“If you don’t tell me how you got this information,” the judge said, “you and I are going to have problems.” 

It was June 2024 in an Atlanta courtroom, two years into the Kafkaesque criminal case of Jeffery “Young Thug” Williams, and the rapper’s lead attorney, Brian Steel, had just publicly accused the presiding judge of holding an illegal meeting, in secret, with prosecutors and a key witness. 

Rather than deny the meeting took place, Judge Ural Glanville demanded to know how Steel had learned about it. When he refused to name names, the judge issued an ultimatum: “I’m going to give you five minutes. If you don’t tell me who it is, I’m going to put you in contempt.” A second later, Steel calmly responded, “I don’t need five minutes.” 

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That bizarre showdown has since become the stuff of legal legend — not only for the Hollywood theatrics (Steel was ordered to remove his tie and arrested on the spot), but also because it ultimately proved the turning point in the circus-like trial of one of rap most influential voices, sparking a cascading series of events that ended with Thug walking out of jail as a free man. 

Steel, who has become a go-to criminal defense attorney for some of music’s biggest names, is known in the Georgia legal community for his calm, sincere demeanor, both inside and outside the courtroom. After 30 years of ugly criminal trials, he’s a pretty tough guy to fluster.  

But in an extended interview with Billboard, even he gets heated when he recounts the “outrageous” incident with Glanville. “It just shows how the system is broken,” Steel says. “That is a perfect example of why people don’t trust the criminal justice system.” 

When asked if he had ever considered caving under the threat of jailtime, Steel doesn’t need five minutes to answer that one, either. “Are you crazy? That judge could have taken out a semi-automatic and put it to my head,” Steel says with a laugh — sort of joking, but also, maybe not. 

“I’d rather die than allow Jeffery Williams, or any other person, be under the thumb of a judge like that.”

——————

Decades earlier, Steel almost went another way. As the Queens native neared the end of his time at New York City’s Fordham Law School in the late 1980s, he was working at an accounting firm and preparing to go to New York University in pursuit of becoming a tax attorney. It’s a stable job; the world needs plenty of tax attorneys.  

Then a law professor let him to take part in the 1990 retrial of Michael Quartararo, one of four Long Island boys accused of murder in a highly-publicized 1979 death of another young boy. Steel got to work the case, interviewing witnesses and spending time with Quartararo, talking about the years the man had already spent in prison. And as he sat at the counsel table during the trial, soaking in the experience, he slowly became convinced that his client was innocent.  

LOS ANGELES, CA - AUGUST 31:  Former Los Angeles Lakers guard Javaris Crittenton (R) appears in Los Angeles Superior Court for an extradition hearing with his attorney Brian Steel August 31, 2011 in Los Angeles, California. The hearing wasin connection with a warrant from Atlanta charging him with murdering a 22-year-old woman. (Photo by Al Seib-Pool/Getty Images)

Former Los Angeles Lakers guard Javaris Crittenton appears in Los Angeles court with Steel, in August 2011. (Photo by Al Seib-Pool/Getty Images)

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But when the trial wrapped up and the jury returned their verdict, Quartararo was once again found guilty. Sitting in the courtroom that day, Steel was “shocked” as he watched the man being led back to prison. And he started to think that maybe tax law wasn’t his calling. 

“After I saw that happen, I really couldn’t shake it,” Steel says. “I thought to myself, ‘Figuring out whether IBM and Siemens should do a merger for tax purposes, that’s important stuff, but maybe it’s not what I should be doing before I die. Maybe I can help some people out.’” 

Thanks to an old college roommate who had raved about Atlanta, Steel applied to an internship at the Fulton County Public Defender’s Office, where he was eventually hired full time. The pay was meager, but the experience was priceless — leading murder trials as a 20-something lawyer, taking complex appeals up the ladder, and reading every case he could get his hands on. “I didn’t have a girlfriend, I didn’t have any money,” he says. “And I loved it.” 

He was also witnessing the harsh realities of the American criminal justice system. He went to the homes of his impoverished Atlanta clients, tried to understand the lives that had led up to their cases, watched what happened to people as they faced criminal charges and then dealt with the long consequences of convictions. He even spent time in jail (“the sheriffs were so nice to me”) to understand what it was really like. And it left him with strong opinions. “We incarcerate and prey upon people, especially people of color,” Steel says. “And it’s just wrong.” 

In 1993, he set out into private practice, where he slowly established himself as one of the top defense attorneys in Georgia, litigating criminal trials and appeals ranging from murder to tax evasion and everything in between. Over time, some of them started to involve musical artists — no surprise in a city that has become a key cog in the music business over the past 25 years as America’s unofficial rap capital. “I’ve represented a lot of people in your industry,” Steel says. “Thankfully, we’ve gotten a lot of cases dismissed before anyone is arrested.” 

As his client list grew, Steel himself mostly remained low profile — until recently. His internet presence is minimal; he doesn’t advertise, and he doesn’t take many clients. His law firm is small, composed of him and his wife, herself a distinguished defense attorney. He’s actually still in the exact same office he moved into when he left the public defender’s office, including the same furniture. “I’m really superstitious,” he jokes.

And years later, his approach to the job is the same: Try to help people, and to understand the lives of the human beings he’s representing. “I get very close to my clients,” he says. “I meet their families. Because if I’m going to defend somebody, I gotta be invested. I gotta believe in the person. I gotta make it where if I lose this case, it’s going to ruin my life.”

——————

Back in the early 2010s, Steel got a call from a manager for Young Thug, who was just then breaking out with mixtape hits like “Stoner” and “Danny Glover” that catapulted him from Atlanta’s trap scene to a national profile. Thug had been arrested, the manager said, and had specifically asked for Steel after hearing about him from some of the attorney’s other clients.

That case was relatively small and quickly resolved. But a decade later, Thug turned to Steel again when he was arrested on far more serious charges.

In May 2022, prosecutors claimed that Thug’s “YSL” — nominally a record label under Warner Music Group’s 300 Entertainment — was also a violent street gang called “Young Slime Life.” Under the direction of Thug’s “King Slime” moniker, the DA’s office said YSL had wrought “havoc” on Atlanta for years, including carrying out an unsolved drive-by shooting. If convicted on the charges, Thug faced a lifetime in prison. 

Brian Steel, young thug

Steel arrives at the Fulton County Courthouse on Nov. 27, 2023 in Atlanta during the Young Thug case. (Photo by Christian Monterrosa/AFP via Getty Images)

CHRISTIAN MONTERROSA/AFP via Getty Images

From the start, the case was a mess. Just finding lawyers for all 28 defendants proved extremely difficult. Prosecutors also wanted to use Thug’s song lyrics as evidence against him — an already-controversial practice that Steel called an attack on free speech. After it took nearly a year just to select a jury, the trial moved at a glacial pace, eventually becoming the longest in state history. All the while, Thug sat in jail, having been repeatedly denied bail

It was in June 2024, with no end in sight, when Steel unveiled his stunning revelation about the secret meeting. When he first learned about it, he says he almost didn’t believe it — that there was “no way” that a judge had met with prosecutors and a crucial witness about important testimony and didn’t alert defense attorneys. But when he raised it in court and Judge Glanville began threatening him, he says he knew that it “really did happen.” 

“It’s a conspiracy. It’s insane,” Steel recalls thinking at the time. “And I’m standing in front of this judge, and he’s telling me that I’m going to jail?” 

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The rest is history: the judge held him in criminal contempt and sentenced him to 20 days in jail. (In another Grisham-esque flourish, Steel asked to serve his sentence alongside Thug so they could prep for trial.) But the ruling was later overturned on appeal and, more significantly, Glanville was eventually removed from the case over the incident. He was replaced by Judge Paige Reese Whitaker, a judge with a reputation for efficiency who quickly began to criticize the prosecutors for “poor lawyering” and a “haphazard” approach to the case. 

Whitaker’s appointment led to the case’s dramatic endgame months later, when another misstep by prosecutors led her to consider a mistrial. To avoid that outcome, the DA offered Thug a plea deal that would have sent him home immediately. But the deal would have imposed onerous restrictions on him and his future career, so he and Steel refused to take it — feeling confident enough to instead simply plead guilty and hope the judge would set him free. 

The move was risky. With no plea deal in place, prosecutors quickly asked for a whopping 45-year sentence against the star. But it paid off: Whitaker opted instead to sentence him to just 15 years of probation. “It was definitely a gamble,” Steel says. “We took a shot and he was out that night and he’s never looked back.” 

To this day, Steel is certain that he would have won an acquittal, saying his client was obviously innocent and wrongly charged. But when considering the guilty plea, he says he deferred to his client, who had been sitting in jail for more than two years: “Jeffery was like ‘Brian, I can’t stay here. I have a real life.’” 

——————

Thug’s case became something of a cause célèbre: maybe due to the unapologetic use of his lyrics in the indictment; maybe due to him sitting in jail for years without a conviction. Whatever the reason, when Thug walked free, the reaction was more joyful than anything else. “Welcome Home lil bruddah, It’s been too long,” the rapper T.I. wrote on Instagram; a few months later, Drake released a song called “Brian Steel” that included a shout out to the now-famous attorney. 

But not all of Steel’s clients have been so sympathetic; that comes with the territory when defending people charged with serious crimes. Every American has a constitutional right to a defense attorney, and everyone knows that people are presumed innocent until proven guilty. But when emotions get involved, that’s often not how it works. 

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Over decades at the job, Steel has plenty of experience with that. He’s represented a wide range of defendants accused of pretty much any crime imaginable, and most of them didn’t have dedicated fan bases pleading for their release on social media. 

“I’ve done the most violent cases, people cutting up bodies and eating the eyeballs, to white collar cases like tax evasion,” he says. “I’ve represented indigent people and the most vulnerable, as well as the most powerful.” 

One of those clients was Jackie Johnson, a former Georgia prosecutor charged with hindering the police investigation into the 2020 murder of Ahmaud Arbery, a Black jogger whose killing sparked national outrage. Just a few months after that celebrated win for Thug, Steel was in court defending a prosecutor accused of covering up a hate crime that had galvanized the country. 

At trial, he argued that there was no evidence that Johnson had ever done so — that an “innocent woman” had been scapegoated amid the national uproar over Arbery’s murder. And after five days of testimony, the judge agreed, acquitting Johnson on the grounds that prosecutors had failed to present even “one scintilla of evidence” that she ordered police not to arrest Arbery’s killers.  

For Steel, the Johnson case was no different than the Thug case, subjecting an innocent person to the machinery of the modern justice system. “It was all a lie,” Steel says. “And yes, she got cleared, but she went through it for five years, getting death threats.” 

——————

In April, two months after winning Johnson’s trial, Steel was hired to join the team of lawyers representing an even more famous musician than Thug — but one that the public was hardly clamoring to free. 

Sean “Diddy” Combs, once one of the music industry’s most powerful figures, had been charged in 2024 with racketeering and sex trafficking, over claims that he forced his former girlfriend Cassie Ventura and other women to have sex with male prostitutes in sex parties known as “freak offs.” Across more than a year of civil suits, documentaries and the release of a hideous surveillance video showing Combs striking Ventura in 2016, many had made up their minds about the star. 

NEW YORK, NEW YORK - OCTOBER 03: Attorney Brian Steel arrives for Sean "Diddy" Combs' sentencing at Manhattan Federal Court on October 03, 2025 in New York City. Combs is facing sentencing after being convicted on two prostitution-related charges that carry maximum sentences of 10 years each in an eight-week trial where the jury delivered a split verdict. He was acquitted of sex trafficking and racketeering conspiracy charges that could have carried a life sentence. The defense has asked for no more than 14 months imprisonment, while the prosecution has asked for more than 11 years. (Photo by Michael M. Santiago/Getty Images)

Steel arrives for Sean “Diddy” Combs’ sentencing at Manhattan federal on October 03, 2025. (Photo by Michael M. Santiago/Getty Images)

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At trial, Steel and Diddy’s other lawyers apologized for his acts of domestic violence, and admitted that the star had had “toxic” relationships with Ventura and other women. But they stressed that his alleged victims had been consenting participants in the sex parties, and that his behavior, no matter how unsavory, did not come close to the sweeping federal charges he was actually facing. 
 
While not an ideal PR narrative, those arguments largely worked in court. In a July verdict, jurors acquitted Combs on the most serious charges, avoiding the possibility of a lifelong prison sentence. But he was still found guilty on two lesser prostitution counts, for which he was later sentenced to four years in prison

Asked about the Diddy case, Steel is bluntly honest about his client’s conduct, saying that he had clearly “brutalized” Ventura. “This was objectively, brutally wrong,” Steel says. But like he and his co-counsel argued during the trial, Steel says that still doesn’t mean he should face a life prison sentence for different crimes. 

“I’m coming onto the case and learning the case, and I start reading these communications that clearly show this was consensual,” Steel says. “I’m not saying the beatings were consensual. They were wrong. But that’s not what he was charged with. We’re going to say you should die in prison, that you sex trafficked people, when that’s clearly not true?” 

Diddy’s case is currently pending on appeal, where his team is arguing that the judge sentenced him to an unfairly “draconian” prison term. They say the judge served as a “13th juror” who had been swayed by claims of coercion, even though such allegations had been rejected by jurors.  

The way Steel tells it, the Diddy case is also no different than any of his others, despite the global media sensation surrounding it and the strong feelings people have about his client. Whether it’s an indigent defendant or wealthy one, a beloved rapper or a not-so-beloved one, he sees the same flawed legal system and the same ultimate goals. 

“I’ve done plenty of cases that you’ll never hear about, [other] cases that are high profile — they all mean the same to me,” he says. “I just want to help people, ethically and zealously. And I don’t want to hurt anybody, and God willing, something good will come out.” 
 

Taylor Swift has always been a big supporter of Record Store Day, and 2026 is no exception. On Monday (March 2), the event supporting local vinyl shops announced a special release for this year’s iteration: a single disc for one of the pop star’s fan-favorite Life of a Showgirl tracks.

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The exclusive 7-inch record will feature “Elizabeth Taylor” — the third track on Swift’s 2025 Billboard 200-topping album — isolated as a single away from the rest of the LP, pressed onto a galactic purple-and-blue vinyl. “Record Store Day just got… So Glamorous,” reads the announcement on RSD’s Instagram, which shows off the product’s black-and-white cover art.

The disc’s official title is the “Cry My Eyes Violet Glitter” vinyl, referencing one of the lyrics on “Elizabeth Taylor.” The song dropped on Oct. 3, along with the rest of The Life of a Showgirl, which went on to spend 12 weeks at No. 1 on the albums chart.

So far, both “The Fate of Ophelia” and “Opalite” from the LP have topped the Billboard Hot 100, while “Elizabeth Taylor” debuted at No. 3 on the tally. As its title suggests, the latter takes inspiration from the life of one of Swift’s idols, the indigo-eyed Hollywood legend behind iconic films such as Cleopatra and Who’s Afraid of Virginia Woolf? Following the song’s release, Taylor’s son Christopher Wilding had nothing but praise for Swift’s tribute to his mother.

“They are both the very embodiment of female empowerment,” he said in October. “The way [Swift] has deftly captured the similarities and parallel tracks in their careers and personal lives is delightful.”

The 14-time Grammy winner is known for taking part in Record Store Day, which facilitates special vinyl releases at participating record shops. Last year, Swift and Post Malone’s “Fortnight” single disc was one of the event’s top sellers, while in 2022, she made moves on Billboard‘s charts with the RSD release of Folklore: The Long Pond Studio Sessions on vinyl.

This spring, Record Store Day will take place on April 18.

See the “Elizabeth Taylor” vinyl for Record Store Day below.


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Justin Bieber celebrated his 32nd birthday on Sunday (March 1) with wife Hailey Bieber on what looked like a date night party for two. In a pair of snaps posted early Monday morning (March 2), the couple look cozy while sitting at what a restaurant, with JB blowing out the candles on a small white birthday cake topped with strawberries as Hailey looks on with a smile.

“No one id rather spend my birthday withhh.. :)) [lips emoji,” Justin wrote in an Instagram post that also featured a snap of the parents of 18-month-old Jack Blues Bieber smiling with their heads touching as they look up at the camera. Hailey shared the latter pic on her Instagram Story cued to Olivia Dean’s “Man I Need” with the caption “Dada mama dada mama.”

Justin’s mom, Patti Mallette, also got in on the action, sharing a bunch of baby pics of the “Daisies” singer on her Insta and writing, “32 years ago, my life changed forever. You became my son, my heart, and my greatest lesson in love. Nothing has ever been the same. You’ve lived in my heart ever since. I know who you are. I know what’s been placed inside of you. And I know God has never taken His hand off your life. He’s there. And so am I. Love doesn’t leave. Mine never has, and it never will.”

Mallette — who included pics ranging from childhood, to peak teen stardom and some recent images — also promised her son that “there’s so much more ahead of you. So much purpose. So much redemption. So much that’s still unfolding. And no matter how much time passes, you will always be one of the greatest gifts God has ever given me,” she wrote. “Praying this year is full of clarity, confidence, redemption, a deeper sense of who you are, and God’s direction and favor over your life.”

His dad, Jeremy Bieber, also paid tribute to the pop singer with a blurry old school picture of father and son.

Justin recently made waves when he performed his Swag ballad “Yukon” at the 2026 Grammy Awards wearing nothing but a purple guitar and silky blue boxer shorts. Bieber will be back on stage on April 11 and 18 when he headlines this year’s Coachella Valley Music and Arts Festival in Indio, Calif.


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The Academy of Country Music is again honoring some of the most impactful radio stations and radio station personalities in country music, as the organization announced radio categories nominees for the 61st ACM Awards.

Among those earning multiple nominations are KFRG-KM in Riverside, Calif. (with three nominations), as well as KILT-FM in Houston, KSCS-FM in Dallas, WBEE-FM in Rochester, N.Y., WCKK-FM in Walnut Grove, Miss. and WUBE-FM in Cincinnati, with two nominations each.

The winners will be announced during Country Radio Seminar on March 18-20, prior to the 61st ACM Awards. The ACM Awards will take place at the MGM Grand Garden Arena in Las Vegas on Sunday, May 17, 2026. A full list of ACM Awards nominations is set to be announced in coming weeks, in addition to host, performers and presenters.

See the full list of ACM Radio Awards nominees below:

National daily on-air personality of the year:

B-Dub – “B-Dub Radio”
Cody Alan – “Highway Mornings with Cody Alan”
Katie Neal – “Katie & Company”
Rob Stone and Holly Hutton – “The Rob + Holly Show”
Steve Harmon – “Steve Harmon Show”

National weekly on-air personality of the year:
B-Dub – “B-Dub Radio Saturday Night”
Big D, Bubba, Shaffer – “Honky Tonkin’ with Big D & Bubba”
Heather Froglear – “90’s Country with Heather”
Kelleigh Bannen – “Today’s Country Radio”
Ryan Fox – “American Country Countdown with Ryan Fox”

On-air personality of the year (major market):
“Angie Ward” – Angie Ward, WUBL-FM, Atlanta
“Chris Carr & Company” – Chris Carr, Sam Sansevere, Dubs, KEEY-FM, Minneapolis
“The Coop Show” – Coop, WKIS-FM, Miami
“Erik & Jenny” – Erik Scott Smith & Jenny Lee, KCYY-FM, San Antonio
“Frito & Katy”– Frito and Katy, KILT-FM, Houston
“Niko + Cheyenne” – Niko + Cheyenne, KMLE-FM, Phoenix
“Rachel Ryan” – Rachel Ryan, KSCS-FM, Dallas

On-air personality of the year (large market):
“Heather Froglear” – Heather Froglear, KFRG-FM, Riverside, Calif.
“Jesse & Anna” – Jesse Tack, Anna Marie, Jake Thomson, WUBE-FM, Cincinnati
“Kelli and Anthony” – Kelli Green and Anthony Donatelli, KFRG-FM, Riverside, Calif.
“Mad Dawg in the Afternoon” – Big Dave, Stattman, WQDR-FM, Raleigh, N.C.
“Maria D’Antonio” – Maria D’Antonio, WDSY-FM, Pittsburgh

On-air personality of the year (medium market):
“The Bee Morning Coffee Club” – TJ Sharp, Bo Jaxon, Hope Breen, WBEE-FM, Rochester, N.Y.
“The Doc Show with Chewy” – Doc Medek, Chewy Medek, WGGY-FM, Wilkes-Barre, Pa.
“Julie and DJ in the Morning” – Julie K and DJ Thee Trucker, WPCV-FM, Lakeland, Fla.
“Mo & StyckMan” – Mo & StyckMan, WUSY-FM, Chattanooga, Tenn.
“Steve & Gina in the Morning” – Steve Lundy and Gina Melton, KXKT-FM, Omaha, Neb.
Tug Cowart Show” – Tug Cowart, WCKN-FM, Charleston, S.C.

On-air personality of the year (small market):
“Ben & Arnie: – Ben Butler, Arnie Andrews, WCOW-FM, Sparta, WI
“B-MO in the MO’rning” – Brian “B-MO” Montgomery, WCKK-FM, Walnut Grove, MS
“Dan Austin” – Dan Austin, WQHK-FM, Fort Wayne, IN
“The Dr. Shane and Tess Show” – Dr. Shane and Tess, WPAP-FM, Panama City, FL
“The Eddie Foxx Show” – Eddie Foxx and Amanda Foxx, WKSF-FM, Asheville, NC

Radio station of the year (major market):
KILT-FM – Houston
KSCS-FM – Dallas
KSON-FM – San Diego
WPOC-FM – Towson, Md.
WXTU-FM – Philadelphia

Radio station of the year (large market):
KFRG-FM – Riverside, Calif.
WLHK-FM – Indianapolis
WMIL-FM – Milwaukee
WSIX-FM – Nashville, Tenn.
WUBE-FM – Cincinnati

Radio station of the year (medium market):
KUZZ-FM – Bakersfield, Calif.
WBEE-FM – Rochester, N.Y.
WHKO-FM – Dayton, Ohio
WLFP-FM – Memphis, Tenn.
WQMX-FM – Akron, Ohio

Radio station of the year (small market):
KCLR-FM – Columbia, Mo.
KFGE-FM – Lincoln, Neb.
WCKK-FM – Walnut Grove, Miss.
WXFL-FM – Florence, Ala.
WYCT-FM – Pensacola, Fla.
WYOT-FM – Rochelle, Ill.

If your spidey senses were tingling in regards to Tom Holland and Zendaya‘s marital status, Law Roach may have just vindicated you.

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In an interview with Access Hollywood at the Actor Awards on Sunday (March 1), the singer-actress’ longtime stylist and friend seemingly confirmed that the couple had already tied the knot without anyone knowing. “The wedding has already happened,” Law said in a mischievous tone. “You missed it.”

When the stunned reporter asked him if the revelation was true, the designer replied, “It’s very true.”

Billboard has reached out to reps for Zendaya, Holland and Roach for comment.

If the two Hollywood stars did get married privately, it would track with how they’ve approached the entirety of their relationship leading up to the big day. The Euphoria star and Holland have been notoriously quiet with the details of their romance since meeting on the set of Marvel’s Spider-Man films, staying under the radar for years after they first sparked dating rumors in 2021.

In January 2025, reports surfaced that the couple had gotten engaged — but neither party confirmed it until many months later, when the Uncharted star corrected a journalist who’d referred to Zendaya as his “girlfriend” rather than “fiancée” at a September press junket.

Beyond their engagement news, the lovebirds have a slate of exciting projects coming up. Zendaya will close out her time as Rue in Euphoria once the third season premieres in April, as well as star opposite Robert Pattinson in The Drama, which arrives in theaters that same month. She and Holland will also appear together in Christopher Nolan’s highly anticipated The Odyssey and Marvel’s Spider-Man: Brand New Day, both set for 2026 releases.

See the moment Law Roach appeared to reveal that Zendaya and Tom Holland are already married below.


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Oasis have joined the star-studded lineup for War Child’s upcoming HELP(2) fundraising album. The reunited Brit pop legends have offered up a live version of a fan favorite from last year’s sold-out global reunion tour, “Acquiesce (Live From Wembley Stadium, 28 September ’25,” for the collection as a stand-alone 7″ single enclosed in the gatefold of the vinyl edition and as a hidden track on the double-CD version; the track will also be available to stream beginning on Friday (March 6).

The inclusion will mark the first physical release of a live recording from Oasis’ 2025 tour, with the recording coming from the final night of the group’s seven-show run at London’s Wembley Stadium on their first tour in 16 years. It’s a return to form for the Gallaghers, who appeared on the original 1995 HELP album, contributing “Fade Away” featuring Johnny Depp and model Kate Moss, on a collection that also featured tracks from The Stone Roses, Radiohead, Massive Attack, Suede, Sinead O’Connor, Blur and The Charlatans, among others.

The upcoming sequel album from the organization whose mission is to protect, educate and stand up for the rights of children impacted by global conflict has already been previewed with tracks from Pulp (“Begging For Change”), Arctic Monkeys (“Opening Night”), Ezra Collective & Greentea Peng (“Helicopters”), Damon Albarn (“Flags”) and the Last Dinner Party (“Let’s Do It Again!”). HELP(2) is due out this Friday.

In addition to the above mentioned, contributors to HELP(2) include: Anna Calvi, Arlo Parks, Arooj Aftab, Bat For Lashes, Beabadoobee, Beck, Beth Gibbons, Big Thief, Black Country, New Road, Cameron Winter, Depeche Mode, Dove Ellis, Ellie Rowsell, English Teacher, Foals, Fontaines D.C., Graham Coxon, Grian Chatten, Kae Tempest, King Krule, Nilüfer Yanya, Olivia Rodrigo, Sampha, Wet Leg and more.

You can understand why Oasis — who have not released a new album since 2008’s Dig Out Your Soul — might be eager to share the recording from their rapturously received 2025 reunion tour. Speaking backstage at the 2025 BRIT Awards over the weekend, chief songwriter/guitarist Noel Gallagher, who took home songwriter of the year awards at the event, told People that last year’s shows were “better than the 90s.”

Gallagher, 58, said his first shows in nearly two decades with formerly estranged brother singer Liam were, “the most incredible thing that any of us have ever done … to come back after all these years, to get No. 1 albums and all that is pretty mad, but we loved every minute and every second of it.”

While rumors have suggested the Gallaghers are making plans for another round of Oasis shows, at press time no information had been announced about future plans.


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Shinedown pads its record for the most No. 1s in the history of Billboard’s Mainstream Rock Airplay chart as “Searchlight” rules the March 7-dated tally.

The song becomes the band’s 22nd Mainstream Rock Airplay leader, dating to its first in 2005. The survey began in 1981.

“Searchlight” also marks the band’s second No. 1 in a row, following “Killing Fields” in September.

Most No. 1s, Mainstream Rock Airplay:

  • 22, Shinedown
  • 20, Three Days Grace
  • 17, Five Finger Death Punch
  • 15, Foo Fighters
  • 14, Metallica
  • 13, Disturbed
  • 13, Godsmack
  • 13, Linkin Park
  • 13, Van Halen

Shinedown first topped the Mainstream Rock Airplay chart dated Nov. 19, 2005, with the 12-week leader “Save Me.” (That song and “Bully,” in 2012, represent the band’s longest No. 1 runs.) The group has logged eight of its 22 leaders this decade, after 10 in the 2010s and four in the ‘00s.

“Searchlight” is already the third No. 1 from EI8HT, Shinedown’s eighth studio album, despite the set not being due until May 29. In addition to “Searchlight” and “Killing Fields,” “Dance, Kid, Dance” led for a week in March 2025.

Concurrently, “Searchlight” climbs 10-7 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 3.4 million audience impressions in the week ending Feb. 26, a gain of 12%, according to Luminate. Each of the songs to reach the ranking from Eight has hit the top 10, paced by the No. 5 peak for “Dance, Kid, Dance.”

EI8HT is the follow-up to Shinedown’s Planet Zero. The latter debuted at No. 1 on the Top Hard Rock Albums chart in July 2022 and has earned 452,000 equivalent album units to date.

All Billboard charts dated March 7 will update on Billboard.com Tuesday, March 3.


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Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor the late Neil Sedaka, who died on Feb. 27 at age 86, by diving back into the first of his three No. 1 hits: the irresistible “Breaking Up Is Hard to Do.”

When artists gain renown as singer-songwriters — particularly paradigmatic ones like Bob Dylan, Joni Mitchell and Leonard Cohen — they’re often most celebrated for their lyrics, and treated as if they were poets who also happen to be musicians. Neil Sedaka became one of the most successful singer-songwriters of the early rock era primarily through his strengths as a melodicist and a vocalist, with the words part of it usually coming through collaboration with trusted partners. Tellingly, most likely the most famous lyric that Sedaka ever penned was scarcely a lyric at all: “Down, dooby-doo-down-down, comma-comma-down….”

By the time of “Breaking Up Is Hard to Do,” Neil Sedaka was already a well-established hitmaker, both for himself and others. Most of those hits came in conjunction with lyricist Howard Greenfield, who Sedaka had met when the two were teenage music students in New York. The duo started out writing showtune-type songs, but as Fred Bronson writes in The Billboard Book of Number 1 Hits, pivoted to rock-based pop music after Sedaka and his high school girlfriend Carole Klein (later known as Carole King) heard The Penguins’ “Earth Angel” on a pizza parlor jukebox. Sedaka and Greenfield found some R&B success, and had their first major pop hit when Connie Francis brought their “Stupid Cupid” to the top 15 of the Billboard Hot 100 in 1958.

After a brief period singing with vocal group the Tokens — later to score a Hot 100 No. 1 hit of their own with “The Lion Sleeps Tonight” — Sedaka embarked upon a solo career in the late ’50s, scoring a top 15 breakthrough with “The Diary” in 1959. A brief rough patch followed, but Sedaka rebounded in 1960 with “Oh Carol!” — inspired by his teenage paramour, by then a renowned songwriter in her own right in collaboration with Gerry Goffin — and the hits poured out from there, with “Stairway to Heaven,” “Calendar Girl” and “Happy Birthday, Sweet Sixteen,” all of which followed “Carol” to the top 10.

But Sedaka wouldn’t top the Hot 100 for the first time until 1962, with the release of “Breaking Up.” The song leads off with that semi-nonsensical vocal hook, which Sedaka thought of as a last-minute addition to the song. He intended to swap in more fleshed-out lyrics but never did; the melodic phrasing of it is so infectious and momentum-building that more logical wording might’ve just slowed it down anyway. Starting immediately with the vocal hook — accompanied only by handclaps, to give the intro a little extra kinetic energy — made “Breaking Up” one of the most immediately striking and memorable pop-rock songs of the early ’60s, a winner by the first mention of its title, which punctuates the end of the intro and introduces the general concept of the song.

An all-time fantastic title, too: Sedaka thought of it before anything else, pitching Greenfield multiple times on the idea of devising an entire song around the phrase. It’s a lyrical truism with the kind of wisdom that feels particularly sagacious only within the context of pop music: Of course breaking up is hard to do, but when expressed by Sedaka at the end of each verse (and the beginning of each bridge) of his pained plea to his partner to “give our love another try,” it feels like hard-earned insight. It also helps that the phrase is long and sturdy enough to be a real lyrical load-bearer — there is no separate chorus to “Breaking Up,” just the verse-ending title mention functioning as the song’s main refrain, but it’s substantive enough on its own to give the song its skeletal structure.

The song is so dominated by its intro — which also continues as a backing vocal throughout the verse — and its title, that its other lyrics are minimal, and relatively unremarkable. The other most memorable parts aren’t the words itself, but the way they’re deployed — like the way Sedaka stretches the last word of “Now I know that it’s true” into three syllables, or how at the end of a relatively patient, stretched-out bridge, Sedaka suddenly gets manic, rushing out an entire “Instead of breaking up/ I wish that we were making up again” sentiment that ends up delaying the return of the main verse by a whole measure. And of course, his double-tracked vocal makes every word of the verse heart-piercing, just by sheer virtue of its masterful two-part harmony.

Billboard Hot 100 dated Aug. 11, 1962

Billboard

It all added up to one of the most undeniable pop-rock confections of its era — and one that, at a lean 2:18, didn’t waste a second of its runtime. It quickly took over the summer of 1962 upon its late-June release, taking just seven weeks to rush the top of the Hot 100 dated Aug. 11. It knocked out “Roses Are Red (My Love)” by Bobby Vinton — arguably the pre-eminent crooner of the early ’60s, but one with a much more old-fashioned energy than Sedaka’s youthful Brill Building pop-rock — and lasted a pair of weeks on top, before being deposed by Little Eva’s “The Loco-Motion” (co-penned, incidentally, by Sedaka’s former sweetheart King). Future collaborator Elton John referred to “Breaking Up” as “one of the great songs of all time” in his foreword to the Sedaka biography Rock ‘n’ Roll Survivor, and commented that it “will always be sung.” (Indeed, the song revisited the Hot 100 times multiple times as recorded by other artists, including by vocal group The Happenings in 1968, balladeer Lenny Welch in 1970, and prefab pop outfit The Partridge Family in 1972.)

Sedaka squeezed out another top five hit by year’s end with follow-up “Next Door to an Angel” — which repeated the “Breaking Up” formula to a rather conspicuous degree, right down to the double-tracked vocal verse harmony and “Doo-ba-bop-bop, oh-do-bop, she-down-down” intro. But the hits slowed a little in 1963, as The 4 Seasons, The Beach Boys and Phil Spector-produced girl-group pop took over at top 40’s vanguard. Then, in 1964, The Beatles and the British Invasion hit, and as with many early-’60s hitmakers, Sedaka’s career was never the same: He still scored three top 40 hits in ’63, but as of ’64, he wouldn’t even hit the chart’s top 75 again that decade.

If that had been the end of Neil Sedaka’s chart run, there would have been no shame in it. He still finished the ’60s with 10 top 20 hits, including six top 10s and a No. 1 in “Breaking Up,” plus additional hits co-penned for Connie Francis, Jimmy Clanton and even The 5th Dimension at decade’s end. As it turned out, it was just the first act: Sedaka was due for a major career revival in the mid ’70s, including another pair of No. 1s — which we’ll get to in this column later in the week — and a top 10 recording of his signature ’60s hit, recasting “Breaking Up” as a piano ballad, and adding a new Tony Bennett-like intro vamp (“You tell me that you’re leaving/ I can’t believe it’s true…”). But even before that new addition, Sedaka couldn’t resist starting the recording with a familiar sound from the early ’60s, providing crucial context before quickly fading out: “Do-do-do-down, dooby-doo-down-down, comma-comma…

Tomorrow, Forever No. 1 looks at Sedaka’s second No. 1 — and first in 13 years — the ballad “Laughter in the Rain.”

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Harry Styles and his fans belong together, whether or not they scored tickets to his upcoming album release show in Manchester, England. That’s why the pop star just announced that he’s going to make the concert available to watch on Netflix, so that anyone can dance along to the first-ever live performance of Kiss All the Time. Disco, Occasionally at home. Though One Night in Manchester is happening on March 6, Netflix will begin streaming it March 8 at 3 p.m. ET.

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The news came at noon ET on Monday (March 2), just a few days before Styles’ one-night-only concert on Friday (March 6) — the same day his fourth studio album drops. Earlier on Monday, a fan account on X had teased the announcement by posting a screenshot of the Netflix page for a mysterious project titled Disco tagged “Music,” “British” and “Concerts.”

The One Direction alum first announced his plans to give Kiss All the Time. Disco, Occasionally its live debut at the Co-op Live in Manchester in early February, allowing fans to request tickets to the event for just £20. It’ll give the world its first proper taste of what’s to come on Styles’ Together, Together tour kicking off in May. The star also offered up his first live performance of HS4’s Billboard Hot 100-topping lead single “Aperture” at the 2026 BRITs on Saturday (Feb. 28), stealing the show with his eccentric choreography.

Like many headlining tours for modern major acts, tickets to Styles’ Together, Together trek were in high demand when they went on sale earlier this year, but the Netflix stream of his Manchester show will make sure all of his fans get to feel included in his next era. “They’re, like, the most honest group of fans,” he said of his bond with listeners on a recent appearance on Brittany Broski’s Royal Court.

“There’s no posturing with them,” he added at the time. “And I think a lot of the time, their opinion can kind of be cast aside as like, ‘Oh, it’s just hysteria’ … or I think their taste can be questioned based on the fact that they wear their heart on their sleeve.”

See the teaser below:


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Cardi B’s easily distracted these days. The Grammy-winning rapper took a brief pause during a recent stop on her Little Miss Drama Tour to let the crowd know she’s enforcing a no-fighting policy, but for a different reason than most would think.

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“Ladies and gentlemen, please don’t fight because when y’all fight … I’m nosy. I want to see it,” she joked about being unable to focus on her own performance after seeing an altercation in the audience, like she’s back in high school.

Cardi continued: “That distracts me from the performance and then I f—k up. And then I go all over the internet, f—king up my moves because I wanted to see the fight. So please, no fighting. Do it after the show.”

Whether it’s been Cardi bringing out Tyla and Kehlani, taking a spill on stage in Las Vegas or calling out ICE, the Bronx native’s first headlining trek has been a headline-snatching affair, and she’s just getting started.

Following her performance in Phoenix over the weekend, Cardi took to X on Monday (March 2) to clarify that her mini-speeches introducing certain songs aren’t necessarily shots directed at people in her life.

“Dear blogs, when I perform a song I always introduce the song with a lil razzle dazzle,” she wrote. “Not everything is a shot or personal. I’m actually repeating lyrics from the songs…Relax.”

The Little Miss Drama Tour continues this week with a Texas triangle takeover, as Cardi will be making stops in Houston, Austin and Dallas before heading to Denver.


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