Former Maverick City Music member Chandler Moore has been given the all-clear signal from a federal judge to release independent solo music amid a bitter legal feud with the Grammy-winning worship collective over royalties and contract obligations.
A Thursday (Feb. 5) court ruling rejects Maverick City’s request for an immediate injunction that would have scuttled Moore’s plan to release his first solo single, “God I’m Just Grateful,” on Friday (Feb. 6). Maverick City had argued that Moore is still locked into an exclusive recording deal with its in-house label, TRIBL Records.
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But Judge Sarah E. Geraghty said that it’s not yet clear whether Moore fulfilled his 10-song commitment to TRIBL, since he recorded 11 songs in 2024 but only eight were ultimately included on the album Chandler Moore: Live in Los Angeles. A litigant must show that they’re more likely than not to succeed on the merits in order to win an injunction — and the judge thinks there’s still too much uncertainty for Maverick City to meet that threshold.
“I find that TRIBL has not shown at this early stage that the imminent release of ‘God I’m Just Grateful’ would breach the contract,” said Judge Geraghty during a Thursday hearing held via Zoom, adding, “I simply don’t think that the case is quite as simple as TRIBL would make it.”
The judge noted that the decision is subject to change as the case moves along, and the final outcome might “certainly swing the other way going forward depending on what the evidence shows.” In the meantime, she urged the two sides to talk to each other and consider settling the matter amicably.
In a statement to Billboard following the ruling, Moore’s lawyer Chad Elder said the singer “is grateful for the court’s ruling, which denied the defendants’ efforts to prevent him from doing what he loves, providing for his family, and inspiring others.”
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“Chandler’s music is more than an artistic expression; it’s a message of hope and inspiration to millions of people who draw faith and strength from his lyrics,” added Elder.
Maverick City’s attorneys did not immediately return a request for comment on Thursday.
Moore left Maverick City in October and launched a civil fraud lawsuit accusing the group’s chief executive of stealing his composition royalties. Maverick City vehemently denied the claims and countersued Moore, alleging the singer failed to fulfill his contract before his abrupt departure.
The litigation has aired out some intense allegations on both sides. For his part, Moore claims Maverick City’s CEO Norman Gyamfi abused his position of power to siphon off millions of dollars in royalties, including by allegedly forging Moore’s signature on a publishing agreement.
Moore claimed in court papers that the loss of royalties has “severely limited my ability to provide a stable income for myself and my family.” The singer says he’s had to unenroll his two youngest children from school, take out loans and seek staff positions at churches to provide for his family of six.
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Maverick City, meanwhile, claims Moore reneged on his songwriting and recording obligations after receiving hundreds of thousands of dollars in advances. The group also alleges Moore violated his contract’s morality clause: “Maverick City was repeatedly informed Moore had affairs or engaged in extramarital sexual acts and Maverick City suffered reputational damages as a result,” the group claimed in a countersuit.
This is not Maverick City’s only legal battle at the moment: Co-founder Tony Brown recently brought racketeering claims alleging he was strong-armed into signing an unfavorable buy-out deal. Maverick City denies that and has countersued Brown for launching a different worship choir called God Aura, an alleged violation of his non-compete obligations.
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.pngYveto2026-02-05 22:34:312026-02-05 22:34:31Chandler Moore Gets Judge’s Permission to Drop First Solo Single After Leaving Maverick City Music
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I’ve had a long history with the Resident Evil franchise that began back in 2019 with the launch of the two remakes.
While I am not as seasoned as some RE vets, my love for the franchise runs deep. The second I picked up my Joy-Cons (yes, I played it on the Nintendo Switch), I was transported into a world where survival was the only option. Dark and rainy streets of Racoon City greeted me as I piloted a well-meaning and naive Leon S. Kennedy to the Raccoon City Police Department in search of answers.
Why had the city become virtually overrun with zombies? Who was Claire Redfield and why was she looking for her brother, Chris? Would I even survive the night? My heart pounded and my hands sweat as I carefully combed through the RPD, now reupped in crisp graphic stylings, battling off hoards of fleshy, meandering undead and drooling Lickers, not to mention Mr. X. What I found along my journey was a story that ran deep, entangled in a twisted web that led me back to, as it always does, the Umbrella Corporation.
The ninth game in the Resident Evil franchise. This game is for the Nintendo Switch 2.
The two remakes sparked my love for the franchise, and other survival horror titles like it, and I always longed to return back to the streets of Racoon City, no matter how disturbed my experience was. The fabricated city and the rookie cop held a special place in my heart that I couldn’t rid myself of, even when playing the other titles in the RE universe. Fast forward to 2026 and my prayers for a return to Racoon were answered with Resident Evil Requiem, the latest title in the haunting series.
The game is set to launch on the Nintendo Switch 2 on Feb 27. and is available for preorder now for $69.99 at GameStop and Best Buy. If you don’t already have a Nintendo Switch 2, you can purchase the handheld console now at Walmart, Best Buy, Staples and the Nintendo store. The stunning graphical quality of the new game is thanks to NVIDIA DLSS tech. This upscaling is made to achieve 4K resolution in docked mode, rather than rendering at native 4K. This is a vast improvement, considering that 3rd-party titles like RE2 ran with help from a stable internet connection, which, in my case, would go in and out, lowering the quality and performance.
In Requiem, otherwise known as Resident Evil 9, you’ll be able to play two tracks, a common mechanic in the RE franchise. You’ll pick from two characters, Grace Ashcroft, daughter of Alyssa Ashcroft for any Resident Evil Outbreak fans, and Leon S. Kennedy, the fan-favorite rookie cop turned DSO agent who shed his naivety years after his stint in Raccoon City.
This is an upgraded version of the original Nintendo Switch. Some versions of the console come with Mario Kart World.
I got the amazing opportunity to play the demo ahead of the game’s release, specifically Grace Ashcroft’s story, and was blown away by how smooth the game ran, especially for how large the game is, with its high-fidelity visuals, semi open-world environments and complex assets. The game is extremely frightening, placing you in tense quarters with little to defend yourself, at least at first. I was tasked with piloting Grace through ornate but pitch-black halls, looking for the usual suspects, a fuse and a key.
What followed was a heart-pounding, pants-soiling chase sequence as Grace is pursued relentlessly by a massive, roughly 10-foot-tall pale-haired blind stalker monster that takes me back to my days dodging Mr. X or the malformed fetus monster from RE8. You’re tasked with grabbing a screwdriver, set high on a shelf, while you duck and weave under furniture as this creature shambles behind, making her escape from any light source through holes in the ceiling (ew). The pace of Grace’s playthrough is slow and intense. She’s clumsy and stuttering, which makes sense for an investigative journalist unequipped to face off against creatures of that magnitude. Later on in Grace’s playthrough, she’ll be given a gun with limited ammo that packs a punch in a pinch.
Kennedy’s story is less of a survival horror romp and more of an action-packed thrillride, as you’d expect from a highly-trained agent. The beloved character pulls off some major melee attacks, crushing skulls and even wielding a chainsaw at one point. The combat is punchy and stylish, similar to how Kennedy’s combat felt in the RE4 remake. While I haven’t gotten my hands on his playthrough yet, I am stoked to try it out for myself. It’ll be amazing returning to Racoon City with Kennedy and now Grace to enter the survival horror experience once more.
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.pngYveto2026-02-05 22:34:302026-02-05 22:34:30Preview: ‘Resident Evil Requiem’ Marks a New Era for Survival Horror
Bad Bunny won three Grammys on Sunday (Feb. 1), just one week before he headlines the Super Bowl LX halftime show at Levi’s Stadium in Santa Clara, Calif.
This brings to 22 the number of Super Bowl halftime performers who have won Grammys that same year. The fairly high degree of overlap isn’t surprising, really. When you’re hot, you’re hot, as Jerry Reed put it in a 1971 hit. The producers of the halftime show are looking to book the hottest show they can. And being hot never hurt your chances of winning a Grammy (though the Recording Academy asks its voting members to focus strictly on artistic merit).
Bad Bunny’s three Grammys included album of the year for best música urbana album for Debí Tirar Más Fotos. Several previous halftime performers also won in Big Four categories on Music’s Biggest Night in years they played what has become the world’s biggest stage. Tony Bennett was on the halftime show in 1995, one month before he won album of the year for MTV Unplugged. Christina Aguilera was on the halftime show in 2000, three weeks before she won a Grammy as best new artist.
U2 headlined the halftime show in 2002, a few weeks before they won record of the year for “Walk On.” Bruno Mars and Mark Ronson were featured during Coldplay’s halftime show in 2016, just a week before they won record of the year for “Uptown Funk!” And Anderson .Paak was featured during the all-star hip-hop Super Bowl halftime show in 2022, about two months before he and Mars won record of the year at the pandemic-delayed Grammys for their Silk Sonic collab, “Leave the Door Open.”
Here are all the performers who won Grammys and performed at the Super Bowl halftime show in the same year.
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.pngYveto2026-02-05 22:25:422026-02-05 22:25:42Artists Who Won Grammys & Performed at the Super Bowl Halftime Show in the Same Year: Full List
After five years and $41 million, Bay Area-based independent promoter Another Planet Entertainment (APE) is ready to reopen San Francisco’s historic Castro Theatre this Friday (Feb. 6). The more than 100 year-old building is set to become a marquee concert venue for the promoter, which already operates some of Northern California’s most beloved independent venues, including The Bill Graham Civic Auditorium and The Independent, both in San Francisco, along with Oakland’s Fox Theater.
The restored venue will reopen with a community benefit screening of beloved cult classic The Adventures of Priscilla, Queen of the Desert on 35 millimeter film. The upcoming lineup is filled with LGBTQIA representation, including drag shows, queer films and music artists in the queer community, including a 20-night residency from pop star Sam Smith that runs from Feb. 10 to March 14.
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APE CEO Greg Perloff and the company’s president of concerts and festivals, Allen Scott, had been working on the programming for years, says Mary Conde, APE’s senior vp of production and general manager of The Bill Graham Civic Auditorium. She adds, “There was always [the idea that] this opening has got to be spectacular. We have to land on the world stage in a very significant way.”
APE worked with Smith for many years, including their several appearances at the promoter’s marquee festival, Outside Lands. Now, they’ve landed at APE’s Castro Theatre, making it one of just two stops selected for their To Be Free residencies after New York, where he played Brooklyn’s Warsaw Club.
“Sam was so lovely and so interested in the space,” says Conde. “They really wanted to know more about the history and the architecture and the legacy of the building that just made all of this even more incredible than the fact that you’ve got 20 shows with one of the most significant artists of our time.”
Josh Withers/Courtesy Another Planet Entertainment
APE was in the market for a 1,400-capacity venue to complement its Bay Area roster, and the Nassar family, which has owned and operated the single-screen movie house for more than 100 years, was ready for a change in the midst of an increasingly difficult film exhibition business. The Nassar family will now serve as landlords of The Castro Theatre, as APE has agreed to restore the aging building to its former glory.
Restoring a Timothy Pflueger building to its original shine hasn’t been easy or cheap for the promoter. The restoration has included the revitalization of the ceiling’s stunning original artwork, along with the sgraffito murals and a long hidden historic proscenium, all masterfully restored by Evergreene Architectural Arts. Detailed artwork throughout the building was buried under two inches of sticky nicotine residue that needed to be dissolved, while ornate plaster fixtures built into the walls were touched up and redecorated with gold leaf.
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Lighting fixtures were rescued by lighting manufacturer Phoenix Day, including a chandelier originally installed in 1937 after the original one was destroyed by a fire. “When we took it down, we found the company that built it in 1937, and the great nephew of the person who built it in 1937 is the one who did the restoration on it,” says Conde. “I love that family connection back to the craftsmen who made this place come alive.”
APE also restored the exterior of the building by remodeling the roof of the marquee and bringing the blade sign back to life in full neon.
In addition to extensive restoration, APE also brought much of the venue up to date. All of the original electrical and plumbing systems were replaced, allowing APE to install an HVAC system (its first) and add restrooms. For the first time, The Castro will feature a fully ADA-accessible orchestra, stage and dressing rooms.
Josh Withers/Courtesy Another Planet Entertainment
“This was a building that really needed an intervention. It had gone through 100 years of not a ton of maintenance work,” Conde tells Billboard.
Despite the steep cost of renovations, The Castro was the best choice for APE, explains Conde. When venues were shuttered in the early days of the COVID-19 pandemic, APE’s Perloff continued to pay the staff and told them to take the time to follow through on projects they were normally too busy for. For Conde, that meant securing a 1,400-seat venue in San Francisco.
After looking at real estate all over town, Conde heard the Nassar family was looking to change its business model at The Castro. Given its location in a well-known nightlife area and deep history, that meant not having to establish a reputation from the ground up.
“When we started working with [the Nassar family], our architect and our team of preservationists, it became apparent to us it was a feasible model,” says Conde. Not only does it have the mid-level capacity APE was looking for, but it will now feature “trundle-style” tiered seating that can be tucked away and pulled out for various seating configurations. “We’re really hoping that the infusion of people and that direct and indirect economic boost will help bring more retail, more nightlife, more restaurants,” he continues. “We really want a thriving neighborhood, and I think that that will come up around our theater.”
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.pngYveto2026-02-05 22:15:342026-02-05 22:15:34After $41 Million in Renovations, San Francisco’s Castro Theatre Is Ready for a Sam Smith Residency
Kid Rock is invoking the words of the late Kobe Bryant as he heads into Super Bowl Sunday, aka the day he’ll headline Turning Point USA’s polarizing “halftime show” offering in protest of Bad Bunny’s Super Bowl Halftime Show.
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In a Thursday (Feb. 5) post on X, Kid Rock shared a quote labeled “Mamba Mentality” and attributed to the basketball legend about taking criticism in stride. “Learn to love the hate,” it reads. Embrace it. Enjoy it. You earned it.”
“Everyone is entitled to their own opinion and everyone should have one about you,” it continues. “Haters are a good problem to have. Nobody hates the good ones. They hate the great ones.”
The hip-hop and country artist was announced as part of Turning Point’s “All-American Halftime Show” lineup on Feb. 2, along with Lee Brice, Brantley Gilbert and Gabby Barrett. The ultra conservative organization previously shared plans in October to host the event at the same time as Bad Bunny’s actual Super Bowl Halftime Show on Sunday (Feb. 8) in protest of a Spanish-speaking artist headlining the coveted gig.
At the time, Turning Point promised that the alternative show would feature “anything in English” by way of musical acts and celebrate “faith, family and freedom.”
As evidenced by the Charlie Kirk-founded institution’s counter-programming, the September announcement that Benito would perform at the Super Bowl was controversial. At the time, many outraged conservatives labeled him as being “anti-ICE,” even though the Puerto Rican rapper hadn’t yet shared a stance on the immigration enforcement agency beyond saying he passed up U.S. tour dates out of concern that “ICE could be outside” his shows to target his Latino audience.
One week before the Super Bowl, however, Bad Bunny won best música urbana album at the 2026 Grammys for Debí Tirar Más Fotos — and while he was on stage making his acceptance speech, he made his feelings very clear.
“Before I say thanks to God, I’m gonna say ICE out!” he said at the Feb. 1 award show. “We’re not savages, we’re not animals, we are not aliens. We are humans, and we are Americans … The hate gets more powerful with more hate. The only thing that is more powerful than hate is love.”
Kid Rock, however, is a longtime supporter of President Donald Trump and has advocated for ICE’s mission of mass deportations. In a response to reports in May 2025 that the musician’s Big Ass Honky Tonk Rock N’ Roll Steakhouse in Nashville had been targeted by ICE raids, Kid Rock wrote on X, “I 100% support getting illegal criminals out of our country no matter where they are.”
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.pngYveto2026-02-05 22:10:362026-02-05 22:10:36Kid Rock Shares Kobe Bryant Quote About Loving the ‘Haters’ Amid Turning Point Halftime Show Backlash
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The Winter Olympics don’t officially start until Friday (Aug. 6), but a few events have already started with preliminary, qualifying and group play rounds. One of the sports that starts ahead of the Games is ice hockey.
Ice Hockey takes place at the Milano Santagiulia Ice Hockey Arena in PalaItalia and Milano Rho Ice Hockey Arena in Milan, Italy. Check out a complete schedule of the event here.
Watch the 2026 Winter Olympics in Milano Cortina, At a Glance:
When Does Winter Olympics: Ice Hockey Events Start?
Women’s ice hockey starts on Thursday, Feb. 5 with the preliminary rounds and group play, while men’s ice hockey begins on Wednesday, Feb. 11 on Peacock. Meanwhile, NBC’s Primetime in Milan coverage, highlights and replays daily during The Games has a start time of 8 p.m. ET/PT.
Men’s and women’s ice hockey are available to watch live and stream on demand. The events broadcast across NBC, USA Network and CNBC, as well as streaming on Peacock.
Can you stream ice hockey on Peacock? Yes, Peacock goes for $10.99 per month for the Premium plan and $16.99 per month for the Premium Plus plan, both plans include coverage of all Olympic sports.
Outside of the Winter Olympics, Peacock comes with its own collection of original TV shows and movies, as well as programs from NBC, CNBC, USA Network, Bravo and others. TV Shows you can look forward to watching includes Poker Face, The Traitors, Couple to Throuple, The Best Man: The Final Chapters, Bel-Air, Love Island, Love Island Games, One of Us Is Lying, Dr. Death, Yellowstone, Suits, The Office, Modern Family and Parks & Recreation.
The streaming service is also the home to exclusive music programming, such as Girl You Know It’s True, Toby Keith: American Icon, When Metal Ruled the World, America’s Got Talent and others.
Where to Watch the Winter Olympic: Ice Hockey Online for Free
If you’re a cord-cutter, then there are a number of ways to watch ice hockey without cable — especially if you want to watch for free. DirecTV has afive-day free trial, while Hulu + Live TV offers a free trial too. This is a good way to watch NBC, USA Network and CNBC without spending money up front.
Keep reading for more details on how to watch Winter Olympics: Ice Hockey on NBC, USA Network and CNBC with DirecTV and Hulu + Live TV and others.
You can watch NBC, USA Network and CNBC on DirecTV. New users are eligible for a five-day free trial through DirecTV when you sign up for one of its packages. The streamer’s “MySports” streaming package goes for $69.99 per month.
Sling TV offers the Blue + News Extra package, which goes for $60.99 per month and comes with NBC, USA Network, CNBC, MS NOW, Bravo and others. Blue is one of the most affordable options and comes with more than 40 channels and can be streamed on up to three devices at a time. Please note: Pricing and channel availability varies from market-to-market.
The networks NBC, USA Network and CNBC are available to watch with Hulu + Live TV too. Prices for the cable alternative start at $89.99 per month, while each plan comes with Hulu, Disney+ and ESPN Unlimited at no additional cost.
Hulu + Live TV might be best for those who want all of these streaming services together in one package. It features many other networks, like CBS, ABC, FOX, BET, CMT, Disney Channel, ESPN, Hallmark Channel and more.
More Ways to Watch
Viewers who want to stream the Winter Olympics internationally can use ExpressVPN, NordVPN and PureVPN to access several streaming platforms.
Winter Olympics: Ice Hockey broadcasts on NBC, USA Network and CNBC starting on Thursday, Feb. 5. Peacock and DirecTV are the best ways to watch events.
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.pngYveto2026-02-05 21:36:212026-02-05 21:36:21How to Watch Team USA Ice Hockey During the 2026 Winter Olympics in Milan Live Online for Free
Super Bowl LX will stream live on NBC, Telemundo and Peacock on Sunday (Feb. 8), and it’s shaping up to be one of the most-watched events of the year. While the main event is, of course, the football game itself, the Super Bowl halftime show has become a highlight of the night for many viewers.
This year’s performer, Bad Bunny, has been tapped by title sponsor Apple Music to take the stage, and it marks a historic moment for the halftime show. Bad Bunny is the first Latino artist to headline the Super Bowl, and he will perform the majority of the show in Spanish — something that’s become the subject of controversy among some conservative viewers.
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Executive Bozoma Saint John knows what it’s like to be inside the process of halftime show planning and all the intricacies that go into the big performance. While she served as head of music and entertainment marketing at the then-halftime title sponsor Pepsi, she played a pivotal role in booking Beyoncé‘s landmark 2013 performance in New Orleans, where the star performed both the national anthem and the halftime show. “I think people take very much for granted that there hadn’t been a black woman performing on that stage since Janet Jackson, and that had been ten years,” she explains.
The halftime show has evolved a lot since then. When Beyoncé took the stage in 2013, the coveted slot was largely given to older superstars like Bruce Springsteen, Paul McCartney and Madonna. However, the 2010s marked a time of change for the halftime show, making it a more pop-forward and current selection of acts. The following year, Saint John’s team picked Bruno Mars, which she counts as another highlight of her Pepsi tenure.
In the show’s current iteration, it has evolved once again, thanks to the involvement of Roc Nation, starting in 2019, and Apple Music as the title sponsor. Now, it’s much more common to see acts from hip-hop, R&B and Latin on the big stage. With Usher, Dr. Dre, Mary J. Blige, Kendrick Lamar and Bad Bunny selected in recent years, the halftime show now serves as a way to reach out to new, global audiences, helping expand the game’s reach beyond traditional football fans.
On the latest episode of Billboard’s On the Record podcast, Saint John explains what it means to be a title sponsor for the halftime show, how music plays a role as “cultural ambassador” at the big game and why Beyoncé’s turn on the stage will go down in Super Bowl history.
Let’s talk about how you booked Beyoncé back in 2013 while you were at Pepsi. How does one book a star of that caliber?
When [Pepsi] was doing the deal with the NFL, one of the things that impressed me was that the NFL was open to our suggestion on who the halftime performer should be. I think what people don’t realize is that this is a 360 deal. It’s not just that they are the artist who is performing on the Super Bowl halftime show, they’re also in your commercials. They’re promoting whatever product it is you have. They’re doing the off-the-field entertainment. They’re doing meet-and-greets. It’s a huge, huge commitment…on top of the fact that [Pepsi was] also going to put the artist’s face on a billion cans that year.
There’s a lot to coordinate there. Obviously, I can’t take all the credit because there were hundreds of people working on this campaign, but I think my understanding of pop culture and the relationship I already built with Beyoncé and her mom and her team [from years ago when she booked Beyoncé for a commercial] was helpful.
You mentioned the laundry list of things that a halftime performer has to do as part of the contract. I want to know more about that. What are some of the negotiations the performer goes through that viewers might not expect?
I think every negotiation is a little bit of a push and pull, right? It’s like, what do you want? What do I want? So, a lot of times, what artists will also do is make sure that a project they are trying to push is coming out around the same time, because this is such a [marketing] engine.
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The thing is, the halftime show performance is about 13 minutes long. And while you’re on stage, yes, of course, people are watching, etc., but you gotta depend on that marketing engine of the brand to push whatever else it is that you want. And so the negotiation ahead of time is both about what the brand is looking for, because they gotta get their money’s worth out of, you know, having you as a spokesperson. And then on top of it, the artist needs to also have what they need coming out of the event.
Something that a lot of viewers also don’t know is that you don’t get a typical payment to perform at the Super Bowl. Usually, the pay is just minimum union scale. What they do pay for, though, is a lot of the production costs, somewhere between 10 and 20 million. In recent years, acts like The Weeknd have reportedly pitched in money from their own pocket on top of that. Why do you think that is? Have production costs gone up, or are artists just trying to one-up each other?
You have to consider that this is probably one of the largest broadcast stages that exists, even globally, because now we also have the opportunity of social media, so the performance is going to be cut and shared everywhere. And so what you’re thinking is that you have the largest broadcast stage, the opportunity to reach millions and millions and millions of people around the world. You want it to be your best effort. So this is really, like, it’s a Super Bowl for the teams, but it is the Super Bowl for you, too.
Do you feel that the bump in sales and streams that an artist receives after the game makes up for the lack of monetary compensation?
From a marketing standpoint, what you think about this is a long tail. So, yes, you are going to have the immediate boost of record streaming, or somebody purchases a thing that you’re trying to sell, but it is the long tail influence of your performance and your presence on that stage that actually pays out the dividends. Think about all of the deals you can do afterwards, and the way that people will think of you will increase your prominence. That’s really what the benefit is of doing the performance and making sure it is literally the best performance of your life.
What does it take to become the halftime show title sponsor, like Apple Music or Pepsi?
First of all, these are long-term deals. It’s not like you get the sponsorship and you’re in it for one year. When we did it at Pepsi, it was a 10-year deal with options to renew. And, you know, sometimes after 10 years, a lot of leadership has changed, maybe the product has changed, and therefore people don’t see the value in continuing the relationship, which is what happened in the case of Pepsi. I was no longer there. I would have fought like hell to keep it! But, you know, people make different decisions.
I was ecstatic when Apple Music became the halftime show sponsor. It feels like a great fit. You couldn’t ask for a better fit for a music streaming service. The funny thing is, though I wasn’t at Apple Music when they won the bid, I was the global head of marketing at Netflix, and it is little known, but I wanted it when I was at Netflix. That didn’t happen. I mean, it really just made better sense for Apple Music. They are a music streaming service that can promote the music in the way it needs to be promoted!
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.pngYveto2026-02-05 21:10:352026-02-05 21:10:35How to Book a Superstar for the Super Bowl Halftime Show
As the 2026 Stagecoach Festival draws near, the popular California-based country music festival is adding an additional stage, the Mustang Stage presented by Boot Barn, and is packing the lineup with performances from The Red Clay Strays, Journey, Hootie & The Blowfish, Third Eye Blind, BigXthaPlug, Treaty Oak Revival and more.
The new stage will be located near the Mane entrance, across from Stagecoach grounds’ iconic Ferris wheel. The new stage will also be the new home for Stagecoach’s popular Late Night sets, which were previously held on the Palomino Stage.
The festival’s official Instagram page introduced the Mustang Stage, with the caption, “There’s a new stage riding into town 🐎 Mustang Stage, presented by Boot Barn, brings expanded space to dance your heart out with your crew, from day to Late Night.”
This year’s Stagecoach is set for April 24-26 at the Empire Polo Club in Indio, Calif., and will be headlined by Cody Johnson, Post Malone and Lainey Wilson on the Mane Stage.
The Palomino Stage will feature performances from Sam Barber, Gavin Adcock, Wyatt Flores, Wynonna, Lyle Lovett, Charles Wesley Godwin, Ty Myers, Max McNown and more.
Beyond a wide range of music, the festival will also feature an array of activities for attendees, including the Compton Cowboys Corral, Diplo’s Honky Tonk, and Guy Fieri’s Stagecoach Smokehouse.
See the daily and nightly sets for the new Mustang Stage 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.pngYveto2026-02-05 20:58:152026-02-05 20:58:15Stagecoach Festival Adds Mustang Stage, Performances From The Red Clay Strays, Hootie & The Blowfish & More
As we all know, Bad Bunny made Grammy history on Sunday Feb. 1, when 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. But artists have been making history in that category for decades.
We have rounded up a compendium of albums that broke barriers in that category. But first, here’s a little Grammy album of the year trivia, this time focusing on artists.
First artist to win album of the year twice: Frank Sinatra. He was also the first artist to win it three times.
First artist to win album of the year four times: Taylor Swift.
First artist to win album of the year with back-to-back studio albums: Stevie Wonder. He is also the only artist to win with three consecutive studio albums – Innervisions, Fulfillingness’ First Finale and Songs in the Key of Life. Adele equaled that first achievement (winning with back-to-back studio albums 21 and 25) but failed to equal the second when 30 lost to Harry Styles’ Harry’s House.
First artist to win both as part of a group/duo and solo: George Harrison. He won as part of The Beatles and again when he headlined The Concert for Bangla Desh, a triple-disk album which featured Ravi Shankar, Bob Dylan, Leon Russell, Ringo Starr, Billy Preston, Eric Clapton and Klaus Voormann.
First artist to win whose parent had been nominated in this category: Natalie Cole, who won for Unforgettable With Love in 1992. The album was a tribute to Cole’s father, Nat King Cole, who was nominated in this category with Wild Is Love in 1961 and The Nat King Cole Story in 1962.
First artist to win whose parent had won in this category: Norah Jones, who won for Come Away With Mein2003. Jones’ father, Indian sitarist and composer Ravi Shankar, won in this category in 1972 as a featured artist on The Concert for Bangla Desh.
Now that you are sufficiently primed, here’s a list of albums that established Grammy precedents with their album of the year wins. The achievements are listed in chronological order.
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.pngYveto2026-02-05 20:40:072026-02-05 20:40:07Here Are 20 Other Grammy Album of the Year Firsts That Preceded Bad Bunny’s Historic Win
BLACKPINK fans can jump for joy knowing that, with Deadline less than a month away, the girl group just unveiled the tracklist for the mini-album.
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On Thursday (Feb. 5), the K-pop quartet consisting of ROSÉ, JISOO, LISA and JENNIE shared an intense-looking poster on Instagram with the five track titles listed on it in order. Following previously released single “JUMP” — which will be the project’s opener — are songs named “GO,” “Me and my,” “Champion” and “Fxxxboy.”
The darkly colored poster appears to show a desert made up of black, glittery sand beneath a cloudy sky. It’s a similar vibe to the striking concept photos BLACKPINK shared at the end of January, which were described in a release as “sensual black-and-white aesthetic meets an irresistible aura, heightening anticipation for the new release.”
Deadline is set to drop on Feb. 27, four years after the band last dropped a collection of songs. In 2022, Born Pink debuted at No. 1 on the Billboard 200.
The five-track project also follows BLACKPINK’s Deadline World Tour, which opened in July last year and wrapped in January. Before that, the ladies had spent some professional time apart working on solo projects before reuniting on stage.
Of Deadline, ROSÉ recently said on Call Her Daddy, “It’s an album that we’ve all kind of obviously come back from after that year of exploring and all being our individual selves … I think it was really interesting to come back and see what was created after that. I really like all the songs there.”
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.pngYveto2026-02-05 20:30:412026-02-05 20:30:41BLACKPINK Unveils Intriguing ‘DEADLINE’ Mini-Album Tracklist: See All the Song Titles
