ENHYPEN member Sunghoon has been selected as a torchbearer for the Milano Cortina 2026 Winter Olympics, marking a rare crossover between K-pop and the Olympic movement.

The Winter Games are set to open Feb. 6, 2026 (local time), with Sunghoon participating in the official torch relay following an invitation from Samsung Electronics, a Worldwide Olympic and Paralympic Partner.

Sunghoon’s selection carries added significance due to his athletic background. Before debuting with ENHYPEN, he trained as a competitive figure skater and was part of South Korea’s national reserve team. Since 2025, he has also served as a promotional ambassador for the Korean Sport & Olympic Committee, helping bridge elite sport and pop culture.

Bringing together his history in winter sports and his global reach as an artist, Sunghoon will carry the Olympic flame as a symbol of unity, peace and international connection. He becomes just the second K-pop artist to participate in an overseas Olympic torch relay, highlighting the genre’s growing cultural footprint on the world stage.

Reflecting on the moment, Sunghoon said: “I know how much passion and effort national athletes have put into preparing for the Winter Olympics, and I sincerely want to support and cheer for them. Competing in the Olympics was once my dream as an athlete, so being connected to that dream now as a singer is truly meaningful and an incredible honor.”

ENHYPEN will also be represented at the Games through music. The group’s track “SHOUT OUT,” from their 2022 mini-album MANIFESTO : DAY 1, has been selected as Team Korea’s official cheer song for the Milano Cortina Games.

The announcement arrives amid a strong commercial run for ENHYPEN. The group’s seventh mini-album THE SIN : VANISH debuted at No. 2 on the Billboard 200, earning 122,400 equivalent album units in its first week. The release marked ENHYPEN’s fifth consecutive Top 5 entry, further cementing their status as one of K-pop’s most consistent global performers.

Zac Brown Band recently released the group’s eighth studio album Love & Fear and launched a limited engagement residency at Sphere Las Vegas, becoming the first country group to headline at the coveted venue. In 2026, they’ll follow those milestones with the upcoming 27-show Love & Fear Tour, presented by Margaritaville at Sea, which launches in July and runs though November.

The tour will include stops at Boston’s Fenway Park (on Aug. 2), New York’s Forest Hills Stadium (Aug. 27-28) and Red Rocks Amphitheatre in Colorado (Oct. 19-20).

Openers for various shows on the tour are Grace Potter, Brothers Osborne, Fitz and the Tantrums and Old Crow Medicine Show. The tour launches July 17 at Van Andel Arena in Grand Rapids, Michigan, and wraps Nov. 21 at Allstate Arena in Rosemont, Illinois.

“I can’t wait to get this back on the road after an epic experience at Sphere,” the band’s lead singer Zac Brown said in a statement. “Every night we play is a chance to turn it up, mix things around, and share an unforgettable night with our incredible fans. The Love & Fear tour is all about big energy – our new album, entertaining covers, the hits you know and love, a few unexpected curveballs, and a whole lot of fun. We’re ready to bring it!”

Zamily Presale for the Love & Fear Tour starts Wednesday, Jan. 28, with the ZBB Community Presale launching Thursday, Jan. 29 and public on sale starting Friday, Jan. 30 at 10 a.m. local time.

The group’s Love & Fear album is marked by collaborations, including duets with Dolly Parton (“Butterfly”), Marcus King (“Hard Run”) and Snoop Dogg (“Let It Run”).

A full list of tour dates are available at zacbrownband.com.

Friday, July 17, 2026 – Grand Rapids, MI – Van Andel Arena
Saturday, July 18, 2026 – Cleveland, OH – Rocket Arena
Friday, July 31, 2026 – Albany, NY – MVP Arena
Sunday, Aug. 2, 2026 – Boston, MA – Fenway Park
Thursday, Aug. 13, 2026 – Pittsburgh, PA – PPG Paints Arena
Friday, Aug. 14, 2026 – Columbus, OH – Nationwide Arena
Saturday, Aug. 15, 2026 – Columbia, MD – Merriweather Post Pavilion
Thursday, Aug. 27, 2026 – Forest Hills, NY – Forest Hills Stadium
Friday, Aug. 28, 2026 – Forest Hills, NY – Forest Hills Stadium
Saturday, Aug. 29, 2026 – Philadelphia, PA – TD Pavilion at Highmark Mann
Thursday, Sept. 10, 2026 – Kansas City, MO – T-Mobile Center
Friday, Sept. 11, 2026 – St. Louis, MO – Enterprise Center
Thursday, Sept. 17, 2026 – Charleston, SC – Credit One Stadium
Friday, Sept. 18, 2026 – Tampa, FL – Benchmark International Arena
Saturday, Sept. 19, 2026 – Hollywood, FL – Hard Rock Live at Seminole Hard Rock Hotel & Casino
Thursday, Oct. 8, 2026 – Knoxville, TN – Thompson-Boling Arena at Food City Center
Friday, Oct. 9, 2026 – Greenville, SC – Bon Secours Wellness Arena
Saturday, Oct. 10, 2026 – Greensboro, NC – First Horizon Coliseum
Monday, Oct. 19, 2026 – Morrison, CO – Red Rocks Amphitheatre
Tuesday, Oct. 20, 2026 – Morrison, CO – Red Rocks Amphitheatre
Friday, Oct. 23, 2026 – Minneapolis, MN – Target Center
Saturday, Oct. 24, 2026 – Sioux Falls, SD – Denny Sanford PREMIER Center
Thursday, Nov. 5, 2026 – Buffalo, NY – KeyBank Center
Friday, Nov. 6, 2026 – Detroit, MI – Little Caesars Arena
Thursday, Nov. 19, 2026 – Lincoln, NE – Pinnacle Bank Arena
Friday, Nov. 20, 2026 – Des Moines, IA – Casey’s Center
Saturday, Nov. 21, 2026 – Rosemont, IL – Allstate Arena -*

The COVID-19 pandemic caused untold human misery, but it also inspired one of the best-received production ideas in Grammy Awards history: the best new artist segment where all eight nominees are given a chance to perform.

The Grammys rolled out the idea on last year’s show. It worked so well, they’re doing it again on this year’s show, which is set for Sunday, Feb. 1, at Crypto.com Arena in Los Angeles. There will be performances by Addison Rae, Alex Warren, KATSEYE, Leon Thomas, Lola Young, Olivia Dean, sombr and The Marías.

At a Zoom press conference on Monday (Jan. 26), the Grammy telecast’s executive producers, Ben Winston, Raj Kapoor and Jesse Collins, and Recording Academy CEO Harvey Mason jr. were asked about the origin of the extended best new artist segment, among other topics.

“The idea came about from COVID,” Winston said, “because in the COVID Grammys, what happened was we turned the show, because we didn’t have an audience, we … went from one artist to the next, and it never stopped.”

Winston is referring to the 63rd annual Grammy Awards on March 14, 2001, which were held in and around the Los Angeles Convention Center rather than at the nearby Crypto.com Arena, because it wouldn’t have been safe to have a large audience.

“And what was quite cool is that you’d see Billie Eilish watching Harry Styles and Post Malone watching Megan Thee Stallion. And it was a really beautiful moment where artists came together to watch each other and support each other. But it also gave us something that we don’t see very much on network television anymore, which is one song after the other after the other. The way we listen to an album, we listen to it in the car, we listen to it in a club, we listen to it in a bar. You don’t listen to one song for three and a half minutes and then stop for 12 [minutes] till you listen to the next piece of music, and that’s what happens on most awards shows.

“So, we loved the fluidity that the COVID Grammys gave us. So, when we were looking last year at the best new artist [nominees], and we saw we had Doechii and Teddy Swims and Benson Boone and RAYE and Shaboozey, we thought, ‘Wouldn’t this be cool if we just went one to the other to the other?’ It was obviously really well-received. I think Doechii and Benson would both say that [those were] big moments in their careers, and that’s what the Grammys should be doing – elevating young, new, brilliant artists.

“And so this year, we just thought, well, we have eight incredible, best new artists. We wouldn’t really want to pick two or three or one or four. So, we were like, ‘Why don’t we try and do what we did last year, but super-size it go all eight,’ and that’s what we’re doing. It’s gonna be one of the longest [segments] in Grammys history without going through a break. And we’re going to hit one after the next. They’re going to be dotted all over the arena, in different places, some backstage, some out front, some on the side. It’s going to be really exciting. It’s going to be a technical master class from Hamish Hamilton, our director, and Noah Mitz and our lighting team and John Esposito, our stage manager, to be able to pull it all off. So, it’s hugely ambitious, but we’re going for it, and we’re really excited to showcase best new artists, because the nominees deserve such a moment.”

Winston also revealed that show host Trevor Noah initially said he wanted to end his five-year run as host after last year’s show, but the team prevailed on him to do one more year. “I will let you into a secret,” Winston said. “After last year’s show, he said, he respectfully said, ‘Look, I’ve done a great five years. It’s time to hand the microphone off to somebody else and move on.’ And we were looking at it, and we had a few conversations with a few different people, and it got to December [2025], and we hadn’t found anybody that we absolutely loved. And I sent him a video, and I was literally, I was on my knees in this video, and I said, ‘Please look at this incredible lineup that we’ve got on the show. The only thing that’s missing is you. Come back and do one final year. It’s the last year on CBS. Let’s make it your last year too.’ And luckily, he texted back, ‘Sure, let’s do it. See you there. Can’t wait.’ But it was the longest I’ve ever waited for a text to come back!”

Winston, who has won 13 Primetime Emmys, spoke highly of Noah, who will become the first Grammy host since Andy Williams to host six or more consecutive Grammy telecasts. “I think he’s incredible. Trevor is super-smart. He’s unbelievably intelligent. He’s so funny. He’s incredible on live television because he’s getting so much information in his ear of ‘go longer,’ ‘go shorter,’ and you would never know it watching at home. But the main thing is, he’s a massive music fan. He’s as excited to be in the middle of that room as we all are to watch it, and I think that’s what makes him the perfect host.”

Mason interjected: “I’ll just add one more thing [about Trevor]: He’s been a big part of the evolution of our show, of our organization, to be honest, because he presents so well, the gravitas, the sensibility, the emotional intelligence that he has and interaction with the artists really has changed the tone and the tenor of our show. So, we’re extremely thankful for his five now going on six shows.”

In answer to another question, Winston said that he considers the Grammys the hardest show to produce. “Obviously, it’s got all the trappings of other awards shows, with nominees packages and giving out awards and all of those moments. But you also have 20 incredible music performances every year that need their own set, their own instruments, their own dance routines, their own costumes. So, you’re putting on a massive event. We only get into Crypto.com Arena on camera on Thursday evening, so you only have two days to rehearse it. You’d have more time if you were making a school play in the hall at school than you do the Grammys!

“So it’s kind of insane, but that’s what makes it exciting, that’s what makes it special. And it’s live TV, so anything can happen. And so often these days, things are so planned and so intricate and so exact. And what makes the Grammys special is that you’ve got 200 of the greatest artists in the world [sitting] in that room. You’ve got the best performers onstage, and anything can happen, because it’s live TV, and that’s what makes it exciting.”

A reporter from Rolling Stone Brazil asked about the increasing numbers of Latin artists on the show.

“It’s obviously a big deal,” Mason said. “You’ve seen the popularity and almost the ubiquity of, you know, Latin music. Twenty-five years ago, I won’t say it started on the Grammys, but there was a big moment on the Grammys that really generated some momentum.”

He was referring to the 41st annual Grammy Awards on Feb. 24, 1999, when Ricky Martin gave one of the most star-making performances in Grammy history with “La Copa de la Vida.” The following year, Santana tied Michael Jackson’s record of winning eight Grammys in one year. Santana also performed “Smooth” on the 2000 telecast in tandem with Rob Thomas.

“And ever since, we’ve seen the growth and the evolution of Latin music. So for us, Bad Bunny has had a massive year, as have other Latin creators, and we want to make sure that we’re honoring and celebrating music regardless of where it’s from, music that’s timely and relevant and moving the needle, and that is happening with Latin music right now. So hopefully we can do it justice on this year’s show. We’ve got some great moments planned.”

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Picture it. It’s summer of 2024. The sticky heat is oppressive and you’ve just woken up from an all-night bender with last night’s mascara on, smudged so thoroughly you’re liable to be mistaken for a raccoon, much less a party rat. Despite your hangover and a migraine surely throbbing in the back of your skull, you’re blasting Brat, a June 2024 release with a slime green cover from British pop sensation Charli XCX. All is right in the world.

If you’re looking to relieve “Brat” summer, or at least curious about the making of the music phenom and the subsequent arena tour that followed the album’s release, you’ll want to check out The Moment. The mockumentary gives fans of the “360” singer a look into how the proverbial sausage is made, bearing witness to behind-the-scenes footage of Charli as she grapples with the complexities of fame and industry pressure, while preparing her Brat tour. Tickets for the one hour 43 minute film produced by A24 are available for purchase now via Fandango.

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The Moment is a mockumentary style movie that follows Charli as she preps for her Brat arena tour debut. The film’s runtime is 1h 43m.

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Directed by Aidan Zamiri and produced by Charli in collaboration with David Hinojosa, The Moment is a unique romp through the singer’s Brat brainchild. The film is set to release Jan. 30, according to A24. The film features cameos from big names like Kylie Jenner, Mel Ottenberg, Rachel Sennott, Alexander Skarsgård and Rosanna Arquette, among others. Skarsgård plays a high-profile director hired to film Charli’s show, blurring the lines between reality and fiction.

In terms of marketing, Brat was a major success, ingrained in the zeitgeist soon after its release, so much so that the summer it was unofficially named after the album. On the Billboard charts, collaborative tracks off the album like “Guess” featuring Billie Eilish and “Sympathy Is A Knife” with Ariana Grande made the top 50, landing at 12 and 36, respectively. According to Luminate, Charli’s catalog has racked up around 2 billion on-demand streams globally.

The Brat tour, which was Charli’s fourth solo concert tour, was also a major hit with fans and converts. With an average ticket price of around $90, Billboard estimates the tour has grossed roughly $23.5 million. It is important to note the impact that this has had on Charli’s career and fame, something that she touches on heavily in her new film. According to data from Luminate, her average weekly U.S. On-Demand Audio streams more than doubled, from 7.7 million in Sept. 2023 to 20.9 million in Sept. 2025.