The members of country music group LANCO survived a harrowing experience Sunday night when their tour bus caught fire.

After wrapping a show in Des Moines, Iowa, the band was forced to pull over on the side of the road around 4 a.m. while en route to Nashville, due to a nearby snowstorm.

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The group decided to stay in a hotel for the night, though due to the blizzard conditions, tow services were halted in the area, so local police from Pella, Iowa, took LANCO band members, as well as show openers Willie Tate and Dawson Anderson, along with some crew members to nearby hotels.

LANCO’s bus driver opted to stay behind on the bus but ultimately awoke to the bus on fire in the early morning hours of Monday (March 16). The driver was able to escape the fire with only minor injuries. Though the band’s equipment trailer survived the fire, the group did lose some instruments when the bus was engulfed in flames.

LANCO lead singer Brandon Lancaster told Billboard in a statement, “It’s been a surreal 18 hours honestly, and we are so thankful that everyone on board is safe and sound. It was a very scary situation and I can’t imagine what would have happened if we all decided to sleep on the bus. I know God was watching over us.”

The group is still in Pella, Iowa, and their next tour date is scheduled for March 26 in St. Augustine, Florida.

The ACM Award-winning LANCO formed nearly a decade ago and includes members Brandon Lancaster (lead vocals), Chandler Baldwin (bass), Tripp Howell (drums), Jared Hampton (keyboard/guitar) and Tim Aven (guitar). The group is known for songs including its 5x multi-Platinum RIAA-certified hit “Greatest Love Story,” which also topped Billboard‘s Country Airplay chart for two weeks in 2017. They also earned a Country Airplay top 20 hit in 2018 with “Born to Love You.” The group’s song “Hallelujah Nights” was RIAA-certified gold.

The group shared the video of the incident above as well as photos of the charred bus below.

Photo: Courtesy LANCO

LANCO

Photo: Courtesy LANCO

LANCO

Photo: Courtesy LANCO

LANCO

The Kennedy Center’s board of directors voted on Monday to shut down operations for two years following this summer’s July 4 celebrations. The widely expected decision comes in the wake of numerous resignations and cancellations during President Donald Trump’s second term, although Trump himself has cited the need for repairs as a reason for the closure.

“We’re going to ensure it remains the finest performing arts facility of its kind anywhere in the world,” Trump told reporters at the White House before the board met Monday.

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The board also voted to install Matt Floca as CEO and executive director, replacing Trump ally Richard Grenell, who oversaw far-reaching changes at the venue that prompted an outcry from many artists and exacerbated the operation’s financial challenges. Trump praised Grenell on Monday, saying he had been a longtime friend, and wished Floca “good luck with everything.”

The Kennedy Center said the vote was unanimous, though Rep. Joyce Beatty didn’t cast a vote. The Ohio Democrat is an ex officio member of the board and sued to preclude the Trump administration from excluding her from Monday’s meeting. Over the weekend, a federal judge ruled she was entitled to participate in the meeting but didn’t require that the board allow her to vote.

Trump hosted the board meeting at the White House in a reminder of the influence he has held over the Kennedy Center during his second term. Shortly after returning to office last year, Trump ousted the center’s previous leadership and replaced it with a hand-picked board of trustees that named him chairman. He also brought in Grenell, who served in a variety of capacities during Trump’s first term, when the president mostly ignored the Kennedy Center.

The center’s lineup has since included more Trump-friendly programming, including serving as the venue for the premiere of first lady Melania Trump’s documentary, “Melania.” The board also announced it had renamed the facility the Trump Kennedy Center, a change scholars and lawmakers say must be initiated by Congress, and physically added the president’s name to the building’s facade.

The fallout from the arts community was swift and intense. Actor Issa Rae, musician Bela Fleck and author Louise Penny were among the numerous artists who withdrew from appearances, while consultants such as musician Ben Folds and singer Renée Fleming resigned. Earlier this month, the executive director of the National Symphony Orchestra, Jean Davidson, left to head the Los Angeles-based Wallis Annenberg Center for the Performing Arts.

Without mentioning the abandoned performances, Trump said in February he would close the Kennedy Center to fix what he has described as a dilapidated building.

Ahead of the closure, Grenell warned staff about impending cuts that will leave “skeletal teams.”
Floca, Grenell’s successor, had been serving as vice president of operations. According to his LinkedIn page, he joined the Kennedy Center in January 2024, during the Biden administration.

A center press release from the time describes him as “an experienced facilities management professional with a construction management background and an appreciation for whole building design principles.”

Previous experience for Floca listed on LinkedIn includes a handful of positions with the District of Columbia government, among them associate director of sustainability and energy and director of facilities management. He graduated from Louisiana State University in 2009 with a Bachelor of Science degree in construction management.

This story was originally published by The Associated Press.


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Drake is always watching.

The Toronto rapper surprised a fan by sending a DM via Instagram, encouraging him to break down more of his music on social media after Dylan Garcia’s explainers of Drake’s songs, bars and beefs went viral.

“New breakdowns coming Dylan,” the message reads in the screenshot Garcia posted recently.

He posted the first video in his series entitled “Explaining Drake songs to my girlfriend” about a week ago, and it has since clocked in around 2 million views.

Each video shows Garcia and his shorty sitting in a car listening to Drake songs as she asks questions and he tries to answer them for her. And then after his videos have been racking up views, he posted an update over the weekend revealing that not only did Drake send him a message, but he followed him as well. After his girlfriend Char asked what the message meant, Dylan replied, “It means he’s releasing his new album soon and we’re going to have some new breakdowns to do.”

Drake has been rolling out Iceman for about a year now, with the first episode of the YouTube series being posted on his account on July 5, 2025. Drake also released the single “What Did I Miss?” on the same day. Speaking of which, Garcia’s Instagram reel explaining one of the lines from “What Did I Miss?” has garnered 4 million views and counting. Not sure if he’s explaining it right aside from the TLC, Chilli and Left Eye reference, but you can be the judge.

Iceman soon cometh (we hope).

State attorneys general have resumed the antitrust trial against Live Nation — just as Senate democrats released a new report decrying “half measures” in the Department of Justice’s settlement with the company.

Monday (March 16) marked the first day of Live Nation’s trial since the DOJ revealed a surprise settlement — after witnesses began testifying last week. The deal calls for Live Nation to change certain practices that have allegedly stifled competition in live music, including by capping ticketing fees and relaxing exclusivity policies, though it does not require the company to divest Ticketmaster.

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Breaking up Live Nation and Ticketmaster was the original goal stated by both the feds and dozens of states when they teamed up to sue back in 2024. Many states, including officials in New York and California, say this is still a sticking point and have refused to sign onto the DOJ settlement. These states brought back the jury on Monday, picking up the trial right where their now-absent federal colleagues left off.

“California is excited to get back to work, present new evidence to the jury, and to fight for a better deal for consumers,” said California Attorney General Rob Bonta in a statement Monday. “Any resolution in this case must actually serve consumers, the marketplace and the law.”

These states received a vote of confidence Monday from Democrats on the Senate Permanent Subcommittee on Investigations, which released a minority report titled, “So Casually Cruel: How Ticketmaster’s Monopoly Supercharges Prices and Fees.”

The result of a three-year investigation, including the review of more than 100,000 pages of internal documents, the report claims Ticketmaster is largely to blame for the rising cost of concert tickets. The subcommittee says this is because Ticketmaster has pushed artists to “aggressively” ramp up the use of dynamic pricing and make their tickets available for resale before general on-sales begin.

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The report ultimately concludes that Live Nation and Ticketmaster should be split up, with ranking member Sen. Richard Blumenthal (D-Conn.) writing that the DOJ’s settlement “will do little to protect musicians, their fans and independent venues.”

“As state attorneys general move to continue this important antitrust case, this report reinforces what DOJ said when filing its suit in 2024, but which the Trump Administration has evidently forgotten: ‘It is time to break up Live Nation-Ticketmaster,’” wrote Blumenthal.

Ticketmaster representatives criticized the report in a statement on Monday, saying it “misrepresents how the live events industry works.” The company added, “Secondary ticketing creates industry-wide challenges faced by every tour no matter which promoter or ticketing company is used. This is why we’ve long called for industry resale reform, including price caps, while also developing tools to empower artists and protect fans.”

Twenty-six states and the District of Columbia are proceeding full steam ahead with the trial in New York federal court. Three states have officially signed onto the DOJ settlement (Arkansas, Nebraska and South Dakota), while a handful of others are still negotiating with Live Nation. Any states that do settle will be paid financial damages out of a $280 million fund created by Live Nation as part of the DOJ deal.

The trial resumed on Monday with AEG Presents CEO Jay Marciano, who’d been testifying when news of the settlement pulled the proceedings to a screeching halt last week. Next up on the witness stand was Bob Roux, Live Nation’s president of U.S. concerts.

The jury is expected to hear testimony for several more weeks. Billboard is providing weekly one-sheet trial recaps each Friday, where we’ll sum up all the major testimony and courtroom fireworks and tell you why it matters.


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All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

The world of PC gaming is extremely complex and, frankly, expensive.

Gaming setups are tailored based on a multitude of factors that vary from person to person. The laptop you buy can basically make or break the quality of your gaming experience, whether you choose to load up a horror game, RPG or a first-person shooter. With all that said, you don’t have to spend a fortune on your gaming laptop to have a good time. Amazon is currently running spring deals on user-friendly starter gaming laptops up to 71% off.

Our choice of the lot is this Mallrace gaming laptop that is now just $399.99 for a limited time. The laptop is affixed with a standard 15.6 inch full high definition display and a power-efficient mobile AMD Radeon RX Vega 5 processor with basic 1080p performance. Translation? This means the gaming laptop is great for everyday use along with web browsing, streaming and light gaming.

The best deal on a gaming laptop on Amazon.

2026 Gaming Laptop with AMD Ryzen 4300U Processor and a 15.6 Inch FHD Display

$399.99 $1,399.99 71% off

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This gaming laptop is currently 71% off and features a crystal clear 15.6 inch FHD display and a power-efficient mobile processor with basic 1080p performance for everyday use and gaming.


This kind of processor is best for running games like Valorant, League of Legends, CS:GO, GTA V, Minecraft, Rocket League, Skyrim, Far Cry 4 and Stardew Valley, among a slew of others. For larger, more graphic-heavy titles, we recommend setting graphics to “low” or “medium” and use 720p resolution for playable framerates, around 30–60+ FPS, so you won’t experience any lag or buffering. This laptop has 16GB of RAM (random access memory) or simply memory.

This is a standard metric that indicates what your device can simultaneously run, like running a AAA title while also running something like Discord or YouTube in the background. Think of this feature like multitasking. 16GB is widely considered the “sweet spot” as far as RAM is concerned, offering a balance between performance and productivity.

These facets of this gaming laptop are the most crucial to your gaming experience, but the rest is subjective. For instance, the Mallrace is pre-loaded with Windows 11 so it’s ready to use right out of the box for convenience. The computer is also fixed with a 55Wh lithium-ion battery that could aid in gaming for years to come, since those kinds of batteries can last up to two to five years before capacity drops slightly.

Bottom line? If you’re starting your PC gaming journey, you want a standard model that will run all your favorites without issue. You’ll also want something that won’t break the bank, which checks out for this Mallrace model since it’s only $399.99.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

The 2026 March Madness bracket is now set. After the NCAA Selection Sunday TV special on March 15, Duke has now been slotted as the No. 1 overall seed in the college basketball tournament and grabbed the top seed in the East region. Michigan is a close second and a betting favorite against the Blue Devils. The Wolverines locked up the No. 1 seed in the Midwest region while Florida is the top seed in the South and Arizona in the West.

Who will win? Who will have a major upset? Who will take home the coveted NABC National Championship Trophy? You’ll have to tune in to find out.

How to Watch March Madness, At a Glance:

March Madness will be spread across a variety of different TV channels including CBS, TBS, TNT and truTV. For those who don’t have cable, there’s plenty of ways to stream every NCAA tournament game online and for free. Keep reading on for our where to watch March Madness guide to learn about how you can take advantage of a few free trials to watch all the college basketball you want without paying a dime.

Where to Watch Every 2026 March Madness Games Online:

Watching March Madness can be tricky, but with our guide basketball fans can choose the right streaming platform to watch their favorite teams play. Fans can take advantage of multiple streaming services that offer free trials, so you can stream the college tournament for free. Signing up to streamers like DirecTV, Hulu + Live TV, Sling TV and Fubo, you can get right into the action.

NCAA March Madness 2026: How to Watch Every First-Round Game Online

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DirecTV

Get access to CBS, TBS, TNT, and truTV.


DirecTV is offering a five-day free trial, which will let you watch CBS, TBS, TNT, and truTV for free. The Entertainment and Sports Programming Network is included in all of the streaming packages. In addition to unlimited DVR storage, you’ll get access to local channels and the ability to stream on as many devices as you want.

How to watch Paramount+ online

Paramount+

There are two plans to choose from: Paramount+ Essential and Paramount+ Premium.


For those looking to sign up, Paramount+ offers an affordable Essential plan for $8.99 per month, which will give you access to the March Madness games alongside tens of thousands of episodes and movies, including exclusive and original content, as well as NFL on CBS, UEFA Champions League and 24/7 live news on CBS News.

If you want to go ad-free, you can subscribe to Paramount+ Premium for $13.99 per month and you’ll not only receive access to Showtime’s exclusive and original programs, but your local CBS station, additional live sports and the ability to download content to watch on-the-go.

Paramount+ doesn’t offer a free trial, but there is a slight workaround to subscribe to the platform for free this weekend. Right now, you can sign up for a 30-day free trial for Walmart+, which includes Paramount+ as one of its streaming perks.

NCAA March Madness 2026: How to Watch Every First-Round Game Online

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Hulu + Live TV


For the most content options, Hulu + Live TV gives you access to the entire Hulu library in addition to more than 95 live TV channels — including CBS, TBS, TNT, and truTV for just $82.99 per month.

And, unlike the rest of the options, you can also expand your content library by bundling Hulu + Live TV with Disney+ and ESPN Unlimited. You’ll not only have all of the Hulu library to watch, but also exclusive and original programming available exclusively on ESPN Unlimited.

Max has multiple subscription tiers: ad-supported, commercial free and ultimate ad-free. Max’s paid subscriptions start at $10.99/month for the basic ad-supported streaming, or $18.49/month to watch ad free. With HBO Max you can watch each channel broadcasting March Madness games, including CBS, TBS, TNT, and truTV.

The Premium ad-free package is $22.99 per month and includes 4K Ultra HD quality, 100 downloads to watch on the go and you can stream on up to four devices at once. You can also bundle Max with Hulu and Disney+ for $19.99/month for ad-supported streaming on up to two devices at once and $32.99/month for ad-free streaming.

Here’s the Full 2026 March Madness Schedule:

Don’t want to miss a game? We’ve compiled the full first round schedule for March Madness below, include dates, times and channel broadcast.

Tuesday, March 17

  • 6:40 p.m. – No. 16 UMBC vs. No. 16 Howard (TruTV)
  • 9:10 p.m. – No. 11 Texas vs. No. 11 NC State (TruTV)

Wednesday, March 18

  • 6:40 p.m. – No. 16 Prairie View A&M vs. No. 16 Lehigh (TruTV)
  • 9:10 p.m. – No. 11 Miami (Ohio) vs. No. 11 SMU (TruTV)

Thursday, March 19

  • 12:15 p.m. – No. 8 Ohio State vs. No. 9 TCU (CBS)
  • 12:40 p.m. – No. 4 Nebraska vs. No. 13 Troy (TruTV)
  • 1:30 p.m. – No. 6 Louisville vs. No. 11 South Florida (TNT)
  • 1:50 p.m. – No. 5 Wisconsin vs. No. 12 High Point (TBS)
  • 2:50 p.m. – No. 1 Duke vs. No. 16 Siena (CBS)
  • 3:15 p.m. – No. 5 Vanderbilt vs. No. 12 McNeese (TruTV)
  • 4:05 p.m. – No. 3 Michigan State vs. No. 14 North Dakota State
  • 4:25 p.m. – No. 4 Arkansas vs. No. 13 Hawaii (TBS)
  • 6:50 p.m. – No. 6 North Carolina vs. No. 11 VCU (TNT)
  • 7:10 p.m. – No. 1 Michigan vs. No. 16 UMBC or Howard (CBS)
  • 7:25 p.m. – No. 6 BYU vs. No. 11 Texas or NC State (TBS)
  • 7:35 p.m. – No. 7 Saint Mary’s vs. No. 10 Texas A&M (TruTV)
  • 9:25 p.m. – No. 3 Illinois vs. No. 14 Penn (TNT)
  • 9:45 p.m. – No. 8 Georgia vs. No. 9 Saint Louis (CBS)
  • 10 p.m. – No. 3 Gonzaga vs. No. 14 Kennesaw State (TBS)
  • 10:10 p.m. – No. 2 Houston vs. No. 15 Idaho (TruTV)

Friday, March 20

  • 12:15 p.m. – No. 7 Kentucky vs. No. 10 Santa Clara (CBS)
  • 12:40 p.m. – No. 5 Texas Tech vs. No. 12 Akron (TruTV)
  • 1:35 p.m. – No. 1 Arizona vs. No. 16 LIU (TNT)
  • 1:50 p.m. – No. 3 Virginia vs. No. 14 Wright State (TBS)
  • 2:50 p.m. – No. 2 Iowa State vs. No. 15 Tennessee State (CBS)
  • 3:15 p.m. – No. 4 Alabama vs. No. 13 Hofstra (TruTV)
  • 4:10 p.m. – No. 8 Villanova vs. No. 9 Utah State (TNT)
  • 4:25 p.m. – No. 6 Tennessee vs. No. 11 Miami (Ohio) or SMU (TBS)
  • 6:50 p.m. – No. 8 Clemson vs. No. 9 Iowa (TNT)
  • 7:10 p.m. – No. 5 St. John’s vs. No. 12 Northern Iowa (CBS)
  • 7:25 p.m. – No. 7 UCLA vs. No. 10 UCF (TBS)
  • 7:35 p.m. – No. 2 Purdue vs. No. 15 Queens
  • 9:25 p.m. – No. 16 Prairie View A&M or Lehigh vs. No. 1 Florida (TNT)
  • 9:45 p.m. – No. 4 Kansas vs. No. 13 Cal Baptist (CBS)
  • 10 p.m. – No. 2 UConn vs. No. 15 Furman (TBS)
  • 10:10 p.m. – No. 7 Miami vs. No. 10 Missouri (TruTV)

Where to Buy 2026 March Madness Tickets Online

Want to cheer on your team in person? Here’s where you can find 2026 March Madness tickets available at StubHub, Vivid Seats, SeatGeek and Gametime.


On Monday (March 16), Lyor Cohen, global head of music at Google and YouTube, reaffirmed the company’s stance on generative AI and highlighted its emphasis on being “a primary driver of fan loyalty” in his first newsletter of the year. 

In the newsletter, published on the YouTube blog and sent to music industry partners, Cohen noted that YouTube is “in the thick of a transformation period with the integration of generative AI across our businesses.” He went on to quote YouTube CEO Neal Mohan, who wrote in January, “‘AI will remain a tool for expression, not a replacement.’”

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“That means building tools that unlock a new wave of storytelling capabilities for artists, songwriters, and creators,” Cohen continued. “Like Lewis Capaldi’s extraordinary reimagined ‘Something in the Heavens’ video that was created by [AI creative studio] Wonder Studios, made with [Google’s AI-powered video creation platform] Flow. We’re also doubling down on the kinds of systems you’ve trusted for years — like Content ID — to build new guardrails for likeness detection, while also combating the spread of low-quality AI content on our platform.”

Cohen went on to share a note the company received from Universal Music Group chairman and CEO Lucian Grainge, sent after YouTube reported in October that it had paid out more than $8 billion to the music industry between July 2024 and June 2025. “I’m energized by the unprecedented growth that AI can unlock for artists and songwriters — so we must continue our work together on responsible innovation that respects and amplifies human creativity,” Grainge wrote.

Further on the subject of AI, Cohen added later, “I keep reminding myself that in many ways we’ve been here before, and for the most part, we emerged stronger because we worked together to shape the possibilities and tackle the problems. This moment is no different. We can’t run from it — we’ve just got to build it responsibly, creatively, and together.”

Elsewhere in the letter, Cohen called YouTube “the undisputed home of the music video” and characterized videos as “a primary driver of fan loyalty.”

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“In addition to official content, we are uplifting content from the ‘extended’ artist world — think cultural moments like Coachella and the Olympics, or the raw intimacy of an NPR Tiny Desk concert — that extends fandom even further,” he wrote. 

As for music fans, Cohen wrote that YouTube’s “goal is to be the lighthouse that helps them cut through the clutter” of “a tidal wave of choice.” 

“We know that in order to foster sustainable artist careers, helping fans discover the interconnected visual world of an artist is more important than ever,” he continued. “Digging through the crates to find a life-changing track or seeing your favorite band play live for the first time — those are seminal experiences. While the journey to get there has changed, the feeling when it hits remains the same. Together we need to focus on growing dedicated fanbases that put every album on repeat and buy tickets for every tour.”

You can read the full letter below.

From: Lyor Cohen, Global Head of Music, YouTube/Google 

Subject: The right side of history 

Damn … did you see what I saw between the Grammys, the Super Bowl, and The BRITs? Music isn’t just at the center of culture, it IS culture. 

Watching ROSÉ and Bruno Mars open The Grammys with APT. – one of last year’s top songs on YouTube with over 2.3 billion views – blew my mind! And what about Olivia Dean winning Best New Artist? Seven years ago she walked into our office with nothing but an acoustic guitar and a dream. Today, she is a Grammy- and BRITs-winning global superstar. Then came the Super Bowl. I’m not even sure who won the game because Bad Bunny stole the show. The performance has over 120 million views on YouTube, which doesn’t surprise me because he’s got 19 music videos with over a billion views, the most of any artist in history. To top it off, ROSALÍA brought Berghain to life at The BRIT Awards and changed the game with an absolutely extraordinary performance that earned over 4 million views in 2 days on YouTube.

These moments reassure us that artists are harnessing the power of visual storytelling. As the undisputed home of the music video, YouTube has evolved into a comprehensive visual storytelling ecosystem where artists build deep, lasting connections with their global community. 

With billions of logged-in viewers watching music videos on our platform each month, it’s clear that the music video isn’t just surviving, it’s thriving as a primary driver of fan loyalty. In addition to official content, we are uplifting content from the ‘extended’ artist world – think cultural moments like Coachella and the Olympics, or the raw intimacy of an NPR Tiny Desk concert – that extends fandom even further. A recent masterclass was Baby Keem’s Ca$ino album rollout, which started with documentary content, rolled into an exclusive fan-first listening event, and culminated in the Birds & the Bees official video. Baby Keem moved beyond the album drop and built a world that ignited his global audience. This is the blueprint for engagement. It ensures that on YouTube, a song isn’t just one of the thousands that gets released each day – it’s the spark that connects artists and fans on a much deeper level. 

At the same time, our twin engine of advertising and subscription revenue has continued to deliver, most recently paying out over $8 billion to the music industry between July 2024 and June 2025. Our commitment to monetization is absolute. But it doesn’t stop there. 

I recognize that the democratization of music hasn’t been a straight line. Fans are still experiencing a tidal wave of choice, but our goal is to be the lighthouse that helps them cut through the clutter. We know that in order to foster sustainable artist careers, helping fans discover the interconnected visual world of an artist is more important than ever. Digging through the crates to find a life-changing track or seeing your favorite band play live for the first time – those are seminal experiences. While the journey to get there has changed, the feeling when it hits remains the same. Together we need to focus on growing dedicated fanbases that put every album on repeat and buy tickets for every tour.  

We are also in the thick of a transformation period with the integration of generative AI across our businesses. I want to reinforce a key point our CEO, Neal Mohan, recently shared in his annual letter to the YouTube community: “AI will remain a tool for expression, not a replacement.” That means building tools that unlock a new wave of storytelling capabilities for artists, songwriters, and creators. Like Lewis Capaldi’s extraordinary reimagined Something in the Heavens video that was created by Wonder Studios, made with Flow. We’re also doubling down on the kinds of systems you’ve trusted for years – like Content ID – to build new guardrails for likeness detection, while also combating the spread of low-quality AI content on our platform. 

I keep reminding myself that in many ways we’ve been here before, and for the most part, we emerged stronger because we worked together to shape the possibilities and tackle the problems. This moment is no different. We can’t run from it – we’ve just got to build it responsibly, creatively, and together. 

Sir Lucian Grainge, who has been a key partner of ours and a critical ally in the launch of YouTube Music for over a decade, recently congratulated us on our payout milestone, sharing, “This is just YouTube’s first $8 billion; there’s still a world of opportunities to unlock the next 8!” He added, “I’m energized by the unprecedented growth that AI can unlock for artists and songwriters – so we must continue our work together on responsible innovation that respects and amplifies human creativity.”

Our mission for 2026 is clear: Help artists and songwriters harness the power of visual storytelling to build their global audiences and lifelong careers. At the same time, help fans cut through the noise and take them on an immersive journey to find the music that soundtracks their life, creating connections that run deep along the way.

Let’s go! 

With respect, Lyor


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The Vive Latino festival wrapped up its 26th edition on Sunday (March 15) with a diverse range of musical genres, spanning from classic and alternative rock to metal, funk, hip-hop, reggae, and 80s pop, and showcasing a clear evolution.

Los Fabulosos Cadillacs, The Smashing Pumpkins, Fobia, Tom Morello, Illya Kuryaki & The Valderramas, Steve Aoki, Hello Seahorse!, Santa Sabina, Esteman & Daniela Spalla — and the segment “Música para Mandar a Volar” (Music to Let Go) featuring Paulina Rubio, Danna, Amanda Miguel, Dr. Shenka, Mijares, and Emmanuel performing in tribute to Rocío Dúrcal, Juan Gabriel, and Charly García — headlined the second day of music at Mexico City’s GNP Seguros Stadium, where 80,000 attendees gathered, according to promoter Ocesa.

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The second day of activities was marked by debuts and comebacks. Making their first appearance at the famous Mexican festival, The Smashing Pumpkins surprised the audience by including a cover of the 80s ballad “Take My Breath Away” by Berlin in their setlist. Another highly anticipated debut was that of guitarist Tom Morello, who, in his solo act, brought his message of resistance and anti-fascism with a powerful set that included songs from Rage Against The Machine and Audioslave.

Meanwhile, comebacks were led by the explosive Argentine duo Illya Kuryaki & The Valderramas, who delivered a masterful performance upon their return to Mexico after 14 years. And Mexican band Fobia, with an elegant and emotional show now featuring the addition of virtuoso drummer Elohim Corona to their lineup. Los Fabulosos Cadillacs never disappoint, and they reaffirmed their special place in the hearts of Mexican audiences with a set full of hits.

For the third consecutive year, and thanks to a partnership with Amazon Music, the concerts were available to stream for free on the digital platform. The 26th edition of Vive Latino matched the record set by last year’s festival, drawing a total of 160,000 attendees over its two days of activities.

Below, some of our favorite acts from the second day of Vive Latino. For our recap of Day 1, click here.

Sabrina Carpenter paid homage to one of Argentina’s biggest heroes — while singing and dancing along to Bad Bunny, no less — by sporting a Lionel Messi jersey ahead of her headlining set at the country’s iteration of Lollapalooza.

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In a TikTok posted Sunday (March 15), the pop star models a white-and-blue-striped Argentina National Football Team jersey with Messi’s famous No. 10 emblazoned on the front. Lip-syncing to Benito’s Billboard Hot 100 hit “Tití Me Pregunto,” she strikes different poses and mouths, “Selfie, say cheese.”

In the caption, Carpenter wrote, “ole ole ole Argentina.”

That night, the Grammy winner would take the stage in front of thousands of fans in Argentina, helping to close out the final night of the festival. Carpenter headlined Lollapalooza Argentina alongside Tyler, the Creator and Chappell Roan, with the 2026 lineup also featuring Doechii, Lorde, Deftones, Turnstile, Skrillex and more.

But while festivalgoers were cheering Carpenter on during her time on stage, people in the comments of her video were campaigning for a collaboration. “Sabrina x Bad Bunny when??” one person wrote, while another said, “WE NEED A SABRINA x BAD BUNNY COLLAB!!!”

The video comes a little more than a month after Carpenter and the Puerto Rican superstar crossed paths at the 2026 Grammys, where they were captured in photos chatting on the ceremony floor. Both were nominated for album of the year, with Bad Bunny’s Debí Tirar Más Fotos ultimately beating out Carpenter’s Man’s Best Friend — both of which topped the Billboard 200 — for the prize.

Watch Carpenter catch a vibe to Bad Bunny in her Messi jersey below.


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Megan Thee Stallion gets busy in the studio, and she’s also been building quite the Hollywood résumé on TV and film sets.

The Houston Hottie’s latest role comes as part of NBC’s The Fall & Rise of Reggie Dinkins. Megan plays Denise, a divorced mail carrier — because, as one fan put it, she always delivers — and she appears in episode five of season one.

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A teaser arrived ahead of the episode’s premiere on Monday night (March 16), which finds Megan getting flirty with Daniel Radcliffe (Tobin), a decorated filmmaker directing a documentary on Tracy Morgan’s Reggie Dinkins character, who’s attempting to make a comeback to revive his football career.

“So you make movies, you ever work with Paul Giamatti? That dude does not miss,” Meg asked. The Harry Potter star (Tobin) calmly boasts some of his accolades in the business.

“I did meet Paul once on a red carpet at an award show put on by the Academy,” he replies matter-of-factly. “It was the Oscars, I have an Oscar.”

Written by Robert Carlock and Sam Means, episode 5 is titled “You May Hug Your Hero” and serves as the halfway point of the 10-episode season one.

Outside of Megan, Radcliffe and Tracy Morgan, the rest of the cast includes Erika Alexander, Jalyn Hall, Precious Way and Bobby Moynihan.

Thee Stallion’s last Hollywood role came in the 2024 Mean Girls reboot. She’s also set to make her Broadway debut later in March in Moulin Rouge! The Musical. The 31-year-old’s eight-week run in NYC will find her as the first female-identifying star to play Zidler.

On the music side, Megan Thee Stallion joined Juvenile for the “B.B.B.” remix, which hit the Billboard Hot 100 at No. 67 last week.

Watch the clip below. Look for the full episode to premiere on NBC at 8:30 p.m. ET and come to Peacock for streaming on Tuesday (March 17).