Drawing on both editorial insight and hard data from Billboard Boxscore, this report identifies 28 venues that define the live-music experience today — the rooms that artists dream of playing and fans flock to for unforgettable nights.

From stadiums and arenas to open-air amphitheaters and intimate clubs, these picks are organized by region and venue type, with special nods to fan-favorite spots that give each city its own pulse. Think of it as a guided tour of the places where sound, setting and community collide — the stages that turn concerts into memories and local music scenes into legends.

Gross and attendance figures, where included, reflect numbers reported to Billboard Boxscore from Oct. 1, 2024, to Sept. 30, 2025.

Top West Coast Stadium

Allegiant Stadium (Paradise, Nev.)

71,835 capacity

In the past year, Allegiant Stadium has hosted The Weeknd’s After Hours Til Dawn tour, Coldplay’s Music of the Spheres run, Beyoncé’s Cowboy Carter outing, Kendrick Lamar and SZA’s Grand National trek and Shakira’s record-breaking Las Mujeres Ya No Lloran world tour. Allegiant’s sleek domed shell is wrapped in a striking black-and-silver facade, and the 65,000-seat venue features a retractable natural grass “tray” on its field for NFL games along with movable walls that open to reveal views of the Las Vegas Strip. Inside, its design is a touring artist’s dream with state-of-the-art acoustics and massive LED screens. Conveniently located just off the Strip in the city of Paradise, Nev., the building ranked as the top-grossing U.S. stadium on Boxscore’s year-end chart.

Top Central U.S. Stadium

Soldier Field (Chicago)

61,500 capacity

Soldier Field offers one of the Windy City’s most dramatic concert stages. In the past year, the home of the Chicago Bears has welcomed performances by Beyoncé, Blackpink, Oasis and My Chemical Romance, while its 2015 Fare Thee Well Grateful Dead tribute remains legendary. Architecturally, the stadium, which originally opened in 1924, fuses its neo-classical colonnades — echoing a Roman amphitheater — with a modern interior rebuilt in 2002. Road crews praise its generous backstage space, solid rigging and adaptive layout for stadium-size productions. Less than a mile from Grant Park and framed by skyline views and tree-lined promenades, Soldier Field is more than a stage — it’s a U.S. National Historic Landmark.

Top East Coast Stadium

MetLife Stadium (East Rutherford, N.J.)

82,500 capacity

Even in a metropolitan region known for its world-class stadiums, MetLife stands out thanks to its sheer booking power and size, routinely hosting the New York area’s biggest concerts across the Hudson River in New Jersey. Unlike New York’s two baseball stadiums, MetLife is available nearly all summer thanks to the NFL’s winter schedule and, with a capacity of 82,500, it can hold far larger crowds than any other venue in the region. In 2025, MetLife was the second-highest-grossing stadium in the United States, netting $238 million from 31 concerts. The venue features a number of modern concert amenities including high-definition video boards, cutting-edge LED lighting and modern load-in docks that allow for elaborate stage productions of all sizes. Best of all, it has public transit connections via rail or bus to Manhattan.

Top International Stadium

Estadio GNP Seguros (Mexico City)

55,000 capacity

Estadio GNP Seguros, formerly Foro Sol, is a crown jewel of Latin America’s concert circuit. It regularly tops Billboard Boxscore’s top stadiums chart and, in the past year alone, has hosted stars including Shakira, Stray Kids, ATEEZ and Oasis. Built for music from the ground up, the 55,000-­capacity venue offers unobstructed views and efficient staging. Locals love its accessibility and its starring role in major festivals like Vive Latino, which marked its 25th anniversary last March. The stadium’s surrounding Iztacalco neighborhood hums with street food, culture and urban energy — a true reflection of Mexico City’s musical heart.

Top Canadian Stadium

Rogers Centre (Toronto)

49,282 capacity

Known for its signature retractable dome — one of the few at a stadium in North America — Rogers Centre allows artists to tailor their shows with flexible stage configurations. In the past year, it has hosted stadium-level tours by The Weeknd, Jonas Brothers, Morgan Wallen and My Chemical Romance. Recent renovations have improved sightlines, upgraded concessions and enhanced production versatility. Touring professionals respect its dependable infrastructure while locals love its prime downtown location — steps from the CN Tower and Toronto’s bustling entertainment district, where music, dining and nightlife connect for one seamless experience.

Top U.S. Festival Location

Golden Gate Park (San Francisco)

100,000 capacity

Golden Gate Park’s Polo Field is both a San Francisco treasure and one of America’s most coveted concert sites. In the past year, the park has hosted Dead & Company’s 60th-anniversary run and the Outside Lands festival featuring Tyler, The Creator and Doechii. The open-grass bowl, framed by trees and skyline views, offers natural sightlines, flexible staging and a festival-proven power grid. Situated between the Richmond and Sunset districts, the park connects neighborhoods filled with cafes, bike paths and cultural life. Golden Gate Park delivers song, skyline and serenity.

Top International Festival Location

Autódromo Hermanos Rodríguez (Mexico City)

48,988 capacity

When the organizers of the dance mega-festival Electric Daisy Carnival decided to expand the event to Mexico, it made sense to choose a venue that, like EDC’s flagship show in Las Vegas, also serves as an iconic racetrack. Built in 1959, Autódromo Hermanos Rodríguez has hosted races by NASCAR, Formula 1 and Grand Prix and, in more recent years, has been transformed into a concert site as well. Operated by the leading Mexican promoter OCESA, Autódromo Hermanos Rodríguez hosted the launch of EDC Mexico in 2014, with the latest version of the now annual event grossing $29.9 million. Other large-scale, multigenre fests like Emblema, Corona Capital and Coca-Cola Flow Fest also take place at the venue.

Top West Coast Arena

Sphere (Las Vegas)

18,600 capacity

Sphere has redefined what a concert venue can be — a true game-­changer for live entertainment. Its 580,000-square-foot LED exterior and 16,000-pixel wraparound interior screen create a fully immersive environment for guests. Acts like U2, Dead & Company and Phish have used the custom-built Dolby Atmos sound system and motion-mapped visuals to create shows that exist nowhere else. Touring professionals call it the new benchmark for production design while locals love its easy access just off the Strip. Sphere isn’t just a venue — it’s where the future of live performance unfolds in real time.

Top Central U.S. Arena

American Airlines Center (Dallas)

20,020 capacity

American Airlines Center serves fans in one of the nation’s most powerful concert markets. Dallas has become a must-play stop for major tours and the AAC sits at the center of that boom. In the past year, the arena has hosted Dua Lipa, Mexican rock band Maná, Tate McRae and more top-tier acts. The arena combines modern design with fan-friendly comfort, featuring sleek interiors, premium suites and pristine acoustics. Touring pros praise its smooth load-ins, reliable rigging and efficient production layout. Surrounded by bars, restaurants and the city’s arts district, the arena embodies the energy of a thriving live-music city.

Top East Coast Arena

Kaseya Center (Miami)

19,500 capacity

Kaseya Center is a staple on global tour routing. In the past year, the arena has hosted major acts like Dua Lipa, Lady Gaga, Maxwell and Katy Perry. The glass-and-steel structure houses a flexible interior that expands from 12,200 to 19,500 in capacity. With luxury suites, club seating and panoramic bayfront views, it offers both spectacle and intimacy. Perfectly placed among financial district Brickell, the Design District, the arts-filled Wynwood neighborhood and Biscayne Bay, Kaseya anchors Miami’s nightlife and culture — a place where world tours meet waterfront glamour.

Top International Arena

O2 Arena (London)

21,000 capacity

The O2 Arena has long set the global standard for live entertainment. Since opening in 2007, it has frequently topped Billboard Boxscore rankings with precision production and elite performance. Over the past year, Lady Gaga, Lil Baby and Katy Perry have graced its stage, confirming its reputation as a must-play stop for touring stars. The O2’s ringed dome design, adjustable staging and immaculate acoustics make it a technical favorite while the arena complex, on the Greenwich Peninsula, offers an array of shopping, bars and restaurants.

Top West Coast Amphitheater

Ford Amphitheater (Colorado Springs, Colo.)

8,000 capacity

The Ford Amphitheater first opened its gates in August 2024 with a roster of shows including Cage the Elephant and a three-night sold-out run by OneRepublic. In its first two seasons, the flagship facility of live-entertainment development company VENU has also welcomed Miranda Lambert, Jason Isbell & The 400 Unit, Dwight Yoakam, Robert Plant and Alison Krauss, The Black Keys and Godsmack with the help of promoter AEG Presents. The open-air venue is also home to an array of upscale dining options including Roth’s Sea & Steak, Brohan’s and Bourbon Brothers’ Smokehouse & Tavern. (VENU, which allows fans to invest in local entertainment venues in tertiary markets, is expected to open three more amphitheaters later this year, with the goal of 25 amphitheaters and 15 indoor entertainment complexes by 2030.)

Top Central U.S. Amphitheater

Tuacahn Amphitheatre (Ivins, Utah)

2,000 capacity

Carved into the red stone walls of Padre Canyon, Tuacahn Amphitheatre delivers pure desert magic. The intimate venue has hosted Mat & Savanna Shaw, KC & The Sunshine Band and the Southern Utah Blues Festival featuring Ghost Town Blues Band. Its stage blends seamlessly with the surrounding cliffs, creating natural acoustics and breathtaking visuals. Locals treasure Tuacahn for the touring Broadway shows in summer and concert nights under the stars year-round. Just west of St. George, it offers small-town warmth and world-class production in a cinematic landscape.

Top Eastern U.S. Amphitheater

St. Augustine Amphitheatre (St. Augustine, Fla.)

4,700 capacity

St. Augustine Amphitheatre (nicknamed The Amp) may only hold 4,700 people, but its impact is oversize. Over the past year, The Amp has hosted Wilco with Waxahatchee, The Avett Brothers, Chicago and Willie Nelson. Built into a former coquina quarry and covered by a tensile canopy, The Amp combines coastal air, crisp acoustics and clear sightlines from every seat. It is located near a farmers market and food vendors in a walkable neighborhood close to Anastasia State Park. The result is a concert setting that feels both relaxed and electric — Florida charm with global reach.

Top Canadian Amphitheater

RBC Amphitheatre (Toronto)

15,000 capacity

In the city whose musical legacy runs from Gordon Lightfoot to Drake, the RBC Amphitheatre has operated under the title sponsorship of the Royal Bank of Canada only since October. But the history of the beloved venue, with its views of the Toronto skyline, stretches back to the opening of the waterfront Ontario Place development in 1971, when it was known first as the Molson Amphitheatre and then Budweiser Stage. Live Nation has announced plans to close the open-air venue for renovations in the fall of 2027, with a reopening in spring of 2029 and a transformation to a year-round facility by the summer of 2030.

Top West Coast Club Or Theater

Revolution Hall (Portland, Ore.)

850 capacity

Revolution Hall is one of Portland’s most beloved midsize venues, a perfect mix of history, acoustics and atmosphere. Built inside a restored 1924 high school auditorium, the space pairs vintage details — polished wood, stained glass and a horseshoe balcony — with a Meyer Sound system that delivers studio-level clarity. Recent highlights include shows by Sylvan Esso, Courtney Barnett, Japanese Breakfast and Jason Isbell. Locals love its rooftop bar overlooking downtown and its location in the Buckman district, surrounded by breweries, record shops and food carts for a classic Portland feel.

Top Central U.S. Club Or Theater

The Pinnacle Nashville (Nashville)

3,500 capacity

The Pinnacle in Nashville is quickly becoming one of the city’s premier live-music destinations. Since opening last spring, it has hosted standout performances by Kacey Musgraves, Jack White, HAIM, Modest Mouse and more. The venue spans 88,000 square feet and features a lifter floor, U-shaped balcony and flexible seating configurations suited for nearly any genre. Touring pros praise its Solotech lighting rig, L-Acoustics K2 sound system and artist-friendly backstage suites. Located just north of downtown in the fast-­developing Nashville Yards district, The Pinnacle merges arena-scale production with club-level intimacy, giving Music City a fresh, world-class centerpiece.

Top East Coast Club Or Theater

The Anthem (Washington, D.C.)

6,000 capacity

The Anthem in D.C. has redefined what a modern concert hall can be. With a capacity that flexes from 2,500 to 6,000, the 57,000-square-foot space features portable staging, multitiered balconies and precision-tuned acoustics. Over the past year, it has hosted major events like Lorde’s Ultrasound show, Phoebe Bridgers’ homecoming stop and massive electronic and indie showcases. Touring teams love its clear sightlines, top-tier production gear and efficient load-ins, while fans gravitate toward its waterfront location at The Wharf. With bars, restaurants and sweeping views of the Potomac, The Anthem sits at the heart of a vibrant neighborhood that hums late into the night.

Top Venue Under 500 Capacity

Bearsville Theater (Woodstock, N.Y.)

300 capacity

Bearsville Theater is a Hudson Valley gem, rich with Woodstock’s musical spirit and artistic legacy. Set on a 16-acre campus, the venue pairs rustic charm with top-tier production — its restored barn interior accented by warm wood beams and a Meyer Sound system that delivers acoustic clarity. In the past year, it’s hosted Todd Rundgren, The Lemon Twigs, Dean Wareham and Bruce Hornsby. Touring acts praise its sound and hospitality, while fans love its cafe, riverside paths and the laid-back vibe of the creative Catskills community.

Top Residency Venue

Coliseo De Puerto Rico José Miguel ­Agrelot (San Juan)

18,500 capacity

Affectionately known as “El Choli” by locals, Coliseo de Puerto Rico José Miguel Agrelot opened in 2004 and has become a rite-of-passage venue for Latin stars, hosting top artists like Rauw Alejandro and Karol G, alongside icons such as Paul McCartney and Lady Gaga. Situated in the heart of San Juan’s Milla de Oro, the arena — a structure resembling a peaked cap and spanning 5.2 acres — is the largest indoor entertainment venue in the Caribbean. In 2025, global superstar Bad Bunny launched a historic 30-show residency, No Me Quiero Ir De Aquí, which attracted over 250,000 visitors and contributed $400 million to Puerto Rico’s economy while boosting its global profile.

The ‘Wow’ Factor

The Caverns (Pelham, Tenn.)

2,500 Capacity

The Caverns is a venue carved from the earth itself. Deep underground at the base of the Cumberland Plateau, the natural amphitheater hosts acts like Everclear, Neko Case, Jeff Tweedy and Michael W. Smith, as well as festivals like CaveFest featuring Sam Bush and Leftover Salmon. Its limestone walls and vaulted ceilings produce natural reverb that feels otherworldly, while the above-ground amphitheater offers room for larger shows. Touring crews appreciate its acoustics and atmosphere, and locals embrace the setting’s mystique. Surrounded by rural Tennessee hills, The Caverns transform every concert into an elemental adventure.

Top Bucket List Venue

Beacon Theatre (New York)

2,900 capacity

The Beacon remains one of New York’s most treasured concert halls. Built in 1929, its ornate Art Deco facade and glowing marquee recall another era of showmanship. Inside, the room dazzles with tiered balconies, intricate plasterwork, a grand chandelier and acoustics perfected for live performance. Over the past year, it’s hosted Ray LaMontagne, Gillian Welch, Wilco and dozens more. The Beacon offers lots to love for touring professionals, including its intimate scale, historic prestige and flawless production environment. It is conveniently located on Manhattan’s Upper West Side — surrounded by brownstones, cafes and cultural landmarks. For artists and audiences alike, the Beacon has been serving magic for close to a century.

Best Concept

Preservation Hall (New Orleans)

125 capacity

Preservation Hall is the soul of New Orleans in its purest form. Tucked along St. Peter Street in the French Quarter, it’s surrounded by cobblestone streets, wrought-iron balconies and the sound of brass bands echoing from nearby corners. Inside, the tiny, timeworn room — with its cracked plaster walls, wooden benches and low ceilings — holds barely a few dozen people, yet the energy is electric. For multiple shows each night, the Preservation Hall Jazz Band and special guests fill the space with music that transcends eras and lean into its decades of musical history. While many small venues tailor their bookings to the zeitgeist, Preservation Hall has remained true to its acoustic jazz roots and continues to celebrate the sounds that put New Orleans on the map.

Local Favorite

Pabst Theater (Milwaukee)

1,500 capacity

The Pabst Theater in Milwaukee stands as a living legend, seamlessly balancing heritage and innovation. Its German Renaissance-revival facade, twin balconies, proscenium arch and 1,339-seat hall exude old-world grandeur. Touring insiders prize its warm acoustics, vintage charm and modernized production systems, while artists appreciate its efficient backstage flow. In the past year, it’s hosted Gillian Welch & David Rawlings, Steve Earle & The Dukes and Goo Goo Dolls — proof that it remains as relevant as ever. Locals cherish it as the centerpiece of East Town’s downtown arts district, surrounded by restaurants, nightlife and Milwaukee’s creative heartbeat.

Keeping It Indie

Hancher Auditorium (Iowa City, Iowa)

2,685 capacity

The Hancher Auditorium has become a quiet powerhouse for indie touring in the Midwest. The venue perfectly balances concert hall precision and intimate energy, hosting artists like Stereolab, Jason Isbell and Neko Case. The indie darling boasts flawless acoustics, an adjustable lighting grid and impeccable sightlines, while its supportive atmosphere and smooth logistics make it a must-play stage for performers. The auditorium is located near the University of Iowa, drawing both a co-ed crowd and other fans who can enjoy preshow strolls along the Iowa River and/or stops at nearby cafes and galleries. Hancher connects the energy of Iowa City’s creative community to the greater live-music world.

Best Food And Music Pairing

Garcia’s (Chicago)

350 capacity

Garcia’s in Chicago has quickly become a must-visit for fans who love their concerts with a side of culinary flair. Opened in 2025 by Peter Shapiro (who staged the Fare Thee Well concerts for Grateful Dead fans in 2015 and founded the Brooklyn Bowl venues), the venue-restaurant celebrates Jerry Garcia’s spirit with mid-­century modern design, psychedelic art and a stage framed in wood and memorabilia. Over the past year, it has hosted Grahame Lesh & Friends, the Preservation Hall Jazz Band, Grace Potter and The Travelin’ McCourys. Touring artists love its Meyer Sound system, multitrack recording rig and artist-first layout. Concertgoers can indulge in signature cocktails, a custom menu and an immaculate neighborhood.

Most Unforgettable Experience

Spirit Of The Suwannee Music Park (Live Oak, Fla.)

45,000 capacity

Spirit of the Suwannee Music Park transforms live sound into a full-sensory journey. Set on 800 moss-draped acres along the Suwannee River in Live Oak, midway between Jacksonville and Tallahassee in northern Florida, the site has hosted events like Hulaween featuring The String Cheese Incident and Goose, Resonate Suwannee with Papadosio and Chromeo, and Roots Revival with Oteil & Friends. The park’s multiple stages, shaded clearings and riverside meadows create a setting that feels spiritual and communal. Touring pros admire its infrastructure and layout, while fans cherish its 24-hour culture — from camping and canoeing to spontaneous jam sessions.

Most Environmentally Friendly

UBS Arena (Belmont, N.Y.)

18,500 capacity

UBS Arena has set a high standard for sustainability in live entertainment since it opened in late 2021, some 20 miles east of Manhattan. The arena holds LEED certification through advanced energy systems like LED lighting, heat recovery and high-performance glass. In 2024, it earned TRUE Silver Zero Waste status, diverting over 95% of its waste and recycling or composting more than 1.5 million pounds of material. Water usage is down 40% thanks to low-flow fixtures, and all guest materials are compostable. As it hosts environmentally engaged artists like Billie Eilish, the venue also uses electric ice resurfacers, occupancy sensors and a carbon-reduction fee on concessions — all helping UBS Arena prove that a green future for live music is already here.

Additional reporting by Katie Bain, Thom Duffy, Taylor Mims and Isabela Raygoza.

This story appears in the Feb. 7, 2026, issue of Billboard.

On Jan. 5, the day bluegrass star Molly Tuttle performed “That’s Gonna Leave a Mark” on Jimmy Kimmel Live!, news broke that the long-running ABC late-night talk show would soon reduce its number of weekly musical acts to two. Tuttle’s name and image appeared in several news stories about the change — good press despite the bad news. “I’ll take the windfall,” says Kevin Spellman, her manager. “Unfortunately, what we have is a significant limitation on opportunities to expose your music to a national audience, particularly in the smaller genres.”

Related

Kimmel’s music reduction, along with Late Night With Seth Meyers cutting its Fred Armisen-founded house band in 2024, and CBS’ cancellation of The Late Show with Stephen Colbert kicking in this May, means The Tonight Show Starring Jimmy Fallon and Saturday Night Live! are the only major late-night shows continuing to emphasize live music. It’s a cultural shift away from the all-powerful TV era when an appearance on Johnny Carson’s or David Letterman’s shows could single-handedly break new stars, and it leaves the music industry flailing for big-swing promotional appearances.

“It’s just making it harder and harder for us to find outlets outside of social media and radio to really reach a lot of people,” says Brian Schwartz, manager of Dawes, which memorably covered the Beatles‘ “With a Little Help From My Friends” on Kimmel with guests Aloe Blacc and others in December, to promote their benefit show for Southern California fire victims. “Late-night television, and TV in general, has become harder and harder. To take three nights away from us on yet another show, it’s difficult.” 

Reps for Jimmy Kimmel Live! did not respond to inquiries, but the show’s change in music over the last year reflects the diminishing power of late-night talk shows for artists — especially their initial airings on television. In the 2000s, Letterman and his top rival, Jay Leno, frequently drew between 4 million and 6 million TV viewers nightly, while their successors averaged between 1.2 million and 2.5 million throughout 2025. 

Gwen Stefani appears on Jimmy Kimmel Live on Feb. 14. 2024.

Gwen Stefani appears on Jimmy Kimmel Live on Feb. 14. 2024.

Randy Holmes/Disney

For artists, managers and labels, the dwindling promotional opportunities has meant tougher decisions: Most talk shows do not pay for performances, and artists frequently must cover travel expenses as well as luxuries like makeup and wardrobe. Sources told Billboard in 2024 that such expenses can range from $150,000 to $225,000, or as high as $700,000 for Saturday Night Live!. “They have, like, 2 million viewers of these shows, and that’s what we get on daily posts on TikTok,” Ethan Curtis, manager of singer-songwriter JVKE, who played Fallon in 2022, said at the time. “It’s an energy drain. We travel and train for the performance and do it in one take. It doesn’t feel worth it for every song.”

Traditionally, labels have paid for the performances, which, when they go well, can significantly boost music sales and streaming — not to mention draw attention to upcoming tour dates. (They frequently take the costs out of the artists’ own budgets, to be paid back after artists recoup their advance payments, according to standard record deals.) Some labels, says a source who used to work on music in late-night television, have recently insisted that the talk shows themselves cover these expenses — which may be one reason the shows are cutting back. “I imagine they’re being much more careful,” the source says. “Someone that could have a song on the Hot 100 isn’t as attractive to bookers. Maybe they’re only looking at the Top 10.”

“They’re cutting back because some of the monologues are getting longer, or you have multiple guests and there’s movie studios who put these actors on media campaigns to sell movies. They’re pushing for ‘You want one of our top stars? I want to get two segments,’” Spellman adds. “I get it. There’s a lot of money invested in these promotions.”

Related

For artists who’ve booked performances recently on top late-night shows, the payoff is still worth it. Dawes and Friends’ Kimmel performance has landed more than 66,000 YouTube views, and Tuttle’s Kimmel appearance earlier this month drew nearly 50,000 YouTube views, plus 4,500 likes on Instagram — not to mention what Spellman calls “cut-downs,” or snippets and excerpts posted not only by fans but media reports, including those about Kimmel‘s music reduction. Referring to ABC briefly yanking Kimmel’s show due to political pressure last September, Spellman says, “Since Kimmel came back, his audience is significantly higher. It’s hard to measure exactly the impact on eyeballs and views on social platforms, but it is incredibly significant. That’s the part that is a bummer, that we’re going to miss out on.”

Career-making late-night TV performances have been rare in recent years, compared to, say, Phoenix‘s 2009 SNL appearance that turned its album Wolfgang Amadeus Phoenix into a smash. But they still happen: In late 2023, Kimmel aired R&B singer October London‘s performance of “Back to Your Place,” complete with a Snoop Dogg introduction and a pricey seven-piece band. The clip landed some 300,000 YouTube views — and enough buzz to increase ticket sales for London’s show at Brooklyn Steel later that night by 100. “It’s not nothing,” Adrian L. Miller, then London’s manager, later told Billboard.

The Kimmel music reduction, as well as the loss of music on Meyers and the impending cancellation of Colbert, is a “blow to everybody — the artists, the labels, the teams, the show,” Schwartz says. “It’s just another kick in the marketing shins, so to speak.”

Related

DJ Khaled wants to shout from the rooftops about the benefits of the new Wegovy pill. The “We The Best” rapper/producer is one of several stars who will appear in a 90-second Super Bowl LX commercial on Sunday (Feb. 8) during the big game touting the benefits of the GLP-1 weight loss medication in its new form.

In the spot, Saturday Night Live iron man Kenan Thompson stands atop a water tower in the middle of a lush field to announce some exciting news. “Wegovy now comes in a pill,” says Thompson, as the always excitable Khaled shouts up to him from the ground. “So adults with obesity can lose weight and keep it off along with diet and exercise!”

“Yes, thank you DJ Khaled,” Thompson says, adding, “be honest, if there was a pill that made other healthful things possible, you’d take it.”

The spot — cued to rapper Skee-Lo’s 1995 classic “I Wish” — features a series of other stars humorously describing other useful pills that they would totally take, including actor John C. Reilly wishing for a pill that would help him parallel park and an animal print singlet-wearing Khaled wishing for a pill that could make him a pro wrestler. Peacemaker star Danielle Brooks pines for one that would help her rescue more kittens from trees, as she stretches her arms and hands a cat to movie tough guy Danny Trejo and former SNL player Ana Gasteyer dreaming of a pill that would make people “less judgy about how to lose weight.”

The ad is the first-ever one featuring Novo Nordisk’s new once-daily Wegovy 25mg tablets, with the spot introducing the anticipated pill while taking on popular public perceptions that taking the highly popular new weight loss meds is “the easy way out,” according to a statement. Instead, it stresses that adults with obesity can lose weight using the Wegovy pill, along with diet and exercise.

In a statement, Khaled said, “I know what it’s like to go hard in the gym, eat clean, stay disciplined – put in that work every single day, but still not see the results you want. I knew I wanted to work with Novo Nordisk because I’m a father, I’m a husband, and I want to be the best for my family. When you’re trying to reach your goals and you’re looking for something more, having an option like Wegovy® pill – that’s powerful.”

Super Bowl LX will take place at Levi’s Stadium in Santa Clara, Calif. on Sunday (Feb. 8) and air on NBC, with coverage beginning at 1 p.m. ET.

Check out the ad here.

Nearly a decade into his rap career, LaRussell is finally starting to enjoy the fruits of his labor. The Bay Area native has been hard at work, rewriting the script as an independent trailblazer, which caught the watchful eye of Jay-Z.

LaRussell met Hov last month at the Roc Nation offices in Los Angeles, which resulted in the rapper inking a deal with Roc Nation. The 31-year-old partnered with ROC Nation Distribution, while retaining rights to his masters. In a way, LaRussell took both the $500,000 and the meeting with Jay, which has been a nauseating debate on social media for years.

“I got to a point in my journey where I’m the first in my lineage to do a lot of these things, so I no longer have a guide,” LaRussell tells Billboard. “And Hov is who is now another guide for me that I could look to and say, ‘Hey, man, how did you navigate this?’”

Doors are already starting to open, as the NFL took note of LaRussell’s movement, who will be curating the house band for Super Bowl LX at Levi’s Stadium, and is also slated to perform in Santa Clara on Super Bowl Sunday (Feb. 8) at the Tailgate alongside headliner Teddy Swims.

Inspired by Nipsey Hussle’s entrepreneurial $100 mixtape approach, which saw the late Los Angeles rapper sell 1,000 copies of his Crenshaw project in 2013 (Jay-Z was a buyer), LaRussell is looking to sell 100,000 copies of his Something’s in the Water album.

Delayed until March after falling short of his six-figure goal, LaRussell’s “pay what you want” model charges fans as little as a dollar for early access to the LP on the EVEN platform. Plenty of celebrities have also stepped up to support LaRussell with four and five-figure purchases. The list notably includes NBA star Kyrie Irving ($11,001), Snoop Dogg ($2,500), E-40 ($1,000) and Raphael Saadiq ($10,000).

“Shout-out [Nipsey Hussle]. He did the $100 album. And this was my way of just giving a nod to Nip, but opening the door for more people to have access,” LaRussell adds. “It’s been really dope to see, especially the artistic community, because you don’t often see artists supporting artists in this fashion.”

Check out our full interview with LaRussell ahead of Super Bowl LX, which finds him detailing his meeting with Jay, getting love from his peers and advice for independent artists.

You’re curating the house band for the Super Bowl. How does something like that even come about?

A lot of long conversations. We’ve been meeting with the NFL for the past few months, speaking our piece and stating why we think we deserve the opportunity and it finally came around. They sent it up to the top, and the Tailgate was something that was last-minute. But the house band curation is something we’ve been working on for a minute.

What’s your vision for that and the Tailgate performance?

It’s just gonna be a nice welcome to the Bay Area. A nod to my region and where I’m from. You’re gonna hear a lot of sounds that, if you’re not from here, you might be unfamiliar with. It’s gonna be a lot of collar popping and a lot of collar holding. It’s gonna be a lot of head-swinging and shaking.

I’m here to represent the region and the turf, and I wanted to show the rest of the world what we got to offer. Historically, we haven’t gotten an opportunity to really be on this level and on these kinds of platforms. So I feel like it’s rightfully due.

You pushed the album back to March; we got more albums to sell.

It’s crazy because the day after we bumped it back, I got a sale from Gary Vee for $18,000 and Raphael Saadiq for $10,000. So I’m really grateful that I stuck with my gut and chose to push it back, and just campaign some more. I wanted to get the people more involved.

Touch on some of those celebrity purchases, like Kyrie Irving paying $11,000.

Kyrie Irving, $11,000 and we donated that back to the hood. E-40, $1,000. Cedric the Entertainer, Snow tha Product ($5,000) and Snoop Dogg ($2500).

@larussellgc

KYRIE IRVING BOUGHT MY ALBUM FOR $11,000!!!! 🤯🤯🤯

♬ original sound – LaRussell – LaRussell

I just saw Raphael Saadiq did too.

I was surprised, yeah, I didn’t know. That’s so cool for somebody who shares the same lineage and legacy as me to do that. That’s a special moment.

It’s been cool to see how much love you’re getting on social media from like Busta Rhymes to Charlamagne Tha God.

I feel like it’s been years and years of build-up. Charlamagne gave me one of my first really big opportunities by allowing me to come on The Breakfast Club and rap. That really expanded my career beyond just my region. He watched me turn down Roc Nation and watched me go through all these different phases of my journey. This full-circle moment of like, “Damn, you did it and you stayed indie and you stuck to your guns.”

How cool is it to see J. Cole on the EVEN platform with Birthday Blizzard?

That’s really insane — because, yeah, we was really in the bedroom in my mama’s crib during that first launch. How do we make this efficient? How do we make it effective? How can this benefit everybody? And to go from that all the way to J. Cole, Wale, 21 Savage. We’ve had so many people use the platform and sell more units than they’ve ever sold, and be able to make more money than they’ve made traditionally off streaming. It’s been a beautiful thing. That’s something that came from us. That exists because I’m alive.

How about the new single “I’m From the Bay” with Lil Jon?

Yeah, we fired up. It’s produced by Lil Jon and my homies. That’s the part that makes me feel really good. I put Jon in the studio with people that I’ve been building with, who’ve been here with me from the jump. Hokage Simon, we did our first show out of town together, my very first booking, and to make it to a point where he’s working on records with Lil Jon beside him for this album is a special moment.

How was linking with Jay-Z? You didn’t take the $500,000.

I took both; it was really incredible. It was dope to see somebody climb so high up the ladder and still have their feet on the ground. You don’t experience it often. You get to a point where you can have money, where you don’t have to deal with anyone and still take your time out to deal with people that you don’t have to and share how it makes you feel and your experiences.

Take us into those conversations with Jay. What game did he give you or what were those questions you were looking for guidance on?

We talked about what the future looks like and what the past looks like, and how we can’t replicate the past, and how necessary it is for us to move forward, and how all the infrastructure needs to shift to look different and just how many blows Hov has to take by being innovative. We allow everyone else to do anything that he does, but Hov does it and it’s an issue. We allow everybody else to make streaming platforms, but Hov does and it’s an issue. And that’s something that’s deeply rooted, far beyond him. But he’s really in a fight for what we’re after, the same fight that I’m fighting. That’s why it meant so much to me, because he understood what it took for me to get to where I am.

Were you starstruck talking to Hov?

Oh yeah! After he walked in the room, my whole crew was starstruck. We just started fiddling. We just started hitting buttons on our computer with nothing on the screen. And I felt really grateful for that experience, because I don’t get that anymore. I often give that to people, but I don’t get that experience. So that was the first time for me in a long time where I met someone who made me feel like, ‘Damn, larger than life.’ Hov is tall, but he’s a giant outside of his height.

How was putting together that $1,000 Backyard Experience for your fans?

Legendary. That was my first time asking my community to support me that deeply. Yeah. And it was another thing, like the $100,000 album sold campaign. We’re just on a walk, popping our s–t. And I decided to launch the next day, and it sold out immediately. The first show went just like that. Within hours, we announced the second show. We sold 250 tickets total, quarter of a million dollars off a low-capacity show. I feel like I got the Guinness World Record for the lowest amount of tickets sold for the highest amount of revenue.

Does it feel awkward charging fans that much, like I gotta deliver on this experience?

It don’t feel weird because I meet people for a dollar. They paid because they believed in what we were doing and cultivating an experience. But like, whether you pay $1000 or you pay a dollar, if you come to my show, you’re gonna meet me, you gonna get a hug. But this one was just more intimate, because we’re gonna go to dinner and come to the crib early. This was really the community rallying around somebody they believed in. You’ve never seen your favorite artists in their backyard. Only my fans get to say that for the rest of every artist’s career.

What’s the plan for when you run it back?

I am going to run it back, but I’m gonna scale it up each time. We’re gonna make new history every time. And I want to add more amenities. We’ll do pop-up shows, and then I’ll go play pickleball with the fans. We’ve been really finding ways to cultivate and build that relationship deeper than just come watch me rap.

What makes a star in this era? Mainstream stardom is very different from when we grew up. It’s very niche, like you got a Rod Wave, an NBA YoungBoy and now a Don Toliver. How do you view that?

I think they’re very popular, but they’re not stars. Stars are hard to come by, like a star shines everywhere, not just in the niche, not just like in random places, but no matter where you at. I think that only God could cultivate that. You know, everyone’s not chosen for that role. I don’t even think there’s an amount of work you could do to get that. Like Michael Jackson was chosen. He earned it, and he worked his a— off, but he was chosen. There was a certain light about him that just existed. I don’t think we really have too much say in that; it’s just a life that’s unfolding. Like, I’m really a n—a from Vallejo who had no star quality at one point.

Looking at the music landscape now, what are your tips for independent artists?

Be hyper authentic. I think that’s like a very cliche one, but it’s the most important, like I’ve gotten this far, because when people see me outside, it’s the same person that they seen online. They never encounter a different version of me, and they can relate to that. They feel the human. They feel like they can bring their kids to me, they can bring their grandmother to me. And that’s all due to authenticity, like they connect at a real, genuine level. It’s not like I’m some star and I’m up here and they’re down here and you just got to witness me be that. People come up to me like I’m their cousin. Like there’s certain people you’re scared to meet, but then people treat me like I’m literally a relic, like they grew up knowing me their whole life. I think being really consistent, honing your craft to the point where you become undeniable.

2021 was my first viral moment on the scene, and I lasted five years independently, spending my own money and building my own ecosystem. There’s artists who have been on majors who disappeared completely. It’s a really hard feat, but you can only do that by making yourself undeniable. You stay consistent, and you do so much work that it’s even if you don’t want to see me, you have to see me.

How was linking with Wiz Khalifa?

Legendary, I got to hit a joint. It was really beautiful, especially the moment we had after, when the world took to it, and it was like the narrative of, “Man, I haven’t heard Wiz like this in a long time. This is Kush & Orange Juice Wiz.” It really lifted the tide. Him dropping the album after that, I felt like I added a pillar moment to that journey leading into that album. I was just grateful to contribute to his journey in that way, and vice versa. It was a special moment. I do my vlogs because I used to watch DayTodays.

Create Music Group is investing $300 million in Nettwerk Music Group to support the managers of the Vancouver-based label buying out their existing investors, according to a statement from Nettwerk seen by Billboard on Friday.

The companies did not disclose which investors Nettwerk’s management is buying out, but previous investors includ Flexpoint Ford, Beedie Capital and Vistara Growth. As part of the agreement, Create will also give Nettwerk, which represents Passenger, Paris Paloma, SMYL and Mon Rovîa, access to “substantial” follow-on capital and support services to support its growth.

As part of the deal, Nettwerk’s management team, including co-founders Terry McBride and Mark Jowett, will increase their ownership stake and continue to lead day-to-day operations of the company. The agreement will also provide Nettwerk with access to Create Music Group’s infrastructure, global distribution and label services.

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News of the deal comes soon after Nettwerk conducted a round of layoffs that impacted around 10% of its workforce, sources tell Billboard.

Founded and headquartered in Vancouver, Nettwerk was founded more than 40 years ago. It has since built the careers of some of the most respected singer-songwriters in the world. In 2016, the company sold its publishing assets to Kobalt’s investment fund, KMC, including songs by 10,000 Maniacs, Teenage Fanclub, Wayne Hancock, the Wild Strawberries, the Submarines, the Lucky Nine, Soulfully, Robert Orrall, Roger Greenaway, Paul Brady, Mutiny Within, Kirsty Hawkshaw, Jesse Malin, Young The Giant, Trivium, Sinead O’Connor, Bauhaus singer Peter Murphy and Delirium. It continued to build a new catalog of songs by inking a go-forward administration deal with Kobalt as well.

In 2023, the company recapitalized, bringing in a new investor in the form of Flexpoint Asset Opportunity Fund II and additional funding from existing investors Beedie Capital and Vistara Growth. At the time, terms of the deal were not disclosed.

“We’re excited about this next chapter in Nettwerk’s journey,” said McBride, co-founder and CEO of Nettwerk, in a statement. “Partnering with Create allows us to continue to build on our foundation, grow our capabilities, and provide even more value to the artists we represent — while staying true to our roots as an artist-focused, independent Canadian label.”

“Terry and his team at Nettwerk have built one of the most enduring and influential independent music companies in the modern era,” added Create Music Group CEO and co-founder Jonathan Strauss. “We are excited to put all of the resources at our disposal behind Terry and his management team to fuel Nettwerk’s continued global growth.”


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What if we told you that a simple spray of “Opalite” spray would make you irresistible? That’s the premise of Taylor Swift‘s eagerly awaited video for her The Life of a Showgirl single “Opalite,” which debuted on Apple Music and Spotify on Friday morning (Feb. 6). The retro-themed clip features Swift as a miss lonely hearts who spends her days pining for love in her bachelorette pad with her only companion coming in the form of a pet rock.

The clip opens with a grainy, VHS-like throwback late night informercial ad for the magical Opalite spray, which promises to turn your relationship “crappiness to happiness” with just one spritz. Sitting in her overstuffed living room, a housecoat-wearing Swift is roped into the ad’s pitch, gazing at her giant rock friend longingly, as she takes the stone to the park for a ride on the swing, gingerly treating it like a human companion.

Between making fold-up “cootie catcher” fortune telling games and friendship bracelets by herself, smearing glitter on herself and her stone, which she takes along to karaoke and a bar, Swift seems content with her inanimate companion. After seeing actress Greta Lee (The Morning Show) on MTV strumming a guitar, Swift orders drinks for her and her pet rock. But when she pours the martini onto her pal, the bartender kindly asks her to leave.

Next, we see Swift doing a Jane Fonda workout on a step along with Jodie Turner-Smith (Queen & Slim), with her rock taking the place of weights. “You couldn’t understand it/ Why you felt alone,” she sings as we see actor Domhnall Gleeson (The Paper) living an equally lonely life, laying in bed with a sleep mask on his forehead as he looks longingly at his companion, a tiny cactus tucked in next to him. He also takes his pal everywhere, even as his face and hands are increasingly swathed in bandages due to the plant’s spikes.

Desperate for relief, both he and Swift order some Opalite, which they spray on their significant nothers, at which point a goo-covered Swift magically appears in Gleeson’s living room. The awkward couple begin their unlikely romance, with singer Lewis Capaldi making a cameo as a mall photographer who shoots them in increasingly bizarre poses.

Their mall adventure continues with a stop at a soft pretzel shop and a stroll past a cactus kiosk, where Gleeson’s spurned, spiky ex appears to be giving him two spiny middle fingers up and Swift’s rock displays a not-so-friendly friendship bracelet message. Other cameos include British talk show host Graham Norton as the owner of an Opalite shop and actor Cillian Murphy (Peaky Blinders) as an Opalite pitchman.

The retro fun reaches its peak with a glittery dance routine featuring Swift and Gleeson doing adorable couples choreo at a dance competition where the elderly judges — as well as Swift dancer favorite Kameron “Kam” Saunders — seem unimpressed with their routine.

The clip ends with a call-back to a Norton Show appearance in October featuring the new video’s cast, during which Gleeson expressed his desire to one day be in a Swift music video, which begs the question of whether his comment was a bit, or a long con Easter egg Swift had planned all along?

In an Instagram explainer Swift revealed, “When we were all talking during the broadcast, Domhnall [Gleeson] made a light hearted joke about wanting to be in one of my music videos. He’s Irish! He was joking! Except that in that moment during the interview, I was instantly struck with an *idea*. And so a week later he received an email script I’d written for the ‘Opalite’ video, where he was playing the starring role. I had this thought that it would be wild if all of our fellow guests on the Graham Norton Show that night, including Graham himself, could be a part of it too. Like a school group project but for adults and it isn’t mandatory. To my delight, everyone from the show made the effort to time travel back to the 90’s with us and help with this video.”

The “Opalite” video comes four months after Swift released her The Life of a Showgirl album, the Billboard 200 chart-topper that debuted at No. 1 following its Oct. 3 release and spent a total of 12 weeks at the pinnacle of the album chart. It’s just the second visual from the singer’s 12th studio album. The first, “The Fate of Ophelia,” debuted as part of Taylor Swift: The Official Release Party of a Showgirl event, which hit movie theaters before debuting on YouTube two days later.

This time, however, Swifties will have to wait two days to see “Opalite” on YouTube, as it debuted today on Spotify and Apple Music only. The decision to delay the YouTube premiere follows YouTube’s December announcement that it was withdrawing its streaming data from all of Billboard‘s charts.

YouTube’s withdrawal came on the heels of Billboard‘s Dec. 16 announcement of a change to chart methodology that will continue to weigh subscription streams more favorably than ad-supported streams, in a bid to better reflect changing consumer behaviors and the increased revenue derived from streaming in the industry. The change means that paid/subscription streams will be weighted against ad-supported streams at a 1:2.5 ratio, narrowed from the previous 1:3 ratio.


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The 2026 Winter Olympics has finally begun. Fans of hockey, figure skating, curling and snowboarding can already start cheering on their country, but the “start” of the Olympics happens today, Feb. 6, during the Opening Ceremony. The grand spectacle often features a large event held by the host country, celebrating their history, honoring the athletes from each country and lighting the Olympic flame, which Snoop Dogg already took part in.

Watch the 2026 Winter Olympics Opening Ceremony, At a Glance:

The Milan Cortina Olympics inauguration will held mainly in Milan’s 76,000-capacity San Siro stadium, which is often referred to as the La Scala of Football, in reference to the city’s famed opera house and the venue’s association with legendary soccer matches. However, for the first time at the Olympics history, the event will feature multiple locations during the Opening Ceremony. Cortina d’Ampezzo, one of the game’s host cities and around 250 miles northeast of Milan, will also stage a celebration of its own.

Who’s performing at the 2026 Winter Olympics Opening Ceremony?

The Opening Ceremony will be headlined by six-time Grammy award winner Mariah Carey and Italian tenor Andrea Bocelli. Joining them to usher in the games will be Chinese pianist Lang Lang, Italian actor Sabrina Impacciatore, singer-songwriter Laura Pausini, opera star Cecilia Bartoli and rapper Ghali.

How to Watch the 2026 Winter Olympics Opening Ceremony Online for Free

The 2026 Winter Olympics Opening Ceremony in Milan will broadcast on NBC, USA Network, CNBC and NBCSN. The best way to stream the event is the channel’s official streaming platform, Peacock. While there is no free trial for new users, the platform offers affordable plans starting at just $10.99 per month, or an annual plan for $109.99 per year (which gets you 12 months of streaming for the price of 10).

DIRECTV

With DIRECTV, new subscribers can take advantage of a 5-day free trial, so you can watch a week’s worth of Olympic games live and for free. The streaming platform carrier every network broadcasting the 2026 Winter Olympics and the Opening Ceremony, so you’ll never miss a sports moment. With so many different sports happening. DIRECT offers unlimited DVR storage so you can record, save and watch your favorite olympic moments whenever you’d like.

Hulu + Live TV

For the most content offerings, you can sign up for Hulu + Live TV and get access to the Hulu library in addition to more then 95 live TV channels (including NBC). The streaming platform starts at $89.99 per month, but there’s also 3-day free trial for new users.

And, for even more programming, Hulu + Live TV now comes bundled with Disney+ and ESPN Unlimited, which gives you everything within the Hulu library, in addition to exclusive content on ESPN for even more sports coverage.

Sling TV

Sling TV offers the Blue package, which comes with NBC, USA Network, CNBC, MS NOW, Bravo and others. Blue is one of the most affordable options and comes with more than 40 channels and can be streamed on up to three device at a time. Please note: Pricing and channel availability varies from market-to-market.

As he tears through North American venues, Liverpudlian rapper EsDeeKid has dropped the new single “Omens.”

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The anonymous rapper – once rumoured to be Timothée Chalamet – is currently on his debut headline tour through the U.S. and Canada. On Friday (Feb. 6), he will headline the Bowery Ballroom in New York City, before hopping across town to Elsewhere (Feb. 7) and then hitting L.A.’s Roxy Theatre and Echoplex on Feb. 9 and Feb. 12, respectively.

“Omens” is the latest song from the musician who wears his Scouse roots proudly and who has rapidly risen from the underground U.K. rap scene to international attention; he appeared as one of Billboard U.K.’s artists to watch in 2026.  His debut album Rebel was released in June 2025 and peaked at No. 23 on the Billboard 200 and No. 8 on the U.K.’s Official Albums Chart. Two singles, “Phantom” and 4 Raws,” hit the Billboard Hot 100 at No. 67 and No. 28, respectively.

The song is accompanied by a new video directed by Archie Erskine (JustBanco, Aitch) which you can see below. “Omens” was produced by Cppo, Toom & Wasa.

Despite growing attention, EsDeeKid has remained masked and anonymous leading to viral theories of his identity. At one point, fans suggested that actor Chalamet could be the voice behind the persona based on a perceived similarity in the appearance of both mens’ eyes and eyebrows. The rumor was debunked in December when the Marty Supreme star jumped on a remix of “4 Raws” and appeared in the track’s video.

EsDeeKid is competing in the best breakthrough category at the BRIT Awards on Feb. 28, his debut nomination. He will perform live at Rolling Loud in Orlando, Fla. on May. 8, and appear at All Points East in London on Aug. 23.


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Louis Tomlinson’s third studio album, How Did I Get Here?, makes a top 10 debut on five Billboard album charts (dated Feb. 7), including a No. 2 bow on Top Album Sales – his third top five-charting set on the tally. The set also launches in the top 10 on Vinyl Albums (No. 2), Top Current Album Sales (No. 2), Indie Store Album Sales (No. 3) and Independent Albums (No. 3).

How Did I Get Here? additionally starts at No. 16 on the overall Billboard 200, marking the singer-songwriter’s third top 20-charting effort. The album earned 26,000 equivalent album units in the United States in the week ending Jan. 29, with 21,000 of that sum in pure album sales.

How Did I Get Here? is one of five debuts in the top 10 of the Top Album Sales chart, where Megadeth’s self-titled set bows at No. 1 with 69,000 copies sold (the band’s best sales week since 1999). The latter marks the biggest sales week for any hard rock album since Sleep Token’s Even in Arcadia debuted at No. 1 on the May 24, 2025-dated chart with 73,000 copies sold in its first week.

ENHYPEN’s THE SIN : VANISH falls 1-3 in its second week with 19,000 sold (down 84%) whileStray Kids’ chart-topping DO IT rises 5-4 (11,000, down 34%).

Rounding out the debuts in the top 10 are XG’s THE CORE at No. 5 (8,000; the act’s first top 10 and best sales week ever), Poppy’s Empty Hands at No. 6 (nearly 8,000; the act’s second top 10 and best sales week) and The Format’s Boycott Heaven at No. 7 (7,000; marking the act’s first top 10).

Closing out the top 10 of the latest Top Album Sales chart: KATSEYE’s SIS (Soft is Strong) (18-9 with 6,000, up 39%) and Olivia Dean’s The Art of Loving (8-10 with 5,000, down 19%).


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Following her Grammys triumph, Lola Young has announced her live comeback with a special one-off performance.

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The show will take place at the 2,200-capacity London Palladium on March 4 and mark her first full live performance in several months. In September, Young collapsed on stage at New York’s All Things Go festival and subsequently cancelled all upcoming shows. 

In a statement on her return, Young said, “I’m going to be playing my first headline show in a while. Performing live is everything to me and asking you, my fans to show up for me after cancelling my tour is something I don’t take for granted.”

She added, “I am planning a small intimate show in London on March 4th at The London Palladium. I’m aware that with this being a one-off show that I can’t accommodate tickets for everyone who bought them previously. I can only hope that in time when I’m able to play bigger shows that you’ll still be willing. If you’re interested please sign up on the link in my bio to enter. Thank you all so much for believing in me, and giving me this time and space.  Love you all. Lola X”

Fans wishing to attend the event can sign up for access here, with tickets going on sale on Feb. 11 at 10 a.m. GMT.

Young was among the British artists to scoop major wins at the 2026 Grammys, with the 25-year-old winning the best pop solo performance prize for “Messy,” seeing off competition from Lady Gaga and Sabrina Carpenter.

She also performed live on the broadcast with a stripped-back version of the winning song during a medley of best new artist nominees. Following last year’s onstage collapse, Young said that she was taking time off to recover. “I’m going away for a while,” she wrote. “It pains me to say I have to cancel everything for the foreseeable future. 

She added, “Thank you for all the love and support. “I’m so sorry to let anyone down who has bought a ticket to see me, it hurts me more than you know.”

Young will compete for five BRIT Awards at the Feb. 28 ceremony in Manchester, including in artist of the year and song of the year (“Messy”) categories.


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