The Ontario government is coming for ticket resellers.

Ontario Premier Doug Ford has announced that the provincial government plans to ban ticket resale transactions at prices exceeding face value, making it illegal for tickets to concerts, cultural, sports and other live events to be resold for more than their original cost.

This new legislation would protect fans and consumers from “exploitative, professional resellers who artificially drive up ticket prices” and ensure Ontarians have a higher chance of attending live events across the province.

“With these new measures, consumers would no longer need to worry about being ripped off in the ticket resale market, and more families and fans would have the opportunity to see their favourite band or sports team perform live,” says Stephen Crawford, minister of public and business service delivery and procurement, in a statement.

On social media, Ford doubles down on the decision: “We’re putting ticket scalpers on notice: Your days of ripping people off are done.”

The government says it also plans to “strengthen validity guarantee requirements” to protect buyers against the sale of fake tickets and stop unfair service fees during the purchasing process.

The decision has received a positive response among some Canadian music organizations. The Canadian Live Music Association (CLMA) is in favour of the law, but notes that the rollout is key.

“The effectiveness of any new framework will depend heavily on how it is enforced, and we are pleased to see new enforcement tools introduced,” the organization writes in a statement. 

“Without clear, consistent, and well-resourced enforcement, there is a real risk that bad actors will adapt in ways that undermine the intent of these changes.”

The CLMA notes that it will continue working alongside the Ontario government “to help ensure these measures are practical, enforceable and effective for both fans and the live events sector.”

The provincial government’s announcement is aptly timed with the FIFA World Cup, which is set to take over Toronto in June, 2026. 

Read more here. — Heather Taylor-Singh

Canada’s Recorded Music Revenues Grow for the 11th Straight Year: IFPI’s Global Music Report 2026

When it comes to music, Canada continues to punch above its weight.

According to the newly released IFPI (International Federation of the Phonographic Industry) Global Music Report, Canada’s recorded music revenues grew for the 11th consecutive year in 2025.

The annual study provides a deep dive into the global music market, analyzing issues and trends within the industry.

The report finds that Canada experienced a 5.6% increase in recorded music market growth last year to reach $957.9 million.

That’s a notable jump from last year’s findings, which flagged a relatively small growth of 1.5%, reaching $660.3 million USD. However, the 2024 figures were in comparison to an unusually high 2023, which was elevated by a large one-off performance rights revenue payout.

Despite the revenue peak, Canada dropped one place in the global rankings, now the ninth-largest market across the world.

“We do punch above our weight,” says Patrick Rogers, CEO of Music Canada, the trade association representing Canada’s three major record labels. “That punching above our weight is based on strong copyright laws and strong fundamentals in the marketplace.”

Music Canada and IFPI credit streaming as a key catalyst.

Revenues overall increased 4.5% to $747 million, while subscription streaming revenues grew 3.4% to $598.5 million and ad-supported streaming (audio and video combined) rose by 9.4% to $148.3 million.

“The idea that you can listen to any song ever recorded, when you want, how you want, through the service of your choice, is really powerful,” Rogers says.

Yet, physical music climbed by 15.9% to $122.2 million, led by vinyl, CD and other formats. While they’re major figures, Rogers says, the “growth numbers” can’t be compared to the era of piracy, when some listeners were illegally downloading their music in the late ’90s and early 2000s, decreasing physical media sales. Nearly three decades later, streaming has made music accessible to everyone.

“Canadians have revalued the value of music to a point in which people are happily paying for music again,” he explains.

Read more here. — HTS

ABBA’s Björn Ulvaeus Joins Canadian Government and Music Industry for AI Summit in Banff, Alberta

In the music and cultural industries, nobody can stop talking about AI.

This week in Banff, Alberta, that conversation took centre stage for three days at the National Summit on Artificial Intelligence and Culture. From March 15-17, 300 leaders from across the cultural and technology sectors converged in an event co-hosted by the Banff Centre for the Arts and Creativity and the Canadian government.

That included a large contingent from the music industry, including (among many others) representatives from Music Publishers Canada and SOCAN, who have been leaders when it comes to fair compensation and copyright for artificially generated works.

“It’s been nice to see the industry aligned,” Patrick Rogers, CEO of Music Canada, the organization that represents the major labels in Canada. “Everyone’s talking to government from different perspectives, but from the same goal: we know that copyright is part of AI, and that part of the solution to getting proper licensing is based in transparency.”

CISAC (the International Confederation of Societies of Authors and Composers) is an organization made up of 227 member societies in 111 countries, including SOCAN in Canada. It represents more than 5 million creators from music to drama, literature and visual arts and has contributed key research about AI and creativity.

In a remote speech, CISAC president Björn Ulvaeus (likely best known as a member of Swedish pop giants ABBA), spoke about the importance of protecting creators in the age of AI.

“If we want human creativity to thrive in the age of artificial intelligence, we must ensure strong protections for creators. Strong protections mean not only making sure that rights are in place but also resisting broad text and data mining exceptions that allow works to be used without permission or payment. When creators are protected, they can continue producing the amusing and cultural works for which Canada is respected around the world.”

Resisting the text and data mining exception aligns him with Music Publishers Canada’s Margaret McGuffin, who argued in an Executive of the Week interview with Billboard Canada earlier this year that existing copyright legislation already accounts for AI and should not be changed to suit “disruptive” tech companies.

“There is no grey area,” she said. “People who say there is don’t want to license. They want to avoid paying.”

In his speech, Ulvaeus stressed that the cultural sector is not afraid of AI, but wants to see it proceed with caution and fairness. He met with Canadian Prime Minister Mark Carney in November, he shared, and told him about how copyright protections led to the rise of ABBA on the global stage.

As part of its commitment, the Canadian government will launch an AI and Culture Advisory council with Ministers Evan Solomon and Marc Miller, and 12 yet-to-be-named rotating members across creative and technology fields. They will meet twice a year to make sure voices are heard in both fields as they prepare to launch a national AI strategy.

Read more here. — Richard Trapunski

Harry Styles’ Kiss All The Time. Disco, Occasionally continues to hold court atop the U.K. chart summit.

The “Aperture” singer’s fourth LP enters a second consecutive week at No. 1 on the U.K.’s Official Albums Chart (dated March 20). The album has already broken multiple records for Styles, including earning him the biggest U.K. opening week of his career to date, with the Official Charts Company reporting that it shifted 183,000 units – also making it the biggest release of 2026 so far.

Kiss All The Time… has also enjoyed huge international success, entering the charts at No. 1 in 19 other countries, including the Billboard 200 with 430,000 equivalent album units earned in the U.S. in the week ending March 12, according to Luminate.

Olivia Dean’s blockbuster second album The Art Of Loving remains at No. 2, while completing the podium finish is James Blake, who secures a career best with Trying Times closing out at No. 3 this week.

It makes Blake’s fifth top 10 accolade to date in the U.K., joining his self-titled 2011 debut (No. 9), 2013’s Overgrown (No. 8), 2019 LP Assume Form (No. 6) and 2021’s Friends That Break Your Heart (No. 4). The new album also tops this week’s Official Record Store and Official Vinyl Albums Charts, selling the most copies on wax this week.

Fleetwood Mac compilation 50 Years – Don’t Stop lands at No. 4, while Tate McCrae’s 2025 LP So Close To What skyrockets 17 places up to No. 5, following the release of a new vinyl variant of its deluxe edition. It marks the highest position the album has charted at since December last year, while it debuted and peaked at No. 2 upon release in March 2025.

Elsewhere, following the release of latest single “Porch Light” from his upcoming album The Great Divide (due Apr. 24), Noah Kahan’s previous chart-topper re-enters the top 10 this week at No. 10.

Super-producer Calvin Harris continues to see gains for his 2024 project 96 Months, which re-entered the top 40 for the first time since September 2025 last week, and has since elevated eight spots to No. 31.

Country music hitmaker Tim McGraw, bluegrass pioneers The Stanley Brothers and songwriter Paul Overstreet have been named as the inductees for the Country Music Hall of Fame’s Class of 2026.

McGraw enters the Modern Era Category, The Stanley Brothers enter the Veteran Era Category and Overstreet enters the rotating Songwriter category.

Five-time Grammy winner and founder of the Congress of Country Music and a member of the Country Music Hall of Fame Marty Stuart hosted the press conference Friday (March 20) at the Country Music Hall of Fame to reveal and welcome this year’s class of inductees.

“Every award that country music has to offer is meaningful,” Stuart said. “but there’s this one, then there’s the rest.”

Overstreet is known for writing songs including “Diggin’ Up Bones,” “On the Other Hand” and “Forever and Ever, Amen,” each recorded by Randy Travis, as well as “When You Say Nothin’ At All,” which was recorded by Keith Whitley and Alison Krauss. BMI named Overstreet its country songwriter of the year for five consecutive years from 1987 to 1991, and he was inducted into the Nashville Songwriters Hall of Fame in 2003.

“When I was told about it, I was just shocked, because I just didn’t see it coming,” Overstreet said during the inductee announcement press conference. He later added, “I’m so grateful … one other thing that’s so important is Joe Galante, Tony Brown, all the cowriters I’ve written with … to be here is all about the people who have surrounded you … I’m thankful that this is where I landed and I got to know the people in this town.”

This year’s Veterans Era Category, which honors artists that came to musical prominence before 1980, was awarded to bluegrass and folk music pioneers The Stanley Brothers, Ralph and Carter Stanley.

“This one is deep, folks. From the start, their sound stood apart,” Stuart said of the brothers’ distinct sound, which defined the feel and spirit of bluegrass but also had an indelible influence far beyond, impacting folk, country and more.

In the 1940s, they formed The Clinch Mountain Boys helped establish the Stanley Brothers as musical forces in bluegrass, forever shaping the genre with their haunting vocal arrangements. They recorded songs including “I Am a Man of Constant Sorrow” and “Rank Strangers to Me.” They also appeared on the inaugural Newport Folk Festival. Following Carter’s passing in 1966, Ralph Stanley continued the Clinch Mountain Boys for another five decades, and mentored artists including Ricky Skaggs and Keith Whitley. Ralph Stanley’s masterful performance of “O, Death” as part of the soundtrack for O Brother, Where Art Thou? was a key performance, helping to introduce bluegrass and folk music to a new generation. Ralph Stanley died in 2016.

The Stanley Brothers are the fourth brother duo to be inducted into the Country Music Hall of Fame, following The Delmore Brothers, The Everly Brothers and The Louvin Brothers, all of whom were voted in in 2000.

“This moment is deeply personal for our entire family,” the family of The Stanley Brothers said in a statement. “Seeing Ralph and Carter — The Stanley Brothers — inducted into the Country Music Hall of Fame is an extraordinary honor, and something we know would have meant so much to them. The fact that people around the world still love their music speaks to the heart and soul they poured into every recording and performance. Carter’s emotional lead combined with Ralph’s haunting tenor created a sound that was truly special. After Carter’s passing, Ralph carried on the music they began together, dedicating his life to preserving the spirit of traditional mountain music and sharing it with audiences everywhere through the Clinch Mountain Boys before his passing in 2016. To see The Stanley Brothers recognized together, side by side, is incredibly meaningful for our family and a testament to a legacy that continues to live on through their music.” 

McGraw is this year’s Modern Era inductee, which honors artists at least 20 years after they achieve national prominence. Louisiana native McGraw has earned 11 CMA Awards and three Grammy Awards. In 2004, his song “Live Like You Were Dying” became a seven-week No. 1, and won Grammys for best country song and best male country vocal performance as well as the CMA Award for single of the year and the ACM Award for single and song of the year. He’s also seen 13 albums top Billboard‘s Top Country Albums chart, while three of his singles — “It’s Your Love,” “Just to See You Smile” and “Live Like You Were Dying” — were named Billboard‘s top country song in their respective years.

Beyond music, McGraw also become an established actor with roles in Friday Night Lights, The Blind Side and the Yellowstone prequel 1883.

“Anybody that knows me knows I’m a crier … I’m going to try to get through this,” McGraw said in accepting the honor. “As Marty said, I came to Nashville on a Greyhound bus on May 9, 1989. I took my one suitcase and my guitar and started walking to the Hall of Fame lounge. I got there just as they were serving last call and started talking to a couple of guys, both of whom were songwriters … to go from a bar called the Hall of Fame to here the actual Country Music Hall of Fame … is impossible for me to believe. It’s also fitting that it’s National Women’s History Month. Everyone who knows me knows I wouldn’t be standing here today without great women in my life … my grandmother, my mom, my sisters, my daughters and most of all my wife. Thank you, baby. I would not be standing here today if it was not for you, nor would I want to be. And I can’t wait for the day when I’m sitting there and you’re standing here.”

He thanked the CMA CEO Sarah Trahern, the Country Music Hall of Fame’s Kyle Young and all those who voted. He added: “Thank you for your kindness and I’m so grateful.”

The new members-elect will be inducted during this year’s Medallion Ceremony on Oct. 18.

BTS‘ RM has only one thing to say about the K-pop supergroup’s breathlessly anticipated return to the stage on Saturday (March 21) in their native Seoul: “tomorrow.” That’s what the 31-year-old rapper says into a vintage microphone in the latest promo for the band’s first full group concert since October 2022 in a new Instagram teaser from Netflix.

Walking onto an all-black soundstage in an all-black outfit, RM casually steps to the mic, clears his throat, adjusts his lapels, raps the microphone with his knuckle and takes a big exhale before saying confidently, “Tomorrow” in English.

He’s referring, of course, to BTS THE COMEBACK LIVE | ARIRANG, the concert special that will stream live from Gwanghwamun Square in Seoul on Saturday morning at 7 a.m. ET. The show will air just 24 hours after RM, Jin, SUGA, j-hope, Jimin, V and Jung Kook dropped their 10th studio album, ARIRANG, on Friday.

In an earlier promo, all seven men strut into a similar black void, also dressed all in black, over a bouncy beat as they stretch, adjust their clothes and limber up before executing a perfectly choreographed dance move.

Speaking of choreo, as excited as RM looked in his hype video, news came early Friday that the MC suffered an ankle injury with label BigHit issuing a statement on Weverse that read, “During a performance rehearsal on March 19, RM suffered an ankle injury and was taken to a hospital to undergo a detailed examination and treatment. A medical diagnosis confirmed a sprain of the accessory navicular, a partial ligament tear and a talus contusion (which includes ligament damage and inflammation).”

Due to the sprain, RM will have to wear a cast for at least two weeks, with his onstage performances “partially limited” in the meantime. “While RM expressed a firm commitment to deliver a high-quality performance at this symbolic comeback stage at Gwanghwamun, the company, in close consultation with the artist, has made the decision to prioritize the medical opinion to preemptively prevent any further strain on his injury,” the statement noted. “We ask for your kind understanding regarding this matter. We sincerely apologize for any disappointment this may cause, given the high anticipation surrounding this performance.”

Also on Thursday, RM took to Weverse to ask ARMY to stay alert and follow safety precautions ahead of the show. “Everyone in ARMY! We are also very excited to meet you,” wrote RM. “As it is a gathering place for many people, please make sure that everyone can enjoy the performance safely and joyfully. Please follow the guidance of the field staff and safety personnel on the day and show an orderly appearance. I think a better performance can be completed only when there is order and consideration made by each ARMY. I would like to say thank you so much to the police officers who are working hard for safety, as well as to the fire department, the government and local governments.”

The notice came as The Guardian reported that Seoul raised its terror alert by one notch, elevating it to the second-lowest level on a four-step scale as it expects up to 260,000 people to crowd the around BTS’ free performance on the Square.

Check out the new promos below.

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New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.

CA7RIEL y Paco Amoroso, Free Spirits (5020 Records)

Following the explosive success of their Grammy-winning Papota, the 12-track adventure of Free Spirits doubles down on CA7RIEL y Paco Amoroso’s cheeky genre-bending vision, pushing further into chaos, humor, emotional introspection and their unrestrained lust for life. With collaborations spanning Sting, Anderson .Paak, Jack Black and Fred again.., the album feels like both an intrepid statement and an intimate self-portrait — an ode to their untouchable improvisational spark and newfound fame.

Opening with the Middle Eastern-inspired cacophony of “Nada Nuevo,” the pair hints at their provocative tone: self-aware and irreverent, with lines like “Me confunden en New York pero no soy Lady Gaga.” From the nylon-guitar tenderness of “Vida Loca” — a bittersweet confession wrapped in a surreal existential haze — to the 70s Latin pop revival of “Himno del Mediocre,” every track offers something unexpected. The recurring motif is liberation: artistic, emotional and spiritual. They channel everything from dance-pop (“Soy Increíble”) to a rock en español throwback (“Hasta Jesús Tuvo Un Mal Día,” featuring Sting), touching on bossa nova (“Goo Goo Ga Ga,” “No Me Sirve Más” featuring Jack Black), electronic experimentalism and even a bachata-laden dance tune (“Ay Ay Ay” with Anderson .Paak). Despite the eclectic range, there’s no loss of identity; the duo’s volatile chemistry anchors the sonic rollercoaster.

But beneath the playfulness lies a sharper vulnerability. In tracks like “Muero,” Ca7riel y Paco Amoroso reflect on fame’s darker edges and the disconnect that often comes with it. At 32 years old, they wear their experimentation and acclaim with outward brashness while slipping moments of surprising intimacy into the mix. By the time the album concludes on the impulsive, medieval church choir-backed tune “Lo Quiero Ya!,” the Argentine twosome have made one thing clear: Free Spirits is their manifesto. With their diverse palette, deep emotions, and unstoppable energy, they cement their place as one of Latin America’s most magnetic acts. Every era, every genre, every feeling is fair game — as long as it makes them feel alive. — ISABELA RAYGOZA

TINI, Ulises Bueno, “Dos Amantes” (Sony Music Latin/Hollywood Records)

TINI and Ulises Bueno join forces in an infectious fusion of cuarteto cordobés, pop and Argentine folklore, set against a story of forbidden love that withstands the test of time and all prejudice. “They never stopped loving each other/ No matter what anyone says, nor their social class/ It doesn’t matter that their parents want to tear them apart/ They swore that they would love each other forever,” goes part of the lyrics, co-written by both artists alongside Colombian hitmakers Andrés Torres and Mauricio Rengifo. Just as joyful as the track is its music video: a must-watch clip featuring special appearances by soccer superstars Lionel Messi and Rodrigo De Paul (the latter being TINI’s partner), actress and TV host Susana Giménez, Rawayana frontman Beto Montenegro and musician Cacho Deicas — all acting out a wedding dinner reception, fueling rumors of a possible marriage this year between the Argentine music star and De Paul. — SIGAL RATNER-ARIAS

Octavio Cuadras, Esaú Ortiz, Bruno Brunette, “Arisco” (Fono)

The creator of “happy corridos” Octavio Cuadras presents the focus track from his album Insania, to be released in April. Accompanied by Esaú Ortiz and Bruno Brunette, “Vete” fuses the narrative of the corrido with urban sounds, pushing the boundaries of both genres and yielding to something fun and highly accessible. The song — about a young man living through long nights of partying and revelry — opens with keyboard chords building suspense before giving way to a tumbado-style rap flow: a musical whirlwind rounded out by distinct vibes from the 80s and 90s. With this “electro-corrido” — brimming with flow, fresh beats and energy — Cuadras signals a new era of boundless creative experimentation. – TERE AGUILERA

Greeicy, Cultura Profética, “Mantis” (Universal Music Latino)

Greeicy and Cultura Profética dropped their second collaborative effort, “Mantis,” following their heartfelt “Te Creí” released in 2022. Composed by Greeicy, Branbel and Cultura’s vocalist Willy Rodríguez, the song was born after a real-life experience the Colombian singer had in 2025 with a European mantis insect that appeared on her shoulder. In the chorus, she sweetly chants: “Trust that a mantis whispered in your ear/ that the best was on its way/ that you should understand the magic that breathing brings/ and that knowing how to wait brings tranquility.” Backed by a soft reggae melody—true to the Puerto Rican band’s sound—”Mantis” serves as an uplifting track about bravery, peace and self-confidence. The last minute of the track transitions to a more rhythmic and sultry beat, hinting that the pair could have a third collaboration up its sleeves. — JESSICA ROIZ

Kakalo, Leonel García, “Tu ladito de la cama” (Socuis Music)

A delicious harmony comes to life as Sonora-based artist Kakalo unveils his long-anticipated debut collaboration with singer-songwriter Leonel García. “Tu ladito de la cama” (your side of the bed) overflows with raw emotion, weaving pop melodies with the heartfelt strum of regional acoustic guitars. True to Kakalo’s style, his tender vocals blend effortlessly with García’s dreamy voice, creating a soundscape that lingers long after the last note. From the first verses, the emotional weight of the single is established: “In the kitchen there is pain, simmering slowly, without dopamine to sprinkle as seasoning,” sings Kakalo, while García reveals the reason for this gloom: “Without you, our room burns with cold, and there is a hole in my drawer without your clothes.” — INGRID FAJARDO

Majo Aguilar, “Vete” (Fono)

The Mexican music singer unveils the second self-penned single from her upcoming album: a track featuring direct lyrics filled with self-love, which defy the inertia of a monotonous relationship to take flight and turn the page. An energetic violin introduction gives way to trumpets and vihuelas, along with the guitarrón, elements indispensable to the traditional sound of ranchera music. “Vete” serves as a clear example that one can sing about pain and heartbreak in a contemporary style, empowering women without implying that they have ceased to believe in love or in new opportunities. Without straying from tradition, Majo — who is currently experiencing a moment of great vocal and musical maturity — infuses a modern touch into the genre that runs through her veins as a representative of the Aguilar dynasty. – T.A.

Los Fabulosos Cadillacs, LFC Zócalo 3.6.2023 (Sony Music Uruguay)

The historic free concert that the Argentine band Los Fabulosos Cadillacs performed in 2023 at Mexico City’s iconic Zócalo — an event that earned them the record for the largest crowd ever gathered in the Latin American nation’s main public square, drawing 300,000 people (a mark recently surpassed by Shakira) — is now available to be relived as a double live album. Led by vocalist Vicentico and bassist Flavio Cianciarulo, the group experienced one of the most glorious moments of their career that night with an unforgettable show featuring such classics as “Manuel Santillán, El León,” “Demasiada Presión,” “Carmela,” “El genio del Dub,” “Calaveras y Diablitos,” “Los Condenaditos,” “Vasos Vacíos” and “Quinto Centenario.” Their performance on that iconic stage reaffirmed the deep bond the group has cultivated with their “Magical Mexico” — the affectionate name they give to the country that has embraced its members as if they were locals. The album is also available on vinyl. — NATALIA CANO

Check out more Latin recommendations this week below: