Nikki Glaser is set to return as host of the Golden Globes for the third consecutive year. The show will air live coast-to-coast on Sunday, Jan. 10, 2027 on CBS, streaming on Paramount+ in the U.S.

Glaser will become the third person or team to host the Globes three years running, following Ricky Gervais (2010-12) and Tina Fey & Amy Poehler (2013-15).

“We are thrilled to welcome Nikki back to the Golden Globes stage in 2027,” Helen Hoehne, president, Golden Globes, said in a statement. “Her comedic precision, authenticity, and ability to command the room is unmatched, and we can’t wait to see what she has up her sleeve for next year’s show.”

Glaser added: “I’m thrilled to host the Golden Globes for a third time, not only because it’s the greatest gig I’ve ever had, but because my sister has three kids and now we will be equal in the eyes of my parents and the Lord.”

Glaser, who made history in 2025 as the first woman to host the Golden Globes solo, is known for her fearless opening monologues. Her most recent monologue garnered nearly 14 million views in the first 36 hours across Golden Globes social media platforms alone.

Glaser, 41, received a Primetime Emmy nod in 2024 for outstanding variety special (pre-recorded) as executive producer and performer on the HBO comedy special Nikki Glaser: Someday You’ll Die. An album with the same title received a Grammy nod for best comedy album the following year.

The Golden Globes, which bills itself as “Hollywood’s Party of the Year,” is the world’s largest awards show to celebrate film, television, and podcasting. The 83rd Annual Golden Globes, ET: Live on the Golden Globes Red Carpet, and new primetime special Golden Eve reached a combined 21.77 million viewers on CBS and Paramount+, according to Nielsen, and 27.07 million international viewers across 169 territories.

The Golden Globes are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.

​​EJAE, AUDREY NUNA and REI AMI‘s golden year continues: Billboard announced Wednesday (March 11) that the acclaimed singers behind the KPop Demon Hunters girl group HUNTR/X are this year’s Women of the Year at Billboard Women in Music 2026.

The trio will be honored at the Billboard Women in Music ceremony April 29 at the iconic Hollywood Palladium in Los Angeles, accepting the coveted prize alongside fellow 2026 honorees Teyana Taylor, Tate McRae, Ella Langley, Kehlani, Laufey, Mariah the Scientist, Thalia and Zara Larsson. As previously announced, the awards will be hosted by Keke Palmer, who will also perform, and the show will stream live on Billboard.com and Billboard‘s YouTube channel.

“We are incredibly proud to honor EJAE, AUDREY NUNA and REI AMI as Billboard’s Women of the Year,” says Leila Cobo, co-chief content officer of Billboard. “In a year marked by record-breaking achievements, major awards and extraordinary global success, they have not only dominated the charts, but also redefined what it means to be powerful women in this industry and on the world stage.

“In just the past year, the music of HUNTR/X from KPop Demon Hunters has produced true global anthems, and the individual artistry of EJAE, REI AMI and AUDREY NUNA has been an inspiration for millions of young people around the world,” she continues. “We look forward to celebrating their collective impact, alongside the other remarkable honorees, at our annual Women in Music event.”

The honor comes as ​​KPop Demon Hunters has dominated pop culture since the Netflix film arrived last summer, quickly becoming the streamer’s most-watched program of all time. Its soundtrack has proven just as successful as the movie itself, with the album topping the Billboard 200 and standout single “Golden” spending eight weeks at No. 1 on the Billboard Hot 100. The song has also had a historic awards run, winning best original song at the Critics Choice Awards and Golden Globes and earning a nomination at Sunday’s Oscars.

The Women of the Year honor only adds to HUNTR/X’s history-making legacy. The vocalists are the first group to ever collectively share the prize, which has been previously awarded to such stars as Doechii, Karol G, SZA, Olivia Rodrigo, Cardi B, Billie Eilish, Ariana Grande, Selena Gomez, Madonna, Lady Gaga and Taylor Swift.

More performers and presenters for the 2026 Women in Music ceremony will be announced in the coming weeks as the ceremony approaches. Tickets and tables at the event are available for purchase.

THE BIG STORY: Just a week into a blockbuster trial, Live Nation reached a settlement with the Department of Justice to end a two-year clash between federal antitrust watchdogs and the country’s biggest live music company.

The DOJ’s case started with then-Attorney General Merrick Garland saying it was “time to break it up” – meaning to split Live Nation from Ticketmaster to reduce their alleged dominance over the industry. But it ended without such a breakup, as the feds agreed to a deal that required key changes from Live Nation but allowed it to keep its ticketing giant. It looks like it really was Time to Move On after all.

That outcome was praised by Live Nation, which said it “marks a major step in improving the concert experience for artists and fans.” But it rankled many of the company’s critics, including several of the states that co-filed the lawsuit with the DOJ, who vowed to continue to litigate the case to a conclusion.

For all the details about the settlement and what it requires of Live Nation, go read our entire story here. And stick with Billboard for more upcoming coverage on the impact of the settlement and the ongoing court battle with the states.

Other top stories this week…

-Dionne Warwick filed a scathing countersuit against Artists Rights Enforcement, accusing the rights management company of stealing “millions of dollars in royalty income” over several decades.

-Everyone in the industry has strong opinions about Suno — not least the record labels that have battled the AI music firm in court. In a terrific Billboard cover story, my colleague Kristin Robinson dives deep to ask: Is Suno the Music Industry’s Biggest Nightmare — or Greatest Hope?

-In other AI news, a new lawsuit against Google accused the tech giant of training its Lyria 3 artificial intelligence model on music uploaded to YouTube – a key difference from previous cases against companies like Suno and Udio that do nt control vast content platforms.

-Britney Spears was arrested in California on suspicion of driving under the influence after being observed “driving erratically at a high rate of speed.” In a later statement, Britney’s reps called the incident “inexcusable” and said she’d be making some “long overdue” changes to her life.

-A Florida woman named Ivanna Lisette Ortiz was arrested and charged with felony attempted murder for allegedly firing 10 shots from an AR-15-style assault rifle at Rihanna’s Beverly Hills mansion.

-Quavo owes nearly $3 million in unpaid income taxes dating back to 2021, according to a tax lien notice filed by the IRS on the Migos rapper’s property, including his 11,000 square-foot home in a tony Atlanta suburb.

-Lil Durk has hired Brian Steel to represent him in his murder-for-hire case, bolstering a team already led by Drew Findling. For more about Steel, go read my long interview with the veteran criminal defense attorney, who represented Young Thug and Diddy in their high-profile cases.

-A judge dismissed a lawsuit against Bad Bunny that claimed his chart-topping Un Verano Sin Ti album used an unlicensed sample from a Nigerian artist – a move that came after the accuser was dropped by his lawyers and essentially abandoned the case.

-A Swedish court dismissed a lawsuit filed by Avicii’s longtime manager Ash Pournouri against the estate of the late Swedish dance music icon — though the legal fight is not over just yet.

-In a fascinating dispute at the intersection of music, sports, video games and IP, the publishers of the University of Michigan’s iconic “Let’s Go Blue” marching band anthem are suing one of its co-writers after he allegedly torpedoed a lucrative deal for the song to appear in EA Sports College Football game.

-A lawsuit against Travis Scott, SZA and Future will move forward after a judge refused to dismiss Victory Boyd’s accusations that the trio copied her work with Ye (formerly Kanye West) for the hit 2023 song “Telekinesis.”

-PRS for Music, a British rights group, launched legal proceedings against video game giant Valve over music featured in video games that are distributed on the company’s Steam platform, including huge hits like FIFA, Grand Theft Auto and others: “Great video games rely on great soundtracks.”

Violet Grohl announced the release date for her debut studio album on Wednesday (March 11). The 11-track Be Sweet to Me will drop on May 29 through Auroura Records/Republic Records, marking the first full LP from the daughter of Foo Fighters leader Dave Grohl.

The news accompanied the release of Grohl’s third single, the grungy rocker “595,” which was accompanied by a retro film noir-ish video directed by Nikki Milan Houston. The announcement comes a week after Grohl, 19, made her official Billboard chart debut when her debut single, “THUM,” kicked things off at No. 38 on the Adult Alternative Airplay chart.

According to a release, the album was recorded from late 2024 into early 2025 at producer Justin Raisen’s Los Angeles home studio with a group of musicians assembled “in the spirit of the Wrecking Crew session players in the ’60s and ’70s,” whose work can be heard on classic recordings by the likes of Sonny & Cher, the Mamas and the Papas, Frank Sinatra and Harry Nilsson, among many others.

“There’s something so powerful about that period of music, from the messaging to the visuals, it’s authentic and raw,” Grohl said of the alternative music scene of the 1980s and ’90s that inspired the album’s sound, citing acts such as the Pixies, Soundgarden, Cocteau Twins, The Breeders, PJ Harvey, The Muffs, Björk, Alice in Chains, L7 and Juliana Hatfield, as inspirations she’s listened to her whole life.

The release added that the 11 songs were “conjured from the immediate present and tend to be impressionistic, colored by Grohl’s love of film” particularly the work of late auteur David Lynch, who was the inspiration behind the January single “What’s Heaven Without You”; that song, written in the aftermath of last year’s devastating Los Angeles wildfires, will be available along with the B-side “SwallowTail” as an exclusive Record Store Day 7″ single on April 18.

The tracklist for Be Sweet To Me is: “THUM,” “595,” “Bug in the Cake,” “Last Day I Loved You,” “Big Memory,” “Mobile Stars,” “Often Others,” “Applefish,” “Cool Buzz,” “Pool Of My Dream” and “Plastic Couch.”

Watch the “595” video below.

Have you ever noticed that music industry folks tend to change their occupation to “consultant” on their LinkedIn profile after getting laid off? For years, being a consultant meant you were trying to make a little money while you were between jobs. Today, however, people who were unlucky enough to lose their jobs are becoming full-time consultants rather than going back to corporate work.  

The music industry is witnessing an explosion of seasoned executives from major and indie record labels who are establishing their own boutique artist and label services firms. Most of them were laid off after spending many years learning how to market music, building important relationships and generally understanding how to create a smooth, organized process to maximize a music release’s potential. 

There’s plenty of demand for their services. Each year, more independent artists are dissatisfied with chasing traditional recording contracts and taking advantage of powerful yet affordable distribution tools. If you have an email list, some social media followers and a willingness to work hard, you can record and release your music on your own terms. You can own your masters and decide how they’re monetized. But it’s not easy to do well, and you’ll probably need some help. 

In January 2015, after nearly 25 years of working for major labels, I reached the end of my rope. The constant restructuring, mergers, politics and layoffs finally made me pause and reflect on what I really enjoy doing: Using technology and my experience to help artists grow and engage their audience. So, I stepped away from the major label ecosystem and started an artist and label services company with another longtime major label refugee, Jeff Moskow, at a time when few such companies existed.   

Most importantly, we’ve learned that good professional advice can be invaluable to independent artists. Artists can now get the experience and expertise of a major label without a long-term commitment or having to give up their masters. Many of these new artist and label services ventures offer proven experience in crucial areas like release strategy, social media, playlisting, PR, synch, YouTube, online advertising, short-form video and influencers.  

But artists beware: The market is becoming oversaturated with consultants, making it difficult to distinguish between true value-add partners and people who are less likely to further their careers. 

It’s important to do some due diligence. Here are a few tips: 

If you’re considering a consultant, you’ll need to look into the person’s history. Speak to artists they’ve worked with — this info can be found on their website, or you can ask the person directly. I always encourage potential clients to speak with the teams of my artist clients. An artist, or their manager, is always the best reference. Also, look up those artists’ streams on Spotify or YouTube. Go to their websites and see if they’re organized — if you see any broken hyperlinks or missing data, consider those red flags that suggest the artist’s team isn’t doing the basic blocking and tackling.  

Make sure the person isn’t exaggerating their credentials. A vp, for example, is going to have better relationships than a manager or director. Just because a person had contacts at a streaming platform while at a label, does that influence carry over when they’re independent? Also, get a sense of the person’s post-label experience working with artists. Sometimes a person’s client list will include artists they worked with at the record label. That’s misleading because working with an artist at a label is different from working with that same artist as an independent consultant. The artist had no choice but to work with people at the label. The moment you leave that company, the artist chooses to work with you — and that would say a lot about the artist’s trust in you.  

Ensure you’re working with people who understand your genre. For example, I won’t take on an urban/hip-hop artist. I don’t have the knowledge of the genre and will happily refer them to people better suited for the work. Every genre has different needs. Jazz artists I’ve worked with care about touring and awards. Pop and rock bands get the most momentum out of playlists. Hard rock bands sell a lot of merch. EDM artists prioritize playing festivals. A consultant needs to know how to navigate each genre’s needs.  

A consultant should have experience with the artist at their particular career level. Some consultants have experience with developing artists; some people are most experienced with superstars. When working for a big country artist, I got calls from top executives at streaming platforms. If that had been a developing artist, I’d have to work harder to get people to return my calls.  

To get a sense of the consultant’s relationships, interview them like you would interview a potential employee. Get a sense of their strengths and weaknesses. Ask them how they would handle your tour support. Ask how they can help you grow your business. Ask how they can increase your streams. How would they help you with short-form video? What tactics do they employ to help boost an artist’s social media accounts? Ask which data sources (such as Luminate and Viberate) they subscribe to that would provide insights into your career. Do they know how to navigate the artist data that’s available at music streaming platforms?  

If you need a consultant but don’t know where to find one, ask other artists for recommendations. You can also ask your digital distributor, which will likely have relationships across the industry. If you attend conferences, spend time making connections that can point you in the right direction. If you can’t afford to attend conferences, look at their schedules to see if any consultants appear on their panels. It shouldn’t be difficult to find their contact information online.  

Due diligence takes time, but it will pay off in the long run. Making a wrong decision comes with a real cost.  

Jay Gilbert consults for artists, labels and distributors. He is a former executive at Universal, Warner and Sony Music Groups. He publishes the weekly Your Morning Coffee newsletter and podcast.