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Fox Sports and its sister channel FS1 have become a hub for some of the biggest sports, including NFL games, NASCAR, college basketball and soccer. The easiest way for you to watch live games on Fox Sports is through its cable channel, but that doesn’t mean there aren’t more affordable streaming options for those who have recently cut the cord.

Opting for streaming packages may eliminate expensive cable bills, but it does come with some challenges like trying to livestream major games. Live TV streamers can eliminate the issue by giving access to Fox Sports, FS1 and additional live sports channels including ESPN, ABC, NBC, CBS and TNT.

Fox Sports airs Sunday football games starting at 1 p.m. ET/10 a.m. PT, and thanks to cheaper streaming alternatives, you don’t need to invest in cable to watch NFL games online for free.

Keep reading to learn more.

How to Watch Fox Sports & FS1 Online Without Cable for Free

Fox Sports and FS1 don’t have a designated streaming platform to livestream matches, but there are a few live TV streamers that’ll let you catch Sunday football games and more for little to no cost.

Below, ShopBillboard put together a few live TV streaming options with free trials and promos that’ll let you watch Fox Sports and FS1 without cable.

DirecTV Stream

You can score a five-day free trial through DirecTV Stream when you sign up for one of its four packages. Subscribing will let you watch Fox Sports and FS1 online through DirecTV Stream. Every streaming package includes Fox Sports and FS1 in addition to FS2, Fox Deportes and dozens of other channels. Bonus offer: you can save $30 off the first two months when you combine a streaming package with a “Sports Pack.” Right now, the Entertainment + Sports Pack is $80 (reg. $95) for the first two months.

Other perks you’ll be able to enjoy include unlimited DVR storage, local channels and the ability to stream on as many smart devices as you want.

Sling TV

Sling TV is another affordable option that’ll let you watch Fox Sports in 4K and FS1 online without cable. For a limited time, the streamer is offering 50% off the first month when you sign up for one of its three packages, which can cut the cost down to as low as $20 (reg. $40). You can choose from the Orange, Blue or Orange + Blue packages depending on what your streaming needs are. Fox Sports and FS1 are only offered in the Blue plan, but you can combine it with the Orange package to get all 68 channels, DVR storage and the ability to stream on up to three devices for just $30 (reg. $60).

Fubo TV

Fubo TV will give new users a seven day free trial and $30 off the first month (after the free trial is over) when you sign up for one of its streaming packages. Each plan comes with Fox Sports in 4K definition, FS1 as well as FS2, Fox Soccer Plus and Fox Deportes, which you can watch for as low as $50 (reg. $80) through the limited time promo. You’ll be able to watch at least 100 channels with 1,000 hours of DVR and the option to stream on 10 devices at once. For 4K definition, you can upgrade to the Premium Plan, which also includes free Paramount+ with Showtime.

When the free trial and promo is complete, you’ll be charged the regular price based on the package you choose at checkout: $80 for the Pro Plan (the cheapest option), $90 for the Elite Plan and $100 for the Premium Plan.

Hulu + Live TV

Get the most content options including the option to watch Fox Sports and FS1 with Hulu + Live TV. Not only will you get more than 95 live TV channels, but access to the entire Hulu library including exclusive content, originals and programming from FX and ABC. Extra savings opportunity: Hulu + Live TV is offering a rare three day free trial when you sign up, which means you can watch Fox Sports and FS1 for no cost. Once the free trial is over, you’ll be charged the regular subscription price of $77 a month.

As an added bonus, Hulu + Live TV is automatically bundled with Disney+ and ESPN+ to give you even more exclusive content including NFL games and live sports that you can only watch on ESPN.

2024 NFL Schedule

Below you can find upcoming games airing on Fox Sports and FS1 or check here for the full game schedule.

Sunday (Sept. 15):

Sunday (Sept. 22):

Sunday (Sept. 20):

Few songs withstand time, distinguished by their infectious beats, experimental sounds, poignant lyrics or enduring appeal, rendering them as classics. In partnership with Tres Generaciones Tequila, a brand that champions the journey and not just the destination, we’re on an exploration to roundup the top Get Up Anthems over this next year from these six cities: Houston, Atlanta, New York, Chicago, Miami and Los Angeles. Guided by curated panels, we delve deep into each city’s sonic history, spotlighting tracks that embody resilience, authenticity, and innovation and celebrate the power music has to inspire listeners to get up and chase their passions, in the spirit of perseverance.

The Get Up Anthems from New York were crafted through a blend of editorial expertise, data-driven analytics, social impact and personal sentiment, to create a stimulating conversation of the songs which inspired, captivated, and energized the city. In a historical dive from 1973 to present day, the city’s playlist [click HERE to play] features hometown hits that are synonymous with the city’s rich history and culture. 

Amidst the lively whirl of 5th Avenue, where the city’s heartbeat pulses through its bustling streets and perpetual traffic, a hidden enclave of artistic fervor thrives. In a secluded studio nestled in the heart of New York City, Method Man and Joey Bada$$ converged with Billboard editor, Carl Lamarre to celebrate the city’s unmatched musical heritage. As the conversation unfolded over Tres Generaciones Tequila’s signature serve for New York City: The Trespresso Martini, Rocsi Diaz expertly navigated the fervent conversation over some of the city’s most iconic anthems.

Take a look some of the discussed Get Up Anthems for New York City:

“Put Your Hands Where My Eyes Can See” – Busta Rhymes (1997)

Produced by Shamello and Buddah, the beat is characterized by its sparse, hypnotic production, using subtle basslines and percussion rather than the bombastic sound typical of Busta’s earlier work. It was a stylistic departure, drawing inspiration from African rhythms and early funk influences, which complemented Busta’s smooth, almost whisper-like delivery. This shift in sound helped the track stand out on When Disaster Strikes and became a signature song in New York’s late ’90s club scene.

“Hard Knock Life (Ghetto Anthem)” – Jay-Z (1998)

Jay-Z’s “Hard Knock Life (Ghetto Anthem)” is a brilliant fusion of Broadway and hip-hop that transformed the genre in 1998. Featured on the rapper’s third studio album, Vol. 2… Hard Knock Life, and produced by The 45 King, the song ingeniously samples “It’s the Hard Knock Life” from the musical Annie. Jay-Z’s sharp lyricism, detailing the trials and tribulations of street life, struck a chord with a wide audience, propelling the track to No. 15 on the Hot 100. This song not only expanded Jay-Z’s reach but also showcased his knack for innovative sampling and storytelling.

“I’ll Be There For You/ You’re All I Need to Get By” – Method Man feat. Mary J. Blige (1995)

“I’ll Be There For You/ You’re All I Need to Get By” is a timeless collaboration between Method Man and Mary J. Blige, released in 1995. Featured on Method Man’s debut album, Tical, this track, produced by RZA, Puffy, and Trackmasters, seamlessly blends hip-hop and R&B, sampling the classic Marvin Gaye and Tammi Terrell duet. The chemistry between Method Man’s gritty verses and Mary J. Blige’s soulful chorus created a magic that earned them a Grammy Award for Best Rap Performance by a Duo or Group, making it a beloved 90s classic.

“N.Y. State of Mind” – Nas (1994)

Nas’s “N.Y. State of Mind” from his landmark debut album, Illmatic, released in 1994, is a gritty, cinematic portrayal of life in New York City. Produced by DJ Premier, the track features a haunting piano loop and Nas’s razor-sharp lyricism, painting vivid pictures of urban struggle and resilience. Although not released as a single, “N.Y. State of Mind” is hailed as one of the greatest hip-hop songs of all time, showcasing Nas’s storytelling prowess and the raw, unfiltered essence of the streets.

“Quiet Storm (Remix) – Mobb Deep feat. Lil Kim (1999)

The original “Quiet Storm” was produced by Havoc, one half of Mobb Deep, known for crafting dark, brooding beats with atmospheric tension, a hallmark of East Coast hardcore rap. The remix, featuring Lil’ Kim, brought new life to the song, adding her fierce delivery and solidifying her as a key figure in New York’s rap scene. The production, with its haunting loop, matched the raw street narratives that defined Mobb Deep’s Murda Muzik album, becoming a favorite in NYC radio and clubs.

“Bodak Yellow (Money Moves)” – Cardi B (2017)

Produced by J. White Did It, the beat of “Bodak Yellow” was built around heavy 808s and a menacing piano riff, providing a hard-hitting, bass-heavy sound that matched Cardi B’s aggressive flow. The track was created while Cardi was still an emerging artist in the Bronx, and its minimalist, trap-style production echoed the sound of Southern hip-hop, which was dominating the charts at the time. “Bodak Yellow” became a historic hit, catapulting her from local fame to global stardom, marking a major moment in the city’s rap comeback.

“Ruff Ryders’ Anthem” – DMX (1998)

“Ruff Ryders’ Anthem” is an adrenaline-fueled rallying cry from DMX’s 1998 debut album, It’s Dark and Hell Is Hot. Produced by Swizz Beatz, the track’s aggressive beat and DMX’s ferocious delivery captured the raw energy of the streets, making it an instant hit. Landing at No. 94 during its original rollout, the anthem re-entered the Hot 100 in 2021 following DMX’s untimely passing, reaching No. 16. This track remains a testament to DMX’s explosive talent and enduring influence in the genre.

“C.R.E.A.M. (Cash Rules Everything Around Me)” – Wu-Tang Clan (1993)

A cornerstone of hip-hop, “C.R.E.A.M. (Cash Rules Everything Around Me)” by Wu-Tang Clan is an indelible part of their groundbreaking 1993 album, Enter the Wu-Tang (36 Chambers). Produced by the genius of RZA, this track’s minimalist yet haunting piano riff underscores Raekwon and Inspectah Deck’s penetrating verses. The song’s exploration of economic struggle and ambition resonated with countless listeners, encapsulating the raw, unfiltered ethos of Wu-Tang Clan and the reality of street life.

“Still Not a Player” – Big Pun feat. Joe (1998)

Big Pun’s “Still Not a Player,” featuring Joe, is a quintessential late 90s hip-hop hit that radiates smooth charisma and undeniable swagger. Released in 1998 as part of his debut album, Capital Punishment, this track, produced by Knobody and Dahoud Darien, is a masterful blend of hardcore rap and R&B. Sampling Brenda Russell’s “A Little Bit of Love,” the song’s irresistible groove and Pun’s clever wordplay captivated audiences, propelling it to No. 24 on the Hot 100. This track is a testament to Big Pun’s larger-than-life persona and his extraordinary lyrical talent.

“Dior” – Pop Smoke (2019)

Features a signature dark, foreboding drill beat with pulsating 808s and a minimalist piano loop, the 2019 record, produced byUK drill producer 808Melo, set the tone for Pop Smoke’s deep, gruff vocals. This production style was instrumental in introducing the Brooklyn drill sound, heavily influenced by UK drill music, to a wider American audience. The track’s success played a pivotal role in popularizing drill music beyond New York and was a key track on Meet the Woo and Shoot for the Stars, Aim for the Moon.

“Paid In Full” – Eric B. & Rakim (1987)

The title track from Paid in Full revolutionized hip-hop production by pioneering the use of sampling. Eric B. sampled “Ashley’s Roachclip” by The Soul Searchers, adding a prominent bassline and minimalist percussion. Rakim’s smooth, complex lyricism was groundbreaking, moving away from the simpler rhymes of early rap and influencing a new generation of New York MCs. The song’s innovative production and lyrical sophistication helped establish the duo as legends in NYC’s golden age of hip-hop.

“Hot Boy” – Bobby Shmurda (2014)

Exploding onto the scene in 2014, Bobby Shmurda’s “Hot Boy” (often stylized as “Hot N—a”) was a nuclear hit in the hip-hop world, and throughout Brooklyn’s streets. Featured on his debut EP, Shmurda She Wrote, the track, produced by Jahlil Beats, showcases Bobby’s electrifying delivery over a beat that’s both infectious and relentless. The song’s virality was propelled by the iconic “Shmoney Dance,” which took social media by storm. Peaking at No.6 on the Billboard Hot 100, “Hot Boy” wasn’t just a hit—it was a cultural phenomenon that marked Bobby Shmurda entry into the rap game.

“Lean Back” – Terror Squad feat. Fat Joe & Remy Ma (2004)

Produced by Scott Storch, the beat for “Lean Back” was built around a prominent Middle Eastern-inspired string melody and a heavy, slow-rolling bassline that made it instantly recognizable. Storch was known for blending hip-hop with cinematic, orchestral elements, and this track was no exception. The production’s simplicity and infectiousness helped it become a club anthem. Released on Terror Squad’s True Story album, the song’s success was pivotal in keeping New York on the hip-hop map during a time when Southern rap was dominating the charts.

Watch the full discussion HERE and recreate the cocktails that powered the conversation at home! And be sure to follow along on all content for the Get Up Anthems series HERE

Zach Bryan has released the new video for his song “Oak Island” (from his recent album The Great American Bar Scene), and the clip stars Academy Award-winning actor Casey Affleck and actor Jack Martin.

Of course, this isn’t the first of Bryan’s videos to feature an award-winning actor. His official video for “Nine Ball” featured Oscar-winner Matthew McConaughey. As with Bryan’s “Nine Ball” and “Boys of Faith” videos, Matthew Dillon Cohen directed the new video.

The video chronicles the song’s lyrics, depicting the story of a man (Affleck) watching his younger brother repeat the same mistakes he once made, as the older brother goes to extreme lengths to stop his younger brother’s wayward path. The video was filmed in upstate New York back in August.

Affleck is known for his work in films including Manchester by the Sea, Oppenheimer and Interstellar.

Bryan wrote “Oak Island” with his girlfriend Brianna LaPaglia, an influencer and Barstool Sports personality who goes by Brianna Chickenfry.

Bryan is currently continuing his headlining tour in November and December. Next year, he is set to be one of three headliners at the Stagecoach Festival in Indio, California. Last year, Bryan earned his first Billboard Hot 100 chart-topper with the Kacey Musgraves collaboration “I Remember Everything,” which also earned a Grammy trophy for best country duo/group performance. His songs “Pink Skies” and “Something in the Orange” have also reached the top 10 on the Hot 100 chart.

Watch the video for “Oak Island” below:

The most eye-popping, brightly-colored space to open this summer in Bushwick, Brooklyn has been Xanadu – “Xanadu Roller Arts” as it’s officially named. The 1,200-capacity roller skating rink, nightclub and music venue sports a large, round floor bathed in purple, pink and orange lights with multiple disco balls overhead. Next to a long bar, a food counter serves up nachos, hummus, three types of popcorn, six kinds of hot dogs, throwback cherry Icees, and just for a taste of Texas, the delicacy known as Frito Pie.

But on Friday, September 6, that wasn’t the only Lone Star State item on the menu. Putting the “X” in Xanadu was BigXthaPlug, Dallas’ homegrown real one with the booming voice and no-holds bars, who’s not only seen his career blow up in a short couple of years, but was recently named Amazon Music’s latest Breakthrough Artist. The occasion was Hip-Hop Live, part of Billboard’s Hip-Hop/R&B Power Players event, and the first live appearance by the Big Stepper from Big D since receiving the Amazon accolade.

“Light those phones up cause we got BigXthaPlug coming to the stage right now,” his DJ proclaimed just prior to the set, and there was a telling visual on the LED screen behind him: a floating crown. Any Brooklynite knows rap and the image of a crown conjures just one person: the legendary Notorious B.I.G. BigXthaPlug – at an imposing 6’ 2” and large enough to have once contemplated a football career – has always leaned into his girth. But just in case anyone on the packed Xanadu floor missed the connection, his hype man, by way of an intro, drove it home: “You know who was the last biggie in the world that went crazy? Biggie Smalls, from New York City! Am I right? So light this up!”

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BigX bounded on stage to the strains of 2023’s “Back On My BS,” the lead track on BigX’s late-2023 EP The Biggest, one of two projects that took the rapper to No. 1 that year on the Billboard Heatseekers Albums chart, along with his debut LP, Amar.

A dozen songs in a half hour set doesn’t leave a lot of time for chit-chat, and Xavier, decked out in an all-white track suit (the shirt came off only three songs in) prowled the stage as he launched into a string of his most notable, including last year’s celebratory “Climate” (“These diamonds they shinin’”) and earlier hits “Mr. Trouble” and “Big Stepper” – tracks that maintain the bounce but allude to the rapper’s past support for himself and his young son. In the most-told story of BigX’s hardscrabble background, it was while locked up in solitary confinement that he began getting serious about writing lyrics – partly to preserve his “sanity” – and pursuing rap full-time upon his release.

He hasn’t looked back, and is currently topping Amazon Music’s Rap Rotation, thanks to his latest, another typically rowdy plus-sized flex that picks up where The Biggest left off: “The Largest.” It takes aim at his detractors, has its indulgences – “30K on my wrist for the hard times” but also talks of just building the simple necessities: “Told my BM to furnish the crib / Walk out the mall with some shoes for the kids.” “The Largest” came five songs into Friday night’s show and the fact that most of the audience immediately knew the relatively new tune was another promising sign of BigX’s endurance, as “The Largest” is the first taste of BigX’s second full-length, rumored to be out this fall.

Then it was time to move. No song in BigXthaPlug’s catalog was more suited for the disco-fied setting of Xanadu – those mirror balls just begging to be lit up – than the Amar album’s  “Whip It,” with gangster verses over the unmistakable sound of the 1972 electro-funk essential by The Dazz Band, “Let It Whip.” (The song’s video had BigX and dancers in head-to-toe Seventies drip, afros and all). The track is a reminder that no small part of the rapper’s most infectious tunes have come from collaborating with producers – including Tony Coles, BandPlay, and Charley Cooks – who laid the MC’s bellowing bars over a classic jazz, funk or soul track. “Levels” features 21^st Century’s 1974 “Remember the Rain”;” Isaac Hayes’ 1970 “Ike’s Mood” is sampled on “Big Stepper;” and Shuggie Otis’ 1971 “Sweet Thing” opens “Texas;” while the aptly named “Badu Flow” features Queen Erykah’s 2000 “Didn’t Cha Know.”

Most memorably, the approach worked on the irresistible “Mmhmm,” BigX’s first Billboard Hot 100 entry and his highest charting single to date. Officially released nearly a year ago, in October of 2023 (it had already had significant club play before), its basis is The Whispers’ 1979 “And The Beat Goes On.” Nineties heads may remember the song as also sampled in Will Smith’s hit “Miami,” but these days it’s all BigX’s, and the opening notes gave the Hip-Hop Live crowd on hand an extra jolt – they joined the rapper on every word, including the call-and-response, “Uhhuh!” and “Mmhmm!” chorus.

From there on, it was nothing but net for BigX – or maybe a better metaphor, given his background, touchdowns. “Levels” followed, the upbeat, post-blow-up fan favorite that boasts, “I’m poppin’ like corn on a kettle,” and finally, “Texas” the twangy, mid-tempo monster that first put BigXthaPlug on the nation’s radar in 2022. Like many (most?) Texans, the rapper is not shy about repping for the sprawling state. While he’s mostly stood for Dallas – a welcome emissary for a city that’s had a divided hip-hop history and long lived in the shadow of Houston when it comes to Texas rap – he’s now more likely to embrace the state as a whole.

“I’m from Dallas,” he announced to the Xanadu crowd, most of whom likely knew that. “And I came all the way here to New York to show you how everything is in Texas!” The Northerners roared their approval, and again matched him verbatim, on the platinum-selling hit’s verses that call out Texas musical icons Beyoncé, Trae the Truth, Devin the Dude and the late Pimp C, and include the famous warning not to “mess with” the Lone Star State: “Ayy, we always strapped,” he spits. Big, brash and smart, and with just a little good-natured menace, not unlike BigX himself.

And with that the big man was off, to be followed by more southerners on the Billboard Hip-Hop Live bill: Tallahassee’s BossMan Dlow, and Beaumont, Texas’s Teezo Touchdown, awarded Rookie of the Year at Billboard’s R&B/Hip-Hop Power Players event only the night before. As for BigXthaPlug, there will be plenty more chances for the rest of the country to see him this fall, when the Big Stepper’s Take Care tour launches on October 25 and runs through mid-December. He’ll wind down 2024 in a major way, with an appearance at Rolling Loud’s 10^th Anniversary festival, in the city where the hip-hop mecca all began, Miami.

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When Beyoncé was not among the artists nominated for a CMA Award on Monday (Sept. 9), despite being the first Black woman to top Billboard’s Top Country Albums with Cowboy Carter and Hot Country Songs chart with “Texas Hold ‘Em,” it immediately raised questions about country music’s ongoing troubled relationship with Black artists, the CMA Awards’ nominating process and whether or not Beyoncé’s team had even submitted her music, given her complicated history with the country community and the CMA Awards.

Let’s answer the last question first: It turns out they didn’t need to submit. 

Unlike many other awards shows, labels, artists and their teams do not submit entries for the CMA Awards. Instead, the roughly 6,600 voting members each receive a write-in ballot to list their choices. Each member can make one nomination per award category. Therefore, Beyoncé’s label or team did not need to submit her to be eligible. The exception is the single of the year category, which is a pre-populated drop-down list of all qualifying top 10 singles from the country charts noted in the criteria. The write-in ballots are tabulated and the top 20 vote recipients in each category end up on the second ballot, with the exception of entertainer of the year, which consists of the Top 15 vote recipients.

Additionally, all second-ballot candidates are reviewed by CMA, record label representatives, and the CMA Awards & Recognition committee to ensure that all they meet the criteria for each award. The award criteria is based on release dates, chart activity, and consumption peaks that occurred during the eligibility period (July 1, 2023-June 30, 2024). The second ballot is sent to the CMA voters, and each member can vote for up to 5 candidates in each category. CMA does not reveal the write-in ballot nominations or confirm whether any specific artist or work appeared on the second ballot.

Though Billboard has not yet viewed a full second-round ballot, Billboard viewed a screen shot for the second ballot for song of the year that does not include “Texas Hold ‘Em.” 

Beyoncé’s exclusion “doesn’t surprise me,” says one Nashville executive, who wished to remain anonymous. “There was really only one single from the album that did anything. She really didn’t embrace the genre, unlike what Post Malone has done with his album.” “Texas Hold ‘Em” peaked at No. 33 on Billboard’s Country Airplay chart.

Post Malone received four nominations for “I Had Some Help,” his duet with Morgan Wallen, that was a four-week No. 1 on Billboard‘s Country Airplay chart and is featured on his Top 200 and Top Country Albums chart-topping album, F-1 Trillion. Post Malone infiltrated the local music scene, spending months in Nashville working with top songwriters, recording the album in Nashville and popping up at many venues to play live.

However, another Nashville executive, who also asked to remain anonymous, said they were “shocked” that Beyoncé’s work received no nominations, “given the credit to new Black creators and Linda Martell.” Cowboy Carter, in addition to Dolly Parton and Willie Nelson, featured Martell, the first Black woman to play the Grand Ole Opry in 1969, and a number of rising Black artists, including Brittney Spencer, Tanner Adell, Reyna Reynolds, Tiera Kennedy, Willie Jones and Shaboozey. 

Shaboozey, who received two nominations for new artist of the year and single of the year for “A Bar Song (Tipsy),” took to Instagram and X to express his thanks for being nominated, but also thanked Beyoncé, posting “Thank you @Beyonce for opening a door for us, starting a conversation, and giving us one of the most innovative country albums of all time!”

Country artist Rissi Palmer, who also hosts Apple Music’s “Color Me Country” radio show, said what many others expressed on social media when she posted on X, “Well… these noms set a really interesting precedent. The message is extremely loud.” She later posted, “I think that a larger conversation should be had about the fact that no other Black woman or woman of color could even qualify for certain CMA awards, and why that is.” The single of the year category is the only category that requires reaching a certain chart position in order to be eligible. Earlier this year, the CMA Awards eliminated the requirement for song of the year.

In June, three months after the March 29 release of Cowboy Carter, Beyoncé provided a lengthy statement to The Hollywood Reporter about the project and its reception. “When you are breaking down barriers, not everyone is ready and open for a shift. But when I see Shaboozey tearing the charts up and all the beautiful female country singers flying to new heights, inspiring the world, that is exactly what motivates me,” she said. ““I’m honored to introduce so many people to the roots of so many genres. I’m so thrilled that my fans trusted me. The music industry gatekeepers are not happy about the idea of bending genres, especially coming from a Black artist and definitely not a woman.”

In 2016, Beyoncé’s performance of “Daddy Issues” at the CMA Awards with The Chicks (then still the Dixie Chicks), a number of commenters on social media supported the appearance, while others made unwelcoming comments.

In March, shortly before Cowboy Carter’s release, Beyoncé posted on Instagram that the album was “born out of an experience that I had years ago where I did not feel welcomed… and it was very clear that I wasn’t,” she said, although she did not specifically cite the CMA Awards appearance. “But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive.”

Beyoncé’s representative did not respond to a request for comment and the CMA declined to comment.