Jelly Roll was not OK at the 2026 Grammys — not that anyone realized it at the time. On Sunday (March 1), the country star revealed one month after the fact that he’d been silently suffering through a broken collarbone at this year’s awards, all due to an ATV accident.
Related
Eric Benét Says Jelly Roll Is ‘Full of Sh–‘ for Refusing to Comment on Politics at 2026 Grammys: ‘It’s You Being a Good Christian to Speak Out’
Jelly Roll Announces His Headlining Little Ass Shed Tour: Here Are the Dates
Bunnie Xo Reveals How Jelly Roll’s Manhood Is ‘Severely’ Different After Weight Loss: ‘He’s Gonna Kill Me’
In a clip posted to his Instagram, Jelly showed off his newly fixed vehicle and praised his brother for repairing it for him. He also shared that he’d just finished riding it for the first time since he “flipped it,” resulting in the injury.
“I broke my collarbone,” he told followers. “I was so scared to get back on this thing. I just knew if I didn’t get back on it sooner than later, I was just going to be more and more afraid of it.”
“I was out there running all over the Grammys with a broken collarbone,” the singer continued, sharing a photo of his X-ray dated Dec. 18, 2025. “Every time I hugged somebody that week, I wanted to scream. I just didn’t say it, but every time somebody squeezed me, dude, I thought I was gonna cry.”
Even though he was in pain, people at the awards weren’t any the wiser as he accepted the prize for best contemporary country album for Beautifully Broken, during which he made a stirring speech about his faith and raised his arms in the air to elevate both his trophy and a small bible he’d carried up on stage. Many fans were moved by Jelly’s remarks, while others, such as Eric Benét, called him out for declining to speak about politics backstage.
“That n—a full of s–t,” the R&B singer said in a recent Instagram video. “Never trust a person who will speak passionately and in great detail about love, but when it’s time to speak against hate, they ain’t got s–t to say.”
Jelly — who will kick off his Little Ass Shed Tour this May — also won best country duo/group performance and best contemporary christian music performance at the 2026 Grammys, for “Amen” with Shaboozey and “Hard Fought Hallelujah” with Brandon Lake, respectively. That means he swept all three of the awards for which he was nominated, though one of the golden gramophones will reside in the Nashville juvenile detention center, according to his wife, podcaster Bunnie Xo.
“I know he’s gonna give one to the the Juvenile in Nashville to give them a little inspiration and let them, you know, have a Grammy to themselves,” she told Entertainment Tonight after the ceremony. “But he’s just so special. That is my husband. That’s what he does.”
Watch Jelly Roll’s video revealing his collarbone injury below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 16:40:352026-03-02 16:40:35Jelly Roll Reveals He Had a Broken Collarbone at the Grammys After ATV Accident: ‘I Wanted to Scream’
K-pop icons TOMORROW X TOGETHER have set the release date for their upcoming eighth mini album, 7TH YEAR: A Moment of Stillness in the Thorns. The follow-up to last summer’s fourth full-length studio album, The Star Chapter: TOGETHER, is slated for release on April 13.
The news was announced via an arty 1:45-long teaser video in Korean. “The concept trailer delivers a visceral portrayal of inner anxiety, weaving the members’ striking visuals with the evocative imagery of thorns and a solitary thorn figure,” read a statement. “It is anchored by a poignant narration of lyrics from ‘Thorn Tree’ by the legendary Korean folk duo Poet and Village Chief, deepening its emotional resonance. This central thorn motif continues through the concept photos, serving as a prelude to the introspective growth and unfiltered artistry that define the quintet’s new chapter.”
The video opens with the image of a bright pink, leafless tree against a white wall as a soft voice says [translation via Google Translate], “Inside me, there are so many of me. There is no rest for you. Inside me are vain wishes. There is no place for you to be comfortable. Inside me, I can’t help it. Me too. Taking away your resting place.”
The black and white images include shots of members YEONJUN, SOOBIN, BEOMGYU, HEUNINGKAI and TAEHYUN tumbling through a white void dressed in all-black as well as the thorn-covered shadow lurking around in the clip titled “When the wind stopped for a moment in the thornbush.” The seemingly unrelated scenes then pile up: a solitary woman eating a meal alone, a shirtless man working out, birds chirping and flying in ominous flocks and various glimpses of sad-looking people interspersed with a stark shot of the tree surrounded by pink smoke, with the spike figure at the center of it all.
TXT’s fourth mini album, 2022’s minisode 2: Thursday’s Child, debuted at No. 4 on the Billboard 200 and spent 14 weeks on the chart, while their fifth mini-album, The Name Chapter: TEMPTATION, debuted at the top of the chart. Last year’s seventh mini album, The Star Chapter: SANCTUARY, debuted at No. 2 and July’s The Star Chapter: TOGETHER debuted at No. 3 on the Billboard album tally.
More information about the album’s tracklist will be released soon.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 16:32:202026-03-02 16:32:20TOMORROW X TOGETHER Announce Release Date For 8th Mini Album, ‘7th YEAR: A Moment of Stillness in the Thorns’
Before forming music’s premier power couple with Beyoncé, launching Ace of Spades, or rhyming about losing 92 bricks, Jay-Z was a neophyte rapper from Brooklyn looking to assert himself in New York City’s bustling rap scene and establish Roc-A-Fella as a hip-hop mainstay.
Hov’s Reasonable Doubt debut album arrived on June 25, 1996, to a middling commercial reception, as the LP debuted at No. 23 on the Billboard 200, where Jay’s grim kingpin tales spent 18 weeks on the chart.
At the time of RD‘s release, Jay was only 26 and nobody could’ve predicted the heights of fame the Brooklyn rap deity would reach in the decades since.
The Hov diehards who have made the Paper Planes hat go-to part of their wardrobe cherish Reasonable Doubt and the project’s aged like fine wine as one of hip-hop’s prominent debuts.
With the 30th anniversary of Reasonable Doubt approaching, the Roc-A-Fella mogul made the original “Dead Presidents,” which originally served as RD‘s lead single, available on streaming services for the first time on Feb. 20.
It’s been nearly a decade since Hov has released a solo LP, and there’s been mounting speculation from fans — or purely misguided optimism — on social media that Jay could be back outside this summer.
There’s a generation that knows Jay-Z the celebrity, and this could be a prime opportunity to remind the world why he’s one of the greatest to pick up a microphone and that the backbone of his empire comes from the pristine catalog he built to put him atop the hip-hop throne.
This may not be limited to just the 30th anniversary of Reasonable Doubt either, as there have long been rumors of Hov working on a new album, while other notable anniversaries from his discography include The Blueprint turning 25 later this year.
Here are all of the recent hints of a Jay-Z return below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 16:05:552026-03-02 16:05:55Is Jay-Z Teasing a Comeback Surrounding the 30th Anniversary of ‘Reasonable Doubt’?
Bad Bunny’s first Australian concerts drew nearly 89,000 fans across two sold-out shows at Sydney’s ENGIE Stadium over the weekend, marking a record-setting moment for the venue.
According to a social media post from Live Nation, the attendance marked the highest number of tickets sold for concerts at the stadium, formerly known as ANZ Stadium.
Hans Schafer, senior vice president of global touring at Live Nation, told the AustralianFinancial Review that the promoter’s decision to book stadium dates was driven by streaming and engagement metrics rather than population statistics.
“We do not book stadiums off census data,” Schafer said, referencing Australia’s relatively small number of native Spanish speakers.
Instead, Schafer pointed to consumption patterns and digital engagement as the indicators that demand existed beyond language barriers. He told the publication that streaming density and cultural engagement showed the audience was already present in Australia.
The shows formed part of Bad Bunny’s expanding global touring footprint. Schafer previously upgraded the Puerto Rican artist to stadiums in the United States in 2022, marking the first time a Spanish-language act had made that leap outside predominantly Latin markets.
The Live Nation executive also told the Financial Review that fans travelled to Sydney from across Australia and New Zealand for the concerts. Demand accelerated following Bad Bunny’s Grammy win for best album and his Super Bowl halftime performance earlier this year.
“When the biggest act in the world plays on this side of the world, demand concentrates,” Schafer said.
The Sydney production reflected the scale of the tour, with Bad Bunny alternating between pop-leaning material performed alongside a dozen-piece Latin band and trap-focused segments delivered from atop a pink house stage set known as “La Casita,” according to the Financial Review.
Schafer attributed the artist’s success primarily to his authenticity and connection with audiences, telling the publication that production enhances — but does not create — that connection.
The result reframes what a viable stadium market looks like in 2026 — less about language, more about audience intensity.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 15:56:492026-03-02 15:56:49Bad Bunny’s Australia Debut Sets Attendance Benchmark in Sydney
A much-anticipated trial is finally getting underway in the blockbuster Department of Justice (DOJ) antitrust lawsuit against Live Nation – a courtroom showdown that could have seismic impacts on the live music business.
Competition law is dense, and the claims have evolved since they were initially filed in 2024. So what allegations remain? How will Live Nation defend itself? And can the DOJ really break up Live Nation and Ticketmaster?
Related
DOJ Calls Live Nation ‘Desperate’ Over Bid to Delay Monopoly Trial
D4vd Confirmed as Target of Murder Investigation Over Celeste Rivas’ Body Found in His Tesla
Jay Park’s More Vision Label to Partner With Transparent Arts for International Business Expansion
We’ve answered these burning questions and more. Read now to get up to speed as jury selection for the trial begins today (March 2) in a New York federal courtroom.
What is Live Nation accused of doing?
The DOJ’s original lawsuit, joined by dozens of state attorneys general, alleged that Live Nation has monopolized multiple aspects of the live music industry and runs an illegal “flywheel” — reaping revenue from ticket buyers, using that money to sign artists, then leveraging that repertoire to lock venues into exclusive ticketing contracts that yield ever more revenue.
After two years of litigation, however, the case was narrowed last month in a pretrial ruling by Judge Arun Subramanian. Most notably, the judge cut away claims that Live Nation operates a nationwide concert booking monopoly. What remains are two key sets of federal claims under the Sherman Antitrust Act, the nation’s hallmark competition law that has been on the books since 1890.
The first is that Live Nation abuses its vast portfolio of amphitheaters to force artists to use its promotion services. The DOJ says this is what’s known as “tying,” an anticompetitive practice in which companies force consumers to buy a second product they do not really want. If artists want to have a successful tour, this claim goes, they need access to Live Nation’s many theaters – and to get access to Live Nation’s venues, they must use the company’s promotion services.
The second set of allegations deals with Live Nation’s ownership of Ticketmaster. Here, the government claims Live Nation illegally forces venues to sign exclusive contracts with Ticketmaster, rather than allowing them to also use SeatGeek or other competitors interchangeably. The government claims that Live Nation accomplishes this, in part, by threatening to withhold popular musical acts from venues that use rival ticketers.
Related
‘It’s Time to Move On’: Live Nation Legal Chief Urges DOJ to Settle Monopoly Case Without Spinning Off Ticketmaster
Attorneys general from 39 states and the District of Columbia are also pursuing parallel claims against Live Nation as part of the case, based on the same set of facts under antitrust law and state consumer protection statutes.
How will Live Nation defend itself?
On the accusation that it leverages its amphitheaters to force artists to use its promotion services, Live Nation will argue that it merely refuses to open up its venues to rival promoters, not to certain artists. And it says that’s totally legal under antitrust law, since firms are not obligated under the law to help business competitors. Live Nation will also likely say there’s little concrete evidence that it coerced anyone, nor that any of its conduct caused actual anticompetitive harm.
When it comes to the allegation of forcing venues to sign exclusive deals with Ticketmaster, Live Nation will argue that that claim, too, is supported by very little actual evidence. On the contrary, the company says many concert venues willingly choose to use to use a single ticketing partner for business reasons, including ease of use and better financial terms.
“After hundreds of hours of deposition testimony and millions of pages of document discovery, that theory turns out not to be even arguably true,” the company wrote in court papers last fall. “The truth is simply that venues in this market tend to prefer exclusive ticketing contracts.”
Who will be testifying at the trial?
When testimony kicks off this week, it will feature a who’s who of the major players in the live music business. Live Nation’s Michael Rapino and Joe Berchtold are expected to testify, as are figures from competitors like Anschutz Entertainment Group.
John Abbamondi, the one-time CEO of the Brooklyn Nets, is expected to testify about how the team’s arena, the Barclay Center, lost access to some concerts after a much-discussed switch from Ticketmaster to SeatGeek. And industry titan Irving Azoff is supposed to take the stand too — thanks to the fact that he was the boss of Ticketmaster when the company merged with Live Nation in 2010.
Some major musicians could also testify. Ben Lovett, keyboardist Mumford & Sons, could take the stand, as could Kid Rock, a Trump administration favorite who testified before Congress in January over the practices of the live music industry.
When should we expect a decision?
The trial itself will likely last for at least a month. Once both sides finish presenting all their witnesses and evidence, the jury will deliberate and come back with a verdict determining whether or not Live Nation has violated antitrust law.
If the jury hands Live Nation a loss, it will be the judge who decides the company’s structural punishment. But that wouldn’t be the end of the road; if Live Nation doesn’t like the outcome, it’s free to appeal and get the review of a higher court.
Could Live Nation be broken up if it loses?
The DOJ has not been shy that its goal is to unwind the 2010 deal that merged Live Nation and Ticketmaster in the first place. Live Nation vehemently argues that this is inappropriate and unnecessary, and top company lawyer Dan Wall recently wrote in a since-deleted blog post that Judge Subramanian’s decision to winnow down the case “undermines any serious argument for breaking up Live Nation and Ticketmaster.”
The possible divestiture of Ticketmaster is what’s known as a “structural remedy” in antitrust law – that is, an order by a judge for a company to change its business model. If Live Nation is found liable, Judge Subramanian could indeed order the company to sell Ticketmaster or a different business unit. But he also could decide that a forced sale is too draconian and go the route of an injunction instead, meaning an order that bars certain business practices he deems anticompetitive.
Related
Live Nation Hit $25 Billion in Revenue Last Year, a New Record
Are there financial penalties at stake too?
This is where the states come in. While the DOJ’s federal case is focused on structural relief changing Live Nation’s business, various states are seeking financial penalties for the alleged monopolistic conduct.
It’s hard to say at this point what the dollar figure might look like if Live Nation loses these claims, since the government’s damages calculations have been filed under seal. Different states also have very different damages caps for the violations they’re alleging. For example, Michigan and Rhode Island’s local antitrust laws max out at civil penalties of $50,000 per violation. But in Colorado, Florida and Illinois, state-level antitrust statutes allow for civil fines of up to $1 million.
Is a settlement still on the table?
It’s not over until it’s over. To the contrary, it’s quite common for lawsuits to settle during jury selection or midway through trial, as the progress of the case can provide one side with leverage and tip the negotiating scales.
Live Nation has openly sought to resolve the case through a settlement that allows it to keep Ticketmaster; this was the crux of Wall’s now-deleted blog post, titled, “It’s Time to Move On.” There have also been rumblings about the company pursuing deal talks in Washington D.C., including reports that it hired Donald Trump allies Kellyanne Conway and Mike Davis for lobbying work.
That said, a settlement would only end the trial if it’s signed by the DOJ and all 40 state attorneys general involved in the case. If some states held back from a federally negotiated settlement, their claims against Live Nation would move ahead.
At this year’s Academy Awards, coming up on Sunday March 15, one song that had reached No. 1 on the Billboard Hot 100, HUNTR/X’s megahit “Golden” from KPop Demon Hunters, is competing for best original song. That’s nothing compared to the 1985 Oscars, when all five nominees had been No. 1 hits, for the first and (so far) only time in Oscar history.
The nominees included two songs from Footloose – Kenny Loggins’ rhythmic title song and Deniece Williams’ midtempo R&B/pop charmer, “Let’s Hear It for the Boy.” Footloose was just the fourth film to spawn two best original song nominees, following Fame in 1981 and a pair of films in 1984, Flashdance and Yentl. Dean Pitchford, who wrote the screenplay for Footloose and co-wrote all the songs on the soundtrack, was nominated for co-writing both songs. He was the only nominee in the category that year who had previously won an Oscar. In 1981, he won for co-writing Irene Cara’s smash “Fame” from the film of the same name.
The other nominees were Phil Collins’ torch ballad “Against All Odds (Take a Look at Me Now)” from Against All Odds; Ray Parker Jr.’s catchy earworm “Ghostbusters” from the film of the same name; and Stevie Wonder’s warm, sentimental “I Just Called to Say I Love You” from The Woman in Red.
Related
Why Were No Songs From ‘Saturday Night Fever’ Nominated for an Oscar?
Two of these songs, “Against All Odds (Take a Look at Me Now)” and “I Just Called To Say I Love You,” also received Grammy nods for song of the year. (The Grammys didn’t introduce their category of best song written for visual media until 1988.)
As stacked as this category was that year, two other film songs topped the Hot 100 that year and were not nominated – Prince’s “When Doves Cry” and Prince and the Revolution’s “Let’s Go Crazy,” both from Purple Rain. But Prince did win an Oscar that night for best original song score.
Travel back with us to the 57th annual Academy Awards, held at the Dorothy Chandler Pavilion in Los Angeles on March 25, 1985, the only ceremony where all five nominees for best original song were No. 1 Hot 100 hits.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 14:00:432026-03-02 14:00:431985: The Only Year in Oscar History Where All 5 Best Original Song Nominees Were No. 1 Hot 100 Hits
It was a rocking weekend at the box office, with two music-focused films hitting the top five at theaters. Coming in at No. 4 was Twenty One Pilots: More Than We Ever Imagined — Live in Mexico City, which according to Deadline raked in $3.7 million on 836 screens; $2 million of that came from 270 IMAX screenings after the film debut exclusively in the large format on Wednesday.
The two-hour film captures the Columbus, Ohio-bred duo’s biggest concert to date, a sold-out show for more than 65,000 fans at Estadio GNP Seguros in Mexico City during the band’s 2024-2025 Clancy world tour. The band’s first full-length concert film features a mix of live footage, reactions from fans in the audience and behind-the-scenes footage showing singer/guitarist Tyler Joseph and drummer Josh Dun getting ready for the show.
“You get the giant, full-color scope of the event and then it goes down to letterbox with a different aspect ratio … I always say the show is from the fan’s perspective and the documentary [footage] is from Tyler and Josh’s perspective,” director Mark Eshleman told Billboard of the quieter moments where fans can see the duo talk about their anxieties and nerves before taking the stage and confidently rocking the giant soccer stadium.
Coming in at No. 5 was the new Baz Luhrmann documentary EPiC: Elvis Presley in Concert, which took in $3.5 million on 1,940 screens in a big second week expansion; so far the doc has earned $7.8 million. The combo documentary/concert film blends previously unreleased footage from the late rock icon’s legendary Las Vegas residency in the 1970s, as well as Elvis on the road, footage from the Graceland archives and recordings of Presley that Luhrmann discovered during research for the 2022 Elvis movie.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 13:06:472026-03-02 13:06:47Twenty One Pilots, Elvis Live Films Hit Top Five at Box Office
Shakira wrapped up the extensive Mexican leg of her Las Mujeres Ya No Lloran World Tour on Sunday (March 1) with a new record, gathering 400,000 people for a free concert at the Zócalo in Mexico City. It was the largest audience ever assembled in the country’s main public square, according to figures from the city’s government, and marked the Colombian superstar’s return there for the first time since her debut in 2007.
“Today, I feel a mix of excitement, nostalgia, and gratitude. Today is our last day here in Mexico, my home,” an emotional Shakira told the crowd. “This is a love and friendship story I have with Mexico that can’t be compared to anything. Thank you for all the excitement, all the joy you’ve made me feel. There’s definitely no better reunion than that of a little she-wolf with her Mexican pack here today at the Zócalo. Forever, we are one.”
The previous record was held by Argentine band Los Fabulosos Cadillacs, who gathered 300,000 people on June 3, 2023, followed by Grupo Firme, who drew 280,000 a year earlier.
The show at the Plaza de la Constitución (the official name of the Zócalo), organized jointly by Mexico City’s government and Grupo Modelo, was celebrated by Mexican President Claudia Sheinbaum, who acknowledged the historic event with a brief message on social media: “Shakira – Las Mujeres Ya No Lloran – Zócalo,” accompanied by clapping emojis.
The feat capped off a year since the highest-grossing Hispanic tour of all time landed in the Latin American country, where Shakira performed a total of 31 shows — 13 of them at the iconic Estadio GNP Seguros (formerly Foro Sol) — selling 800,000 tickets for those shows, “an unprecedented achievement,” according to promoter Ocesa.
For Sunday’s concert, Beéle returned as a special guest for the Barranquilla-born singer, performing their new song “Algo Tú” live for the first time; the song is set for release on Wednesday (March 4). The Colombian artist had joined her on Friday at the Estadio GNP Seguros for their version of “Hips Don’t Lie,” which they recorded together with Ed Sheeran. Additionally, Shakira performed her hit “¿Dónde Estás Corazón?” for the second time this week — a song she hadn’t sung live since 2019.
Starting early Saturday morning (Feb. 28), the first fans began arriving for the show, camping around the Zócalo to secure the best spot to see the self-proclaimed “She-Wolf,” who first performed there on May 27, 2007. At that show she drew 210,000 people (according to official figures), surpassing the previous record of 170,000 held by Mexican rock band Café Tacvba in 2005.
Crowds spread out on Sunday to surrounding streets in Mexico City’s historic downtown, where screens were set up in Monument to the Revolution and the Alameda Central park, allowing families with young children to enjoy the show more comfortably.
The Zócalo is considered an emblematic and highly significant location, a plaza filled with symbolism where politics, social movements, culture and religion converge. It is the second-largest public square in the world, behind only Tiananmen Square in Beijing, China.
Shakira’s time in Mexico reaffirmed her privileged status as a global superstar and an icon for multiple generations, achieving a cultural, social and economic impact on the Mexican capital. Just on Sunday, her concert generated an estimated 403.6 million pesos (around $22.4 million USD), according to Mexico City’s Chamber of Commerce, Services, and Tourism (CANACO CDMX).
The historic moment in the Colombian star’s career also coincides with a new international recognition: her nomination for the Rock & Roll Hall of Fame 2026 last week. This nomination crowns a series of major milestones she has achieved over the past year, including setting a Guinness World Record for the highest-grossing tour by a Hispanic artist, earning an astonishing $421.6 million and selling 3.3 million tickets across 86 shows, according to Billboard Boxscore.
After her show at Mexico’s Zócalo, Shakira is set to perform on another of the world’s most iconic and massive stages on May 2: Brazil’s Copacabana Beach, where organizers expect at least one million people, as occurred with Madonna in 2024 and Lady Gaga in 2025.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 12:43:042026-03-02 12:43:04Shakira Breaks Record at Mexico’s Zócalo with 400,000 Attendees: ‘A Love Story That Can’t Be Compared to Anything’
Australia has selected Delta Goodrem to represent the country at the 70th Eurovision Song Contest in Vienna, Austria, SBS and production partner Beyond Productions announced Monday.
Goodrem will perform her newly released single “Eclipse” at Wiener Stadthalle in May, stepping onto one of the world’s largest live music stages. Broadcast to more than 160 million viewers worldwide, Eurovision remains one of the most-watched annual music events globally.
“I’m so honoured to represent Australia on one of the biggest and most iconic music stages in the world at Eurovision!” Goodrem said in a statement.
“As a singer-songwriter, music has been my lifelong passion. I’ve always loved the creativity, individuality, and joy Eurovision brings, connecting and uniting people across the globe through music; the universal language. I can’t wait to arrive in Vienna and make Australia proud.”
Released Monday on ATLED Records, “Eclipse” was written by Goodrem alongside Ferras Alqaisi, Jonas Myrin and Michael Fatkin, with Fatkin also producing the track. According to SBS, the song builds from “intimate vulnerability” to “a soaring, anthemic crescendo,” driven by Goodrem’s vocal and “a dramatic dynamic arc.”
The accompanying music video was directed by Melbourne-born, London-based filmmaker Liam Pethick and produced by Brian Purnell.
SBS said the visual was filmed across sand dunes in Newcastle, NSW, with Goodrem performing “at the centre of a circle of mirrored plinths that fragment and multiply her image,” evolving “as day shifts into night and ultimately collides in a kinetic eclipse of light and shadow.”
Goodrem’s selection marks another milestone in a career that began when she signed her first record deal at 15. Her debut album, Innocent Eyes, became one of the highest-selling albums in Australian history, producing five No. 1 singles and spending seven and a half months at No. 1.
Goodrem has sold more than nine million albums worldwide, achieved five No. 1 albums and nine No. 1 singles, and earned 12 ARIA Awards. She has collaborated and toured with artists including Celine Dion, Olivia Newton-John, Andrea Bocelli, Tony Bennett, Shania Twain, Backstreet Boys and Ricky Martin.
SBS Head of Entertainment Emily Griggs said, “After years of speculation, the moment has arrived. Everything has aligned for Delta to represent Australia at Eurovision, and there’s no better time than 2026 in the song contest’s 70th year, back where Australia’s participation began in 2015. To mark this milestone, we wanted to send one of Australia’s most iconic artists to the world’s most iconic stage. Her powerful voice is balanced by restraint and an openness that draws people in, creating performances that feel both intimate and expansive. Europe, get ready. Australia is lighting up the stage.”
Australia’s Creative Director for Vienna Paul Clarke added, “Delta Goodrem is a once in a generation artist. Her elegant songwriting and unmatched vocal ability make her the perfect choice to represent Australia and eclipse the competition at the 70th anniversary of Eurovision in Vienna. Her song is a bold step towards the next stage of her worldwide career, and we are excited to bring her vision to life on the stage in May.”
Austria’s JJ won the 2025 Eurovision Song Contest in Basel, Switzerland, with “Wasted Love.”
The 2026 contest runs from Tuesday, May 12 through Saturday, May 16 in Vienna, with SBS confirming its coverage will air live and in prime time from Wednesday, May 13 through Sunday, May 17 on SBS and SBS On Demand.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 04:20:382026-03-02 04:20:38Delta Goodrem to Represent Australia at Eurovision 2026 in Vienna
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Heated Rivalry star Connor Storrie showed off his acting chops — and a closet full of high fashion fits — during his hosting stint on Saturday Night Live over the weekend, but one piece stood out to fans in particular for being surprisingly affordable — and yes, attractive too.
While Storrie wore a silk shirt and silk pants from Saint Laurent by Anthony Vaccarello with a Tiffany diamond necklace and earrings during his opening monologue, he quickly changed into a cropped T-shirt from popular mall brand Pacsun for his first skit of the night.
Titled “Mr Fronzi” the group sketch featured Storrie as the mischievous student and class clown Ricky, who has to win over his teacher Mr. Fronzi (played by Marcello Hernandez) after being caught making fun of him.
Set in a high school classroom, the sketch featured Storrie wearing a cutoff T-shirt from Pacsun, which is available online now for $49.95 here. The “East Pacific University” T-shirt features a thick fleece construction with distressed cutoff sleeves, a “ripped” v-neck, raw bottom hem and a boxy, oversized fit. The front graphic features a roaring bobcat — assumed to be the mascot of the fictitious school — as well as the words “Honor Roll Dropout.” Pacsun says the T-shirt is washed to give it that vintage look and feel.
Since Storrie’s SNL appearance, this $50 T-shirt is selling fast on the Pacsun website. As of this writing, more than 300 shoppers were browsing the item online though there are still sizes available from small to extra large. Pacsun says the model seen in the photo above is 6′ 1 and wears a size medium; Storrie, who is about six-feet-tall, likely wore the same size, though you can size up and down depending on how cropped or oversized you want your look to be.
You can wear the cropped shirt on its own though Storrie wore it over a long-sleeve tee. Pacsun has one in a similar charcoal colorway available online. This one features a lightweight, 100% cotton material, with a slightly cropped fit and raw hem. The front and back feature “Lost Archives Institute” graphics.
Storrie has proven to be a hit with audiences and brands alike. Fans lapped up his Saint Laurent aviator sunglasses from the Golden Globes red carpet, while clothing brand Entire Studios says a blue polo shirt that the actor wore to an SNL cast dinner sold out within a day. Storrie paired the shirt with a “reversed” leather jacket and a men’s leather crossbody from Sandro, both of which are still available online.
Storrie’s SNL appearance marked his first time hosting the late-night variety show. He was joined by Mumford & Sons as the musical guest. You can watch a clip of his “Mr. Fronzi” sketch below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-03-02 04:10:402026-03-02 04:10:40Connor Storrie Wore This $49 Mall Brand T-Shirt on ‘Saturday Night Live’
