Jane says … the tour is over. Jane’s Addiction has canceled its tour midway through the band’s trek after frontman Perry Farrell threw a punch at guitarist Dave Navarro during the band’s show on Friday (Sept. 13) in Boston at the Leader Bank Pavilion.

“The band have made the difficult decision to take some time away as a group. As such, they will be cancelling the remainder of the tour,” the band said in a brief statement Monday (Sept. 16). Refunds will be issued at the point of purchase.

In fan-captured videos that went viral after the Friday show, Farrell is seen on stage singing toward the audience before turning to Navarro and screaming the lyrics, seemingly angrily. The frontman then makes his way over to the guitarist, continuing his scream, before body-checking the guitarist, backing away, then getting back in Navarro’s face to continue yelling while the guitarist-actor — who appears confused — calmly holds Farrell at arm’s length while the frontman continues to yell. Farrell then throws a punch at his guitarist, and a crew member comes on stage, telling Farrell repeatedly to “Stop! Stop!” More crew members rush to the stage to restrain the rocker and take him off stage.

The next day, Jane’s Addiction issued a statement via the band’s Instagram Stories. “We want to extend a heartfelt apology to our fans for the events that unfolded last night,” the statement read. The band then noted that the following show on Sunday (Sept. 15) at the Hartford Healthcare Amphitheater was canceled.

Farrell’s wife, Etty Lau Farrell, shared a statement on her own Instagram after the altercation. Reposting video of the altercation, she explained how she saw the situation. “Clearly there had been a lot of tension and animosity between the members.. the magic that made the band so dynamic,” she wrote. ” Well, the dynamite was lit. Perry got up in Dave’s face and body checked him.”

“Perry’s frustration had been mounting, night after night, he felt that the stage volume had been extremely loud and his voice was being drowned out by the band,” she continued, noting that her husband had been battling a sore throat and tinnitus. “But when the audience in the first row, started complaining up to Perry cussing at him that the band was planning too loud and that they couldn’t hear him, Perry lost it.”

She went on to praise Navarro for trying to de-escalate the situation, noting that the guitarist “still looked handsome and cool in the middle of a fight,” while her husband was “a crazed beast” for a little bit. Added Etty, “He finally did not calm down, but did breakdown and cried and cried.”

Jane’s Addiction — who logged one song on the Billboard Hot 100 and three No. 1 hits on the Alternative Airplay chart since forming in the mid-’80s — was about halfway through its tour alongside Love and Rockets. The tour — produced by Live Nation — had been scheduled to conclude on Oct. 16 at the YouTube Theater in Los Angeles.

See Jane’s Addiction’s statement below:

In 2019, when Brooks & Dunn collaborated with such hot new artists as Luke Combs, Ashley McBryde and Brothers Osborne for Reboot, a collection of duets covering some of the superstar duo’s most beloved songs, they could have never imagined that within five years there would be a whole new crop of burgeoning stars to revisit the concept. 

Reboot proved to be such a tremendous success — providing the Country Hall of Fame pair with their first No. 1 on Billboard’s Top Country Albums chart in a decade — that it seemed natural to, well, reboot Reboot, but with a few twists.

Reboot II, out Nov. 15 on Sony Music Nashville, features a legion of new country artists, many of whom were just experiencing their first flushes of success or weren’t even signed yet five years ago, including Megan Moroney, Hailey Whitters, Lainey Wilson, Ernest and Warren Zeiders, but the new set also broadens the concept to include rockers Halestorm and bluesmen Marcus King and Christone “Kingfish” Ingram. Among the other artists on the album are Morgan Wallen, Jelly Roll, HARDY and Corey Kent.

“What was even more impressive was to sit down with this bunch and turn them loose to do the songs in whatever way fit their artistic vision,” Ronnie Dunn tells Billboard. “The fun part was we weren’t chasing the original recordings or arrangements or our versions. We turned them loose to do whatever they wanted to do and, I’m biased, but it was really refreshing.”

Hearing some of their songs, while still recognizable, turned on their heads and recreated with new arrangements, tempos or even as different genres, “made me realize how good we are,” Dunn says with a laugh, before seriously adding, “I think how lucky we are to have these songs that you can push the chameleon button on, and they change colors and keep on ticking.”

Unlike the first edition, where Kacey Musgraves and a few other artists upended their takes but for the most part the remakes stayed true to the originals, half the fun of listening to Reboot II are the unexpected roads some of the songs down — such as Moroney and Dunn’s slowed down, sultry duet on “Ain’t Nothing ‘Bout You,” The Earls of Leicester’s spirited bluegrass take on “How Long Gone” and Marcus King’s high-octane version of “Rock My World (Little Country Girl),” which screeches out of the gate.

It turns out Brooks & Dunn, one of country’s most successful duos with 20 No. 1s on the Country Airplay chart — would have happily embraced more reinventions on the first go-round. “I think artistically, Kix and I kind of wanted to let the horse run like we did on this on the first one — but the mandate was, ‘Hey this is an experiment. We haven’t done it before, so let’s try to keep the truck between the lines.’ And we were very pleased with it. But this is a whole different animal.” Then with what can only be described as a mischievous laugh, he adds, “I mean, this is gonna offend some people!”

Surprise more than offend more likely, given how Halestorm turns Brooks & Dunn’s classic “Boot Scootin’ Boogie” up to 11 with screaming guitars and Dunn going head to head with lead singer Lizzy Hale. 

“[Halestorm] did not disappoint,” says Kix Brooks, adding that more than 30 years into their partnership, it’s good for Brooks & Dunn to shake things up a bit.  “At this point in our career, we can’t really be nervous about that, especially on a record like this, and especially inviting some of the artists we did, like Christone “Kingfish” Ingram and Halestorm. Halestorm is a  really badass, really tight rock band and whatever song they come in with heads are going to bang.”

Furthermore, Brooks says some of the artists upped Brooks & Dunn’s game in a way that delighted them. “It was fun to see Ronnie go toe-to-toe with Lizzy,” he says. “I was like, ‘Good luck pal’ — but he did. I feel like a lot of the stuff really challenged us in a way that maybe we weren’t before. Kingfish came in on ‘Hard Workin’ Man’ with this funky blues thing, because that’s what he does with his band… then it’s like, ‘Holy crap. How are we going to plug into this?’ That was a whole new level of fun.”

Like the first Reboot, Brooks & Dunn were in the studio with the acts — no artists added their parts separately as happens in many such collaborative albums. 

“I felt like it would be rude not to be [there],” Dunn says. The duo largely left it to their guests to come up with new interpretations, but were there to assist if the artist got “bogged down, and it would become a team sport to figure things out.”

While Dann Huff produced Reboot, this time he still did the majority of Reboot II’s tracks — but artists were also encouraged to use producers and musicians they routinely work with, which added Joey Moi, Kristian Bush and Jerry Douglas to the mix (along with some unintentional levity). “Kristian, who was producing Megan, has a very cosmic approach to producing,” Brooks says. “He was doing this thing with his hands like, ‘We just need to interweave this and that into that,’ and I was like, ‘You got that, don’t you, Ronnie?’” 

“We almost threw him out the window,” Dunn says with a laugh — adding that making Reboot II  “was the most fun we’ve ever had,” in part because there was no pressure. 

The album contains 18 tracks, including six songs that were on Reboot, remade with different artists for Reboot II. “You think, ‘How can I do it differently? How can it not be repetitive? And everybody found a new way to give it a twist,’” Dunn says. Brooks cites Luke Combs’ straight-ahead read on “Brand New Man” for Reboot, whereas Warren Zeiders slows the tune way down on Reboot II and give it a “Nirvana kind of groove.” 

When asked if there could be a Reboot III five years from now, Dunn says, “We would probably have to write a lot more new songs,” before adding, “we’re both writing all the time.”

The new versions also seem to lead new fans to discover the duo. “Asking our crowds this summer on tour, ‘How many of you are at your first Brooks & Dunn show?’” and probably 70% of that crowd now has their hands in the air,” Brooks says. “They’re just finding these songs. We kind of have this rebirth on stage that’s kind of hard to describe.”

Though Brooks & Dunn took a touring hiatus from 2010 to 2015, they now have no desire to see the end of the road. Their first leg of their 2025 Neon Moon tour, produced by Live Nation, will start March 13 in Lubbock, Texas and run through April 26 in Louisville. 

“We’ve finally gotten to a place where we can kind of not worry about anything, just get out there and enjoy it,” Brooks says. 

“We’re still drawing the same size crowds we did in our heyday, so let it rock,” Dunn says, adding with a laugh, “And we’re still pretty.”

Brooks & Dunn – Reboot 2 TRACK LIST

The 2024 BET Hip Hop Awards is headed to Sin City. The show will be held in Las Vegas for the first time on Oct. 8 and will premiere Tuesday, Oct. 15, at 8 p.m. ET/PT on BET. BET is expected to announce the venue next week.

“BET is excited to bring BET Hip Hop Awards to a city known for its electrifying atmosphere and rich history of awe-inspiring entertainment,” Scott Mills, president & CEO of BET, said in a statement. “From the groundbreaking performances of legends like Sammy Davis Jr. and Lena Horne, who shattered racial barriers, to today’s leading and emerging artists, Las Vegas’ vibrant energy reflects the innovation, soul, and storytelling that Black culture continuously contributes.”

The BET Hip Hop Awards, which originated in 2006, has been held in Atlanta in all but three years. It shifted to Miami in 2017-18 and was held in multiple locations in 2020, at the height of the pandemic. Fat Joe hosted the show the last two years. This year’s host has not yet been named.

Connie Orlando, EVP of specials, music programming & music strategy at BET, will oversee production of the annual event and serve as executive producer with Jamal Noisette, BET’s SVP of specials & music programming. Jesse Collins, CEO of Jesse Collins Entertainment, will act as executive producer, with Jeannae Rouzan-Clay and Dionne Harmon from Jesse Collins Entertainment also serving as executive producers.

Collins and Harmon won Primetime Emmys two years ago for their work on The Pepsi Super Bowl LVI Halftime Show Starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar, 50 Cent, which was voted outstanding variety special (live).

Las Vegas has become a popular home for awards shows. The Billboard Music Awards were based there most years from 1996 to 2022. The Academy of Country Music Awards were held there in all but three years from 2003 to 2022. The Grammys were held there in 2022, the only time the show has been broadcast from a city in which it doesn’t have a chapter.

The U.S. government and TikTok will go head-to-head in federal court on Monday as oral arguments begin in a consequential legal case that will determine if – or how — a popular social media platform used by nearly half of all Americans will continue to operate in the country.

Attorneys for the two sides will appear before a panel of judges at the federal appeals court in Washington. TikTok and its China-based parent company, ByteDance, are challenging a U.S. law that requires them to break ties or face a ban in the U.S. by mid-January. The legal battle is expected to reach the U.S. Supreme Court.

The law, signed by President Joe Biden in April, was a culmination of a years-long saga in Washington over the short-form video-sharing app, which the government sees as a national security threat due to its connections to China. But TikTok argues the law runs afoul of the First Amendment while other opponents claim it mirrors crackdowns sometimes seen in authoritarian countries abroad.

In court documents submitted over the summer, the Justice Department emphasized the government’s two primary concerns. First, TikTok collects vast swaths of user data, including sensitive information on viewing habits, that could fall into the hands of the Chinese government through coercion. Second, the U.S. says the proprietary algorithm that fuels what users see on the app is vulnerable to manipulation by Chinese authorities, who can use it to shape content on the platform in a way that’s difficult to detect.

TikTok has repeatedly said it does not share U.S. user data with the Chinese government and that concerns the government has raised have never been substantiated. In court documents, attorneys for both TikTok and its parent company have argued that members of Congress sought to punish the platform based on propaganda they perceived to be on TikTok. The companies also claimed divestment is not possible and that the app would have to shut down by Jan. 19 if the courts don’t step in to block the law.

“Even if divestiture were feasible, TikTok in the United States would still be reduced to a shell of its former self, stripped of the innovative and expressive technology that tailors content to each user,” the companies said in a legal brief filed in June. “It would also become an island, preventing Americans from exchanging views with the global TikTok community.”

Opponents of the law stress a ban would also cause disruptions in the world of marketing, retail and in the lives of many different content creators, some of whom also sued the government in May. TikTok is covering the legal costs for that lawsuit, which the court has consolidated with the company’s complaint and another filed on behalf of conservative creators who work with a nonprofit called BASED Politics Inc.

Though the government’s primary reasoning for the law is public, significant portions of its court filings include classified information that has been redacted and hidden from public view. The companies have asked the court to reject the secret filings or appoint a district judge who can ferret through the material, which the government has opposed because it will cause a delay in the case. If admitted into the court, legal experts say those secret filings could make it nearly impossible to know some of the factors that could play a part in the eventual ruling.

In one of the redacted statements submitted in late July, the Justice Department claimed TikTok took direction from the Chinese government about content on its platform, without disclosing additional details about when or why those incidents occurred. Casey Blackburn, a senior U.S. intelligence official, wrote in a legal statement that ByteDance and TikTok “have taken action in response” to Chinese government demands “to censor content outside of China.” Though the intelligence community had “no information” that this has happened on the platform operated by TikTok in the U.S., Blackburn said there is a risk it “may” occur.

In a separate document submitted to court, the DOJ said the U.S. is “not required to wait until its foreign adversary takes specific detrimental actions before responding to such a threat.”

The companies, however, argue the government could have taken a more tailored approach to resolve its concerns.

During high-stakes negotiations with the Biden administration more than two years ago, TikTok presented the government with a draft 90-page agreement that allows a third party to monitor the platform’s algorithm, content moderation practices and other programming. TikTok says it has spent more than $2 billion to voluntarily implement some of these measures, which include storing U.S. user data on servers controlled by the tech giant Oracle. But it said a deal was not reached because government officials essentially walked away from the negotiating table in August 2022.

Justice officials have argued complying with the draft agreement is impossible, or would require extensive resources, due to the size and the technical complexity of TikTok. The Justice Department also said the only thing that would resolve the government’s concerns is severing the ties between TikTok and ByteDance given the porous relationship between the Chinese government and Chinese companies.

But some observers have wondered whether such a move would accelerate the so-called “decoupling” between the U.S. and its strategic rival at a time when other China-founded companies, such as Shein and Temu, are also making a big splash in the West. Last week, the Biden administration proposed rules that would crack down on duty-free products being shipped directly from China.

For its part, ByteDance has publicly said TikTok is not up for sale. But that has not stopped some investors, including former Treasury Secretary Steven Mnuchin and billionaire Frank McCourt, from announcing bids to purchase the platform. However, even if such a sale would occur, it would most likely be devoid of TikTok’s coveted algorithm, leaving a big question mark on whether the platform would be capable of serving up the type of personally tailored videos that users have come to expect.

The political alignments on the issue are playing out in unconventional ways.

The law, which passed with bipartisan approval in Congress, had encountered resistance from some progressive and Republican lawmakers who voiced concerns about giving the government the power to ban a platform used by 170 million Americans. Former President Donald Trump, who tried to ban TikTok while in office, is now opposing a ban because that would help its rival, Facebook, a platform Trump continues to criticize over his 2020 election loss.

In court, free speech and social justice groups have submitted amicus briefs in support of TikTok, arguing it restricts the First Amendment rights of users and suppresses the speech of minority communities by disrupting a tool many of them use to advocate for causes online. Some libertarian groups with ties to ByteDance investor Jeff Yass have also filed briefs supporting the company.

Meanwhile, the Biden administration has received the backing of more than 20 Republican attorneys general, former national security officials and China-focused human rights groups who are asking the court to uphold the law.

Shakira hopped up on stage at the LIV Miami nightclub over the weekend to celebrate her new single, “Soltera.” But according to fan video of the impromptu moment, after swiveling her hips in classic style for a few minutes, the singer stopped dancing when she appeared to notice someone in the crowd attempting to film up her skirt.

In the video, Shakira can be seen smiling and dancing on a stage as her fans scream during the preview of the song whose released date has not yet been announced. In the clip, the superstar can clearly be seen gathering up her short skirt at several points and waving the index fingers on both hands as she looks down at an unseen person off screen with a gesture indicating that they should stop what they’re doing. At one point Shakira gestures to her eye as if to say “I see you” and then swiftly grabs at the front and back of her skirt to block any view.

The music continues to blast out of the speakers and Shakira, seemingly frustrated, puts her hands on her hips and busts out a few more moves before once more tugging down at her hem, shaking her head and walking off stage.

At press time a spokesperson for Shakira had not returned Billboard‘s request for comment on the incident and it did not appear as if the singer had addressed it on her socials.

In July, Shakira made her Copa America debut during the final match’s halftime on July 14 in the midst of the Argentina vs. Colombia game. The Colombian singer rocked Hard Rock Stadium with a medley of old and new hits including “Hips Don’t Lie,” “Te Felicito,” “TQG” and Puntería,” among other songs. The singer is slated to kick off the North American leg of her Las Mujeres Ya No Lloran world tour on Nov. 2 with a show at Acrisure Arena in Palm Desert, CA.