The Otis Redding Foundation is celebrating the one-year anniversary of its Otis Redding Center for the Arts (ORCA) this month. The momentous occasion was formally recognized with an open house (April 11), attended by Redding’s widow Zelma Redding and R.E.M. bassist/composer Mike Mills, 2025’s recipient of the Otis Redding Spirit of Community Award. In tandem with the celebration, registration for upcoming summer sessions of Otis Music Camp (June 1-20) and Camp Dream (July 20-31) was announced.

Named after the soul icon behind classics such as “(Sittin’ On) The Dock of the Bay” and “Respect,” ORCA offers music and arts programs to students ages 5-18. In addition to the aforementioned camps, the multipurpose space provides private lessons and workshops. Its curriculum covers the creative and business sides of the music industry through content creation, performance, entertainment law, engineering, graphic design and touring. The 15,000 square-foot facility also houses the O3 Recording studio and the Zelma Redding Amphitheater.

In comments emailed to Billboard, Ms. Redding explained why it’s so vital to continue paying it forward to the next generation of industry creatives and executives:

There’s something different about walking into a space that carries your family’s name — your family’s work, your family’s spirit. At the Otis Redding Center for the Arts, that feeling is everywhere. It’s not just pride — it’s responsibility. The kind you feel in your chest.

Maintaining a center like this, especially as part of the Otis Redding Foundation, is deeply personal. This isn’t just about programs or schedules. It’s about legacy. It’s about honoring the life and vision of Otis Redding — not only the music the world knows, but the man who believed in giving back, in lifting others up, and in creating opportunity where it didn’t always exist.

For our family, the arts have never been just entertainment. They’ve been a pathway to confidence, expression and possibility. So when we talk about maintaining this space, we’re really talking about protecting that pathway. Making sure a young person can walk through these doors and feel like they belong here, whether they’ve grown up around music or are just discovering it for the first time. Students finding their voice. Families finding community. Artists pouring into the next generation. That’s what turns a building into something meaningful. That’s what makes it feel alive.

Legacy doesn’t take care of itself. It requires intention, care and a willingness to keep growing. What Otis started, and what the foundation continues to build, is bigger than any one moment. For me, this work is about making sure that legacy keeps reaching forward. That it stays open, accessible and real. Because if we’re doing it right, the Otis Redding Center for the Arts won’t just reflect where we’ve been … It will help shape where we’re going.

More information about the Otis Redding Center for the Arts and its programs is available here.

Big Machine Records/Nashville Harbor Records & Entertainment has named industry veteran Allison Jones as executive vp of A&R. Jones will lead all A&R efforts across the roster, which includes Riley Green, Rascal Flatts, The Band Perry, Aaron Lewis, Cole Goodwin, The Jack Wharff Band and Greylan James.

Jones joined Big Machine in 2008 and has played a key role in signing artists including Thomas Rhett, Florida Georgia Line, Riley Green, Carly Pearce and Midland, and contributing to the success of artists including Tim McGraw, Lady A, Rascal Flatts and Taylor Swift.

“I’ve worked with Scott [Borchetta] since 1997, when we opened DreamWorks Nashville together, and have spent the past 18 years at Big Machine in the trenches making history (with lots of celebrations and core memories made!),” Jones said in a statement. “I’m incredibly proud of the music we’ve created. It’s been an honor to be part of building one of the most impactful and successful labels in the history of the music business. Scott is a true visionary who never settles for anything less than winning. I’m incredibly excited and proud to do it all over again as we rebuild the new Big Machine!”

“Allison is the consummate A&R executive,” said Big Machine Records/Nashville Harbor Records & Entertainment founder, chairman and CEO Scott Borchetta. “She knows every artist, every song, and every publisher, and is obsessed with being on the sharp end of pop culture. Big Machine simply would not be what it is today without Allison by my side, and I’m so thrilled that we get to continue together in this new season.”

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There’s a long list of music events going on in 2026, from Las Vegas residencies to K-pop groups making worldwide pilgrimages.

Up next on the docket, we’ve got Ariana Grande’s 41-show The Eternal Sunshine Tour, ENHYPEN’s ‘BLOOD SAGA’ world tour, Kid Cudi’s 33-date “Rebel Ragers” North American tour and Foo Fighters’ Take Cover tour, just to name a few. Not to mention the slew of festivals taking place this summer, from the 2026 Governors Ball taking place in June, along with Los Angeles’ Head in the Clouds in Aug. and Lollapalooza in July.

In short. No matter what kind of music you’re into, there is bound to be something upcoming that will fit your vibe. Unfortunately, tickets to said events can be costly, and that doesn’t take into account the stress of getting a presale code (when applicable).

Thankfully, we have resale ticket sites that usually have ongoing deals and promos that give folks the option to score cheap tickets to all those juicy events. Rather than purchase overpriced tickets from scalpers, numerous third-party sites will provide budget-friendly concert tickets, plus, we’ve got Billboard exclusive promo codes just for you that’ll make those ticket prices for upcoming concerts and festivals even sweeter. Keep reading to learn more.

What Are the Best Cheap Ticket Sites?

Whether you’re on the hunt for last-minute BTS Arirang tour tickets or just need some weekend plans, these ticket sites usually come with backed-up, protected sales featuring lower prices than what most scalpers are selling for. Before you make your purchase, check the buyer’s guarantee — which most of these sites feature — to see how your purchases will be protected.

To take the work out of researching where to find reliable resale tickets, ShopBillboard did the work and rounded up the best cheap ticket sites so you can see your favorite artists live while avoiding emptying your wallet.

Keep reading to see where to score affordable tickets to concerts and festivals.

Ticketmaster’s deals page is offering four deals you can take advantage of, including up to 50% off select shows, Me+3 4-Packs, 2-for-1 tickets and tickets under $40. Check out the deals page here to see what shows and concerts are eligible for the deals. In addition to concerts, current Ticketmaster deals include cheap seats for Broadway shows and musicals, stand-up comedy, sports and more. Some shows will require a promo code to use at checkout, which will be listed underneath the show name.

Rather than wait in a virtual line, Vivid Seats gives you access to thousands of events from live sports to concerts and festivals. You can search based on artist, team, venue and more, whether you’ve scored a travel deal or just want to stay local. When looking at tickets, some sales are verified with a checkmark to show they’re from what the site considers a “super seller,” and the brand guarantees instant delivery to your smart device. Bonus offer: You can score $30 off purchases with the code BB30 at checkout.

TicketNetwork is a non-primary seller that aims to get tickets in your hands without you having to worry about signing up for a presale. You can take advantage of $150 off orders of $500+ when you enter the code BILLBOARD150 at checkout or get $300 off ticket purchases of $1,000+ with the code BILLBOARD300. The brand does notify shoppers that some tickets may be sold at above face value, but it offers a place that helps minimize the risk of being scammed. You can also see a ranking of the most popular shows based on the genre of music.

SeatGeek categorizes everything based on trending shows, genre and what’s going on in your area. Once you click on your desired show, the site breaks down seat choice by using a scale of 1-10 of how great a deal it is. You can also search for seats using the venue map to make sure you get exactly what you’re looking for. If it’s your first time purchasing through Seat Geek, you can snag $10 off orders of $250+ with the code BILLBOARD10.

Looking for cheap last-minute tickets? Gametime has gained attention for providing last-minute verified tickets at a more budget-friendly cost. Whether you’re waiting for day-of tickets or are looking for something to do on a Friday night, this site will show you what’s going on near you, as well as sort by some of the hottest events of the year. Plus, if it’s your first time using the seller, you can get $20 off purchases of $150+ when you enter the code SAVE20 at checkout.

StubHub is another popular choice that people go to when grabbing resale tickets at a more affordable price. The site allows you to search by artists, genre or even in alphabetical order to see all artists playing this year. It also uses a verified Fan Protect system to help shield you from scammers.

Even More Great Cheap Ticket Sites

Today Tix

Today Tix is the destination to go to if you’re on the hunt for last-minute, wallet-friendly Broadway tickets. The site offers everything from plays, Broadway musicals, off-Broadway shows, comedies and select concerts. The site’s deals and offers page will tell you the “hottest deals,” including offers that can save you up to 40%. When you click on a show, the calendar will also show you the lowest prices for each day to help you plan.

Ticketsmarter

TicketSmarter promises a 100% guarantee when selling tickets and allows you to search based on music genre, venue and VIP packages. Tickets available are rated on a scale of “smartness” with the highest number being the best. The site offers additional discounts for select groups such as 8% off purchases for students, graduate students, teachers, healthcare workers, first responders, active military and veterans, charity workers, parents, low-income and those with disabilities. You’ll just have to verify yourself through Student Beans and Beans iD.

Groupon

Groupon won’t just give you a discount on restaurants or a promo on a manicure, the site also offers deals on concerts, festivals and live performances in your area or places you plan on traveling to. You can narrow your search by the type of performance or search for specific shows.

Ticket City

Since 1990, Ticket City has been providing people with a place to buy and sell tickets to some of the most sought out performances. The brand offers 100% guarantee on tickets bought through the site and if that’s not the case, then Ticket City will provide you with comparable or better tickets than you ordered, or you’ll be offered a refund or a credit.

Ticket Liquidator

Ticket Liquidator is another resale ticket site that aims to provide verified and legit tickets to concerts, sporting events and more. The site vets each seller before listing them and backs purchases through their 100% Money-Back guarantee, which means if you don’t receive legit tickets by the day of your event or if the event is cancelled, you’ll receive a 100% refund.

Viagogo

Viagogo is one of the largest reselling sites and provides a place where sellers can go to resell tickets. For buyers, the brand uses security checks to ensure that transactions go smoothly and tickets being sold are legit.

Note: all the promo codes and discounted savings listed above were live at time of this article’s publication but prices could change at anytime.

For more product recommendations, check out ShopBillboard‘s roundups of the best concert earplugs, venue-approved bags and portable chargers.

Precious Jacobs-Perry, a Chicago-based partner at the law firm Jenner & Block, says Chance the Rapper “has a reputation that precedes him in in this city” for both musical excellence and business acumen. After representing Chance at trial against his longtime manager Pat Corcoran, Jacobs-Perry says she can confirm that this reputation holds true.

“He is a man of principle,” Jacobs-Perry tells Billboard of Chance, adding that the rapper “is in control” of several businesses that “all start and end with him. He takes his role seriously, not only as an artist, but also as the head of all these different businesses,” she says.

The business activities of Chance (born Chancelor Bennett) were the subject of the rapper’s Chicago court battle against Corcoran, commonly known as Pat the Manager. Corcoran sued in 2020, alleging Chance owed him nearly $4 million in commissions, including under a so-called “sunset clause” that he said should have gotten him paid for three years post-termination. Chance maintained that there was no such sunset clause, and the nearly $11 million he paid Corcoran over the years was more than sufficient

What made this case so novel was that Corcoran and Chance never had a written contract; they always operated under a handshake deal. While this sort of casual arrangement is common in artist-manager relationships, there’s very little settled case law about how to interpret oral contracts. This meant that after years of litigation, a judge ruled the dispute had to be decided by a jury. That jury ultimately sided with Chance after a two-week trial last month, rejecting all of Corcoran’s claims.

Chance also won on his counterclaims for breach of contract and tortious interference, which alleged that Corcoran took kickbacks and improperly structured business dealings to benefit himself. The one point of loss for Chance was that the jury awarded him only $35 on these counterclaims. In a statement following the verdict, Corcoran’s lawyer Jay Scharkey said, “We respect the jury’s decision, but the message to music managers is clear: Get it in writing. The jury award of $35 speaks to how seriously the jury viewed Chance’s case.”

Jacobs-Perry says this $35 award was out of $98,000 Chance was seeking, not the $1 million number that’s been floated in some reports. She also notes that Chance’s financial damages could be significantly boosted following another mini-trial on a remaining breach of fiduciary duty counterclaim, which must be decided by a judge rather than the jury under the law. This second trial, scheduled to begin May 27, could see Chance walk away with as much as $11 million from Corcoran.

“We don’t want people to think that it’s not worth fighting for your rights when you believe that you’re being taken advantage of,” says Jacobs-Perry of why she thinks these counterclaims are important. The attorney discussed this and more during an extended interview with Billboard.   

This conversation has been edited for length and clarity.

What pieces of evidence do you think were most crucial for the jury to return a verdict in your favor when it came to that sunset clause?

We had two pieces of critical evidence that I described as smoking guns in this case. First, Pat himself wrote a five-page email in March of 2014 to Chance’s lawyer detailing what he believed the agreement was. What was missing? The alleged sunset and post-termination provisions. Then in 2019, he again wrote to Chance’s lawyer when they were thinking about restructuring. He wrote, “To date, here’s what we had.” It was 15% of net. That’s it. Nothing about a sunset. Nothing about a post-termination provision. Never writing down anything about any obligations that would extend beyond his termination.

We had those two critical pieces of evidence regarding what he believed in real time the agreement was. And then we had Chance’s testimony that he did not agree to this kind of provision and explaining why he, as an independent artist and someone who believes that artists should own their art, would never have agreed to any of that. And I think putting all that together, what the parties actually agreed to in 2013 became very clear.

You also won a verdict on your counterclaims against Pat for breach of contract and tortious interference. What pieces of evidence do you think led the jury to reach that conclusion?

There were a couple of different buckets. One was his website, chanceraps.com. Pat registered that in his name back in 2012 or 2013, which is a complete violation of their relationship, because that is Chance’s website that was being used to conduct his merchandise business. The second bucket was merchandise vendors. Pat was picking a vendor and then saying to the vendor, “I’m going to bring all this business to you, including Chance’s business, and I want a kickback.” If it is your job to negotiate the best price for an artist, then the fact that you’re negotiating this kickback for yourself inevitably means that you are not then negotiating the best price for the artist on the merchandise.

The other bucket was a movie deal where Scott Bernstein, who was the producer for Straight Outta Compton and Respect, featuring Aretha Franklin’s story, came to Pat as Chance’s manager to figure out a project that he could do with Chance, and [Pat] cut himself into that deal. And so instead of it being a 50-50, split between Mr. Bernstein’s company and Chance’s company, it then became one-third, one-third and one-third, including Pat and his company. Pat’s position was that there was nothing wrong with any of this, that he should be able to do these things, and that the evidence did not support that they were a violation of his duties. The jury decisively said this was not the case – that a manager, when you are interacting with third parties, your goal should always be to act in the best interest of your principal. And the testimony and the documents showed that was not happening here.

Do you still view the jury’s decision on the counterclaims as meaningful even though they awarded only $35?

What came out of that decision was very critical: Managers and other third-party agents will be held accountable if they are out in the world doing things outside the purview of their artist and things that are not in that artist’s best interest. And the jury was very decisive on that. They said, “You breached the contract because you were engaging in this behavior, and you violated the law because you tortiously interfered with Chance’s business relationships with third parties.” That was a decisive outcome, and I think it’s an important one that should be focused on, especially when you talk about precedent.

What potential damages remain for Chance’s breach of fiduciary duty counterclaim against Pat, which still needs to be decided by a judge? 

This is why this case, I believe, is so important and precedential for third-party managers and agents: What you risk is a full forfeiture of the compensation you have been paid during the time that you were breaching your fiduciary duty. During that entire time, Chance paid Pat over $11 million pursuant to a handshake deal because he is a man of his word and he did honor his agreement. Chance even paid him almost half a million dollars after he was terminated. And so now what we have is a jury who has determined that he breached his contract with Chance, and we have a determination that he engaged in tortious conduct.

In Illinois, agents are fiduciaries. And so if during the entire time you were breaching your fiduciary duties to your principal and your artist, then that entire amount is at risk — so the over $11 million. It may seem harsh, but in the state of Illinois, that’s our public policy. But the judge gets to decide the extent and the time period he finds that he was breaching his fiduciary duties. It doesn’t have to be the entire period, even though that is what our position would be based on how the evidence came out at trial. The court will get to decide whether it’s everything, or whether it’s some smaller portion of the whole.

On a more personal level, what was it like working with Chance as a client?

He is an incredible human being, and I am very impressed by his decision to stand on principle. Because being an independent artist means so much, and because it is so important that independent artists and artists across the board be protected, he was willing to stand on principle and fight back against something that he absolutely did not agree to. To stand up and say: Managers, you can’t retroactively try to insert complicated provisions into an agreement that were not agreed to. At his core, he believes in this. He’s spoken about how the industry has historically treated Black artists across the board. And so this was so important to him – it was correcting history. Just because you want to take something doesn’t mean you get to do it. He is a very impressive individual. I literally take my hat off to him for standing on principle for not only himself, but doing something that will have an impact on others who someday someone may take advantage [of]. We have someone who stood up, and now there’s precedent for saying that these things are wrong.