celebrity or character), won the top prize at the 2026 Hon’ya Taisho (Japan Booksellers’ Award), announced on April 9. The title held at No. 1 on the social media metric while improving on last week’s positions in brick-and-mortar, e-commerce (EC) and subscriptions.
Tatsuya Endo’s SPY×FAMILY Vol. 17 stays in the top 3 for a third consecutive week at No. 2. Debuting at No. 3 is Muneyuki Kaneshiro and Yusuke Nomura’s Blue Lock Vol. 38.
Ao Kojima’s Hon nara Uru Hodo Vol. 3 enters at No. 4. Set in a small secondhand bookshop called Jugatsu-do, the human drama manga scores in the top 20 across four metrics: No. 3 in brick-and-mortar, No. 4 in EC, No. 17 in e-books and No. 2 in social media. The title took the top spot in the male category of Kono Manga ga Sugoi! (“This Manga is Amazing”) 2026 guidebook.
In other chart moves, Haruo Yuki’s Hakobune, published in 2022, climbs from outside the top 20 to No. 18. The mystery novel follows a group of people pushed to their limits, trapped in a flooding underground structure. Yuki’s next title, Rakuen, is due out July 23.
The Billboard Japan Book Hot 100 is a comprehensive chart combining physical sales, e-books, library loans, subscription data and social media activity. Below are the top 10 titles on this week’s list, tracking the period from Apr. 13 to Apr. 19.
(Numbers in parentheses indicate the title’s metric placements for brick-and-mortar, EC, e-books, subscriptions, and social media, top 20 only. English title given if translations or adaptations exist.)
1. In the Megachurch, Ryo Asai (6/6/–/3/1)
2. SPY×FAMILY Vol. 17, Tatsuya Endo (4/19/2/–/–)
3. Blue Lock Vol. 38, Muneyuki Kaneshiro, Yusuke Nomura (2/10/3/–/–)
4. Hon nara Uru Hodo Vol. 3, Ao Kojima (3/4/17/–/2)
5. Shangri-La Frontier Vol. 26, Katarina, Ryosuke Fuji (5/–/5/–/–) 6. Meitantei Conan (Detective Conan/Case Closed) Vol. 108, Gosho Aoyama (1/–/–/–/–) 7. Honzuki no Gekokujo: Shisho ni Narutame ni wa Shudan wo Erandeiraremasen (Ascendance of a Bookworm Part 4 “I Want to Save the Royal Academy’s Library!”) Vol. 12, Hikaru Katsuki, Miya Kazuki, You Shiina (12/13/1/–/–) 8. Nogizaka46 Sakura Kawasaki 1st Photo Book “Etude,” Sakura Kawasaki, Ryuji Sue (7/2/–/–/–)
9. REAL Vol. 17, Takehiko Inoue (8/7/13/–/–) 10. Honzuki no Gekokujo: Shisho ni Narutame ni wa Shudan wo Erandeiraremasen (Ascendance of a Bookworm Part 5) Suzuka, Miya Kazuki, You Shiina (13/15/7/–/–)
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-04-24 20:20:572026-04-24 20:20:57Ryo Asai’s ‘In the Megachurch’ Tops Billboard Japan Book Hot 100 in Its 25th Week
Who is the Latina muse of Gloria Trevi, Chiquis, Young Miko and Becky G? We caught up with the Latina stars on the red carpet of the Billboard Latin Women in Music 2026, and they shared who they admire in the industry — from Karol G to Jessie Reyez and more.
Ingrid Fajardo:
Who is Becky’s muse? Who would it be?
Young Miko:
Uh, my Latina musa.
Chiquis:
Uh, girl.
Julieta Venegas:
Latina muse, wow.
Becky G:
Uh, oh my god — myself, girl. I’m just kidding.
Jessica Roiz:
This was our Billboard Latin Women in Music, presented by Lexus.
Becky G:
The women of my life, I mean, my mom, my sister, and especially with Mother’s Day coming. Mi hermanita, she’s officially a mommy. I’m a madrina, I’m a tía, so it’s crazy.
Young Miko:
Honestly, Karol will always be my Latina muse. I love you, Karol. Um, incredible at Coachella what she did, historic too. She made history and we’re so excited to see that. So I’m going to say La Bichota over there.
Chiquis:
I’m loving Jessie Reyez right now. Girl, so sexy, so powerful. Like, she is just honestly. . .
Jessica Roiz:
She says it how it is. Girl.
Chiquis:
Yes, she does.
Gloria Trevi:
You know what? Right now I’m going to have to tell you it’s Celia Cruz. They gave me a little coin printed with that and with that I made many decisions today. What dress should I wear, Celia? OK, the white one. That’s how I was — that’s how I was the whole time saying: “Hair down or up, Celia?’ I mean, right now Celia.
Jessica Roiz:
Who is your Latina muse of the moment?
David Bisbal:
I can’t stick with just one. Obviously, the ones who are here stand out, because they are the women of this year who stand out, Latinas. Yes. But honestly, we’re in a very good moment for music in Spanish and, about everything, thinking not only about one genre, but about, about the more regional sounds of each country.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-04-24 20:20:572026-04-24 20:20:57Gloria Trevi, Young Miko, Becky G & More Reveal Their Latina Muse | Billboard News
Ticketmaster Canada is putting ticket resellers on notice in Ontario.
The ticketing giant has sent emails to Ontarians with tickets listed for resale on Ticketmaster’s secondary marketplace, noting that their listings would be removed in light of the new provincial legal requirements. This decision would comply with Doug Ford’s provincial government’s recent declaration of intent to cap resale ticket prices that exceed face value.
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“Effective April 23, 2026, tickets in Ontario cannot be resold above the total original cost, including service fees and taxes,” the email reads.
“Beginning next week, you will be able to relist your tickets in compliance with Ontario’s new legal requirements once updates have been made to our resale marketplace.”
“With the legislation coming into force shortly, we have begun contacting all fans with tickets listed on our resale platform to let them know we have delisted their tickets from our marketplace,” a Ticketmaster Canada spokesperson said.
It’s a part of the newly passed budget bill, Bill 97, but it has yet to receive royal assent. The new legislation will require secondary sellers to provide proof of original price when listing a ticket for sale, and mandate disclosure of original and resale prices to buyers, with secondary market platforms to retain records for a minimum of three years after the event.
Following the Ford government’s announcement, Live Nation, which is merged with Ticketmaster, posted a statement to social media, supporting the decision. “We are in favour of measures that promote fair, transparent ticketing and curb exploitative resale practices,” the company wrote.
While it’s a step in the right direction, it’s unclear how Ticketmaster’s policies will be integrated into the new Ontario legislation, and whether the ticketing company will recoup the service fees and taxes or the reseller.
Though the verdict applies solely to the U.S., where the Department of Justice and a coalition of states held the trial, its consequences could spread north of the border.
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In its verdict, the jury found that Live Nation was acting as an illegal monopoly, controlling the market for ticketing services, concert ticketing and the use of amphitheatres, and that it illegally tied the use of its venues to its concert promotion services.
The outcome is still to be determined, but could possibly force the sale of Ticketmaster in the U.S.
“A ruling like this is monumental,” says Lucas McCarthy, the founder and CEO of Showpass, one of Canada’s biggest independent ticketing companies.
“This is a sign of the times that ticketing and live events are as important to people as core basket items like food and shelter,” McCarthy says. “It’s a good indicator that society holds live entertainment at the very forefront.”
Tixr is another significant independent player in the ticketing industry. Though it was founded in the U.S., the company has a sizeable presence in Canada with operations headed by Stéphane McGarry.
In an interview alongside CEO and co-founder Robert Davari, McGarry says he is also optimistic the verdict could lead to similar scrutiny in Canada.
“I do think there’s an opportunity for Canada to follow suit,” he tells Billboard Canada. “The U.S. is a very tough market to prove monopolistic behaviour, and it has now been proven in court. So now if Canada’s Competition Bureau were to have a look at this, which we’re hoping they do, they have a blueprint for how to think about it.”
A spokesperson from the Bureau says they are monitoring the impact of the trial.
“We are aware of the recent verdict in the Live Nation case in the United States,” the spokesperson says in a statement to Billboard Canada. “We continue to monitor the work of our international counterparts, while recognizing that each jurisdiction operates within its own legal framework.”
Despite how it is adopted in Canada, McCarthy predicts the verdict will allow room for more competition. More companies might be willing to build alternatives without being discouraged by inability to compete. And that could be passed down to the fans.
“This might create a new category of businesses that are more inspired and willing to participate,” he says. “I think we’ll see significantly more innovation.”
McGarry is hopeful the Competition Bureau will conduct a new inquiry, and is open to the possibility of putting together a group of companies to lobby.
“If you know Canada, you know it might be a slow burn,” he says. “But at the end, [if things change], it’s the fan that’s going to be much happier.”
FACTOR Announces $2 Million in Funding for Live Music
FACTOR has taken a major step to support the Canadian music scene.
On Tuesday (April 21), the Canadian music funding company announced its plans to invest over $2 million in funding for the live music industry, specifically into its Promoter Program and Festival Program.
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Both programs reflect the company’s ongoing mission to support local artists, festivals and events, fostering an environment where “a diversity of Canadian music artists connect with audiences everywhere.” The Promoter Program and Festival Program are intended to share investment risk with live music companies that have a “proven track record” of successfully presenting Canadian artists and centring diverse voices. The goal is for more shows to be put on across Canada and for more Canadians to be part of the teams presenting them.
“In this moment, supporting the Canadian businesses that help shape our identity is more important than ever,” says Meg Symsyk, president & CEO of FACTOR. “At a time of rising costs and increased competition from foreign-owned companies, this support will enable our promoters and festivals to continue bringing Canadian artists to stages across the country and marketing those performances effectively, helping artists grow their audiences and careers.”
The Promoter Program was initially launched in 2024 as a pilot project with Musicaction to recognize and support concert promotion staff amid the increasing importance of live music entertainment and touring. Its goal was to foster diverse voices and help bring more Canadian, Indigenous and marginalized artists onstage, as well as behind the scenes. With such initiatives, FACTOR aims to keep diverse Canadian voices and communities at the centre of the live music experience, helping ensure stages are shaped by homegrown talent and values.
“The CLMA is very pleased to see the return of the Promoter Program and new Festivals Program at FACTOR and Musicaction. Promoters and presenters are the purveyors of Canada’s cultural sovereignty; this investment represents more opportunities for homegrown artists and support for Canadian live music businesses,” said Maddy Oliver, interim executive director of the CLMA.
News of the investment comes after the Canadian Music Fund was renewed in Nov. 2025, allowing for an allocation of $48 million to Musicaction and FACTOR for three years beginning in 2026.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-04-24 20:10:362026-04-24 20:10:36In Canada: Ticketmaster Caps Resale Ticket Prices at Face Value in Ontario After Province Cracks Down on Scalpers
Iron Maiden’s Adrian Smith says he was “kind of dreading” the prospect of being part of Iron Maiden: Burning Ambition, the new documentary about the band that’s opening May 7 in theaters worldwide. But the guitarist is pleased to report that he “was pleasantly surprised” with the results.
“I enjoyed it,” Smith tells Billboard via Zoom from Turks and Caicos. “It’s a pretty deep dive. It’s great for the fans to have this.” And, he adds, it’s nice for the members of the band as well.
“For me, personally, it’s nice to see the old footage,” Smith acknowledges. “It’s like another life back 40 years ago, whenever. There’s some things in there that are discussed more thoroughly than it’s ever been. It’s an interesting piece, I think.”
The film comes on the heels of news that Maiden will be inducted into the Rock & Roll Hall of Fame on Nov. 14. The group — whose frontman, Bruce Dickinson, famously called the Rock Hall “an utter and complete load of bollocks” — will not attend the ceremony, which falls on a day in between two stops on the Australian leg of its Run For Your Lives World Tour.
Directed by Malcolm Venville (Churchill at War) and produced by Dominic Freeman (Depeche Mode: Spirits in the Forest), Iron Maiden: Burning Ambition is as much about the fans as it is the band. There are some famous faces among them, too — including actor Javier Bardem, Metallica’s Lars Ulrich, Public Enemy’s Chuck D, Tom Morello, Kiss’ Gene Simmons, Anthrax’s Scott Ian and the Cure’s Simon Gallup, who are interviewed alongside the rank-and-file faithful. The Maiden members, present and past, spoke with Venville for the film but are heard off-camera rather than seen.
“It felt like something that needed a clear point of view from the outset,” Venville explains. “From the beginning I wanted to avoid the conventionally narrated documentary. The Iron Maiden story felt like it had to be told through the fans. What struck me was how difficult Maiden fans are to define. They cut across countries, backgrounds and generations but behave like a single community. That became the foundation of the film. The fans themselves became the story. They don’t just attend shows. They organize their lives around the tours, forming social groups that span continents. It began to feel less like documenting an audience and more like observing a culture.”
That, of course, extends to Eddie, Maiden’s longtime, ghoulish mascot whose history and evolution is treated in depth during the film. “He isn’t just a mascot, he’s a visual expression of the band’s identity,” Venville says. “That idea informed how we approached the animation throughout the film.”
The director’s approach was illuminating for the band, too, according to Smith.
“I thought Javier Bardem reading the lyrics to ‘Run to the Hills’ was amazing; he made them sound so deep and meaningful. I’ve never heard them like that before,” Smith says. “I always get a kick when people turn up who are very successful in other fields, and they like what you do — like Chris Jericho, Javier, people like that. I’ve heard the new (prime minister) of Japan (Sanae Takaichi) is an Iron Maiden fan. The fans of yesterday are now part of the sort of establishment. I find it amusing, and quite flattering.”
Numbering the Beast
The guitarist feels that connection with fans, famous and otherwise, has been forged mostly by Iron Maiden’s continued presence on stage. “It’s always been a touring band,” he says. “We took the music to the people. I think in the long run people remember that, and it’s a very honest way to build up a following.” Iron Maiden: Burning Ambition is loaded with live footage from throughout the band’s now 51-year career, right up to longtime drummer Nicko McBrain’s final performance during December 2024 in Sao Paulo before retiring due to health issues.
Smith describes Burning Ambition as an independent endeavor by the filmmakers. “It’s got very little to do with the Iron Maiden organization,” he says. “I think in the past we’ve always been involved in the production of these things, but this is a totally outside job rather than an inside job. The only part we had was people from the film company came to our homes and interviewed us and then laid our voices over some of the footage, but we don’t actually appear. It’s quite a powerful way of doing it.”
A particularly illuminating segment of the film for Smith was the treatment of his time out of the band from 1990-1999, during which frontman Bruce Dickinson also left the group for several years. “Bruce is talking about that (in the film) and how he felt, and that was quite nice to see that he kind of cared a bit, and that I was kind of missed, I suppose,” says Smith, who played on two of Dickinson’s solo albums during that time. “I think it needed to happen at the time. It was the right thing to do. I wasn’t happy. I didn’t jump up and down and stamp my feet and storm off; it just kind happened over a period of time. It was difficult.
“When I came back to the band I had a different perspective. I could see it for what it was and appreciate it a lot more and be part of it. And I haven’t looked back since.”
Maiden Voyage
Smith and the rest of Maiden — including new drummer Simon Dawson, though McBrain remains a band member — are in the midst of the Run For Your Lives World Tour, which began last May and runs through November. A North American leg will take place during late August and September. The setlist this time out is drawn from Maiden’s first nine albums, including the first performances in many years for early favorites such as “Murders in the Rue Morgue,” “Killers,” “Rime of the Ancient Mariner,” “The Clairvoyant” and others.
“It’s great playing that set,” Smith says. “It’s songs from way back, and they still sound great when you give them an airing. They still sound fresh and powerful. We try something different every time, a different kind of theme, to keep it fresh rather than just playing the same old thing, and it’s great fun. The fans are loving it. And for me…I mean, it changed my life, joining Iron Maiden (in 1980) and then we went on to record Killers. So playing those songs just takes me back in time, temporarily.”
Smith advises that fans should get their Maiden fix this year, since the group is planning to be inactive during 2027. He’ll fill the time with his other band, Smith/Kotzen, with Richie Kotzen, which has so far released two albums. Smith will likely do some fishing, a passion he chronicled in his 2020 memoir Monsters of River and Rock. He’s not worried about Maiden’s break being too open-ended, however.
“I can’t see that happening,” Smith notes. “We all love doing it. (Bassist and founder) Steve Harris, he’s 70 now, and the guy can go and play (soccer) in the afternoon, 90 minutes, a proper game, then go on stage and play tours of a Maiden set — then get up and basically do the same thing the next day. That’s the kind of spirit that drives all of us, so…I’m sure we’ll be back to it before too long.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-04-24 19:50:382026-04-24 19:50:38Iron Maiden Talks Career-Spanning Documentary, Famous Fans (Like Javier Bardem) & Rock Hall
Warner Chappell Music (WCM) announced the launch of direct operations in India, marking the move from WMC’s prior sub-publishing model to a full-scale, direct-to-market presence in the country. Along with the announcement, Jay Mehta, who served as managing director of Warner Music India since its 2020 launch, has been appointed to lead the new division. He will oversee both recorded music and publishing operations across India and neighboring South Asian markets.
“India’s songwriters are world-class, constantly redefining genres and publishing creative boundaries,” Mehta said in a statement. “By establishing a direct footprint for Warner Chappell, we’re bridging the gap between local brilliance and global opportunity. We’re now positioned to offer Indian creators the sophisticated and international reach that only a world-leading publisher can provide, ensuring their music resonates on a global stage.”
Guy Moot, co-chair and CEO and Carianne Marshall, co-chair and COO of Warner Chappell Music, said in a statement, “India has some of the most talented songwriters in the world, and they are increasingly making their mark globally. What excites us most about this move is not just the expansion of our presence, but the opportunity to help shape an evolving publishing ecosystem that truly works for creators and ensures their music is heard, protected and rewarded everywhere. With Jay Mehta at the helm and our global team behind him, our songwriters couldn’t be in better hands.”
Robert Kyncl, CEO of WMG, said in a statement, “India is a key part of our global growth strategy, and the talent emerging there is truly world-class. By bringing our publishing and recorded music operations under Jay Mehta’s proven leadership, we’re creating a unified powerhouse that can be better serve creators and fans alike. This is the right moment to double down on our investment in India’s vibrant creative economy.” — Ariel King
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According to a new study from Luminate, U.S. consumer interest in listening to AI-assisted music declined across all age groups from when they were first surveyed in May 2025 to November 2025. The greatest decline comes from Gen Alpha and Gen Z in particular, falling from net -6% to -16% during that period.
Overall, U.S. listeners have had a net negative interest in listening to music if they knew it was produced using generative AI since they were first surveyed in May 2025, but that score became even more negative by the next time they were tallied in November. Millennials were the most open to listening to AI-assisted music, and Boomers constituted the group least likely to say they would feel positively about listening to AI-assisted music.
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Below is a breakdown of falling consumer interest in listening to AI-assisted music across age categories:
General population:
May 2025: -13%
November 2025: -20%
Gen Alpha + Gen Z
May 2025: -6%
November 2025: -16%
Millennials
May 2025: -1%
November 2025: -7%
Gen X
May 2025: -16%
November 2025: -24%
Boomers
May 2025: -34%
November 2025: -38%
The latest November 2025 survey occurred right around the time that top music companies — including Warner Music Group, Universal Music Group, Merlin, Kobalt and more — and AI music firms like Suno, Udio and ElevenLabs’ Eleven Music, started to come together to forge AI licensing deals.
Luminate’s findings also note that while U.S. consumers are more likely to report negative sentiments toward AI use in musicmaking across all types of use — from instrumentals, lyrics or a totally new work — about a third of respondents can be described as ambivalent toward AI use.
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Below is a breakdown of consumer comfort with AI in music creation:
Song instrumentals
Very comfortable: 10%
Somewhat comfortable: 19%
Indifferent: 30%
Somewhat uncomfortable: 14%
Very uncomfortable: 28%
Song lyrics
Very comfortable: 10%
Somewhat comfortable: 16%
Indifferent: 29%
Somewhat uncomfortable: 16%
Very uncomfortable: 29%
A new original song composed by AI
Very comfortable: 9%
Somewhat comfortable: 15%
Indifferent: 30%
Somewhat uncomfortable: 14%
Very uncomfortable: 32%
A new original song performance by an AI voice
Very comfortable: 9%
Somewhat comfortable: 15%
Indifferent: 27%
Somewhat uncomfortable: 15%
Very uncomfortable: 34%
A new original song performed in the style or sound of a human artist
Very comfortable: 9%
Somewhat comfortable: 14%
Indifferent: 27%
Somewhat uncomfortable: 15%
Very uncomfortable: 35%
The study from Luminate also tracks the rise of AI-assisted artists — like Xania Monet, Breaking Rust and Cain Walker — and the listenership for their songs over time. Luminate notes a spike in streaming consumption for certain AI-assisted projects around the time that Suno released v5 of its model (around September 2025), which improved song composition, audio quality and vocals. Luminate also details that often, AI-assisted artist projects quickly lose listenership after the initial spike in interest.
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Often, AI-assisted artist projects spark controversial headlines, leading to an influx of interest in hearing the music, but the quick decline in the months afterward suggests that these songs are not retaining true fans long term.Monet, the AI project of Telisha “Nikki” Jones, which landed songs on Billboard‘s Adult R&B Airplay and Hot Gospel Songs charts, is the clearest example of this sharp decline. Luminate notes that her music had over 7 million total weekly streams in September 2025, but by March 2026, her total weekly streams decreased to below 3 million.
As music companies continue to resolve their lawsuits with AI companies like Suno and Udio and reach new licensing deals, those deals could have a significant impact on consumer sentiment and comfort with AI use in the music-making process — as could upgrades to these music models to make their outputs better resemble human artistry.
Still, based on the Luminate study, the lack of long-term interest in AI-assisted songs signals there will be challenges to forming true fandom around this work.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-04-24 19:00:312026-04-24 19:00:31Interest in AI-Assisted Music Declines Most Among Young Listeners, Luminate Study Finds
This week, Billboard’s New Music Latin poll— curated with key recommendations by Billboard Latin and Billboard Español editors— features a number of new albums including Trueno’s TURR4ZO, Draco Rosa’s Olas de Luz, Fonseca’s Antes Que El Tiempo se Vaya and Erick Brian’s Destiempo, to name a few.
In TURR4ZO, his fourth studio album, Trueno delivers a 14-track love letter to his native Argentina—coined after the slang term “pibe de barrio” or “kid from the hood.” Beyond penning ultra-personal songs about identity, his upbringing, his hardships and his road to success, the rapper explored Argentina’s musical roots through a series of samples that blend the country’s folklore and emblematic songs with his progressive rap sound.
Collaborators on TURR4ZO include Argentine powerhouses María Becerra, Rubén Rada, Neo Pistea, Andrés Calamaro and Pity Álvarez.
Moreover, Boza and Beéle teamed up for a new collaborative effort called “Hasta Abajo,” a hypnotic dancehall just in time for the summer; Karol G released “Despues de Ti,” which she debuted at Coachella with Cigarette After Sex’s Greg Gonzalez; and former CNCO member Erick Brian dropped his most conceptual project, Destiempo.
The most recent New Music Latin poll was topped by Baby Rasta & Gringo’s Antes del Romance EP with more than 70% of the vote. Which release this week do you think is best? Give these new releases a spin and vote for your favorite new Latin music release below.
Editor’s Note: The results of the weekly New Music Latin poll will be posted if the poll generates more than 1,000 votes. This poll closes at 11 a.m. ET on Monday, April 27.
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All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
If you’re thinking about joining Peacock, a free trial is the best way to test out a streaming platform to see if it’s a good fit. However, Peacock no longer offers a free trial, but we found a clever workaround to watch for free.
Afterward, Peacock Premium, which gives you access to tons of TV shows and movies with limited commercials, goes for $10.99 per month (or $109.99 per year). The ad-free Peacock Premium Plus plan has a small price bump as well to $16.99 per month ($169.99 per year).
After the free trial ends, your plan will automatically renew at the regular rate, but you can cancel anytime.
Peacock is the home to hit originals, like The Paper, Poker Face, Bel-Air, Ponies, Jackal, The ‘Burbs and others, as well as hot music programming, such as Kings From Queens: The Run DMC Story, Nas: Time Is Illmatic, Something From Nothing: The Art of Rap, It All Begins with a Song: The Story of the Nashville Songwriter, The Effect: Bad Bunny and more.
You can watch reality TV shows on Peacock, including Traitors, Love Island: Beyond The Villa, The Real Housewives of Rhode Island and The Voice: Battle of Champions, as well as an extensive library of classics, such as Saturday Night Live, The Office, Yellowstone, and Law & Order: SVU.
The streaming service has a large number of movies too, including Wicked: For Good, Five Nights at Freddy’s 2, The Super Mario Bros. Movie, Hamnet and more.
In addition to tens of thousands of TV episodes and tons of movies, exclusives from Bravo, USA Network, CNBC, SYFY and more are available, while Peacock has NBA on NBC, MLB, NFL, Premier League, FIFA World Cup and other must-watch live sports and live news via NBC News.
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You can’t go wrong with a good old band tee.
The style is versatile, pairing well with other basics in your wardrobe, and extremely comfortable. They truly make you look instantly put together, no matter the circumstances. The only issue? Band tees, especially the vintage kind, can run prospective buyers $50 up to $300. We’ve even seen ultrarare styles repping bands from the ’90s grunge era, a la Alice in Chains and Nirvana, or classic rock bands like Pink Floyd and Metallica, go for up to $2,500 on resale sites like eBay.
Thankfully, we’ve got stores like Abercrombie & Fitch that sell vintage-inspired band tees at affordable prices, letting music fans express themselves without spending a fortune. The retailer is currently running a sale on almost all merchandise on their site, that’s 15% off, up to 20% off when you add three things to your cart. You’ll want to act fast, though. This sale ends April 27. The sale includes the brand’s extensive collection of band tees featuring artists like Selena Gomez, Nirvana and Red Hot Chili Peppers, among others. Each tee is 100% cotton, making these shirts breathable and lightweight. Sizing is available from XS up to XXL, with specialty sizing available for taller folks.
Some of our favorites include the retailer’s Nirvana tee in a pastel pink hue. The tee is currently available for $22.95, down from $45. Since the tee was already on sale, you’re getting this piece for 49% off. The pastel pink piece features a heart-shaped graphic with flowers blooming all around, in reference to the band’s 1993 track “Heart-Shaped Box” off the album In Utero. The single peaked at No. 1 on Billboard‘s Alternative Airplay chart for three weeks. The color is a unique one, and one we’d be willing to bet you don’t have in your closet already. For that reason alone, we’d urge you to pick this piece up, Nirvana fan or not.
Another ShopBillboard favorite is Abercrombie & Fitch’s Hole tee, currently on sale for $38.25. The tee is black with a subtle heart-shaped hole graphic on the front and a more maximalist blue and pink graphic on the back centered around a gray motif of a little girl. The girl looks similar to the one featured on the cover of the band’s song “Violet” from off their 1994 album Live Through This. We’d pair this tee with a flowy maxi skirt or barrel jeans for a casual trip to the grocery store or matcha run. For hotter days, swap out those barrel jeans for jorts and checkered Vans to lean into that grungy Hole-approved aesthetic.
Shop our favorite band tees on sale now at Abercrombie & Fitch below.
Our Favorite Vintage-Inspired Band Tees from Abercrombie & Fitch
Red Hot Chili Peppers Vintage-Inspired Graphic Tee
This pastel pink Nirvana tee is already marked down to $27. With that extra 15% off, this tee is brought down to $22.95, which is 49% off. Safe to say, that’s a steal for a cute and cozy graphic band tee.
This graphic tee featuring Selena Gomez’s face on the front is already marked down from $40 to $24. With that extra 15% off tacked on, this shirt goes down to $20.40.
The graphic on the front and back of this tee is from the Backstreet Boys’ Millennium tour that took place from Jun 2, 1999, to March 15, 2000. The tee is currently $38.25 now.
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A former Live Nation arena development executive has filed a lawsuit alleging he discovered “compounding corporate malfeasance” while working at the live music giant — and then was fired for trying to “stand up for and confront that misconduct.”
Nicholas Rumanes, who worked as Live Nation’s executive vp of development for U.S. concerts between 2022 and 2025, sued the company for retaliation, wrongful termination and fraudulent inducement on Tuesday (April 22). Rumanes is seeking a whopping $35 million in damages — the amount, he says, that he would have earned from long-term stock options if he had remained at his previous job instead of joining Live Nation.
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Live Nation said in a Friday (April 24) statement to Billboard that Rumanes’ claims are “false and without merit.” The company added: “His contract was not renewed after failing to meet expectations. He did not raise these allegations during his employment, only doing so months after his departure, and an independent investigation found no evidence to support them. We will respond through the appropriate legal process.”
A veteran real estate developer, Rumanes held executive roles at resort developer Las Vegas Sands, investment firm Alagem Capital, mall giant Westfield and healthcare infrastructure company Welltower before joining Live Nation. He alleges Live Nation “lured” him away from his lucrative last job with promises of a strategic leadership role, only to relegate him to a “subjugated and inferior position” upon arrival.
Once at Live Nation, Rumanes says he noticed “serious corporate misconduct” within the venue development division. He alleges this behavior included inflating projected revenues, understating capital expenditures, concealing project delays and manipulating numbers for shareholder and investor presentations.
“It became clear to Rumanes that Live Nation’s basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business,” reads the legal complaint, obtained by Billboard.
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Many of Rumanes’ gripes are with his former boss, Live Nation global president of venues Jordan Zachary. He alleges that Zachary, described in the complaint as Live Nation’s “heir apparent” and “CEO whisperer” to chief executive Michael Rapino, ran his department through a “totalitarian command structure that punished independence and was clearly designed to suppress and evade oversight.”
Rumanes also claims that Zachary’s team used an improper $20 million “pay-to-play” fee to win a contract for the Grand Rapids Acrisure Amphitheater in 2024, and that Live Nation operated under a general “culture of deception and expendability.” For example, he says that when he asked why Rapino didn’t testify at a 2023 congressional hearing following the ill-fated presale for Taylor Swift‘s Eras Tour, Zachary replied, “Michael can’t keep his facts straight and will perjure himself and end up in jail. So, we sent [Live Nation CFO] Joe Berchtold– if he f—s it up, he’s expendable.”
According to the complaint, Rumanes flagged his many concerns to Zachary and other Live Nation executives. But rather than take his words to heart, he says, Live Nation fired him in May 2025 “in a naked act of retaliation.”
Rumanes’ lawsuit comes just one week after Live Nation was held liable by a federal jury for monopolizing the live music industry via its control of concert promotions, amphitheaters and the primary ticketing giant Ticketmaster.
The blockbuster verdict could result in Live Nation being forced to sell Ticketmaster, though it remains to be seen whether a judge will order such drastic relief. Live Nation continues to deny any anticompetitive conduct and has promised to appeal the decision.
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