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BTS‘ Jung Kook and Jimin are back for a second season of adventure for their hit show Are You Sure?!
The eight-episode season will premiere on Dec. 3 and sees the duo break new ground by traveling to Switzerland and Vietnam. Two episodes will be released each week up until Dec. 24. The season was filmed after both members completed their mandatory military service.
According to a press release, this season sees Jungkook and Jimin “embarking on an unforgettable 12-day journey that spans from the majestic mountains of Switzerland to the vibrant shores of Vietnam. Traveling light with only their luggage, a modest budget, and a trusty guidebook, the pair dive into a mix of thrilling adventures, serene getaways, and spontaneous, fun-filled moments.” Sounds like good TV to us.
The show’s first season became the most-watched non-drama series globally for 42 days according to Disney+ and saw the boy band members explore New York, South Korea’s Jeju Island and Sapporo, Japan.
The show’s second season will be the metaphoric table-setter for the main course, which will find the pair reuniting with Jin, Suga, RM, J-Hope and V next year now that all the group’s members have completed their military training. The group released their last studio album, Be, a whopping five years ago. The full-length offering debuted at No. 1 on the Billboard 200 in Nov. 2020.
In the meantime, if you want to tune into the latest season of Are You Sure!?, we’re showing you how below.
While you could get a solo subscription to Disney+ for $11.99 a month, you could also get two streaming services for the price of one by bundling Hulu with Disney+ for $12.99/month. These Disney+ bundles save users on average 44% per month. Think of it this way. A standalone subscription to Hulu and or Disney+ with ads is 11.99/month, which is basically the cost of the aforementioned bundle. You’re getting more bang for your buck by bundling because it gives you access to a wider variety of streaming services all in one place. Stick with us. Your wallet will thank you.
Bundle subscribers will have access to a vast range of Disney+ and Hulu titles, including movies and series from Disney, Pixar, Marvel, Star Wars and National Geographic along with Hulu Originals. Some of our favorites currently, perfect for getting you into the Christmas mood, include A Very Jonas Christmas Movie, Elf, Die Hard and The Polar Express. If you’re not ready to jingle your bells, you can always tap into other cheerful content including The Fantastic Four: First Steps, The Roses, Elio, Dancing with the Stars and the Glen Powell football comedy Chad Powers.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-01 16:05:342025-12-01 16:05:34Here’s How to Watch Season Two of BTS’ Jimin & Jung Kook’s Show ‘Are You Sure?!’
It’s time to pull out those ties, suit jackets, church hats and pearls, because Nick Jonas is slipping into his Sunday Best era with a new solo album coming in 2026.
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On Monday (Dec. 1), the Jonas Brothers star announced that he’s gearing up to release his first solo full-length LP in five years, Sunday Best, on Feb. 6. The 11-track project will explore Nick’s life as a husband to actress Priyanka Chopra and a dad to their daughter, Malti, according to a release.
“I’m so excited to share these new stories, candid thoughts, quiet walks home in the city, and snapshots of my life over these past few years,” the pop-rocker said in a statement. “And while this album was made over the course of the last two years, it was truly 33 years in the making.”
On Instagram, Nick shared the Sunday Best cover art, which features him looking at his reflection in a bathroom mirror while getting dressed for the day in khakis. On the wall behind him hangs a piece of construction paper with three paint handprints on it, most likely to represent the musician, his wife and their child.
Serving as Nick’s fifth solo album, Sunday Best will follow 2021’s Spaceman, which reached No. 12 on the Billboard 200. He’s released two albums with brothers Joe and Kevin since: 2023’s The Album and 2025’s Greetings From Your Hometown, both of which charted in the top 10.
As a soloist, Nick has also charted eight songs on the Billboard Hot 100 over the course of his career, including top 10 hit “Jealous.”
The singer has spent much of this year on tour with his brothers in celebration of their 20th anniversary as a band. They currently have dates scheduled through the very end of December, closing out 2025 with a performance at Hard Rock Live in Hollywood on New Year’s Eve.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-01 15:55:352025-12-01 15:55:35Nick Jonas Announces First Solo Album in Five Years, ‘Sunday Best,’ Says It Was ‘Truly 33 Years in the Making’
Elton John & Bernie Taupin’s current Grammy nomination (best song written for visual media for “Never Too Late”) is their first as a songwriting team in 54 years. They share the nod with Brandi Carlile and Andrew Watt. The song, which was written for the documentary Elton John: Never Too Late, was nominated for an Oscar earlier this year.
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It’s the first time John and Taupin have been nominated for a Grammy as a team since their music for the British-French teen romance Friends (no relation to the later smash TV series) was nominated for best original score written for a motion picture or a television special at the 1972 ceremony. (It lost to Isaac Hayes’ blockbuster Shaft soundtrack).
Amazingly, no John-Taupin collab has ever been nominated for song of the year. “Don’t Let the Sun Go Down on Me” was nominated for record of the year at the 1975 ceremony, but not song of the year. Their Oscar-winning “(I’m Gonna) Love Me Again” from Rocketman failed to even land a nod for best song written for visual media.
Both John and Taupin have been nominated for songwriting collabs with other partners. John received four nominations for the 1995 ceremony for co-writing songs for The Lion King with Tim Rice. “Can You Feel the Love Tonight” and “Circle of Life” were nominated for both song of the year and best song written specifically for a motion picture or for television. (The songs lost to Bruce Springsteen’s haunting “Streets of Philadelphia” from Jonathan Demme’s AIDS drama Philadelphia, an outcome that John, a longtime AIDS activist, was probably more than OK with.) John and Rice won best musical show album in 2001 for composing the score for Elton John & Tim Rice’s Aida.
Taupin received a best country song nod for the 2003 ceremony for co-writing “Mendocino County Line” with Matt Serletic. Willie Nelson recorded the song with Lee Ann Womack for his 50th studio album, The Great Divide.
John broke through in 1970, but didn’t win his first Grammy until 1987, for his featured role on Dionne & Friends’ “That’s What Friends Are For.” He won his first Grammy for one of his own records in 1992 when “Basque” won best instrumental composition. He composed the instrumental for flute player James Galway.
John has won five Grammys, far fewer than you might imagine for an artist of his stature. Taupin has yet to win one. “I’ve never been a favorite of the Grammys, I have to say,” John told writer Chris Willman in a current cover story for Variety. “It’s been very rare that I’ve won anything.”
John’s husband, David Furnish, added: “Elton and Bernie have never won a Grammy — can you believe that? — as a pair of songwriters.”
John received a Grammy Legend Award in 2000 but has yet to receive a lifetime achievement award from the Recording Academy. Taupin has yet to receive a Trustees Award (the equivalent award for non-performers). They have fared better in other prestigious honors programs. They received the Songwriters Hall of Fame’s highest honor, the Johnny Mercer Award, in 2013, and are the reigning recipients of the Gershwin Prize for Popular Song.
How does John and Taupin’s tepid Grammy showing compare with other legendary songwriting teams? Let’s start with the most fabled songwriting collaboration of them all – John Lennon and Paul McCartney. They received 10 Grammy nods in songwriting or composing categories.
Let’s also look at the nine collaborations that have received the Johnny Mercer Award from the SHOF. All but one has received at least one Grammy nod as a team. That one is the human hit factory known as Holland/Dozier/Holland, who collaborated on some of the biggest and best hits of the 1960s, including “Stop! In the Name of Love,” “You Can’t Hurry Love,” “I Can’t Help Myself” and “Reach Out I’ll Be There.” No Grammy nods for any of those songs? Please.
Jerry Leiber and Mike Stoller, like John and Taupin, received two Grammy nods as a team. Looking at the other Mercer Award recipients, and listing them in ascending order in number of nods as a team, we find Barry Mann and Cynthia Weil (four), Broadway scribes Jerry Bock and Sheldon Harnick (five), Burt Bacharach and Hal David (six), Broadway scribes Betty Comden and Adolph Green (eight), Kenny Gamble & Leon Huff (nine) and Marilyn and Alan Bergman (11).
This year’s other nominees for best song written for visual media are “As Alive as You Need Me to Be” from TRON:Ares (Trent Reznor & Atticus Ross), “Golden” from KPop Demon Hunters (EJAE & Mark Sonnenblick) and three songs from Sinners – “I Lied to You” (Ludwig Göransson & Raphael Saadiq), “Pale, Pale Moon” (Ludwig Göransson & Brittany Howard) and “Sinners” (Leonard Denisenko, Rodarius Green, Travis Harrington, Tarkan Kozluklu, Kyris Mingo & Darius Poviliunas). “Golden” also received a nomination for song of the year, so it’s probably the front-runner in this category.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-01 15:45:322025-12-01 15:45:32Elton John & Bernie Taupin’s 2026 Grammy Nod for ‘Never Too Late’ Is Their First as a Team in 54 Years
The full list of Billboard’s 2025 year-end charts are almost here, and we’re counting down the days to their unveiling on Tuesday, Dec. 9, with a special look at select rankings in the lead-up to the big reveal — starting with two of the year-end rock charts.
On Dec. 9, hundreds of year-end charts will be posted on Billboard’s website, following the conclusion of the Billboard 2025 No. 1s Livestream, hosted by Druski, which will broadcast on the Billboard News YouTube channel and BillboardTV on Samsung TV Plus starting at noon ET/9 a.m. PT, as special surprise guests stop by to celebrate the year in chart-toppers.
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To kick off our year-end charts countdown, we’re dropping the top 10 of the 2025 Top Rock & Alternative Albums and Top Rock & Alternative Songs charts below – and both are led by Billie Eilish.
She leads the former with her 2024 release Hit Me Hard and Soft, and the latter with the album’s hit single “Birds of a Feather.” Hit Me Hard and Soft debuted at No. 1 on the weekly Top Rock & Alternative Albums chart dated June 1, 2024, and hasn’t left the chart. Further, it never went lower than No. 6 during the 2025 year-end chart eligibility year (Oct. 26, 2024, through Oct. 18, 2025). “Birds of a Feather” was equally as dominant, flying in at No. 4 on the June 1, 2024 Hot Rock & Alternative Songs chart and has perched on the list ever since. It hit No. 1 in August 2024, and it never ranked lower than No. 4 during the chart year.
For the top 10 of both lists, scroll below. The full depth of both rankings (beyond the top 10 of each) will be posted Dec. 9 alongside the complete menu of Billboard’s 2025 year-end charts.
Take a look at the top 10s below.
Billboard’s year-end music charts represent aggregated metrics for each artist, title, label and music contributor on the weekly charts from Oct. 26, 2024, through Oct. 18, 2025. Rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the entries appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology detail, and the October-October time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-01 15:00:362025-12-01 15:00:36Billie Eilish Hits the Rock & Alternative Year-End Charts Hard (And Soft): Countdown to Billboard’s 2025 Year-End Charts
It’s almost time to find out what artists, songs and albums dominated the 2025 Billboard year-end charts — and this year, we’re doing it live.
Comedian and social superstar Druski will host the Billboard 2025 No. 1s Livestream on Tuesday, Dec. 9, starting at noon ET/9 a.m. PT, where he’ll welcome special guests to help reveal the biggest chart-toppers of 2025. It’s all going down on the Billboard News YouTube channel and BillboardTV on Samsung TV Plus.
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Once the livestream — co-hosted by Billboard News’ Tetris Kelly — wraps on Dec. 9, hundreds of 2025 year-end charts will be posted to Billboard’s website.
Druski has always had a strong connection to the music world, from his cameos in videos for Drake, Jack Harlow and Lil Yachty to his trio of skits on Justin Bieber’s SWAG album earlier this year. He also has his Coulda Been Records, which started out as a spoof but turned into an actual record label that has released songs featuring Young M.A, Yung Bleu and Yachty. Druski is currently on The Coulda Fest Tour, with special appearances from BigXthaPlug, which kicked off in London in September and wraps this weekend at the Kia Forum in Inglewood, California.
Billboard’s year-end music charts represent aggregated metrics for each artist, title, label and music contributor on the weekly charts from Oct. 26, 2024, through Oct. 18, 2025. Rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the entries appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology detail, and the October-October time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-01 15:00:352025-12-01 15:00:35Druski to Host ‘Billboard 2025 No. 1s Livestream,’ Where Billboard’s Biggest Year-End Charts Will Be Unveiled: How to Watch
Radiohead has been forced to postpone a pair of shows on their comeback tour of Europe due to illness.
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In a statement posted to their social channels on Monday morning (Dec. 1), the band announced that frontman Thom Yorke was suffering from an “extreme throat infection” and two upcoming shows in Copenhagen, Denmark were postponed.
The affected dates were due to take place this evening and tomorrow (Dec. 1, Dec. 2) at the Royal Arena; the shows will now take place on Dec. 15 and Dec. 16. Two dates at the same venue for this coming Thursday and Friday (Dec. 4, Dec. 5) are set to go ahead as planned.
They wrote, “Radiohead are gutted to have to announce the postponement of the first two Copenhagen dates this week – tonight, Dec 1st and tomorrow, Dec 2nd. The shows have been rescheduled for Dec 15th and 16th respectively. Tickets for the shows will be automatically transferred to the new corresponding date. If you require a refund, please contact your point of purchase.”
The statement continued: “We are devastated to have to postpone these two shows at such short notice but Thom has been diagnosed with an extreme throat infection which has made it impossible for him to sing. Treatment is underway and we’re hopeful Thom will recover in time to play the final two Copenhagen shows on Dec 4th and 5th, and all four Berlin shows, starting on Dec 8th. We have been so blown away by the audience reactions on these dates and are loving being back on stage again; needless to say, we feel terrible that we have been forced to postpone these shows.”
The group is currently embarking on their first run of shows since 2018. Radiohead returned on Nov. 4 in Madrid to kick off a series of four-night residencies in major European cities, later heading to Bologna, Italy and, most recently, London’s O2 Arena. At the latter, the group set a new attendance record of 22,355 due to their in-the-round staging, beating previous record holders Metallica. The tour will head to Berlin next week, and will now conclude in Copenhagen on Dec. 16.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-01 14:35:342025-12-01 14:35:34Radiohead Postpone Shows on European Comeback Tour Due to Thom Yorke’s ‘Extreme’ Throat Infection: ‘We Are Devastated’
While Americans were celebrating Thanksgiving by gobbling up turkey, stuffing and more football than is absolutely necessary, Rihanna spent the holiday weekend honoring her home country of Barbados while also sneaking in a few previously unseen pregnancy bikini pics.
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The singer paid tribute to the Caribbean island nation where she was born in an Instagram post on Monday morning (Dec. 1) featuring a slide show packed with snaps of food, island scenes, her Barbadian passport and adorable pics of her two eldest children with partner A$AP Rocky.
“Congratulations to Barbados, MY HOME, on our 59th year of Independence and our 4th year as a Republic!,” Rihanna wrote in a post that opened with a moody picture of the “Work” singer standing amid tall grass, with her hair blown across her eyes by the wind. “Today also marks the installation of our 2nd President, His Excellency Lieutenant Colonel The Most Honorable Jeffrey Bostic , who alongside our Honorable Prime Minister Mia Mottley will continue to lead Barbados with excellence!! Barbados I L🇧🇧VE YOU!!!!”
Other snaps in the post picture RihRih floating in the ocean, chilling with three-year-old son RZA and two-year-old son Riot Rose and posing in a green string bikini at sunset while seemingly heavily pregnant with the couple’s third child, three-month-old daughter, Rocki. In another shot, Rihanna sits in the grass with one of the babies while wearing a pink bikini and smiles as she walks by a pool while carrying Riot Rose on her hip and holding RZA’s hand.
There are also throwback pics of Rihanna’s frequent trips back home to participate in the nation’s Carnival-like annual Crop Over Festival, including several in which she is wearing a traditional bejeweled, skin-baring costume, a toast snap of two hands holding delicious tropical drinks inside coconut shells and a tribute to the beloved Snowcone Man.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-01 14:25:332025-12-01 14:25:33Check Out Rihanna’s Previously Unseen Pregnant Bikini Pics in Post Celebrating Barbados’ 59th Year of Independence
WME has promoted Rob Markus to head of international for the agency’s contemporary music team, the company announced Monday (Dec. 1). In his new role, Los Angeles-based Markus will oversee all aspects of WME’s international touring and strategy for contemporary music.
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Markus, a senior partner at WME, has worked at the agency for more than 20 years. He helped build the company’s Latin music group, which boasts such stars as Danny Ocean, Gustavo Mioto, Humbe, J Balvin, Juanes, Maluma, Nathy Peluso, Paulo Londra and Pedro Sampaio. His client list also includes A Perfect Circle, Avenged Sevenfold, Depeche Mode, Kygo, Måneskin, Nine Inch Nails, Paul Anka, The Flaming Lips, The Hives, Toto and Will Smith. On the festival front, he’s been key to expanding the Lollapalooza brand into Argentina, Brazil and Chile, which are hosting Lollapalooza festivals in March.
Prior to WME, Markus ran EMI and Virgin Records in Hungary and also set up EMI Music Publishing in Eastern Europe.
“Rob understands the international touring business and its increasing complexities and importance to an artist’s career better than anyone,” said Lucy Dickins, WME’s global head of contemporary music and touring, and Kirk Sommer, global co-head of contemporary music and touring, in a joint statement. “Having lived and worked around the world, Rob possesses a deep knowledge of the nuances of the live music space in Europe, Asia, Latin America, and South America, as well as emerging tour markets like the Middle East, Africa, and India. This expansion of his role fortifies our global music presence and elevates the best-in-class services we offer our clients and partners.”
Added Markus, “I am thrilled to have the opportunity to lead WME’s international music team and look forward to growing and guiding our global roster with the same team approach that has served me well throughout my career.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-01 14:00:332025-12-01 14:00:33WME Promotes Rob Markus to Head of Agency’s International Music Team
You already knew Jon Stewart could skewer bloviating politicians with effortless, cutting wit. But did you know he can also rock the house? The 63-year-old Daily Show legend proved it’s never too late to learn a new trick on Friday (Nov. 28) when his indie rock band, Church and State™️ made their debut at the legendary New Jersey rock club The Stone Pony.
Jersey native Stewart, who took up the drums after retiring from the Daily Show in 2015, has been playing shows here and there over the past year with the group that also features Rick Barry on vocals/guitar, Justin Bornemann on bass and Stewart’s drum teacher, And Bova on guitar. The band’s big coming out party at the Stone Pony featured them on the bill with fellow alt rock band Yawn Mower and main attraction Status Green, who were celebrating their 20th anniversary.
Stewart has been holding down just Monday nights on the Daily Show since his 2024 return, gleefully skewering politicians and bad actors in his signature style while taking particular, gleeful aim at one of his favorite targets: Donald Trump. But for all the heat and outrage Stewart shares with viewers on a weekly basis — and on his The Weekly Show podcast — videos from Friday’s show suggest that his role in the band with a dreamy, heartland shoegaze style is much more sedate. Keeping time on the group’s moody ballads, Stewart is a steadying force, capably anchoring the sound led by Barry’s laconic vocals and drum teacher Bova’s spiky guitar leads.
The no-frills bar band’s Instagram bio says it all: Church and State™️ is a music band. We make music.
Check out the poster for Church and State™️‘s Stone Pony show.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-01 13:45:302025-12-01 13:45:30‘Daily Show’ Host Jon Stewart Makes Debut at New Jersey’s Legendary Stone Pony With Indie Rock Band Church and State
The hard hats came off for the first official concert at TD Coliseum in Hamilton, Ontario last Friday night (Nov. 21) — and it started with a bang.
The first show at the former Copps Coliseum and FirstOntario Centre arena since its nearly $300-million transformation by American sports and live entertainment company Oak View Group was one of the most prominent music legends still playing today: Sir Paul McCartney. That’s a big flex for a venue aiming to prove itself as both a relief valve for the red-hot Toronto live music touring market and a destination in its own right, as well as Oak View Group’s new flagship venue in Canada.
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McCartney has a discography packed full of some of the most immortal songs of all time from the Beatles to Wings to his solo career, and the multigenerational crowd that packed the sold-out 18,000-capacity venue showed their appreciation by shouting and singing along with every song.
Partway through the set, the 83-year-old artist took an informal poll: “How many of you here are actually from Hamilton?” he asked, before repeating the question asking how many are not. Judging by the cheers, it sounded like 60-40 out-of-towners to Hamiltonians. It’s been nearly 10 years since McCartney last played the city, and he made it count with a marathon 36-song setlist that lasted close to three hours.
The arrival of TD Coliseum may be described as an upgrade of an existing arena, but that tag seriously underplays the significance of what is a genuinely dramatic $300 million transformation of the 18,000-capacity venue.
The ribbon cutting on Nov. 20 was attended by Ontario Premier Doug Ford (taking time out on his birthday), several of his provincial cabinet members, the mayor of Hamilton, Andrea Horwath, and high-level representatives from Oak View Group, the Denver-based international venues giant in charge of the project, and its partners, including TD Bank and Live Nation Canada.
Nick DeLuco, senior vice president and general manager of TD Coliseum, launched the event by recalling that “749 days ago, we were here, talking about a vision, a dream of what this venue was going to become, and now it’s real.”
Read more on the opening McCartney concert here and the opening of TD Coliseum here. — Richard Trapunski and Kerry Doole
Macklam Feldman Management (MFM) is celebrating 30 years.
As the Canadian-born international talent agency embarks on its third decade, the company is welcoming new team members and a bevy of emerging talent.
Founded in Vancouver in 1995 by industry titans Stephen Macklam and Sam Feldman, the partnership initially emerged to manage Irish folk band The Chieftains. The success of the group proved their joint prowess — and Macklam Feldman Management was born.
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Since then, the management company — a subsidiary of Feldman’s A&F Music Ltd. — has overseen and guided the careers of some of the biggest artists in the world including Joni Mitchell, Norah Jones, Leonard Cohen, Bette Midler, Tracy Chapman and James Taylor alongside a roster that today includes legends Sarah McLachlan, Diana Krall, Elvis Costello, Colin James and more.
“We’ve been fortunate to work with some of the most iconic artists in the world, and this recent momentum marks the most concentrated period of investment in artist development since the company was founded,” Feldman tells Billboard Canada.
While working with icons like McLachlan and Costello, Macklam and Feldman are music industry legends in their own right. (The latter also founded The Feldman Agency, one of Canada’s biggest booking agencies, before selling the namesake company to his executive team in 2019.) Recently, however, MFM has increasingly invested in artist development.
Over the last two years, MFM has expanded its team with four new staff members — Samuel Chadwick, Sam Hughes, Connor Macklam and Wesley Attew — who are dedicated to artist development and digital marketing. They will work with artist managers Scott Oerlemans and Kyle Kubicek to strengthen MFM’s artist development and digital marketing operations for their growing roster.
Over the past year, they have welcomed a new wave of artists, including American singer-songwriter aron!, rock band Tommy Lefroy, U.K. post-punk band YAANG and country singer Dawson Gray. They join 2022 signees, emerging folk-pop trio Tiny Habits, who recently opened for McLachlan on her 30th anniversary Fumbling Towards Ecstasy tour. Each brings a fresh musical perspective and global prospects to the agency.
New National Report Calls for Boost to Indigenous Music ‘Discoverability’ in Canada’s Streaming Era
As Canada updates its rules for how streaming platforms support local culture, a key opportunity is emerging to strengthen the visibility of Indigenous music at home and abroad.
The Indigenous Music Office (IMO) has released a new study that sheds light on the challenges affecting Indigenous artists and music companies accessing international markets.
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Pathways to International Markets: A Strategy to Increase Export Capacity for Indigenous Music is the music organization’s first major research project. The study establishes four key strategic directions that identify the roles that funders, music industry organizations and partners play in increasing financing, professional development and discoverability for Indigenous artists and industry professionals.
In the study, the IMO highlights that export activities generate significant career development opportunities for Indigenous music artists. However, most funds available to the Canadian music industry lack a strategic focus on assisting the development and export of Indigenous music.
“A strategy to increase the export capacity of the Indigenous music sector is timely as demand for Indigenous music is growing in Canada and around the world,” the report reads.
This includes financing the growth of a domestic Indigenous-owned and led music ecosystem, strengthening export readiness of Indigenous artists, prioritizing international showcasing, touring and networking and promoting discoverability of Indigenous music on streaming and broadcasting platforms.
The study calls for promoting “discoverability of Indigenous music on streaming and broadcasting platforms” as the most specific pathway for Indigenous artists and organizations to reach larger audiences.
In addition to working closely with the CRTC on the implementation of Online Streaming Act, the IMO has assisted in the development of the commission’s new Indigenous Broadcasting Policy, in partnership with First Nations, Métis and Inuit broadcasters, along with Indigenous content creators and audiences.
The study was developed amidst the implementation of the Online Streaming Act, a once-in-a-generation update to CanCon regulations, and ongoing Canadian Radio-television and Telecommunications Commission (CRTC) hearings. In September, various Canadian music orgs voiced their opinions on the changes, one of which highlights the importance of artist discoverability for Indigenous musicians.
An important part of the hearings was last year’s CRTC decision to enforce major foreign-owned streaming services with Canadian revenues over $25 million to pay a now-paused 5% of revenues into Canadian content funds, like the Indigenous Music Office and FACTOR.
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