Charlotte de Witte won’t make it to Australia this weekend, as planned, due the aftershock of military strikes in the Middle East.

The high-profile Belgian techno DJ and producer was booked for an exclusive show this Friday, March 6 at Sydney’s Hordern Pavilion, followed by a headline set at Pitch Music & Arts festival, set for March 6-10 in Moyston, Victoria.

Those shows are now scrapped.

“It is with a heavy heart that I have to cancel my upcoming shows in Australia this weekend,” she writes on Instagram Stories. “Due to the recent escalation of conflict and drone attacks in the Middle East, it is not possible to risk free reroute travel for myself and my crew. This decision was not taken lightly.”

De Witte signs off, “I am truly sorry for the disappointment and was very much looking forward to being with you.”

Those dates are produced by Untitled Group, the Melbourne-based independent festival, concert and events specialist. A statement from Untitled points to the “ongoing global travel disruptions amid conflict in the Middle East.”

The Sydney show is postponed, not canceled, the message continues. “We know how much these shows meant to fans and share in the disappointment, however the safety of Charlotte and her crew remains the priority.  A new date for the Sydney show is currently being finalized, with an update to be provided within the next 7 days. We look forward to welcoming Charlotte back to Australia as soon as possible.”

All tickets will remain valid for the rescheduled date, or refund information will be shared when a new show is announced.

According to Untitled, 27 performers for this year’s Pitch program were scheduled to travel via stopovers through the Middle East with their journeys being directly affected. Of those, 25 artists were able to be rerouted and will make their way to Pitch. However, de Witte and German producer Sedef Adasï are “no longer able to join us this year,” reads a statement from Pitch, posted on Instagram Stories.

Those disruptions are the result of aerial strikes launched on Iran last Saturday, March 28, by the United States, alongside Israel, which Donald Trump said were aimed at targeting the country’s nuclear program.

Iran has responded by firing missiles and drones at Middle Eastern nations allied to the United States, the BBC reports, as the US-Israeli war threatens to spread and escalate. The U.S. State Department on Monday warned Americans to “depart now” from 14 countries in the region due to “serious safety risks”.

Nine Inch Nails are active, and on the road. But the end might be closer than we realize.  

NIN spearhead Trent Reznor gave fans a surprise warning when the industrial rock heavyweights visited Tulsa, OK last Friday night, Feb. 27.

“I don’t know if we’re going to be touring anymore after this,” he remarked in a video film from the crowd at the BOK Center, “but I’m proud of the show that we’re doing right now. And I’m f—ing grateful that you’ve chosen to spend your evening with us tonight. Thank you very much.”

Reznor shared his thoughts as the recounted a performance in Tulsa “many years” ago when NIN was the support act for Peter Murphy at Cain’s Ballroom. That night, Reznor had a life-affirming moment, as he watched a member of the audience scream back the lyrics of “Head Like a Hole,” a classic early NIN song from the 1989 album Pretty Hate Machine.

On the same day that Reznor hinted at the end of the road for his Rock And Roll Hall of Fame-inducted band, another surprise: NIN released a companion album to its Tron: Ares soundtrack, titled Tron Ares: Divergence. It’s the followup to TRON: Ares, the first-ever film score from Oscar-winning composers Reznor and Atticus Ross (credited under their Nine Inch Nails), which debuted at No. 5 on the Billboard 200 album chart.

NIN ensured the 1980s were buried under a ton of metal with Pretty Hate Machine. Although it only peaked at No. 75 on the Billboard 200, the album marked ground zero in a new movement of heavy edged music, with the synth in its stable. It’s one of 18 NIN appearances on the all-genres albums chart, including two leaders: 1999’s The Fragile (one week at No. 1) and 2015’s With Teeth (one week).

Reznor and Co. are currently on the second leg of its Peel It Back tour, which scheduled to wrap up March 16 at the Golden 1 Center in Sacramento, CA. The first leg got underway June 15, 2025, in Dublin, and ended with two shows at the Kia Forum in Los Angeles last September.

Check out the remaining 2026 dates for NIN’s Peel It Back North American tour below.

March 3: American Airlines Center — Dallas, Texas
March 6: Desert Diamond Arena — Glendale, Arizona
March 7: MGM Grand Garden Arena — Las Vegas, Nevada
March 9: Pechanga Arena — San Diego, California
March 10: Honda Center — Anaheim, California
March 13: Delta Center — Salt Lake City, Utah
March 15: Chase Center — San Francisco, California
March 16: Golden 1 Center, Sacramento, California

SYDNEY, Australia — As it celebrates its 100^th anniversary, APRA AMCOS this week opens its doors for a once-in-a-quarter century gathering of international rights professionals.

The Australasian PRO this week hosts the board of directors of the International Confederation of Societies of Authors and Composers (CISAC), which represents 228 societies across 111 countries, for what marks the first such assembly in Sydney for 25 years.

The meeting brings together heads of major collective management organizations including ASCAP (U.S.), JASRAC (Japan), PRS for Music (U.K.), SOCAN (Canada) and UBC (Brazil), as well as organizations like DACS (UK), which manages rights for visual artists, and SACD (France), which manages rights for audiovisual directors and screenwriters.

The meetings of APRA AMCOS reps and counterparts from its sister collecting societies, united under the CISAC banner, will explore at length the challenges of the AI revolution, the “most significant threat in a generation,” a statement reads.

“APRA and CISAC have been advocating for creators’ rights for 100 years, and to be able to meet on home soil to both celebrate our history and look forward to our next 100 years together is a great honor,” comments AMCOS CEO Dean Ormston, who has been chair of CISAC since 2025. “We stand strong in our collaboration with CMOs from around the world, united under the CISAC banner, as we advocate for the value of human creativity in the face of the AI revolution.”

AI and its threat to the creative industries is the issue of our time. A recently published study, commissioned by CISAC, found that the market size for Generative AI music could reach up to €16 billion annually by 2028, with as much as 24% of music creators’ revenues at risk without effective regulation and licensing frameworks.

APRA AMCOS was a key cog in the creative industries‘ successful lobbying efforts that saw Australia reject a Text and Data Mining exception into its copyright laws, effectively shutting the lid on industrial-scale theft of creative intellectual property.

“The scale of transformation we are witnessing today calls for the same collective resolve that defined our founding a century ago,” comments CISAC director general Gadi Oron. “Our responsibility — now as always — is to ensure that innovation strengthens the creative economy rather than diminishes it, and that creators receive a fair share of the value their works generate. Human creativity is the fuel that powers AI systems and it must be protected, respected and fairly remunerated.”

APRA AMCOS raises its century with a full year of special programs. As previously reported, those birthday festivities include the launch of a new “hall of fame-style” event in November, along with the “biggest ever” APRA Music Awards in Sydney in April and Silver Scroll Awards/Kaitito Kaiaka in New Zealand this October, and the first-ever Gudinski SongHubs in Melbourne, a nod to the late, great Mushroom Group founder Michael Gudinski.

Formed by six music publishers a century ago this month, the Australasian Performing Right Association now represents over 128,000 music creators.

Revenue and distributions continue to push into unchartered territory. Including its sister organization AMCOS, the Australasian rights organization last October posted annual revenue of A$787.9 million ($511 million) for 2024-25, up 6.5% from the previous financial year, with net distributable revenue at A$683.4 million ($443 million), up 7.8% year-on-year, also an all-time result.

Based on recent results, Billboard reported at the time, the A$800 million revenue milestone should be easily surpassed in the next annual report. The magical A$1 billion figure is on the near horizon.

In a moment of vulnerability, Hailey Bieber is opening up about complications during her pregnancy with her and husband Justin Bieber’s son Jack Blues.

On Tuesday (March 3), Hailey Bieber sat down with her OBGYN Dr. Thaïs Aliabadi and Mary Alice Haney, co-hosts of the SHE MD podcast, for a candid conversation on her health and postpartum recovery. In the hourlong conversation, the trio talk about Bieber’s health history, what it was like building Rhode while being a mom, and the medical condition that put her pregnancy at higher risk of miscarriage.

In a moment of candid honesty, Bieber revealed that Dr. Aliabadi diagnosed her with uterine septum prior to her pregnancy and that the doctor warned her that the condition may cause complications.

“I told her don’t get pregnant,” Dr. Aliabadi said.

“I’m not thinking about getting pregnant right now, so we’ll cross the bridge when we get there,” Bieber said of her response at the time. “And then, I magically got pregnant.” Hailey and Justin announced that Hailey was pregnant with their first child in May of 2024. The couple welcomed their now 16-month-old son just a few months later on Aug. 23, 2024. Although Hailey has previously opened up about complications she faced during pregnancy and childbirth, the podcast appearance was her first time speaking on uterine septum.

In the discussion on the condition, Dr. Aliabadi goes on to break down what exactly a uterine septum is. She explains that it is a genetic condition where a thin wall grows in the cavity of the uterus. The septum can range from mild to severe depending on it’s thickness. Bieber condition was considered moderate, which Dr. Aliabadi said comes with a higher risk of a miscarriage.

“The risk for her was about, maybe, 25 to 40 percent for miscarriage,” the doctor said of Bieber. “And a 10 to 20 percent risk of preterm delivery,” which Bieber said was their bigger concern.

Dr. Aliabadi recounts first telling Bieber of the risks to which the Rhode Founder responded, “I believe that everything’s gonna work out fine.” The doctor and Bieber explain that a moderate septum is not an immediate indication for the termination of a pregnancy; but it is important to be aware that those affected may be at a higher risk for certain things. Hailey was h

“It happened and it all worked out,” Hailey said. “And clearly my septum did what it needed to do.”

Watch the full podcast episode below.