If you’ve ever wondered why we’ve never gotten a Lady Gaga x Diplo collab, we finally have an answer — according to the DJ, anyway.

In honor of International Women’s Day on Sunday (March 8), Diplo posted an Instagram collage of the women artists he’s worked with. Beyoncé, Charli xcx, Madonna, Ariana Grande and Nicki Minaj are just some of the musicians featured in the post. In the caption, Diplo expresses his gratitude for the women he’s “been lucky enough to work with” and thanks them for their inspiration, collaboration and “telling [him] when [his] ideas were trash.”

Many in the comments were quick to share their opinions on the post and some of the inclusions. Some expressed discontent with Minaj making appearance, with a few referring to the rapper as “MAGA Minaj.” BLACKPINK fans were excited to see their favorite K-pop group featured in the image. And singer Julia Michaels called out Diplo for not adding her to the post, commenting, “You always forget me” with a laughing emoji.

Michaels was not the only person notably missing from the post. One fan left a question that would be on any dedicated Little Monster’s mind: Where’s Gaga?

Diplo replied explaining in simple terms why Mother Monster was not included in the collage. “She never text back,” the “Where Are U Now” producer said. Despite past rumors of a collaboration, Mother Monster and Diplo have yet to work together.

Billboard has reached out to Gaga’s rep for comment.

The “Bad Romance” singer is no stranger to collaborating with DJs and electronic dance producers. Zedd produced “G.U.Y.” off of her 2013 album, ARTPOP. In 2021, Gaga and lead Chromatica producer Bloodpop released Dawn of Chromatica, a remix album of newly imagined versions of every Chromatica track by artists such as Arca, A. G. Cook and more. Just last year, she and French producer Gesaffelstein collaborated on “Killah” off of her latest studio album, MAYHEM.


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For the past few years, Harry Styles, Coldplay, Katy Perry, Sam Fender and more have been doing their bit to support the grassroots music scene, as all have pledged proceeds from their tours (at least £1 from every ticket sold) to be donated to the LIVE Trust, a freshly established group that features stakeholders from across the industry.

So far, £5 million has been raised for the cause. Now, a portion of that money (£125,000) is about to be distributed to eligible artists for the very first time via a series of new initiatives — the second-largest of which is the newly formed U.K. Artist Touring (UKAT) Fund.

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The Featured Artists Coalition (FAC) has announced that applications for the first portion of the UKAT Fund will open on Wednesday (March 11). The partnership, arranged by the FAC alongside the Music Managers Forum (MMF) and the Musicians’ Union (MU), is designed to respond to what the FAC calls the “cost of touring crisis” in grassroots live music. U.K. Music and Arts Council England have also backed and assisted the plans.

The UKAT Fund will offer “top-up” contributions to existing tours to help reduce shortfalls in touring budgets — a key issue for both emerging and established acts in the current climate. Many have reported that they’re operating at significant losses.

“It’s a desperately needed intervention,” David Martin, chief executive of the FAC, tells Billboard U.K. of the plans. “We want to get newer artists out there and play to build their live footprint. We’re trying to allow artists to present themselves how they want to be seen as a live act.”

Applicants can apply for a total of £7,000, or a maximum of 40% of total eligible tour expenditure. They must play three U.K. headline shows of capacities between 75 and 2,000 before October 31, 2026, and must have released new original music in the past three years. Submissions are due before 11:59 p.m. on March 20. See the full list of criteria here.

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The fund and application process have been hammered out following discussions with stakeholders. Martin says the scheme is open to artists of all genres.

In a statement to Billboard U.K., emerging artist SOFY says, “I am so excited by this initiative and the invaluable experiences it’s going to create for artists and fans alike, as well as opening up opportunities for touring professionals such as engineers and TMs. This feels like an important step in the right direction, and something the UK music industry has needed for as long as I can remember — towards more accessible, safer and higher quality tours for everyone involved.”

While the voluntary donations to the LIVE Trust by a number of big names have been celebrated, Martin acknowledges there has been a gap in understanding what those funds will be used for — but adds that the UKAT Fund can make it “really tangible” for fans and industry. “Once we’re able to say, ‘here are shows that are happening because of the donation,’ it’ll be much easier to grasp the concept for the artists and teams that have decided to pay in.”

In 2024, a landmark Parliamentary report by the Culture, Media & Sport Committee highlighted that the number of artists who are able to head “out to tour across the UK and abroad” has fallen “by as much as 74% compared to pre-pandemic numbers,” and that the cost of touring — incuding accommodation, transport and equipment — has risen significantly in line with the U.K. cost of living crisis. In 2022, inflation in the U.K. was measured at 11% on the Consumer Prices Index, and in 2026, it sits at 3% year-on-year — significantly higher than the 2% target rate set by the Bank of England. The Music Venue Trust reported that in 2025, 53% of grassroots music venues in the United Kingdom were unable to turn a profit.

Martin says that tours have become shorter but also less varied in location; artists are more likely to play shows in major hubs (including London, Manchester and Birmingham) rather than head to smaller regional towns and venues, ultimately passing costs onto the consumers who must travel to shows. 

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“We’re trying to sustain careers, and we’re also trying to push music into regions,” Martin says. “It’s funding the whole pipeline that makes tours happen — from the supply chain of personnel and services, accommodation, travel managers, agents that rely on that activity for their income — [and helps] the artists expand their audiences.”

Having greater exposure to the arts, Martin adds, can address the problem of class inequality in the arts. “You’ve got a class of people who just cannot afford to participate in the music industry,” he says. “All these niche scenes that we export globally — be it pop, punk, drum’n’bass — come from underground working class movements.”

According to Martin, the initiative shows the industry that a “harmonious” approach to problem-solving can benefit all involved. “We’re really poor in this country when talking about the expenditure of money as investment, but surely you can see these artists…are your future headliners,” he says.

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Martin adds, “To have a healthy sector, it’s important to have both a healthy performer pipeline, but also a pipeline of audiences that care and are passionate about great music and can afford to attend events.”

The Labour government has been supportive in tackling these issues. Ian Murray, the minister for creative industries, says he wants to see 50% of all shows with a capacity of 5,000 or more contributing to the fund in 2026. While a mandatory levy has not been ruled out, Martin says, “I think the whole industry would prefer to drive this thing and to control it. I would argue that it knows best how to do it.”

With the funding window closing on March 20, Martin is excited about the prospect of artists getting the funding and hitting the road in the coming months. The program will be tweaked according to feedback from artists and their touring groups, but getting the ball rolling is an achievement to savour, he says.

“It’s surprising how relatively small amounts of money can make a difference,” he says. “We want to be doing a lot more of this and on a regular basis.” The ultimate goal: To help assist a future superstar who can pay back into the UKAT fund. “I’m looking forward to that story, which will happen,” he adds. “It’ll be a few years down the line, I’m sure, but I can’t wait for that.”


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Willie Colón received a final farewell on Monday morning (March 9) in his hometown of New York City, where family, friends and fans gathered at a public funeral Mass at St. Patrick’s Cathedral to honor the legendary salsa pioneer.

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The event took place after a weekend of private and public visitation, according to the Associated Press, which noted that the burial would be private. The funeral was livestreamed through St. Patrick’s Cathedral’s website and YouTube channel, where a recording was available.

“He left a giant shadow,” said Diego Colón, one of his four children, during the first eulogy. “The whole world was changed by his music … those who truly knew him were changed by his love.”

Another of his sons, Alejandro Miguel Colón, revealed that his father always dreamed of having his funeral at the famous cathedral. “We got it done,” he said.

A trombonist, arranger, bandleader and producer, Colón — who was born in the Bronx — passed away on Feb. 21 at the age of 75. The cause of death has not been disclosed.

“Willie didn’t just change salsa,” his manager Pietro Carlos wrote when confirming the news on social media. “He expanded it, politicized it, clothed it in urban chronicles and took it to stages where it hadn’t been before. His trombone was the voice of the people.”

A key figure in the evolution of salsa music, Colón was instrumental in bringing the genre from the neighborhoods of New York to global recognition. At just 16 years old, he began his career with the release of El Malo, his 1967 debut album, recorded alongside Héctor Lavoe.

In the 1970s, Colón became a pillar of the salsa revolution. Alongside Larry Harlow, Johnny Pacheco and Bobby Valentín, he recorded the live album Fania All Stars at the Cheetah in 1973, a concert featuring artists from the Fania Records label that helped catapult salsa to international prominence, following in the footsteps of great genre pioneers such as Tito Puente, Eddie Palmieri, Ricardo Ray and Bobby Cruz.

On the Billboard charts, his legacy spans more than 40 years, beginning in 1985 with Criollo, which reached No. 18 on Top Tropical Albums, and continuing up to this week with Greatest Hits, currently at No. 3 on the same ranking. Among his biggest hits are “Idilio,” “La Murga” and “Calle Luna, Calle Sol.”


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Chappell Roan just turned the camera around on people who follow her in public, with the pop star documenting on her phone what it’s like to be “disregarded as a human” after a horde of fans and photographers appeared to surround her in Paris.

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In a video taken by an onlooker that began circulating online Monday (March 9), Roan films herself in selfie mode as a swarm of people repeatedly shouts at her. “I’m just trying to go to dinner, and I’ve asked these people several times to get away from me,” she tells the camera before filming some of the strangers gathered around her.

“This person I’ve asked several times to go away, and they will not,” she continues, capturing someone who continued to ask her for an autograph — even as she was confronting them for such behavior — in her video. “They’re hiding their face, because they’re ashamed.”

“These are all the people that are completely disregarding my boundaries,” she added moments after saying she also felt “disregarded as a human.” “All of you, I’m asking you kindly to please leave me alone and stop following me and harassing me. No, I’m not gonna sign. This is what it’s like, if you were wondering how it is.”

Billboard has reached out to Roan’s rep for comment.

The Missouri native has been spending time in the city for Paris Fashion Week, attending shows for Rick Owens, Mugler, Vivienne Westwood and Alexander McQueen. Her encounter in France is far from the first time she’s put boundary-crossing people in their places, making headlines in 2024 after she called out the “predatory behavior” and “harassment” displayed by certain fans. She’s also publicly confronted photographers at award shows for allegedly yelling at her.

“For someone who gets a lot of anxiety around people yelling at you, the carpet is horrifying, and I yelled back,” she told Entertainment Tonight after one such instance at the 2024 VMAs. “You don’t get to yell at me like that.”

Roan hasn’t dropped new music since last year, coming out with two Billboard Hot 100 hits — “The Giver” and “The Subway” — in 2025. Her debut album, The Rise and Fall of a Midwest Princess, peaked at No. 2 on the Billboard 200.


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Ye (formerly Kanye West) is set to perform in a U.S. stadium for the first time since 2021’s Free Larry Hoover benefit show.

West will be returning to the stage on April 3 with a concert at SoFi Stadium in Inglewood, Calif. Pre-sale tickets are set to go on sale starting on Tuesday (March 10) at 10 a.m. local time on Ticketmaster, while the general public gets their chance on Wednesday (March 11).

SoFi Stadium’s website has added the date to its calendar and billed the homecoming show as “Ye Live in Los Angeles” and West’s “Only Show in Los Angeles.”

A Yeezy tour page promoting the concert has also surfaced with a pre-save to West’s upcoming album, Bully, which is slated to arrive later in March via Gamma.

West is coming off a pair of sold-out shows in Mexico City in January. He’s also slated to perform in Italy in July. It’s unclear if the L.A. date is a one-off show or a sign of more to come in North America.

In the past, the Chicago native had expressed his frustrations with being unable to book shows in the U.S. following his string of antisemitic remarks, which began back in 2022, and resulted in Kanye losing partnerships with Adidas, Gap, Universal Music Group, CAA and Balenciaga.

Ye has since taken steps to mend fences with the Jewish community. After meeting with a Rabbi in 2025, Yeezy took out a full-page ad in the Wall Street Journal in January, penning an apology letter to the Jewish and Black communities he’s offended with his inflammatory commentary and actions in recent years.

“I regret and am deeply mortified by my actions in that state, and am committed to accountability, treatment and meaningful change,” he wrote at the time. “It does not excuse what I did, though. I am not a Nazi or an antisemite. I love Jewish people.”

The Anti-Defamation League said at the time that Ye’s apology was overdue. “Ye’s apology to the Jewish people is long overdue and doesn’t automatically undo his long history of antisemitism — the antisemitic ‘Heil Hitler’ song he created, the hundreds of tweets, the swastikas and myriad Holocaust references — and all of the feelings of hurt and betrayal it caused,” an ADL spokesman told Billboard in January. “The truest apology would be for him to not engage in antisemitic behavior in the future. We wish him well on the road to recovery.”

West hasn’t hit the road in the U.S. for a proper trek since 2016’s Saint Pablo Tour, which was canceled during its second leg after Ye was hospitalized in November 2016 due to extreme exhaustion and dehydration.

Ye’s last SoFi Stadium appearance came during Rolling Loud 2024, which was more in the line of the “listening experiences” West had been hosting with Ty Dolla $ign in support of their Vultures collab album, rather than a traditional concert.


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Bruno Mars’ “Risk It All” launches at No. 1 on the Billboard Global 200 chart. The song, from the star singer-songwriter’s new album, The Romantic — which likewise starts atop the U.S.-based Billboard 200 — is his third Global 200 leader, and first on his own (since the chart began in 2020), after “Die With a Smile,” with Lady Gaga, dominated for 18 weeks in September 2024 through last May and “APT.,” with ROSÉ, ruled for 12 weeks in November 2024-February 2025.

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Bad Bunny’s “DtMF” adds a fourth total and consecutive week at No. 1 on the Billboard Global Excl. U.S. chart. The song has led following his Super Bowl LX halftime show performance Feb. 8 in Santa Clara, Calif., where it was the closing cut in his set.

Plus, PinkPantheress’ “Stateside,” with Zara Larsson, flies 11-2 on the Global 200 and 15-2 on Global Excl. U.S. The song has heated up further since Alysa Liu skated to it in her exhibition performance at the Milano Cortina Winter Olympics Feb. 21, two days after she became the women’s figure skating champion, winning the first gold medal in the event for the U.S. in 24 years.

The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

“Risk It All” leads the Global 200 with 51.7 million streams and 9,000 sold worldwide in its first week of release (Feb. 27-March 5).

“Stateside” soars to No. 2 on the Global 200 with 52.4 million streams (up 60%) and 2,000 sold (up 14%) worldwide. PinkPantheress and Larsson each earn a second top 10 on the chart, and a new career-high rank, after “Boy’s a Liar, Pt. 2,” with Ice Spice (No. 3, 2023), and the revived “Lush Life” (No. 8, this January), respectively.

“DtMF” falls to No. 3 on the Global 200, after five weeks at No. 1 between January 2025 and last week; Olivia Dean’s “Man I Need” drops to No. 4 from its No. 2 best; and Mars’ “I Just Might,” the lead single from The Romantic, rebounds 15-5 after it debuted at its No. 4 high.

“DtMF” tops Global Excl. U.S. with 35.2 million streams (down 14%) and 1,000 sold (down 13%) outside the U.S.

“Stateside” pirouettes to No. 2 on Global Excl. U.S., becoming, as on the Global 200, PinkPantheress and Larsson’s second top 10 and highest-charting song each.

Taylor Swift’s “The Fate of Ophelia” falls 2-3 after eight weeks leading Global Excl. U.S. between October and February and “Man I Need” keeps at No. 4 after reaching No. 3.

Plus, “Risk It All” opens at No. 5 on Global Excl. U.S., where it’s Mars’ fifth top 10 (he boasts six on the Global 200) and “I Just Might” dances 18-7, after it debuted at its No. 4 peak.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated March 14) will update on Billboard.com tomorrow, March 10. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.


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Wasserman Group has officially rebranded to THE·TEAM as the agency continues to hammer out the details after parting ways with now-controversial founder Casey Wasserman.

The name change, announced Monday (March 9), is a nod to the agency’s former moniker “Team Wass.” This follows the release of emails between Wasserman and convicted Jeffrey Epstein associate Ghislaine Maxwell, leading to a mass exodus of music clients. Though nothing in the documents implicates Wasserman in a crime, he agreed earlier this month to sell his namesake agency to get past the “distraction.”

“For 24 years, this company has been shaped by our work, our people and our unifying belief in the power of Sports, Music and Entertainment,” THE·TEAM says in a statement announcing the new name. “That philosophy remains the foundation of who we are — and where we are going. We go forward as we always have: Together.”

Negotiations are still underway for the sale of Wasserman’s stake in the agency, which includes valuable sports, music and brand divisions. Forbes estimates that the entertainment mogul owns roughly 40% of the business, with the rest held by private investment firm Providence Equity Partners.

Wasserman’s name became controversial after it popped up in the millions of pages released on Jan. 30 by the Department of Justice as part of the Epstein Files Transparency Act. These files included risqué emails from 2003 between Wasserman, who was then married, and Maxwell, who is now serving prison time following her conviction for trafficking underage girls on Epstein’s behalf.

The exchanges between Wasserman and Maxwell occurred years before her crimes came to light, and nothing in the documents suggests that Wasserman engaged in any wrongdoing. But numerous artists departed the agency in the fallout, including Chappell Roan, Orville Peck and Sylvan Esso.

Wasserman announced his exit in a Feb. 13 company-wide memo, writing, “I’m deeply sorry that my past personal mistakes have caused you so much discomfort. It’s not fair to you, and it’s not fair to the clients and partners we represent so vigorously and care so deeply about.”

“Our clients expect — and deserve — world-class representation. And that’s exactly what they get because of all of you,” wrote Wasserman at the time. “At this moment, I believe that I have become a distraction to those efforts. That is why I have begun the process of selling the company, an effort that is already underway.”

It’s not yet clear whether the newly-renamed THE·TEAM will be sold as a single entity or in parts, and the buyer (or buyers) have not yet been publicly identified. The sale could reshape the concert booking market, especially if a competitor like CAA, WME or UTA were to acquire the agency’s music division, which boasts clients including superstars Ed Sheeran, Coldplay, Kendrick Lamar and SZA, plus a heavy slate of dance acts like Skrillex, Rüfüs Du Sol and Swedish House Mafia. 

Additional reporting by Eric Renner Brown.

Tommy DeCarlo — lead vocalist for Boston — died on Monday (March 9) from brain cancer in Charlotte, N.C. He was 60.

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The singer’s family confirmed the news in a Facebook post. “After being diagnosed with brain cancer last September, he fought with incredible strength and courage right up until the very end,” they wrote.

DeCarlo was born on April 23, 1965, in Utica, N.Y. He discovered and became a fan of Boston in 1977, when he was 12. The band had debuted in 1976 with the Epic album Boston, which rose to No. 3 on the Billboard 200 and remained on the chart for 138 weeks. The band’s next two albums, Don’t Look Back (1978), also on Epic, and Third Stage (1986), on MCA, both reached No. 1.

In the 1990s, DeCarlo began recording cover versions of his favorite Boston songs. In March 2007, original Boston lead singer Brad Delp died by suicide at age 55. DeCarlo wrote and recorded an original song about Delp and recorded a couple of Boston covers. His daughter suggested he post the songs on a MySpace page. DeCarlo sent a link to his MySpace page to Boston management. Not long after, he was contacted by Boston founding member Tom Scholz, who invited him to audition for the band. DeCarlo was the lead vocalist (or colead vocalist) for every subsequent touring lineup of Boston.

In 2013, Boston’s album Life Love & Hope reached No. 37 on the Billboard 200. DeCarlo sang lead vocals on the title track, “Someday,” “You Gave Up on Love (2.0)” and “The Way You Look Tonight.”

DeCarlo formed the band DECARLO with his son Tommy DeCarlo Jr. in 2012. The band signed a deal with Frontier Records Srl and released an album, Lightning Strikes Twice, in January 2020.

In November 2021, DeCarlo recorded and released the audiobook, Unlikely Rockstar – The Tommy DeCarlo Story.

In 2022, DeCarlo signed a solo record deal with Frontier Records for Dancing in the Moonlight, which was released in December 2022.)


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In the live music industry, gatherings are often built around networking, showcases and deal-making. But increasingly, a different kind of event is emerging — one in which culture, community and creativity are being mobilized in the service of social impact.

One recent example is Shukr, a London event that brought together artists, executives, founders and creatives during Ramadan at Royal Albert Hall (March 3). Sadiq Khan, the mayor of London since 2016, was also in attendance and spoke to the attendees. The evening centred on an iftar gathering – the meal that breaks the daily fast during the holy month – while also raising awareness and supporting organisations including Pillars Fund, a Muslim community foundation, and Road to Freedom, an anti-human trafficking charity.

While the music and entertainment industries have long hosted events that bring together culture and networking, Shukr positions itself slightly differently: as a space where community and creativity can also become a vehicle for philanthropy.

“The idea behind Shukr was to create a space during Ramadan where people from across our industry could come together, break bread and reconnect through shared values of gratitude, generosity, and community,” says Mohammad Qazalbash, vice president of business development at Live Nation Arabia.

“There are many industry events centered around networking, but very few rooted in culture and purpose for Muslims,” he adds. “Shukr was created to bring artists, founders and leaders around one table — not just to celebrate creativity, but to strengthen the community that sits behind it.”

The gathering first debuted in 2025 at London’s 180 House, before expanding to the Royal Albert Hall for its second edition this year. Hosting the event at one of the world’s most recognizable performance venues added symbolic weight to the evening.

“Ramadan is fundamentally about community and reflection, so hosting an iftar felt like the most natural way to bring people together,” Qazalbash says. “Holding it at the Royal Albert Hall made it even more meaningful. It’s one of the world’s most iconic cultural venues, and bringing a Ramadan gathering into that space felt symbolic — a reminder that our cultures and traditions belong in these rooms too.”

Beyond its setting, Shukr also reflects a broader cultural shift. Across the U.K. and globally, music-adjacent spaces are increasingly being used to mobilise communities and raise funds for humanitarian causes.

In the U.K., initiatives like BRITs Week regularly bring major artists into intimate venues across the country to raise funds for children affected by conflict through the charity War Child. Activist movements such as Love Music Hate Racism have similarly used concerts and cultural gatherings to promote anti-racism and social solidarity.

Meanwhile, large-scale events such as the Concert for Ukraine in 2022 with Ed Sheeran, Camila Cabello, and others on the line up demonstrated how music-led programming can mobilise audiences and fundraising efforts at a national scale. Shukr sits within this growing ecosystem of cultural initiatives — though its focus remains rooted in community-building within the creative industries.

In a moment when the global political climate often feels increasingly polarised, Qazalbash believes cultural gatherings have an important role to play.

“Moments like this matter, because culture has always been one of the few spaces where people can come together beyond politics,” he says. “Music, art and storytelling create shared experiences that remind us of our common humanity.”

Qazalbash says, “When people sit at the same table, share food, listen to music and hear each other’s stories, it becomes much harder to see one another through the lens of division. Shukr isn’t about politics, it’s about people. It’s about building bridges and strengthening communities at a time when the world often feels fragmented.”

The name of the event reflects that ethos. Derived from Arabic, Shukr translates to thankfulness and gratitude: values that shape both the spirit of the gathering and the philanthropic dimension behind it.

Looking ahead, Qazalbash hopes the platform will continue to grow beyond a single evening. Through his work across the live sector, he sees an opportunity for initiatives like this one to help create more supportive spaces for underrepresented communities within the creative industries.

“I’ve been fortunate to work across two regions, and one thing that’s clear to me is that in the U.K. we still have work to do when it comes to creating supported spaces where minority communities in the creative industries can come together,” he says.

He points to organizations like the Black Music Coalition as examples of how community-led platforms can provide mentorship, visibility and opportunity for professionals who might otherwise lack access to industry networks.

“My hope is that in the years to come, Shukr can play a similar role,” he adds. “Bringing Muslims and non-Muslims together through cultural exchange, mentorship and support for emerging talent.”

Like many initiatives that blend culture with community impact, the event also relies heavily on collaboration. This year’s gathering was made possible with support from the Royal Albert Hall alongside partners including Huda Beauty and Enchanted by Syma, who helped bring the evening to life.

For Qazalbash, that collaborative spirit is central to Shukr’s future. “The event wouldn’t be possible without partners who believed in the idea from the beginning,” he says.

At a time when the world often feels fragmented, gatherings like Shukr offer a reminder of what cultural spaces can achieve. When music, community, and purpose intersect, even a single evening can spark conversations, support charitable causes, and strengthen the networks that shape the creative industries.


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Doja Cat has come to the defense of ballet and opera. The Grammy-winning artist took a shot at Timothée Chalamet in a since-deleted TikTok on Sunday (March 8), following the Marty Supreme actor’s polarizing comments in February about both performance art disciplines.

Rocking a towel outside of the shower, Doja clapped at Chalamet in the viral clip while appearing to butcher his name with her pronunciation on purpose.

“Hey, by the way, opera is 400 years old, ballet is 500 years old. Somebody named Tim-ohtay Chalamet had the nerve — big guy, by the way — had the nerve to say, on camera, that nobody cares about it,” Doja began.

Essentially, Doja wants to see Chalamet put some respect on ballet and opera after he said “no one cares” about either right now.

“I’m sure you can walk into an opera theater right now, seats will be filled out and nobody’s saying a word as the performance is going because everybody has that much respect for it,” she continued. “There is an etiquette around opera. There is etiquette around ballet. It is amazing. It’s an amazing theater medium. It’s f–king beautiful and people go there every day to the dance studio.” 

Chalamet made the controversial comments during a Variety and CNN town hall panel with Matthew McConaughey in February.

“I don’t want to be working in ballet, or opera, or things where it’s like, ‘Hey, keep this thing alive, even though, like, no one cares about this anymore.’ All respect to all the ballet and opera people out there,” he said, which drew applause in the venue and criticism on social media. “I just lost 14 cents in viewership. I just took shots for no reason.”

Doja explained that although some performance art industries may be currently struggling, it doesn’t mean that a ton of people don’t care about it. “It doesn’t matter if the industry is having a tough time at any time, which a lot of industries have a tough time,” she said. “Your industry has a tough time, my industry has a tough time. Doesn’t mean people don’t care about it. People care. The dancers care, the singers care, the audience cares.”

Doja concluded: “There’s still an audience. People give a f–k. You show up in a nice outfit. You sit the f–k down and shut the f–k up. That’s the usual etiquette around those things. Maybe learn something from that.”

Billboard has reached out to Chalamet for comment.

Various opera houses have turned Chalamet’s criticism into a positive by using his name for ticketing promo codes and extending personal invites to the actor to come check out a show.

Saturday Night Live even took a shot at the actor during the Weekend Update segment. Quipped Colin Jost: “Chalamet made the comment on a press tour for his movie about … ping-pong.”


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