Foo Fighters gave their first concert of the year on Saturday (Jan. 10) in the city of León, located in the central state of Guanajuato, Mexico, in a new setting for the iconic American band: a state fair. The result was a success, drawing more than 25,000 attendees, according to organizers, and meeting the challenge of bringing the stadium-filling rock band outside the major festival circuit in Mexico City and Monterrey.

The achievement is the result of a strategy that the Patronato, a citizens’ council, began several years ago to make the annual Feria Estatal de León, which has been held for 150 years, a key destination, with major performances that place the city and state on both national and international maps.

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“When a traditional fair like the Feria de León offers high-level content, it generates significant tourism revenue that ensures a safe return on investment,” Alonso Limón Rode, general director of the Feria de León and Parque Urbano, tells Billboard Español. “The fair thus becomes an economic driver for the city and the state in the first weeks of the year.”

Organizers expect the 2026 Feria de León, which began Friday (Jan. 9) and will run through Feb. 4, to attract 6.7 million visitors — more than 30% of whom are from outside the region — over 27 days of activities, generating economic revenue of 9 billion pesos ($504 million USD).

In addition to Foo Fighters, this year’s lineup includes artists such as Zoé, DJ Tiësto, Los Ángeles Azules, and Banda Machos in a venue known as Foro de la Gente Mazda. Meanwhile, in the city’s Palenque — promoted as “the largest in the country” with a capacity for 7,500 people — the headlining act is Mexican star Carín León, followed by other major regional Mexican music acts, including Julión Álvarez and Christian Nodal. (A palenque is an indoor space popular as a performance venue for Latin artists that often boasts a central or 360-degree stage.)

Limón Rode explains that in 2024, the Feria de León set a precedent for attracting international talent to the annual event in the livestock-oriented city, located 360 kilometers (about 224 miles) from Mexico City and home to 1.7 million residents, according to official data. A year later, British acts Sam Smith and Def Leppard performed.

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“The first big task was convincing the agencies representing those artists. First, we had to put the state on the map, then the city, and then explain that it’s a local fair,” Limón Rode recalls. “Then we gave them the certainty and security that we are prepared to host this type of artist.”

This year, the Patronato of the Feria Estatal de León joined forces with Mexico’s leading promoter, Ocesa — part of the global entertainment giant Live Nation — to organize and produce the concerts at Foro de la Gente Mazda, as well as to secure the artists performing there.

“We carried out a process to select the company providing the entire integrated service. The company tasked with organizing and producing the venue had to provide comprehensive services in terms of production, catering and travel,” Limón Rode says, adding that more than 13 Mexican promoters participated in the selection process this year. “We evaluated technical and operational capacity, financial solvency, and economic stability, and we were thrilled to find in Ocesa a very serious, thoroughly proven company.”

Foo Fighters, Feria de León 2026, Guanajuato, México.

Foo Fighters, Feria de León 2026, Guanajuato, México.

Job López/Feria Estatal de León

One unique feature of the Feria de León is that most of its events are free to the public. “Eighty-five percent of the capacity is free. We aim to bring this kind of content closer to the people, ensuring accessibility, and we’ve developed an entire strategy to generate revenue to sustain this investment,” says Limón Rode.

Digital tickets are distributed free of charge to attendees through an online registration process. “Users enter a random virtual queue through this digital system, with no fees, and a QR code is issued, which is activated hours before the concert,” he explains. The remaining 15% of the Foro de la Gente Mazda’s capacity is sold to the public under a concept called Fila Cero (Zero Line), guaranteeing access to those attendees.

The announcement that Foo Fighters and Zoé would perform at this year’s event led to approximately 500,000 and 650,000 people, respectively, to try to secure free tickets, according to organizers.

“The Feria de León began 150 years ago as a fair that commemorated the foundation of the city in two aspects: allegorical floats and a livestock exhibition,” Limón Rode says. “But now, it has taken a very significant turn, and we are being viewed from an international perspective. That excites us greatly.”

For more information, visit the Feria de León’s official website.


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A federal appeals court issued a first-of-its-kind ruling that says musicians can enforce U.S. copyright termination rules across the globe, adopting a novel legal theory that record labels and publishers have warned will disrupt “a half-century of settled industry norms.”

Upholding a lower court decision last year, the U.S. Court of Appeals for the Fifth Circuit ruled Monday (Jan. 12) that songwriter Cyril Vetter could win back full global copyright ownership of the 1963 rock classic “Double Shot (Of My Baby’s Love)” from publisher Resnik Music Group.

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What makes the ruling notable is the overseas reach. Termination, a crucial copyright provision that allows authors to recapture their rights decades after they sold them away, has only ever applied to American copyrights and had no effect on foreign countries. But the appeals court said that was not how Congress intended termination to work.

“The Copyright Act of 1976 enables authors and artists to recapture their copyrights in works they may have [sold away],” the Fifth Circuit wrote Monday. “The district court’s holding that Vetter is the sole owner of [the] copyright throughout the world … conforms with this purpose.”

The ultimate goal of termination, the court said, is to correct “unequal bargaining power” by giving artists and authors a chance to retake rights they’d sold away before they realized they were valuable. Applying that rule only to domestic copyrights would deprive artists of the “full set of rights” they had sold, the court wrote.

If adopted in courts across the country, the ruling will be a boon for songwriters. Under existing precedent, publishers often continue to own foreign rights even after a U.S. termination, giving them potential veto power over cross-border projects and a big bargaining chip in negotiations. Under the new ruling, songwriters would get back all of their rights, not just their American copyright.

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In a statement to Billboard, Vetter’s attorneys Tim Kappel and Loren Wells praised the court’s decision: “We are clearly pleased with this watershed ruling, and believe it is the correct result. The impact of this case will benefit creators in all disciplines, not just the music business.” An attorney for Resnik did not immediately return a request for comment.

In siding with Vetter, the appeals court adopted a novel approach to terminations. After the initial ruling by a lower judge last year, legal experts said the case was “breaking with existing precedent” and would be a “major upheaval” if upheld. One attorney said it might be “financially devastating” for large entertainment companies.

Ahead of Monday’s ruling, the major record labels and music publishers had strongly urged the Fifth Circuit to overturn the decision. In a legal brief filed in the case, the Recording Industry Association of America and the National Music Publishers’ Association had both warned that the case would deprive labels and publishers of previously-unquestioned rights to “control how their works are commercially exploited around the globe.”

“The district court’s decision unsettles the bedrock understanding of foreign exploitation rights against which tens of thousands of agreements respecting recorded music and music publishing copyrights have been drafted, negotiated, and executed,” attorneys for the two groups wrote.

Resnik can appeal the ruling, first by asking the entire Fifth Circuit to reconsider, and then by taking the case to the U.S. Supreme Court. Because the case splits with what other circuit courts have said about termination, the case could have better-than-normal odds of review by the high court.


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Guy Moon, who composed music for animated TV series including Nickelodeon’s The Fairly OddParents, died as a result of a traffic collision in Los Angeles on Jan. 8. He was 63.

Moon’s family announced his death in a Facebook post on Jan. 10. Moon was hit by a vehicle while riding his Vespa scooter in the Wilmington neighborhood of L.A. He died of traumatic injuries at the scene.

Moon was best known for scoring The Fairly OddParents, an animated series that tracked the adventures of Timmy Turner. Moon was the show’s composer from 2001 to 2017 and scored more than 150 episodes, according to IMDb.

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Moon was nominated for four Primetime Emmys for outstanding music and lyrics from 2002 to 2004 for songs he composed for the show. He collaborated on all four songs with lyricists Butch Hartman and Steve Marmel. They were joined on one of them by lyricist Scott Fellows.

Moon won three consecutive BMI Cable Awards at the BMI Film & TV Awards from 2002 to 2004 for his work on The Fairly OddParents (shared with Hartman and Ron Jones). He also won an Annie Award for music in a television production in 2007 for his work on the show.

Moon was raised in Fort Atkinson, Wis., and graduated from the University of Arizona School of Music.  Moon, who was inspired by the music of Chick Corea, began his career in the 1980s. Moon also worked on The Fairly OddParents creator Hartman’s other series Danny Phantom and T.U.F.F. Puppy.

His other credits include The Brady Bunch Movie (1995), A Very Brady Sequel (1996), Come on Get Happy: The Partridge Family Story (1999) and A Fairly Odd Movie: Grow Up, Timmy Turner! (2011). He was last credited in 2025 as a composer for The Artist, a series from streaming service the Network.

Moon is survived by his wife, Jennifer Moon; his three adult children — daughters Chelsea and Savannah and son Dusty; his parents; two older sisters and seven grandchildren, with an eighth on the way.

The family said in their Facebook post that they plan to celebrate Moon’s life at a memorial in Los Angeles on Feb. 7, which would have been the composer’s 64th birthday. That remembrance will be followed by another in Wisconsin at a later date.


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Lil Uzi Vert captures the crown on Billboard’s Hot Rap Songs chart for the first time in three years as “What You Saying” leads the list dated Jan. 17. The single, released on Cor(e)/Roc Nation, rises from the runner-up spot – where it debuted last week – to become Lil Uzi Vert’s third No. 1 on the chart.

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Streaming contributes the overwhelming share of the “What You Saying” activity on the multi-metric Hot Rap Songs chart. For the tracking week of Jan. 2-8, the single registered 11.9 million official streams in the United States, up 23% from the previous week’s count of 9.7 million, according to Luminate, and enough to seize the No. 1 rank on the Rap Streaming Songs list. “What You Saying” also earned 853,000 U.S. radio audience impressions for a 300% week-over-week increase as its radio campaign begins, and sold a negligible amount of download purchases.

With the new champ, Lil Uzi Vert adds a third Hot Rap Songs No. 1 to their account. They previously reigned through a supporting turn on Migos’ “Bad and Boujee,” which dominated for 10 weeks in January – April 2017, and via their own “Just Wanna Rock,” a three-week champ in February – March 2023.

Elsewhere, “What You Saying” continues its ascent across other Billboard charts. It pushes 5-3 on the Hot R&B/Hip-Hop Songs chart, leaps 21-14 on the all-genre Billboard Hot 100 and rockets 91-44 on the Billboard Global 200.

“What You Saying” extends Lil Uzi Vert’s recent output after two November releases, “Chanel Boy” and “Relevant.” The former reached No. 43 on Hot R&B/Hip-Hop Songs the next month, while the latter peaked two spots behind. The “Chanel Boy” and “What You Saying” music videos, in particular, feature heavy inspiration from the fashion world, with Marc Jacobs and Law Roach, among other luminaries, appearing in either clip. “We thought it would be cool to imagine an alternate universe where instead of me being a beloved rapper, I am a beloved fashion designer,” the artist told Vogue. “It makes sense for me to have a music video inspired by the world of fashion, as I have always been an avid fashion fan and collector from a very young age.”

The tracks have increased speculation of a full project from Lil Uzi Vert soon. Their last album, Eternal Atake 2, reached No. 2 on Top Rap Albums in November 2024, becoming the rapper’s sixth consecutive top 10 effort.

Spanish singer and actress Ana Mena talks about her new intimate tattoo and shares the word she would use to describe Spanish music.

Fina Grosso
For us, having you here is also very important and that you’re considered that, that, one of those Billboard No.1s here, right? And also, what I say, a Malaga native with so much success who takes it across the pond, right? We have that bridge, in a way, between Billboard and Starlite, Spain-Latin America, and you do it too, right with your music?

Ana Mena
Thank you, thank you very much. We’re at it, working very hard. Of course that’s, it’s a constant dream that we work for and that we fight for all the time. And, well, and really looking forward to, yes, to releasing music soon and to releasing new music and, and to be able to present it.

Watch the full video above!

The new year only just began, but festival season will be here before you know it — and with BottleRock Napa Valley announcing that Sombr, the Backstreet Boys, Lorde and dozens more artists will be on its 2026 lineup, there’s certainly a lot to look forward to.

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The California festival unveiled its full bill on Tuesday (Jan. 13), revealing that — in addition to the breakout “Back to Friends” hitmaker, reunited boy band and New Zealand pop star — Foo Fighters, Teddy Swims and LCD Soundsystem will also headline this year. Other major acts on the lineup include Lil Wayne, Zedd, Ludacris, Papa Roach, Mt. Joy, Slightly Stoopid, Rilo Kiley, AJR and Busta Rhymes.

The 2026 BottleRock festival will take place across three days from May 22 to 24, with its tagline promising that the music fans take part in will give them their “first taste of summer.” Throughout the weekend, attendees can enjoy sets from BigXThaPlug, Chaka Khan, Joan Jett and the Blackhearts, Kool & the Gang, Del Water Gap, Tom Morello, Natasha Bedingfiled and more before each night’s headliners.

Tickets for the annual event will go on sale at 10 a.m. PT on Wednesday (Jan. 14).

Year after year, BottleRock gives locals a diverse palette of music to experience. In 2025, Green Day, Justin Timberlake and Noah Kahan were the headliners, while the year prior, it was Pearl Jam, Ed Sheeran, Stevie Nicks and Maná.

In the month leading up to BottleRock, two other major Cali festivals — Coachella and Stagecoach — will take place as well. The first will see Justin Bieber, Sabrina Carpenter and Karol G headlining, while the country-music showcase has tapped Lainey Wilson, Cody Johnson and Post Malone to lead its bill a few weeks later.

See the full BottleRock 2026 lineup below.


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Yes, baby, Madison Beer is hitting the road this year. The pop singer announced dates for The Locket Tour on Tuesday (Jan. 13), which will be making stops in North America, Europe and the United Kingdom.

The global trek comes in support of Beer’s new album Locket, which arrives on Friday (Jan. 16). Lulu Simon will be an opener for the tour’s entirety, while Isabel LaRosa will perform for the European leg before tagging in Thuy for the North American dates.

The Locket Tour will kick off overseas in Poland on May 11 and make stops in Vienna, Hamburg, Berlin, Amsterdam, Paris, Madrid, Barcelona, London and Manchester.

Madison Beer is slated to headline her first arena dates with shows at NYC’s Madison Square Garden and L.A.’s Kia Forum. She’ll also be performing in Las Vegas, Phoenix, Seattle, San Diego, San Francisco, Chicago, Atlanta, Philly, Detroit, Toronto and Boston.

North American fans can sign up for pre-sale access, which will begin on Jan. 26 at 10 a.m. local time, while the general public tickets are slated to go on sale on Jan. 21.

“The locket tour ˚ʚ♡ɞ˚ you can sign up for presale now thru the link in my bio ! w special guests @isabel.s.larosa @thuymusic @lulusimonofficial general on sale is 1/21 all other information can be found at the link in my bio :’)))) i hope to see you there,” she wrote to social media.

In a separate Instagram Story sharing Madison Square Garden’s post about her show, the singer enthused, “can’t believe this is real.” She also commented on MSG’s post, “my literal dream come true.”

Locket boasts 11 tracks, including the trio of singles “Yes Baby,” “Bittersweet” and “Make You Mine.” Beer earned her first Billboard Hot 100 entry earlier in January when “Bittersweet” debuted at No. 98.

Find all of The Locket Tour dates below.


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“Pennsylvania teenager’s first chart entry references country superstar McGraw. Track moves 31-27 on Hot Country Songs,” Silvio Pietroluongo wrote in the Sept. 23, 2006, Billboard issue as “Tim McGraw” granted Taylor Swift her first Billboard Hot 100 appearance. The song started at No. 86 that week, as the chart’s third-highest debut (with Beyoncé’s “Ring the Alarm” the top newcomer at No. 12).

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On the latest Hot 100, dated Jan. 17, 2026, Swift scores her first 10-week No. 1, “The Fate of Ophelia.” In October, the song became her 13th leader on the list. A week ago, it surpassed 2022’s “Anti-Hero” as her sole longest-ruling hit on the chart.

Swift, thus, claims her first Hot 100 No. 1 to reign for double-digit weeks 19 years, three months and three weeks after she first placed on the chart.

How rare is it for an artist to run up a 10-week Hot 100 No. 1 around two decades or more after first hitting the chart?

Reflecting the pop culture endurance of Swift and other stars, below is a look at the acts who notched their first 10-week-plus Hot 100 No. 1s the deepest into their careers on the ranking.

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Notably, Swift rewrites the mark among women, besting Olivia Newton-John’s 10-year-plus journey for her first such Hot 100 leader, “Physical.”

Meanwhile, a monster hit can strike early in an artist’s career, and often does. “The Fate of Ophelia” is the first Hot 100 hit to reach 10 weeks on top since Alex Warren’s “Ordinary” in August. The ballad attained the milestone just 10 months and three weeks after he first made the chart.


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Before “Ordinary,” Kendrick Lamar and SZA’s “Luther” logged double-digit weeks atop the Hot 100 last May more than a dozen years after Lamar’s debut and nearly eight years after SZA’s (and more than 43 years after namesake Luther Vandross’, for that matter). It followed Shaboozey’s “A Bar Song (Tipsy),” which hit the milestone a mere five months and one week into his run on the chart.

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Lego is getting in touch with the gaming community this new year with the release of three very intricate and nostalgic Pokémon sets.

If you grew up in the 90s and early 2000s, then this collection will mean a lot to you, considering all the Pokémon featured in this three-piece collection are all Generation One, meaning they’re all from the original 151 creatures featured in the first generation of Pokémon games. You’ve got all the familiar faces from Pikachu and Eevee to the water, grass and fire type starters all evolved, including Blastoise, Charizard and Venusaur. In the Billboard sphere, Pokemon tracks from films like Pokémon: The First Movie and Pokémon: 2.B.A. Masters have all charted at some point and, of course, the iconic Pokémon theme endures in popularity to this day.

These fan-favorite characters have been transformed into brick sets, all of which are available to preorder now on Lego’s website. Sets include the Pikachu popping out of a Poké Ball for $199.99, the Venusaur, Charizard and Blastoise trio for $649.99 and the Eevee figure for $59.99. Every set will be available starting Feb. 27. Each set is incredibly detailed, true to the characters to a tee.

Lego, Pokémon, Blastoise, Charizard and Venusaur, preorder, shop, decor, gaming

<strong>Pikachu and Poké Ball</strong> Lego Set

A Pikachu Lego set.


The sets serve as decor items and a joyful pastime when building. Our favorite has to be the Venusaur, Charizard and Blastoise Lego Set, which evokes memories of booting up a Nintendo DS, popping in Pokémon Diamond and choosing between starters, weighing options between a fire type or grass type before taking on the adventure of a lifetime.

If you’re wondering, ShopBillboard is totally a fan of grass types. The $649.99 set features all three starters fully evolved, standing on a pedestal with scenery that evokes each Pokémon’s power. Charizard is flying over a volcano because he’s a fire type, while Venusaur is standing in a flower patch because he’s a grass type and finally, Blastoise is a water type, so he’s standing on a geyser.

Pikachu’s set is equally adorable, seeing the electric type Pokémon leaping out of a Poké Ball, making the set look so lifelike. Pikachu isn’t a starter, but he’s a beloved character, especially thanks to the Pokémon cartoons in which he’s featured a ton alongside his buddy Ash Ketchum.

Lego, Pokémon, Blastoise, Charizard and Venusaur, preorder, shop, decor, gaming

Venusaur, Charizard and Blastoise Lego Set

A set featuring evolutions of starter pokemon.


Lego, Pokémon, Blastoise, Charizard and Venusaur, preorder, shop, decor, gaming

Eevee Lego Set

An Eevee Lego set.


If you’re looking for a more affordable option, the Eevee Lego Set for $59.99 is your best bet. The Gen One Pokémon has tons of personality and is beloved by all in the Pokémon fandom for its sweet personality and many Eeveelutions, or Eevee evolutions. The set seems pretty straightforward to build, seemingly the easiest of the three, and looks almost lifelike in its disposition.

According to Lego’s website, Wild Lego Pokémon creatures will be hidden throughout Lego and Pokémon’s official social media. “Sharp-eyed Trainers to catch them through hidden codes. Each week until our final release on Feb. 27, new ones will appear; each more surprising and trickier to catch than the last. Sign up or log in to your Lego Insiders account. Submit the code in the field below, and if your code is accepted, you’ll enter the draw to win one of 10 Lego Pokémon prizes!”

Universal Music Group has appointed veteran journalist Hannah Poferl as chief data officer, effective immediately, marking a major hire for the world’s largest music company as it accelerates its data-driven strategy. Based in Santa Monica, Poferl will report to UMG chief operating officer Boyd Muir.

Poferl joins UMG after nearly 12 years at The New York Times, where she most recently served as the newspaper’s first-ever chief data officer, a role she assumed in 2021. During her tenure, she also held senior newsroom leadership positions including head of audience and assistant managing editor, playing a pivotal role in the Times’ digital transformation and subscription growth during a period of industry disruption.

At UMG, Poferl will lead global data and analytics initiatives across audience development, artist and fan engagement, talent discovery and the application of AI technologies to support the company’s “superfan” strategy. Her remit also includes unlocking long-term value from UMG’s extensive catalog and driving operational performance across its businesses.

A thrilled Muir praised Poferl’s “exceptional reputation and track record of strategically utilizing data, analytics and AI technology to grow, connect and engage audiences with creativity and culture,” saying it “mirrors our own vision for transforming the ways artists and labels can connect with fans. Her unique insight and deep understanding of both the creative and commercial aspects of the creative sector, dovetail perfectly with our own ambitions to accelerate the role data and technology play in our driving our superfan initiatives, direct to consumer platforms and UMG’s business globally.”

Poferl described the move as a natural extension of her career. “Storytelling has been central to my work, and music is one of the most powerful storytelling mediums,” she said, citing UMG’s artist-first approach and commitment to using technology in service of creativity.

At the Times, Poferl oversaw teams of more than 200 people and helped shape data practices that balanced analytics with editorial values. She developed systems that informed coverage decisions, drove readership growth and advanced machine learning capabilities to scale audience engagement. Since joining the Times in 2014, Poferl held roles including associate managing editor, director of newsroom strategy and deputy editor.


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