Nick Jonas and Paul Rudd are an unlikely musical duo who have rediscovered the joy of songwriting just when they need it most in the trailer for the upcoming big-screen comedy Power Ballad. The only problem is that Jonas is the only one getting the credit.

In the latest musical film from writer-director John Carney (Once, Sing Street) Rudd plays Rick, a wedding singer going nowhere who teams up with Jonas’ former boy band singer Danny to work on songs together. But when Danny’s career blows up again after he turns one of Rick’s songs into a chart hit, Rick is determined to get his proper credit.

The film’s new trailer opens with Rick cueing up a song on his computer for Danny to check out, as Danny drinks a beer and really seems to connect with the hook-y chorus. The pair grab their guitars and work out the kinks together in a home studio, with Rick saying, “I could tell within two minutes of meeting you you’re not just some boy band guy.”

“And you are too good for that wedding band,” Danny says as we see fans spotting him at an airport and freaking out, juxtaposed with Rick losing it on his wedding band drummer and rushing the kit to take away his drumsticks in a messy rage. When Rick cues up another song he’s been working on for years, Danny shows his appreciation and the pair harmonize as we see Danny’s glow-up continue via a montage of paparazzi flashes, limo rides and giant digital billboards promoting Danny’s latest hit outside a packed arena where the crowd is freaking out about Rick’s song.

Also, Rick looks on in shock and anger from that swaying audience when Danny says from the stage, “this song changed my life,” while singing the lines, “How to write a song without you/ And every song I ever wrote in my life.”

“That’s my song. I wrote it!,” Rick rages before we see him jump from the bushes and get into a bloody brawl with Danny. “Do you think it is easy to turn a song into a hit!?” Danny, beaten and bruised, yells back. The film, which co-stars Jack Reynor and Havana Rose Liu, is due out on June 5 and will screen later this month at SXSW.

Watch the Power Ballad trailer below.

Bad Bunny’s year is young, but it’s already one for the books.

Consider, in the first quarter the superstar Puerto Rican artist has smashed records, filled stadiums, collected awards. And there’s a sense he’s still very much on the rise.

During his historic streak, Bunny’s DeBí TiRAR MáS FOToS became the first Spanish-language album, and more broadly, the first album not recorded in English, to win album of the year at the Grammy Awards. He headlined the Super Bowl LX, for what is reportedly the most-watched halftime show of all-time (with 4.157 billion worldwide views). And the rapper landed a record-busting 29 simultaneous titles on the Hot Latin Songs chart, including the entire top 25, while topping the Billboard Hot 100 with “DtMF.”

With all that action and drama, it’s easy to overlook one of his outstanding feats. Bad Bunny set a venue record on the other side of the globe, when his world tour visited Sydney’s ENGIE Stadium (also known as Sydney Showground Stadium) on Feb. 28 and March 1.

According to Live Nation, which is producing Benito’s ongoing world tour, close to 90,000 fans packed his first Australian concert, a new record. Not bad for an artist who had never made a top 10 appearance on Australia’s official ARIA Charts. That changed on the eve of his shows, as DeBí TiRAR MáS FOToS finally crashed the top tier, more than a year after its release.

The shows “reflected was how global and culturally embedded the fandom has become,” Hans Schafer, senior VP global touring at Live Nation, tells Billboard.com. “Australia is a long way away from Latin America, and the market is smaller, but the engagement was incredibly strong.”

Those two Sydney dates welcomed visitors from across Australia and further afield. Some 10% were international visitors, most of them coming over from New Zealand, Schafer explains.

As Bunny’s DeBí TiRAR MáS FOToS tour gears up for the European summer, Schafer reflects on how the Reggaeton star set stadium records in Australia.

Billboard: Congrats on your part in Bad Bunny’s record-breaking success here. Those marks don’t just grow on trees. When Australia was penciled-in on the tour itinerary, Benito hadn’t had hits here. What were your initial hopes?

Hans Schafer: When we confirmed the tour we were confident on selling out the stadium, and the first date sold out in less than an hour. Since then, streaming, social engagement and global visibility kept building momentum and so his profile kept growing. Then in the last month it just exploded, the whole world now knows who he is. We were very fortunate this all happened just before the Australian dates, and we ended up selling every single ticket. The shows actually ended up breaking the venue attendance records.

Did you see an uptick from his Super Bowl and Grammys successes?

The Grammys and the Super Bowl amplified the demand and final tickets sold through quickly after those moments. That is what happens when an artist steps onto the biggest stage in the world and does it on his own terms. It accelerates familiarity and concentrates global attention very quickly.

It’s rare for a touring act to visit Australia to play just one city. How do you approach routing a global tour of this scale when working within tight international schedules and unprecedented demand?

Global tours at this scale run on very tight international windows, so a lot depends on venue and infrastructure availability, as well as travel and freight timings. In this case Sydney was where everything came together to deliver the shows at the level it needed to be.

What did you learn from the Sydney experience and the concert-goers? How many travelled interstate?

Just over half of ticket transactions came from New South Wales. The remainder travelled from interstate. Roughly 10% were international fans, most of them coming over from New Zealand. This sets Australia apart from many other markets in the world, which have a much bigger catchment. However these stadiums were filled with Australian fans.

Any other insights you’re able to share on this record-setting feat? Did Bunny enjoy his time in Australia?

What this really reflected was how global and culturally embedded the fandom has become. Australia is a long way away from Latin America, and the market is smaller, but the engagement was incredibly strong.

Fans travelled from all across the country and New Zealand, and they showed up with intention. The atmosphere in the stadium reflected that. It was more than a concert, it was a huge cultural moment.

It extended beyond the stadium and into the city, where Latin culture was celebrated across the weekend. As seen in the flags, the fashion, the many pre- and after parties, community events and Spanish was spoken all over town. That kind of presence tells you this is not niche. It is central.

And Benito and his team felt it. When the audience meets you with that level of pride, appreciation and energy, it travels both ways. They enjoyed Australia because Australia showed up.

SYDNEY, Australia — Natalie Waller is re-elected chair of the ARIA board, while Sean Warner is named deputy chair.

Waller, who serves as head of ABC Music at the Australian Broadcasting Corporation (ABC), the reigning independent label of the year at the AIR Awards, was first elected ARIA chair in 2021, becoming the first female appointed to the top role.

At ABC Music, Waller works closely with some of Australia’s leading artists and has guided the label to unprecedented success with the triple j brand across initiatives such as Like A Version.

Separately, Waller is a director on the Country Music Association (CMA) board in the United States, is a mentor in the AIR Women in Music program and, previously, served four years as vice president of the Country Music Association of Australia (CMAA).

“I’m deeply honored to be re-elected as chair of the ARIA board,” she remarks in a statement. “ARIA’s advocacy and leadership are essential to strengthening Australia’s music industry, and I’m grateful to continue working with such dedicated colleagues to champion our artists and amplify the value of Australian music.”

Warner, meanwhile, has led Universal Music Australia & New Zealand, the market’s biggest music company, as president since 2023. A company stalwart with nearly 20 years’ experience, Warner previously served as senior VP of commercial at UMA.

“I’m honored to be elected deputy chair of the ARIA board at such an important time for Australian music,” he says. “ARIA plays a vital role in supporting domestic artists and the broader community, and I look forward to working closely with the board and (ARIA CEO) Annabelle (Herd) to continue strengthening the local music industry.”

Together, he adds, “we have a significant opportunity to drive sustainable growth, nurture the next generation of Australian talent, and ensure our industry remains innovative, inclusive and globally competitive.”

The trade body’s board includes include Annabelle Herd (ARIA CEO), Chris Maund (COO of Mushroom Labels), Dan Rosen (president of Warner Music Australasia), and David Vodicka (managing director of the Rubber Group of Companies, principal of Media Arts Lawyers).

Also, ARIA unveils Luke Vespa and Laura Edwards as the latest participants to the ARIA Board Observership Program. Vespa is the streaming partners lead for ANZ and SEA at Warner Music Australia, while Edwards is senior streaming partnerships manager at Universal Music Australia.

The Australian Recording Industry Association (ARIA) boasts more than 200 members representing major and independent record producers, manufacturers, and distributors. The organization advocates for the Australian music industry, administers the labelling code of practice, compiles industry information and research, and produces the weekly ARIA Charts and the annual ARIA Awards.

To celebrate 40 years of the ARIAs, a special standalone ARIA Hall of Fame Anniversary will be presented June 11 at Carriageworks, Sydney, on Gadigal land, when six legends will be inducted.

A Flock of Seagulls has landed with BMG, an arrangement that sees the music company acquire the ’80s British band’s publishing catalog and sound recordings.

Announced today, March 12, BMG now controls the band’s publishing rights in the United States and participates in publishing income globally. In addition, the independent music enterprise acquires the worldwide ownership of the sound recordings for A Flock of Seagulls’ classic studio albums — A Flock of Seagulls (1982), Listen (1983), The Story of a Young Heart (1984), and Dream Come True (1986).

Financial terms weren’t disclosed.

Thanks to a run of hits, a style that couldn’t possibly come from this planet, and frontman Mike Score’s unmistakable, impossible hairstyle, A Flock of Seagulls was a torchbearer for the New Wave movement.

For a time in the early-to-mid 1980s, they were one of the outstanding acts of the second “British Invasion.”

“We chose to partner with BMG because we believe in its vision to elevate and extend our music to new audiences and generation,” Score says of the BMG deal. “We are gratified by their passion and commitment to our music and legacy.”

Formed in Liverpool in 1979, the group made the leap into the mainstream with 1982’s “I Ran (So Far Away),” a song that filled the airwaves and dancefloors.

Although the band didn’t set the charts alight in their homeland, they made an notable impact across the Atlantic where “I Ran” cracked the top 10 on the Billboard Hot 100, one of their four hits on the U.S. chart (including three top 40s). The group secured a top 10 appearance on the Official U.K. Singles Chart with 1982’s “Wishing (If I Had a Photograph of You).”

The band’s look and sound continues to resonate in pop culture (Adam Sandler referenced Score’s hair in the 1998 romcom The Wedding Singer). According to music historian the Professor of Rock, the best song of the year 1983 belonged to A Flock of Seagulls, with “Space Age Love Song.”

“A Flock of Seagulls pushed New Wave into widescreen territory, pairing cinematic synths with a bold visual identity that redefined what pop could look and sound like,” remarks Dan Baxter, senior VP, global catalog recordings. “Their expansive, immersive records helped define the MTV era and left a clear imprint on generations of alternative and electronic artists. These recordings still resonate across generations, and we’re proud to bring their ambition and atmosphere to new audiences worldwide.”

A Flock of Seagulls and the individual band members were represented by Peter Csathy of Deep Cuts Media.

Jack Osbourne has welcomed a new baby girl into his family — and she has a very familiar name.

Ozzy Matilda Osbourne was born March 5 to Jack and his wife Aree, the couple announced Wednesday (March 11) in a joint Instagram post along with grandma Sharon Osbourne. “Introducing Ozzy Matilda Osbourne,” the caption reads with a short video of the baby girl. The clip includes a “Hello World” card with all of baby Ozzy’s vital stats, including her full name, birth date and time (7:49 a.m.) and her weight (7 pounds, 12 ounces) and length (19 inches).

The birth of Ozzy Matilda comes nearly eight months after the loss of her grandpa Ozzy Osbourne, who died of a heart attack in July 2025 at age 76. His death came weeks after the Back to the Beginning concert in Birmingham, England, which was billed as the rocker’s final concert with his band Black Sabbath. The charity concert raised more than $11 million for Acorns Children’s Hospice, Birmingham Children’s Hospital, and Cure Parkinson’s.

Ozzy Matilda Osbourne is Jack’s fifth child, joining Pearl, Andy and Minnie from his first marriage to Lisa Stelly and Maple with Aree.

Last month, Post Malone led a tribute performance to Ozzy Osbourne on the 2026 Grammy Awards that included Guns N’ Roses’ Slash and Duff McKagan along with Red Hot Chili Peppers’ Chad Smith and Ozzy producer Andrew Watt, powering through Black Sabbath’s “War Pigs.” He was also honored on the BRIT Awards last month, with Robbie Williams and Zakk Wylde performing “No More Tears” and Ozzy’s widow Sharon and daughter Kelly accepting a lifetime achievement award on his behalf.