Ludwig Göransson’s Sinners, Alexandre Desplat’s Frankenstein, Hans Zimmer’s F1 and 17 more scores are on the Oscar shortlist for best original score, which was revealed on Tuesday (Dec. 16).

Three film scorers who double as rock stars are on the shortlist – Nine Inch Nails for Tron: Ares; Jonny Greenwood, Radiohead’s lead guitarist and keyboardist, for One Battle After Another; and Bryce Dessner, guitarist for The National, for Train Dreams.

Three women composers are on the shortlist – Laura Karpman for Captain America: Brave New World; Lesley Barber for Diane Warren: Relentless; and Hildur Guðnadóttir for Hedda.

Max Richter is shortlisted for Hamnet. Richter is vying for his first Oscar nomination.

Here are the 20 films that are on the shortlist for best original score at the 98th annual Academy Awards. Members of the music branch culled this shortlist from a master list of 132 eligible scores. They will vote again to determine the nominees, which will be announced on Thursday, Jan. 22. The full membership of the academy will determine the winners. The 98th annual Academy Awards will be presented at the Dolby Theater in Hollywood on Sunday, March 15.

Avatar: Fire and Ash (20th Century Studios)
Simon Franglen

Bugonia (Focus Features)
Jerskin Fendrix

Captain America: Brave New World (Marvel/Disney)
Laura Karpman

Diane Warren: Relentless (Greenwich Entertainment)
Lesley Barber

F1 (Apple Original Films)
Hans Zimmer

Frankenstein (Netflix)
Alexandre Desplat

Hamnet (Focus Features)
Max Richter

Hedda (Amazon MGM)
Hildur Guðnadóttir

A House of Dynamite (Netflix)
Volker Bertelmann

Jay Kelly (Netflix)
Nicholas Britell

Marty Supreme (A24)
Daniel Lopatin

Nuremberg (Sony Pictures Classics)
Brian Tyler

One Battle After ­Another (Warner Bros. Pictures)
Jonny Greenwood

Sinners (Warner Bros. Pictures)
Ludwig Göransson

Sirāt (Neon)
Kangding Ray

Train Dreams (Netflix)
Bryce Dessner

Tron: Ares (Disney)
Nine Inch Nails

Truth and Treason (Angel Studios)
Aaron Zigman

Wake Up Dead Man: A Knives Out Mystery (Netflix)
Nathan Johnson

Wicked: For Good (Universal)
John Powell, Stephen Schwartz

R&B had a lot to celebrate in 2025. From Leon Thomas’ breakthrough to Chris Brown’s record-breaking stadium tour, it finally felt like the genre had properly reestablished itself as a mainstream force. And given the incessant questioning of the genre’s vitality over the better part of the past 10 years — the word “finally” is absolutely justified. While it’s been a banner year for the genre, the music industry gods didn’t just flip a switch to revive R&B in the mainstream; this year is the direct result of several intersecting scenes that have ridden larger cultural and sociopolitical shifts to usher in a new, rich, diverse era of R&B. 

If you’ve been paying attention, R&B’s mainstream resurgence has been brewing on the Billboard charts since the turn of the decade. Aided by the relatively pop-adjacent late-2010s breakthroughs of SZA, Khalid and Summer Walker, R&B spun out several hits that garnered notable pop success. In 2020, fresh off the Hot 100 top 10 glory of the previous year’s Drake-assisted “No Guidance” (No. 5), Chris Brown returned to the region at an even higher peak of No. 3 with “Go Crazy,” alongside Young Thug.  

Jazmine Sullivan closed out that year with “Pick Up Your Feelings,” the Grammy-winning Heaux Tales lead single that would become her first Hot 100 hit in over a decade (No. 75). At the top of 2021, Bruno Mars & Anderson .Paak teamed up for their ‘70s soul-tributing Silk Sonic project, which launched the Hot 100 chart-topper “Leave the Door Open.” That year also saw R&B top the Hot 100 in Justin Bieber’s “Peaches,” which featured Daniel Caesar and GIVĒON, both of whom earned their own breakthroughs a few years prior. By 2022, Muni Long exploded onto the scene with “Hrs & Hrs” (No. 16), and Beyoncé’s dance-rooted Renaissance launched an R&B crossover hit in “Cuff It” (No. 6). In 2023, Long returned to the top 20 with “Made for Me” (No. 20), while 2024 saw the Hot 100 breakthroughs of Victoria Monét (“On My Mama,” No. 33) and Coco Jones (“ICU,” No. 62). 

Sure, this wasn’t the chart domination of 2004 — led by Usher’s Confessions singles holding the Hot 100’s top spot for a whopping 28 combined weeks — but the first few years of this young decade signaled a mainstream shift toward R&B, as hip-hop’s commercial pull seemed to be waning from its 2010s peak. The week hip-hop famously had no songs in the Hot 100’s top 40, R&B boasted four, and that’s not counting R & B-adjacent hits from Bieber, Ravyn Lenae and Tinashe. Of course, as the two genres are inextricably tied, R&B’s re-ascension happened, in part, within hip-hop spaces. Every Super Bowl halftime show from 2021-2025 has featured either an R&B headliner or performer(s) with extensive R&B catalogs; the Roc Nation-curated extravaganza has welcomed the likes of The Weeknd, Mary J. Blige, Rihanna, Usher and SZA in recent years, keeping multiple eras and styles of R&B on America’s biggest stage this decade. 

These halftime shows aired in tandem with hip-hop’s drill era, whose sample drill scene saw several hit songs reimagining R&B tunes: The late Pop Smoke reached No. 9 on the Hot 100 with 2021’s “What You Know Bout Love,” which flipped Ginuwine’s “Differences,” while B-Lovee earned a RIAA Gold-certified hit with “My Everything,” which reconfigured Mary J. Blige’s 1997 song “Everything.” By 2024, U.K. R&B singer Jordan Adetunji turned Summer Walker’s “Potential” into “Kehlani,” scoring a top 40 hit (No. 24), a Grammy nomination and a remix with Kehlani herself in the process. During this time TikTok helped revive numerous older R&B hits — Guy’s “I Like” (1989), Mint Condition’s “Breakin’ My Heart” (1991) and Miguel’s “Sure Thing” (2010), which even became a crossover chart hit all over again — via viral trends, further reigniting consumers’ desire for the “yearning” of the genre’s past eras.

That “yearning” is felt throughout this year’s defining R&B hits: Kehlani’s “Folded” and Leon Thomas’ “Mutt.” The former soared to No. 7 on the Hot 100 and became the first top 10 hit of the long-venerated Kehlani’s career, while the latter peaked at No. 6 and cemented Thomas’ breakthrough as a recording artist. Both songs slowly ascended to cultural ubiquity, crossing over to mainstream top 40 radio in the process: as of the Dec. 13 chart tally, both songs even rank within the top 30 of Pop Airplay. At next year’s Grammys, both songs will compete for best R&B performance.

2024 will be remembered as the year everybody went country — and the ramifications of that genre’s surge were present across R&B this year, with the Southern Soul movement reaffirming Beyoncé’s focus on Southern Black American culture. While “Folded” and “Mutt” got the chart success, 803Fresh scored a legitimate cultural crossover moment with the line dance-assisted “Boots on the Ground.” Released at the tail end of 2024, “Boots” peaked at No. 20 on Hot R&B/Hip-Hop Songs this year and reached over 130,000 official sound uses on TikTok alone. Beyoncé even mixed the song with her own “Heated” every night on the Cowboy Carter Tour, the highest-grossing solo trek of 2025. As “Boots” reached everyone from Queen Bey to Kamala Harris, Death Row’s Tonio Armani earned a similar dance-centric street hit with “Cowgirl Trailride,” while his “Country Girl” reached No. 3 on Adult R&B Airplay. 

These songs are gems from the Southern Soul movement, which has also buoyed some of the genre’s most interesting left-of-center breakouts over the past year. Memphis-bred singer Kirby inspired myriad social media conversations with “Na$ty,” a funky number from her Miss Black America LP; South Carolina by way of Florida singer-songwriter Gabriel Jacoby earned acclaim for his Gutta Child debut project, and Mississippi-raised crooner TA Thomas dropped a near-flawless Southern Soul EP. Moreover, Tennessee’s EJ Jones regularly went viral thanks to his soulful, beyond-his-years vocals, and more contemporary-leaning Southern stars like Texas’ Josh Levi and Dende earned Billboard’s R&B Rookie of the Month title in 2025. These aren’t the releases dominating Billboard’s year-end charts, but their gritty soul definitely captured the streets. 

The U.S. South wasn’t the only region to impress this year: our friends across the pond also sneakily launched what feels like the first proper British soul crossover wave since Adele, Amy Winehouse and Leona Lewis crashed the scene in the late ‘00s. FLO, a girl group that first broke through in 2022, spent the year touring their now-Grammy-nominated Access All Areas LP in sold-out venues across the U.S.;and U.K. The trio also guested on With All Due Respect, kwn’s standout RCA debut, which also included the Kehlani-assisted R&B Songs top 10 hit “Worst Behaviour” (No. 9). Notably, “Worst” was co-written with Sasha Keable, Billboard’s November R&B Rookie of the Month, who recently supported GIVĒON on his most recent tour and made waves with her own Act Right P. 

At the same time, U.K.-raised Afrofusion singer Odeal, Billboard African Rookie of the Year, established himself with his The Summer That Saved Me and The Fall That Saved Us projects following 2024’s “Soh Soh” breakthrough, and British-Sudanese singer Elmiene garnered acclaim for his Heat the Streets mixtape, as well as a Brit Rising Star nomination. 

This year’s wave of U.K. R&B artists finding U.S. audiences arrives after years of Cleo Sol and Sault establishing the region’s ethereal new sound with lauded, Mercury Prize-nominated projects and buzzy international one-off live performances. And, although she simultaneously competes in the top 40 arena, RAYE’s (and, to a slightly lesser extent, Olivia Dean’s) incorporation of classic soul and Motown aesthetics is further proof of a new, more low-key British Invasion. They haven’t yet equaled the peaks of that late-’00s wave, but the groundwork is clearly being laid.

As a new global generation of younger R&B stars emerges, the genre’s sound is evolving to reflect that transition. Parts of this evolution happened amid the backdrop of President Trump’s second term, whose campaign and first year have helped stoke enragingly homophobic and transphobic flames. Enter a slate of largely indie, queer artists expanding contemporary R&B by incorporating house elements, studying Prince’s rock proclivities and finding salvation in the wee hours between Saturday night and Sunday morning. 

While kwn and Kehlani held it down for queer female-identifying folk, Durand Bernarr delivered one of the year’s best R&B albums in Bloom, which gave way to a packed stateside theater tour and three Grammy nominations. Destin Conrad, whose Love on Digital translated Gen Z’s internet-stained coming-of-age across a kaleidoscopic soundscape, also launched a headlining tour and earned a Grammy nod. 

Infinite Coles, a rising singer with Wu-Tang Clan family ties, blended hip-hop soul with ballroom on his Sweetface Killah ebut project. A stalwart of the genre’s more experimental edges, Blood Orange delighted critics with Essex Honey, while Khalid publicly embraced his queerness across an album of danceable rhythmic pop and introspective R&B. What’s important to note is that these songs aren’t drowning in metaphor and double entendre, they’re quite plainly about boys kissing boys and girls hunching on girls — and they’re finding sustainable audiences that are buying tickets and streaming music even when radio is slow on the uptake. 

As the young cats find their footing and establish the leaders of the new era, the genre’s veterans are also reaping the rewards of R&B’s 2020s upswing. Inspired by the touring success of R&B veterans like Usher (2024’s Past Present Future Tour), Janet Jackson (2023’s Together Again Tour) and Xscape & SWV (2024’s Queens of R&B Tour), several legends hit the road in 2025: Patti LaBelle, Chaka Khan, Gladys Knight & Stephanie Mills teamed up for The Queens Tour; Mary J. Blige recruited Ne-Yo and Mario for her For My Fans Tour and John Legend and Keyshia Cole launched headlining tours to commemorate 20 years of Get Lifted and The Way It Is, respectively. 

Above all, Brandy and Monica packed arenas across the country on their co-headlining The Boy Is Mine Tour, which recruited Kelly Rowland, Mýa, Muni Long, and American Idol victor Jamal Roberts as special guests. But the glow isn’t limited to nostalgia — Mariah Carey reached No. 7 on the Billboard 200 with Here for It All, while lead single, “Type Dangerous” even topped Adult R&B Airplay, Carey’s first track to do so in 20 years. 

What’s especially beautiful about this moment is how the veterans, current genre leaders and up-and-comers have developed a synergy that benefits them all as mainstream interest in R&B continues to grow. Brandy and Monica invited Coco Jones to open several Boy Is Mine shows, Usher used his post-Super Bowl momentum to sign rising R&B singer JayDon, George Clinton passed the torch to Leon Thomas onstage at Coachella and Kehlani reached for ‘00s R&B vocal playbooks like Toni Braxton and Tank with her Folded Homage remix EP. Seeing these exchanges flow in both directions across R&B’s generations bodes very well for the genre’s long-term health.

All these intersecting forces have resulted in a year where unmistakably and unapologetically soulful solo R&B cuts like “Folded” and “Mutt” can live in the Hot 100’s top 10. GIVĒON also reached the Billboard 200’s top 10 with his Beloved album, earned a Grammy nod and closed out his accompanying headlining tour by selling out his first arena show at New York City’s Madison Square Garden. Mariah the Scientist landed a long-sought-after commercial breakthrough with “Burning Blue.” Chris Brown sold out stadiums and scored a top 20 hit alongside Bryson Tiller with “It Depends” (No. 16). Teyana Taylor, a leading Oscar contender in one of the year’s most acclaimed films (One Battle After Another), earned her first career Grammy nomination for her retirement-ending Escape Room LP. SZA co-headlined the Grand National Tour, now the highest-grossing joint tour in history, which paid tribute to the Quiet Storm queen Anita Baker every night!

R&B is thriving, and 2025 feels like the year the rest of the world was officially put on notice. This kind of success doesn’t happen overnight, nor does it happen in a vacuum. While naysayers and doubters reveled in jeering at the genre’s valleys, an eclectic coalition of younger artists and listeners has ushered in what’s hopefully the first of many peaks to come for R&B, in the 2020s and beyond. 

This weekend, the biggest electronic music show in Los Angeles didn’t happen in a nightclub or even an arena, but at the intersection of Hollywood Boulevard and Vine Street.

Under traffic lights and atop asphalt that typically carries crosstown traffic, 13,000 people gathered for a Dec. 13 set by Brazilian producer Mochakk. The show marked the third time the iconic intersection was closed to drivers and used for a dance party, coming at the end of a year in which the use of such nontraditional venues became a phenomenon in live dance events.

“There’s not an artist in dance music worth their stones that isn’t saying, ‘How can I do it differently? How can we create a look that’s not been done, or use a space that hasn’t been used?” says Wasserman’s Cody Chapman, who booked such unconventional shows for artists including Fisher, Swedish House Mafia and Zeds Dead in 2025. 

In October, Swedish House Mafia played a bullfighting ring in Mexico and also became the first electronic act ever to play New York’s Arthur Ashe Stadium, which is typically reserved for tennis matches. Michael Bibi‘s Solid Grooves label held a show on the loading dock of a former Sears distribution center in downtown L.A., a site Dom Dolla, Jamie Jones and Sammy Virji have also played. Zeds Dead dropped tracks at a nearby deli, while Mochakk rocked the Venice Beach skatepark. In March, Fisher played a block party in front of San Jose City Hall, not far from where Fred again.. and Skrillex drew 25,000 people to the San Francisco Civic Center in 2024 — the same year Diplo did a set on a New York City subway car.

These so-called pop-up shows are complicated to produce and generally don’t make much money. So why play a loading dock when you could just play a club?

“The content you get from these seemingly impossible plays is extraordinary,” says Chapman, “and the global effect you get from putting an impossible-seeming event on social media is huge. It’s the most valuable thing you can do in live.”

In a genre connected and fueled by DMs, tags, engagements, follower counts and virality, generating this kind of flashy social content for artists to share with fans (and for fans to share with each other) is, for many artists, worth investing in. But value exists off TikTok too, with Chapman calling both the hype around these shows and the way they let artists do something special for their fans “priceless.” 

While DJs in Europe have long been known to play castles and mountaintops, pop-ups have only become a phenomenon in the U.S. over the last few years as dance music has become more ingrained in U.S. culture. “So as artists [in the U.S.] see all these extraordinary venues in Europe and the rest of the world… it was inevitable that artists, agents and managers started looking at left of center spaces across America and trying to figure out how to unlock those too,” says Chapman. (Paris-based livestream producer Cercle has long been a leader in producing livestreamed DJ sets at locations like the Eiffel Tower and a Bolivian salt flat at dawn, occasions that no doubt helped fuel the desire for epic locations among artists.) 

But while dance music blew up in the States roughly 15 years ago, pop-ups are a more recent trend simply because, as Chapman says, “there is a lot more red tape here.”

“These shows have been more successful in 2025 because in previous years, they wouldn’t let us do things in certain places,” says Kobi Danan, co-founder of L.A. dance event producer Framework, the company behind the Hollywood Boulevard and Sears building shows, among other events in L.A. and beyond. “For the Hollywood Boulevard shows, we got ‘nos’ from the city for at least three years. It took many years to build trust.” 

Danan says that for Frameworks‘ three Hollywood and Vine shows, the company has worked with HOAs, given free tickets to locals and even made up for lost revenue experienced by businesses on the Boulevard. Still, some cities remain wary. Framework had to cancel a 2024 set by Solomun at an abandoned power plant in Oxnard, Calif., after officials declined to issue the permit over concerns about egress in case of emergency. As such, Framework staff were forced to build a fake power plant at L.A.’s Exposition Park as an alternative.  

“It had Tesla coils and fire geysers and all kinds of craziness,” says Danan. “I’m talking 60-foot-tall chimneys and everything. It was outside of the budget.”  

“It’s tragically difficult at times,” Chapman says of putting on these pop-up shows, recalling the time the organizers of one show realized the street they were building on was at a slight angle, forcing them to rebuild the entire production in 12 hours. “I think promoters are often the unsung heroes. They’re the ones dealing with local litigators and councils and turning spaces that shouldn’t be used for parties into safe, usable environments.” (To that end, Los Angeles event promoter Stranger Than has also produced DJ events at locations including the beach, L.A. City Hall and a former supermarket.)

The challenge isn’t just renting enough porta-potties or traffic barricades but changing the perception of a genre that’s in some cases still shaking off a reputation for being seedy, illegal and dangerous due to dance music’s underground history.  

San Francisco, a city with a rich dance music history, has been particularly amenable to pop-ups, allowing the aforementioned Civic Center show in 2024, opening its Pier 80 to Goldenvoice’s annual dance festival Portola in 2022 and hosting a pair of upcoming New Year’s Eve shows by Swedish House Mafia and Skrillex together with Four Tet at the Pier’s 200,000-square foot warehouse, which used to house shipping components. (These shows are also being produced by Goldenvoice.) San Francisco’s mayor, Daniel Lurie, even announced the first-ever performance at the city’s Moscone Center, a 992,000-square-foot downtown convention center, on his official TikTok.  

“We’ve talked about music, arts, culture driving our comeback. Well, it continues,” Mayor Lurie says in the clip about the Dec. 19 set with Australian dance star Fisher. “This show is going to bring people to downtown at a time where Moscone is usually quiet at the end of the year. Our restaurants, our bars, our business are going to benefit.” 

“I’ll give a shout-out to Mayor Lurie,” says Chapman, who booked the Fisher show, “because he is a big supporter of entertainment in the city and does not seem to see dance music as a red flag.” In terms of a pop-up’s ability to bolster the local economy, Danan also notes that amid Hollywood Boulevard shows, “every hotel in a three-mile radius is sold out, and every restaurant reservation is completely booked. It’s a win/win for everybody.”

But pop-up shows aren’t cheap, with Chapman reporting that they can cost 10 times more than the price of playing a traditional venue. As such, opportunities must be weighed carefully, particularly as these shows can leave a lot of fans unable to get tickets. “You have artists that can sell 20, 30 or 40,000 tickets somewhere, but you find this extraordinary site that can only scale to 4,000. Is it worth doing, when you know the demand is so much higher than what you can fulfill?”

This dilemma is weighed against the opportunity to create a show that might be a life moment for those who were there (“one of the best nights of my life, no joke!” one Reddit user reported of the Skrillex and Fred again.. Civic Center set) and which can build the legacies of artists who just want to do something different and cool.

“Anyone who’s looking at revenue as an immediate end game is missing the point on generating real revenue,” says Chapman. “We’re trying to build careers and lifelong artists, and the short-term buck is worth so much less than the possibility that they could be doing this forever.”

One solution to the supply/demand issue has been for artists to do a super-small underplay for fans right before another larger show, like Zeds Dead, whose set at Katz’s Deli in May happened hours before their performance at L.A. club Exchange, or LP Giobbi, who preceded a Nov. 2024 set at L.A.’s Fonda Theatre with a morning set at a Venice Beach coffee shop. 

Some artists have found other ways to provide unique opportunities to fans who may have been unable to score tickets to a pop-up event. Last month, two days before his Hollywood Blvd. show (which was subsequently canceled due to rain and rescheduled for December), Mochakk spent a day inside a custom-designed ice cream truck, handing out popsicles. “Lemon or berry?” the artist patiently and enthusiastically asked each of the roughly 1,000 fans who had lined up around the block to meet him.

“We approach these moments as impact points,” Mochakk’s manager Dave DeValera says of the ice cream truck, a concept the team has also used in New York. “We probably have four to six a year, and we’re usually lining them up with a large-scale show. It’s about creating visibility, fan engagement and true fan connection. These events just get a more grassroots conversation going on the ground, rather than just being a digital conversation.”

DeValera reports that after the New York ice cream truck event, ticket sales for an upcoming Mochakk party jumped from 3,000 to 8,500. “It was just generated from the energy of being in the city,” DeValera says, “and the amount of organic press pickup [around the ice cream truck event] was unusual for an electronic artist.”

With both intangible and statistical benefits, it follows that many DJs want to do these shows, which Chapman admits is “becoming a little bit tiring as an agent… Doing it in a way that feels authentic for a particular artist has become all the more important.” He says this is why it made sense for Mochakk, a lifelong skateboarder, to play the Venice skatepark, an event that drew thousands.

As the trend presses into 2026, it’s also evolving. Chapman foresees some of the left-of-center builds used for one-off shows becoming regularly used spaces, as San Francisco’s Pier 80 warehouse in L.A.’s Sears building is.  

“We’re starting to see a lot more of these things being done once and having a blueprint, so you can do 10 more and they can become series,” he says.

While touring this way would, says Chapman, “be impossible” given that every site is different, he does see an opportunity for shorter touring legs that follow “one creative idea and deliver shows of similarity.” He’s currently working on plans for such a tour that he hopes to have to market by September 2026. 

While the trend isn’t yet big enough to eradicate the need for traditional venues, certainly there are such venues in San Francisco, Los Angeles, New York and beyond that would’ve loved to host a show by any of the aforementioned artists who ended up playing in unconventional spaces in those cities instead.

To that, Chapman says he’d “challenge anyone with a traditional venue to “step up their game and figure out how they can offer more flexibility in the room” so that artists can create their own worlds within them.

“Because in electronic music specifically,” he continues, “I don’t think the one size fits all model is what people are looking for.” 

Just three years after co-headlining the West Coast-themed Super Bowl LVI halftime show, The Doggfather is headed back to the gridiron for Netflix’s NFL Christmas Gameday Live.

Snoop Dogg will headline the halftime show during the Detroit Lions vs. Minnesota Vikings game on Dec. 25, streaming live on Netflix from U.S. Bank Stadium in Minneapolis, Minnesota, beginning at 4:30 p.m. ET. Announced by the streaming giant on Tuesday (Dec. 16), Snoop’s performance — dubbed “Snoop’s Holiday Halftime Party” — promises special guests, as well as renditions of Billboard Hot 100 chart-toppers like 2004’s Pharrell-assisted “Drop It Like It’s Hot.”

“NFL, Netflix and your uncle Snoop on Christmas Day? We’re servin’ up music, love and good vibes for the whole world to enjoy,” Snoop teased in a statement. “That’s the kind of holiday magic Santa can’t fit in a bag.”

To celebrate the announcement, Netflix shared a festive teaser on its official social media pages, narrated by funk pioneer George Clinton. “‘Twas the night before Christmas and all through the crib, the stockings hung proper, the vibe feeling big,” the icon declares. “As the snow kept on falling, the beat kept calling, from Minneapolis to L.A., where the champs come to play…”

“We’re about to light up this Christmas in a real way,” Snoop quips at the end of the clip before pulling out a tray of trademark blue cookies and plugging one of his best-selling cookbooks. “How’s that for a halftime snack?”

Snoop Dogg’s halftime takeover comes one year after Beyoncé played Netflix’s inaugural Christmas Day extravaganza. Queen Bey, who earned the highest-grossing solo tour of 2025, treated her hometown of Houston to the first live performance of tracks from her three-time Grammy-winning Cowboy Carter LP. In between delivering hits like “Texas Hold ‘Em,” Beyoncé honored both rodeo culture and the history of the black cowboy while inviting special guests Post Malone, Shaboozey, Brittney Spencer, Tanner Adell, Reyna Roberts and Tiera Kennedy. Earlier this year, the show, affectionately nicknamed “Beyoncé Bowl,” won 35-time Grammy victor her very first Emmy Award: outstanding costumes for a variety, nonfiction, or reality programming.

The Christmas Day doubleheader kicks off with the Dallas Cowboys facing off against the Washington Commanders at 1 p.m. ET, followed by the Lions vs. Vikings game at 4:30 p.m. ET. Both games and Snoop Dogg’s halftime show will stream live on Netflix.

Check out Snoop Dogg’s teaser below.

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