Peter Asher has been at the intersection of pop culture for more than 50 years, most notably as half of ‘60s hitmaking British Invasion duo Peter and Gordon and then behind the scenes as producer and/or manager for such acts as James Taylor, Linda Ronstadt, Diana Ross and 10,000 Maniacs.

He’s “the legend behind music’s biggest legends,” as Asher is dubbed in the trailer, premiering below, for Peter Asher: Everywhere Man, a documentary directed and produced by Dayna Goldfine and Dan Geller, the team also behind the 2021 film Hallelujah: Leonard Cohen, a Journey, A Song.

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The entertaining movie, released by Greenwich Entertainment, opens theatrically in New York on June 19 and in Los Angeles on June 26.

“Peter’s talents as a brilliant producer and manager formed only part of his reputation. Over and over again we found that he is beloved for his integrity, loyalty and honesty,” Geller tells Billboard. “This meant that doors opened quickly whether they were to artists who seldom give interviews–such as James Taylor, Linda Ronstadt and Carole King–or to hallowed organizations like Apple Corps.” [Among the hats Asher wore included serving as head of A&R at the Beatles’ Apple Records label, where he signed Taylor].

The documentary is framed around Asher’s multi-media touring show, A Musical Memoir of the Sixties and Beyond!, captured at Bimbo’s in San Francisco, which tells the fabled story of his life and career, starting as a child actor in London. It follows through Asher’s career with Peter and Gordon, including a delightful portion spent on his friendship with Paul McCartney, who dated Asher’s sister Jane, lived with the Asher family for some time, and co-wrote Peter and Gordon’s breakthrough hit, “A World Without Love” with John Lennon. The show then moves into his equally fascinating post-Peter and Gordon life.  

The directors/producers supplement the San Francisco show with new and archival interviews with Taylor, Ronstadt, Steve Martin, Eric Idle, Lyle Lovett, McCartney, Twiggy, Carole King, Robin Williams, Waddy Wachtel and many more artists whose lives Asher has touched.

“As filmmakers who came of age listening to and revering the singers, songwriters and musicians who appear in Peter Asher: Everywhere Man, we thought we were relatively savvy about their narratives, but until this project we had no idea about the myriad ways in which Peter shaped and influenced not only their individual origin stories, music and careers, but also some of the now-accepted paradigms about the music industry in general,” Goldfine says.

Before the film debuts theatrically, the Rock & Roll Hall of Fame will screen the documentary at its Foster Theater on April 15 as part of the 50th anniversary of the Cleveland International Film Festival, to be followed by a post-screening discussion featuring, among others, Geller and Goldfine and moderated by Alan Light.

At the season three red carpet premiere of Euphoria at the TCL Chinese Theatre on Tuesday night (April 7), creator Sam Levinson dedicated the upcoming season of the show to “those who we lost,” including late stars Angus Cloud and Eric Dane and producer Kevin Turen.

“Some people ask why it took so long between seasons two and three,” he said, according to Deadline. “There were obvious factors — the strikes, trying to make a schedule work with our very in-demand cast, but the real time was in trying to figure out how to find a way to pay respect to those who we lost.”

Specifically, he mentioned Cloud, 25, who played the open-hearted drug dealer Fezco on the first two seasons of the show. Cloud died in 2023 from acute intoxication and Levinson said the loss hit him and the rest of the production really hard. “When Angus died, it was tough. I loved him deeply, and I fought hard to keep him clean,” said Levinson. “The year he died, in 2023, he was one of 73,000 people in America who died of a fentanyl overdose. I learned a whole lot that year, but what I realized more than anything is that death is what gives life meaning. You can’t be arrogant about existence. You’re forced to reckon with the fact that life itself is a wonder, a gift, a profound blessing.”

For that reason, Levinson said he wanted the upcoming season of the show — which debuts on HBO and Max on Sunday (April 12) — to be “the meaning beyond the absurdity.”

Veteran actor Dane, who played tormented Cal Jacobs, the father of Nate Jacobs (Jacob Elordi), was able to return for the third season before his death in February due to respiratory failure following a long battle with ALS. Speaking to Variety at the premiere, Levinson said when Dane showed up on set he noticed that the actor’s speech was “a little slurred … he was a bit self-conscious, and I said, ‘This works perfectly. We’re gonna put five beer bottles in front of you, and you’re about to say all of the s–t you would never say if you were sober.’ And we just had a blast shooting. We had 28 cast members on Saturday for the wedding. There’s all these people around, and he just showed up with such grace and dignity. He’s a consummate professional all the way through, and I miss him.”

As for star Zendaya‘s earlier suggestions that the upcoming season could be the final one for the often controversial series, Levinson said he writes “every season like it’s the last season,” and currently has “no plans” for a season four. “I want to finish this as strong as I can. I’m cutting [Episodes] 7 and 8 still,” he said. “I’m putting some finishing touches. I just want to deliver a f–king slam dunk season.”

After a four-year hiatus, the new season jumps ahead five years as Cassie (Sydney Sweeney) is now married to Elordi’s Nate and living in the suburbs, while Zendaya’s Rue is trying to pay off her debts to drug dealer Laurie (Martha Kelly). In addition, Jules (Hunter Schafer) is in art school and Maddy (Alexa Demie) is working at a Hollywood talent agency. Also returning are Maude Apatow (Lexi), Colman Domingo (Ali Muhammad), Chloe Cherry (Faye), Dominic Fike (Elliott) and Nika King (Leslie Bennett), along with new cast members Sharon Stone, Natasha Lyonne, Eli Roth, Rosalia and former NFL star-turned-actor Marshawn Lynch, among others.

Watch Levinson’s tribute here. Euphoria premieres on HBO at 9 p.m. ET/PT on April 12 and the season is set to wrap up on May 31.


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Today (April 8) Joan Sebastian, the Mexican music icon whose hits remain benchmarks not just for the genre but for Latin music in general, would have turned 75.

Born in 1951 in Juliantla, Guerrero, the “Poet of the People,” as he was also known, dedicated five decades of his life to music, blending his campirano-style love and heartbreak lyrics with Sinaloan banda, mariachi and even pop, leaving a remarkable legacy behind.

During his prolific career, Joan Sebastian — whose real name was José Manuel Figueroa — appeared 43 times on Billboard‘s Hot Latin Songs chart, with 11 songs reaching the top 10, including “Te Irá Mejor Sin Mí,” “Un Idiota” and “Más Allá del Sol.” On Top Latin Albums, he achieved 35 entries, 19 of which landed in the top 10, while three reached No. 1: En Vivo: Desde La Plaza El Progreso De Guadalajara (2001), Celebrando El 13 (2013) and Personalidad (2015) — the latter released shortly before his death on July 13, 2015, after a tough battle with cancer.

Over the years, artists from various musical genres have paid tribute to him in their performances and even recorded versions of his songs, each infusing their own style without altering the essence he brought to his work.

From the rock of Moderatto and the ska of Panteón Rococó to the regional Mexican sounds of Valentín Elizalde and Edén Muñoz, or the bolero stylings of Charlie Zaa — here are 10 of the best covers to celebrate the life and work of Joan Sebastian, presented in chronological order based on their original release.


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SYDNEY, Australia — Vinyl, merch, ticket stubs and wristbands. In a shrinking, digital world, where upwards of 100 million songs live in our pockets, Gen Z has a seemingly unbreakable bond with physical touchpoints, the keepsakes of a great show and their favorite band.

That’s one of the takeaways from “Love Song 2026,” one of Australia’s largest and longest-running studies on digital natives.

The report, published this month and conducted earlier in the year by Connect by Live Nation, the music sponsorship, creative, and experiential agency, “Love Song” surveyed 5,692 Australians, including 1,411 Gen Z respondents, for a glimpse at how young people engage with culture, navigate fandom, and prioritize live experiences.

Over half of those Gen Z participants were found to rely on curated spaces to navigate culture, from playlists to creators and events. Live music, of course, provides a rush and is seen as the social lubricant for today’s youth, with 89 percent attending concerts solo to find their tribe, and 92 percent agreeing that meeting new people in real life at gigs is a perfect match.

This good times keep rolling after the house lights have gone up. Nearly all Gen Z (96 percent) say pre- and post-event moments are just as important as the event itself, from artist-themed parties (73 percent) to fan meet-ups (74 percent) and exclusive VIP or behind-the-scenes moments.

Gen X’s collection of stubs from the 1990s might just be worth something. Aside from experiences, Gen Z loves an artifact, the new document reveals, from merchandise (81 percent) to ticket stubs and wristbands (87 percent), with fans preserving these in physical scrapbooks to spark memories at a later date.

While Gen Z, typically born 1997 to 2012, is connected like no generation before them, 76 percent are returning to vinyl, proof of which can be seen in annual reports from ARIA and IFPI. At the same time, some older technologies are getting dusted off, for a tangible connection. Think Polaroid cameras, iPods and other devices that many thought were done like the dinosaurs.

“Gen Z’s engagement with live experiences isn’t confined to a single moment – it’s an ongoing lifecycle,” said Kristy Rosser, senior vice president, head of media & sponsorship at Live Nation Australia and New Zealand.“Physical merchandise has never been more important, and participatory elements such as posters and autographs are making a strong comeback. They’re blending the best of past and present to shape their own culture.”

The study took place from Feb. 18-25, 2026. Read more at connectbylivenation.com.au.

MELBOURNE, Australia — It’s coming to the end of an era at Mushroom Group, the independent music powerhouse which is vacating from its Dundas Lane headquarters in South Melbourne for new premises in the center of town.

Later this year, Mushroom Group will move to Little Collins Street in Melbourne’s East End, a standalone warehouse style building that will house its staff and operations across international and domestic touring, record labels, talent management, event curation and production, music publishing, creative services, booking agencies, merchandising, brand and marketing services, film production and distribution, neighboring rights, and more.

With the relocation, the end of an era at 9 Dundas Lane in Albert Park, a former biscuit factor where countless deals were struck by the group’s late founder, Michael Gudinski, his son, the CEO Matt Gudinski, and Mushroom Group’s top brass.

“Dundas Lane has been our home for nearly fifty years. It’s a place that’s special to everyone at Mushroom and has been a hub for so many incredible artists and people who helped shape Australia’s music industry into what it is today,” comments Matt Gudinski in a statement, issued Wednesday, April 8.  “It took many years to identify the right building and location for the future of the company. This is a significant move, and we wanted a space that ticked all the right boxes.”

As Mushroom “continues to grow,” he continues, “moving our headquarters into the city places us right in the middle of Melbourne’s vibrant creative and cultural community, positioning us perfectly for the future.”

Mushroom Group celebrated its 50th anniversary in 2023 with a slew of releases including an all-star covers collection, Mushroom: 50 Years of Making Noise; and the theatrical release of Ego, The Michael Gudinski Story, a documentary on the executive whose death in 2021 was mourned by many of the superstars he worked with; and culminated with a concert at Rod Laver Arena led by Mushroom family acts. The business was founded in 1972 and its original headquarters were nearby in St Kilda, before relocating to Dundas Lane in 1980.

Jason Derulo will bring his Last Dance World Tour to Australia later in the year.

The R&B star will play arenas on both coasts, kicking off at Brisbane’s Entertainment Centre (Sept. 17), then moving to Sydney’s Qudos Bank Arena (Sept .19), Melbourne’s Rod Laver Arena (Sept. 21), and wrapping up at Perth’s RAC Arena (Sept. 23).

TEG Live is producing the Australian leg of Derulo’s tour, which has dates booked for Italy, the United Kingdom and Germany in the months ahead.

The tour dates “will showcase a dynamic retrospective of his biggest hits,” reads a statement from TEG Live, “delivering a high-energy production featuring spectacular choreography and stunning visual effects that bring the full rhythm of his catalogue to life.” Tickets will be available to the general public from Wednesday, April15 at 11:00am local time through Ticketek.

Derulo has runs on the board in Australia, where his releases “In My Head,” “Trumpets,” “Savage Love (Laxed – Siren Beat)” with Jawsh 685 (a recording that landed in the courts), and “Talk Dirty” featuring 2 Chainz all led the ARIA Singles Chart, while his first three solo albums cracked the national top 10.

Back in 2010, Derulo was a guest and performer at ARIA Awards, presented at the Sydney Opera House, and he has chalked up multiple ARIA nominations, including best international artist in 2014.

He went on to serve as a coach for the 12th season of Channel 7’s The Voice Australia, replacing Keith Urban.

Derulo is touring in support of his eight-track album, The Last Dance (Part 1), which dropped in January. The project features six new songs, including the single “Sexy For Me,” alongside two previously released fan favourites,

Jason Derulo Last Dance World Tour 2026:
Sept. 17 — Brisbane Entertainment Centre
Sept. 19 — Qudos Bank Arena, Sydney
Sept. 21 — Rod Laver Arena, Melbourne
Sept. 23 — RAC Arena, Perth

SYDNEY, Australia — Critically-lauded Australian indie rock outfit Body Type joins the roster of King Gizzard & The Lizard Wizard’s label p(doom) Records.

To celebrate the new arrangement, the post-punk four-piece today releases “And What Else?,” out through Poison City Records in Australia and New Zealand and via p(doom) Records for the United States, United Kingdom and European Union.

“The big chorus is a cathartic cry out against feeling insecure in a relationship,” says vocalist and guitarist Sophie McComish of the new song, “those mental twists your brain makes when statements of adoration make you feel sceptical and unworthy, but simultaneously hungry for more of that sweet stuff.”

Hailing from Sydney, and formed in 2016, Body Type is comprised of McComish, Annabel Blackman (vocals and guitar), Cecil Coleman (drums) and Georgia Wilkinson-Derums (vocals and bass). They’ve been shortlisted for AIR Awards and the Australian Music Prize; shared stages with the likes of Sleater-Kinney, Warpaint, The Pixies, Wolf Alice and Fontaines D.C.; and performed at Roskilde, Rock Werchter, SXSW, The Great Escape and more.

Following a brief hiatus during which they pursued their own projects, the bandmates reassembled in 2024. “And What Else?” is their first release of 2026.

At p(doom), Body Type’s labelmates include Babe Rainbow, the Murlochs and, of course, King Gizz, which announced the label in 2024. “Very very stoked to have Body Type repping for p(doom),” comments Stu Mackenzie of King Gizzard and p(doom) in a statement to Billboard. “You’re gonna love this track.”

The record label was started by the members of King Gizzard & The Lizard Wizard to “put out their own records and their friends too,” reads a message on its website. “If you all keep listening to ’em, we’ll keep making ’em.”

Body Type will support the new release with shows next week at the Sydney Biennale (White Bay Power Station on April 17) and a few show at Melbourne’s Punters Club (April 18).

SYDNEY, Australia — APRA AMCOS CEO Dean Ormston will have a hand in shaping Australia’s new National Cultural Policy.

The Sydney-based executive will provide expert advice and industry perspectives as a member of the nine-strong Policy Advisory Group, formed by the federal government. Ormston is joined by Brenna Hobson, director of programming, Sydney Opera House; Adrian Collette, chief executive officer, Creative Australia; Wesley Enoch, chair, Australia Council board of Creative Australia; and others.

“Australia has an extraordinary cultural story to tell, and enormous potential still to realize, particularly as a music nation,” comments Ormston in a statement. “I look forward to working with the government and my fellow panel members from across the cultural ecosystem to help shape the next national cultural policy that truly unlocks that potential for songwriters, composers and creators, and for generations to come.”

Also, five expert panels have been established under each of our continuing pillars: First Nations First, Centrality of the Artist, A Place for Every Story, Strong Cultural Infrastructure, and Engaging the Audience.

Those panels will inform the minister for the arts and the Policy Advisory Group on key issues and themes raised through the public consultation process.

“Each member brings a wealth of knowledge and experience that will help lay the foundation where for the first time there will have been consecutive national cultural policies,” comments minister for the arts, Tony Burke, in a statement issued Wednesday, April 8. “Welcome to the new members, thank you for playing a role in delivering the next National Cultural Policy for all Australians.”

Australia’s prime minister Anthony Albanese presented the National Cultural Policy, Revive, in January 2023, a five-year action plan that spelled out strategic and policy investment, and included the creation of Music Australia, an organization that supports and invests in the development of Australian contemporary music.

“Our next National Cultural Policy must reflect the diversity and aspirations of the cultural sector itself,” remarks special envoy for the arts, Susan Templeman. “These panels bring together an extraordinary group of Australians who have distinguished themselves in their service to our cultural life. Their involvement and their insight will ensure that the voice of the sector rings clearly through the policy we introduce.”

Ormston is a busy man. Last May, he was elected as chair of CISAC, the international trade organization for copyright collecting societies. With that appointment, Ormston is only the second Australian to hold the title in CISAC’s 99-year history, with his APRA AMCOS predecessor Brett Cottle having previously served in the role from 2006 until 2010.

APRA AMCOS is celebrating its century with a year-long slate of activities and projects. Last month, the Australasian PRO hosted the board of directors of CISAC, which represents 228 societies across 111 countries, for what marked the first such assembly in Sydney for 25 years.

National Cultural Policy: Expert Panels

First Nations First

  • Mr Darren Dale – Producer and Managing Director, Blackfella Films
  • Mr Chad Creighton – Chief Executive Officer, Aboriginal Art Centre Hub of WA (AACHWA)
  • Ms Ping Flynn – Executive Director and Co-Chief Executive Officer, Ilbijerri Theatre Company

A Place for Every Story

  • Ms Tracey Corbin-Matchett OAM – Chief Executive Officer, Bus Stop films
  • Mr Bruce Gladwin – Artistic Director and Co-Chief Executive Officer, Back to Back Theatre
  • Ms Courtney Stewart – Artistic Director, La Boite Theatre

Centrality of the Artist

  • Ms Holly Greenwood – Visual Artist
  • Mr Rob Sitch – Chief Executive Officer, Working Dog Productions
  • Dr Sophie Payten BMed MD, MPH (AKA Gordi) – Musician, Gordi Music

Strong Cultural Infrastructure

  • Mr Bruce Meagher – Chair, Griffin Theatre Company. Head of Public Affairs, Tattarang Pty Limited
  • Ms Claire Spencer AM – Executive Director, Australian Ballet
  • Mr S. Shakthidharan – Director and Co-Founder, Kurinji

Engaging the Audience

  • Ms Astrid Jorgensen OAM – Founder and director, Pub Choir
  • Mr Jeff Khan – Creative Director Asia TOPA, Arts Centre Melbourne 
  • Mr John Foreman AM – Musical Director, Pianist and Composer

National Cultural Policy: Advisory Group:

  • Ms Rosheen Garnon – Deputy Chair, Australia Council Board of Creative Australia
  • Dr Nell Greenwood – Chief Executive Officer, Australian Film Television and Radio School (AFTRS)
  • Mr Adrian Collette AM – Chief Executive Officer, Creative Australia
  • Mr Dean Ormston – Chief Executive Officer, Australasian Performing Right Association (APRA), Australasian Mechanical Copyright Owners Society (AMCOS)
  • Professor Sarah Holland-Batt FAHA FQA- Head of Creative Writing, University of Technology Sydney
  • Ms Brenna Hobson – Director of Programming, Sydney Opera House
  • Ms Deirdre Brennan – Chief Executive Officer, Screen Australia
  • Mr Simon Abrahams – Creative Director and Chief Executive Officer, Melbourne Fringe
  • Professor Wesley Enoch AM – Chair, Australia Council Board of Creative Australia

Courtney Barnett’s Creature of Habit tour is growing new limbs.

The award-winning singer and songwriter adds an Australia leg to her 2026 world tour, an east coast run that includes dates in Brisbane (​The Tivoli, Nov. 4), Sydney (Opera House, Nov. 6) and Melbourne (Palais Theatre, Nov. 7).

Produced by Frontier Touring, Barnett’s homecoming tour is her first in four years, and follows an extensive jaunt on both sides of the Atlantic.

“Courtney Barnett is a truly singular artist,” comments Sydney Opera House head of contemporary Music, Ben Marshall, “a songwriter whose wry, observant voice and magnetic stage presence have cemented her as one of Australia’s most distinctive artists of her generation. To welcome her back to the Concert Hall with such a poignant new body of work promises a performance that is both expansive and intimate – one that draws you in and holds you there.”

Before heading home, Barnett will work the crowds in the United Kingdom, Continental Europe and across North America, a stretch that expands with her first solo concert in Hawaii (June 12 at Blue Note in Honolulu) and a third San Francisco show (Aug. 28 at The Fillmore).

The acclaimed songwriter is supporting her fourth studio album, Creature of Habit, written after her relocation from Melbourne to Los Angeles and the closure of her long-running, award-winning indie label Milk! Records. Creature of Habit is the result of Barnett reaching that junction, processing it, and shaping music from all the confusion.

In her homeland, Barnett has collected six ARIA Awards, multiple AIR Awards, the J Award for best Australian album and collected the 11th annual Australian Music Prize (AMP) in 2016 for her debut album, Sometimes I Sit and Think, and Sometimes I Just Sit, which crashed the top 20 in the United States and United Kingdom, and went to No. 4 in her homeland. That breakthrough earned Barnett a Grammy Award nomination for best new artist.

Her followup, Tell Me How You Really Feel from 2018, peaked at No. 2 in Australia, No. 9 in the U.K., and No. 30 in the U.S., and her third solo effort, Things Take Time, Take Time, cracked Australia’s top 10, and impacted the Official U.K. Albums Chart and the Billboard 200.

Courtney Barnett’s “Creatures of Habit” Australian Tour 2026:

Nov. 4 — ​The Tivoli, Brisbane

Nov. 6 — Sydney Opera House Concert Hall 

Nov. 7 — Palais Theatre, Melbourne

They were born to express themselves. And over the course of a yearslong feud with one another, Lady Gaga and Madonna did exactly that.

In 2011, a disagreement between two of pop’s biggest stars began when Gaga released her LGBTQ+ anthem “Born This Way.” Madonna fans were quick to point out the track’s melodic and lyrical similarities to Madonna’s 1989 classic “Express Yourself.” It didn’t take long for Madge herself to join in on the conversation, with the Queen of Pop going on public record the next year and calling “Born This Way” “reductive.”

And thus, years of public rivalry between the two was ignited.

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But everything is not what it seems — not even clear and publicly made digs lobbed at one another. In the years following the OG disagreement, Lady Gaga and Madonna have gone on to both throw a few verbal punches at one another and extend olive branches to their rival. Like most petty disagreements —especially ones clearly stoked by the drama-driven celebrity gossip machine — the feud between the two artists eventually calmed down. Seven years after it began, the drama was officially declared dead when the stars posed for a pic together at Madonna’s exclusive Oscars afterparty in 2018.

Now, 15 years after the initial dispute, Lady Gaga and Madonna are rumored to be collaborating on a new song for the Devil Wears Prada 2 soundtrack. While we don’t know the truth yet, we do know that Gaga (with Doechii) is featured on the soundtrack with the original song “Runway” and Madonna’s 1990 smash “Vogue” appeared in the original movie and has soundtracked much of the sequel’s pre-release promo.

As we impatiently await to see if a collaboration is real or just another rumor added to all the gossip surrounding these two pop legends, Billboard is taking a looking back at the timeline of Lady Gaga and Madonna’s relationship.