Once again and as always, the dance albums released in 2025 served as a reminder of the genre’s vastness.
But while on the surface bass might not have much to do with house which might not have much to do with techno which might not have much in common with trance or the many other varieties of sound that exist under the umbrella, together they form the sonic tapestry of the global scene and function as the raw material that drives this world forward.
And while it remains a singles-driven genre to be sure, in dance music albums function as statement pieces, full-length works demonstrating an artist’s intent and identity — which also provide them with the material to form their live shows. (And serve as buffets for other artists to eat from when it comes to their own sets.)
In 2025, dance albums pushed further out in every aforementioned genre direction and more, further realizing the glorious multitudes contained in the humble “dance” descriptor and giving fans a way to bring their favorite artists into the fold while well outside the confines of the club. We got UKG and fresh takes on techno, nostalgic dubstep, future-facing bass and a lot of music that functioned as template examples of classic sounds, but still somehow sounded fresh.
The albums from many of these year-defining artists are below, along with some of the more under-the-radar releases that resonated, as part of our staff’s picks for the 50 best albums that 2025 had to offer.
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The Jonas Brothers already confirmed that they are returning to Camp Rock earlier this summer. Since then, Nick, Joe and Kevin have been teasing the 15-years-in-the-making Camp Rock 3 movie off and on, so the only real question is this: will Mitchie Torres be packing up her duffel bag to join them?
Though Demi Lovato — who played shy aspiring singing star Torres in the 2008 Disney Channel movie musical original and its 2010 sequel, Camp Rock 2: The Final Jam — is on board as a co-executive producer alongside the JoBros, so far only the siblings are confirmed to star in the movie. The Jonas’ will reprise their roles as the Gray brothers in the movie that began filming in Vancouver in September.
Don’t give up hope, though, since director Veronica Rodriguez told EW this week that, “You can’t really talk about Camp Rock or have a Camp Rock movie without referencing her. We love Mitchie.” That was as much as Rodriguez was willing to spill on the musical revival set to premiere on Disney+ and the Disney Channel next summer.
Mitchie was notably absent in the first teaser that dropped a few weeks ago. The clip opens with halcyon, soft-focus scenes of serene summer camp vistas, including the lake and the dining hall backed by soundbites from the first two films featuring Lovato’s voice and her duet with Joe’s Shane, “Wouldn’t Change a Thing,” as the shadows of the brothers cross the screen and the camera zooms in on Mitchie’s song notebook.
“Music, friendship, memories,” says Nick (Connect 3’s lead singer and Mitchie’s love interest in the original) as he and his brothers stare out at the lake. “We’re back… exactly where we’re supposed to be!,” says Joe, with Kevin adding some comic relief with the joke, “Still no birdhouse!” Camp Rock 3 will also feature performances from newbies Malachi Barton (Fletch), Liamani Segura (Sage), Lumi Pollack (Rosie), Hudson Stone (Desi) and Casey Trotter (Cliff). While the JoBros will reprise their roles as members of fictional boy band Connect 3, Maria Canals-Barrera will be back as Connie Torres, Mitchie’s mother.
Rodriguez would not confirm or deny theories about Lovato’s possible cameo, but she teased that “Camp Rock 3 is a continuation of the story we know and love,” with the new movie picking up 15 years after the action in the sequel, when Connect 3 are bigger than ever. “That is the question,” Rodriguez told EW with a smile. “I can’t spoil anything. What I will say is that people should be excited to see some OG characters. You should feel all of those nostalgic vibes. We tried to put in as many things as we can into this movie, some iconic set pieces, the Jonas Brothers as Connect 3, and even Connie [Maria Canals-Barrera], Mitchie’s mom, has a bigger role in this movie. So Mitchie is very much a character in this movie, in this world, and we should feel her, for sure, because she’s iconic and beloved and is a part of the Camp Rock legacy.”
Lovato joined the JoBros at the MetLife Stadium stop of their 20th anniversary tour in August, where they performed the Camp Rock favorites “Wouldn’t Change a Thing” and “This Is Me.”
Rodriguez clarified that Lovato had signed on as an executive producer before she joined the project that wrapped filming on Nov. 1, so she was not privy to any early discussions about Lovato returning to star alongside Joe. “But it was really amazing to have her as an executive producer, and she was involved with the script,” Rodriguez said. “She was just really ensuring that this movie gives our audience all the Camp Rock amazingness that she was part of back in Camp Rock 1 and 2. And so she was a fantastic partner in making this as good as it can be.”
According to a description of the threequel, it kicks off when Connect 3 lose their opening act for a major reunion tour, prompting the brothers to return to the camp in search of a new star as the campers compete for a spot on the tour. Rodriguez promised that the JoBros are in the film a “good amount,” and that it will also introduce a new generation of Camp Rockers, referring to newbies Segura, Barton, Pollack, Stone and Trotter as having a “bit of a Breakfast Club vibe,” while tagging Segura as “our new Mitchie.”
Rodriguez also teased that the movie will feature new music from the JoBros as Connect 3, with rock songs, but also ventures into unexpected genres including Americana pop country, a Bruno Mars-style pop tune, girl power rock and uptempo dance songs.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-16 18:46:142025-12-16 18:46:14‘Camp Rock 3’ Director Dodges Demi Lovato Cameo Question, But Promises ‘We Love Mitchie’
Rob Reiner’s shocking death on Sunday (Dec. 14) has triggered a wave of appreciations for his work, both as an actor and a film director. One thing that hasn’t been mentioned enough is that he, more than most film directors, made excellent use of music. Four of his first five films as a director had soundtracks that made the Billboard 200 album chart. One went double-platinum and won a Grammy; another went gold and sent its title song back into the top 10 on the Billboard Hot 100.
Reiner received a Grammy nomination for the All in the Family soundtrack (best comedy recording, 1972), an Oscar nomination for best picture (A Few Good Men, 1992) and seven Primetime Emmy nods – five for All in the Family (outstanding supporting actor in a comedy series) and two for the HBO Max show Albert Brooks: Defending My Life – outstanding documentary or nonfiction special and outstanding directing for a documentary/nonfiction program.
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Reiner directed three actors to Oscar nominations – Kathy Bates in Misery (who won). Jack Nicholson in A Few Good Men and James Woods in Ghosts of Mississippi.
It’s too bad Reiner didn’t receive the Kennedy Center Honors. His long and varied career justified the honor. President Trump said earlier this year that he reviewed a list of about 50 candidates, most of which he rejected because they were too “woke.” If the decision had been made purely on the basis of who was the most deserving (imagine that!), Reiner might well have gotten it.
Here’s a list of Rob Reiner’s film and TV soundtracks that made the Billboard 200.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-16 18:41:252025-12-16 18:41:25Rob Reiner’s Film & TV Soundtracks That Made the Billboard 200: Full List
THE BIG STORY: Trademarks are important. They’re what protect consumers from confusing knockoffs in a messy marketplace by making clear the genuine source of a product. Imagine trying to buy something online if you had no idea whether it was really from the brand you wanted.
But it’s also really hard to sue over the use of a trademark in a movie or a song – and that’s important too. The First Amendment allows artists to express themselves freely, without fear of being dragged into court because they mentioned a brand name. Just ask Mattel how it went when they sued Aqua over their 1997 megahit “Barbie Girl.”
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That legal dynamic was on full display this week in Los Angeles federal court, when Lady Gaga scored a key victory in a trademark infringement lawsuit over her chart-topping Mayhem album, filed by a surf company that sells a brand of Mayhem surfboards. To find out what happened, go read the full story.
You’re reading The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. To get the newsletter in your inbox every Tuesday, subscribe here.
Other top stories this week…
RIGHTS ROW – Dionne Warwick is facing a new lawsuit claiming she’s turned her back on a rights management company that repped her for years on tricky matters, including the deal for the famed sample of her song “Walk on By” in Doja Cat‘s chart-topping hit “Paint the Town Red.”
LIZZO LITIGATION – Lizzo’s ex-backup dancers urged an appeals court to reject the star’s free speech arguments and let their sexual harassment lawsuit go to trial. But Lizzo herself also spoke out on the case, pointing out that the dancers had quietly dropped their incendiary “fat shaming” claim last month: “It never happened. Now the truth is finally out.”
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UNDISCLOSED DEAL – A new lawsuit revealed for the first time that Capitol Christian Music Group (Capitol CMG) came close to buying Christian hip-hop label Reach Records this past summer, but allegedly backed out at the last minute over concerns about the price.
ASSAULT CHARGES – R&B singer Trey Songz was arrested in Manhattan on criminal charges over two separate alleged violent incidents within a one-week span, including punching a man in the face at a Times Square nightclub and destroying property at a hookah bar.
AI-ERA LIBEL LAW – Ray J doubled down on his claim that Kim Kardashian and Kris Jenner have engaged in RICO violations, a statement that got him sued for defamation. In a new filing, he says their family business empire is “a criminal enterprise akin to the mob” – and that ChatGPT assured him that was a valid thing to say.
ARE YOU EXPERIENCED? A trial kicked off in London over whether Jimi Hendrix’s bandmates are entitled to royalties from the rock legend’s catalog, pitting Hendrix’s estate and Sony Music against the heirs of bassist Noel Redding and drummer Mitch Mitchell.
COVER FLAP – Rod Wave was hit with a copyright lawsuit claiming he stole the photo featured on the cover of his 2024 album Last Lap from a Florida photographer who snapped it at a concert.
FAKE MERCH FIGHT – A judge dismissed a lawsuit filed by the estate of MF Doom seeking to hold Temu liable for selling counterfeit versions of the late hip-hop legend’s merchandise.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-16 18:20:312025-12-16 18:20:31Lady Gaga ‘Mayhem’ Ruling, Dionne Warwick Lawsuit, Lizzo Appeal & More Top Music Law News
Few adults get to experience the most fantastic life they imagined in their youth, and those who do often discover that the victory comes with hidden costs. That’s understandable. It’s lonely at the top, but the culture doesn’t focus much on that part of the deal. So it’s tough to see the dark side of success until it’s attained.
It’s what makes Carly Pearce’s “Dream Come True” special. It strips the glitter off of stardom and puts a spotlight on the sacrifices required to attain it. And while it’s written from Pearce’s career perspective, it’s not like touring as a country singer is the only glamour profession.
“It’s kind of a universal thought,” she says, “for anybody who’s ever chased any kind of dream.”
Songwriter Lauren Hungate (“Holy Smokes”) first presented the “Dream Come True” idea to Pearce during a February 2023 writing appointment that yielded the 2024 release “my place.” The goal was to look behind the on-stage spectacle for a glimpse at what entertainers give up for their vocation. It was not a typical songwriter-room pitch, since the topic didn’t hold much commercial promise.
“I knew it was probably a sad song about this job, so it would probably never be a single,” Hungate remembers. “It would be like a last track on someone’s record.”
While they didn’t write it that day, the idea resonated with Pearce, who showed some interest in tackling it down the line. More than a year later – on Aug. 20, 2024 – they had an appointment with songwriters Emily Weisband (“Can’t Break Up Now,” “Looking For You”) and Tofer Brown (“Night Shift,” “Wine, Beer, Whiskey”) at Brown’s Nashville office.
Pearce announced that she needed to write something with potential as a single, but the conversation took an unexpected turn.
“I ended up crying in the room and just saying, like, ‘I’m really having a hard time,’” Pearce recalls. “We just decided to all kind of share about the price of dreams. It felt more like therapy.”
Hungate’s “Dream Come True” title bubbled up again in that context, and everyone in the room was up for tackling it. The work went quickly.
“It was very effortless,” Brown says. “It was almost like the song was there. We just had to figure out how to bottle it up.”
Brown fashioned a gentle acoustic foundation, and Weisband created a halting melody for the opening lines of the chorus: “Nobody loves you for you/ Nobody calls you if you lose your shine.” The chorus needed just four lines to summarize the challenges of stardom. They would elaborate on specific struggles in the verses, and it wasn’t hard to find them.
“I think I had already kind of subconsciously started writing this type of song,” Pearce says, “and so I knew what parts were really important to me.”
In the opening stanza, they included her four-bedroom home with unused rooms, and the out-of-town concert booking that deprived her of attending her best friend’s wedding. Verse two referenced the gold records and celebratory plaques that all remind her of the heartaches that inspired her songs. And the final verse documented her mother’s illness (she suffers from COPD) and the inner turmoil Pearce feels at not being present when she could be useful. Every line is an accurate description of her world.
“Carly’s very strong, and she’s a hard nut to crack,” Hungate says. “To get Carly to be vulnerable, she has to feel really safe. And honestly, if you listen to the song, you can kind of see us progressively getting her more and more vulnerable with each verse.”
They were also careful, though, to include a short acknowledgement in a pre-chorus of the privilege it is to have a job so many people envy. “It’s a tricky thing to talk about,” Pearce notes, “because I never wanted people to feel like I’m not grateful.”
When she addressed her mom’s condition in the last verse, the conflict was so stark that they declined to visit the chorus a third time. Instead, “Dream Come True” quietly reiterates the title once more before ending in silence. “We easily could have gone into a big old dramatic chorus, but I think that last phrase and that last verse kind of shows that that’s where she still is,” Brown offers. “It’s not like, ‘and then all my dreams came true.’ Life doesn’t have a pretty bow all the time.”
Brown produced a spare demo with a piano solo after the second chorus. Pearce kept writing more material for her next album, but as the songs piled up, “Dream Come True” remained a priority. She recorded it on April 15 at Gold Pacific Studio – formerly Addiction – in Nashville’s Berry Hill section. The band treated it with enormous sensitivity, locking in on the approach in their third take and playing the song in its entirety each they attempted it, finally nailing it on the seventh pass.
“They were emotionally connected to it,” says producer Ben West (Ella Langley, Stephen Wilson Jr.). “Nobody was on their phone on that one.”
Drummer Aaron Sterling used brushes and a muted mallet to make the rhythm firm but understated, pianist Dave Cohen dropped a rich low note on occasion to effect quiet drama, and acoustic guitarist Bryan Sutton played with a fair amount of finger noise, which engineer Dave Clauss left exposed. “We’re always trying to lean into those little imperfections,” West says, “because those are the features rather than the liabilities in the recording.”
Fiddler Jenee Fleenor was so overcome by the final verse about Pearce’s ailing mom that she had to leave the room. But when she returned, her role was significant. West had her play the solo, redoing the piano melody from the demo on fiddle. West doubled the length of that section, and Fleenor overdubbed harmony parts to create a string quartet effect.
“The strings are the fastest track to your emotional strings,” Clauss suggests, “and it definitely works on this one.”
When Pearce tackled the final vocal at Clauss’ studio, Santa’s Workshop, she sang “Dream Come True” last, knowing she would be emotionally spent when she finished. Her touring schedule made her tonal texture even more appropriate for the song’s difficult message. “She’s going through, like, vocal drama,” Clauss says. “She was gigging so much, and it added so much to it, because it just translated the pain, the way her vocal was breaking up.”
It connected so well that when Big Machine started playing new music for radio programmers, several chains asked specifically for “Dream Come True” as a single. The label released it to country radio via PlayMPE on Nov. 12. As much as the song crystallized the challenges in her chosen career, it also reminded Pearce that the sacrifices had a purpose. “Dream Come True” helped her reconnect with that intent.
“The truth always wins,” she says, “and this is an example.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-16 18:15:372025-12-16 18:15:37Carly Pearce Pulls Back the Curtain With Her Vulnerable Single ‘Dream Come True’: ‘It Felt More Like Therapy’
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While material things are common practice when it comes to holiday gifting, the ultimate gift you can give yourself and your loved ones is fluency in a language.
It’s especially a no-brainer when that gift is 50% percent off. Right now, Rosetta Stone is offering its language-learning subscription to users for 50% off this holiday season, coming in handy for our readers who are really into non-English media and music including K-pop or Latin. This offer ends on Dec. 18.
The platform offers three subscription tiers, including a lifetime option that, as the name suggests, gives you access to the platform to learn up to 25 languages for a lifetime, including Spanish for Bad Bunny and Rosalia fans, Korean for K-pop and K-drama fans and even English for non-native speakers who love Western artists such as Lady Gaga or Taylor Swift.
Think of it this way: The subscription gives fans who don’t know Spanish just enough time to prepare their body and mind for Bad Bunny’s 2026 Super Bowl performance so they can sing and rap along in Spanish without missing a beat.
That tier is just a single payment of $199, and consists of web and mobile access, letting polyglots practice their chosen language anytime, anywhere. You’ll also have access to livestream lessons, access to hundreds of dynamic immersive exercises to practice until perfect, and access to a TruAccent proprietary speech recognition technology that allows users to perfect their pronunciation.
For more than 30 years, Rosetta Stone has helped millions of people learn languages based on research-backed methods with immersive lessons and immediate pronunciation feedback that aptly prepares users for real-world conversations. Rosetta Stone has a proprietary method called Dynamic Immersion, which taps into your brain’s innate ability to learn, proving to be the most effective way to learn a language. This is a practical gift with lifelong impact, especially if you or someone you know wants to connect with their favorite artist’s music on a deeper level.
One customer raved, “There are no language crutches, only immersion. You learn in a natural way and move forward quickly. Apps with games are fun, but you learn more slowly, and you are always ‘translating,’ not immersing.”
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This year, Kendrick Lamar and SZA‘s “Luther” spent 13 weeks at No. 1 on the Billboard Hot 100 and earned Grammy nominations for song and record of the year, but according to its producer, the track was never supposed to exist.
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As revealed in a new Rolling Stonepiece published Monday (Dec. 15) examining how the Compton rapper’s acclaimed GNX album was made, Sounwave revealed that the Luther Vandross-sampling smash was only ever supposed to be an interlude. “There were no drums,” the hitmaker recalled. “It was literally me chopping the sample and Dot just humming melodies.”
“We had the sample in the tuck forever, we just never could crack it,” he continued. “But once he hit this one specific melody, I knew that this had to be bigger.”
The sample in question is Vandross and Cheryl Lynn’s 1982 duet, “If This World Were Mine,” which plays throughout Lamar and SZA’s collab. The standout GNX single is also up for best melodic rap performance at the 2026 Grammys after closing out the year as the second-biggest hit on the year-end Billboard Hot 100 (behind Bruno Mars and Lady Gaga’s “Die With a Smile”).
Also in the RS piece, Sounwave opened up about working on GNX — which is nominated for album of the year and best rap album in 2026 — with coproducer Jack Antonoff and songwriter Ink. Though the LP dropped well after Lamar reset culture with his Drake diss track “Not Like Us,” Sounwave says that the project had been in the works for years before the rap war started in 2024.
It wasn’t until one emotional moment in the studio that the producer knew GNX was complete. “If I don’t shed a tear by the last second of the album, it is not ready,” Sounwave told the publication. “Once that last second of the last song stopped, 6 a.m. in the morning, I shed a tear. I was like, ‘We’re done.’”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-16 18:05:332025-12-16 18:05:33Kendrick Lamar & SZA’s ‘Luther’ Was One of 2025’s Biggest Hits — But It Was Originally Just Supposed to Be an Interlude
Film admirers around the world are mourning the shocking deaths of influential director-writer-actor Rob Reiner and his wife and professional partner, Michele Singer, who were found dead in their Los Angeles home on Dec. 14. The late couple’s son Nick has been arrested on suspicion of murder.
Among those remembering time spent with Reiner is Country Music Hall of Famer Reba McEntire, who worked with the film icon in North, while he also made a cameo in the Jon Small-directed music video for “Does He Love You,” McEntire’s hit collaboration with Linda Davis.
McEntire remembered Reiner by sharing a photo on Instagram of herself with Reiner on the set of the music video.
“I enjoyed every minute I was around Rob Reiner,” McEntire captioned the post. “I got to work with him on the movie North and he also helped us with our ending of my video ‘Does He Love You.’ I sure will miss him. What a gift he was to this world. Rest in peace, my friend.”
“Does He Love You” revolves around two women in a battle for the love of the same man, which the video dramatically brings to life. In the video, Davis and McEntire portray rivals, and the tension escalates throughout the clip. As the video draws to a close, McEntire’s character watches as Davis’ character rides off into the sunset on a boat with the lover, only to see the boat soon explode. From there, the video quickly cuts to a cameo from Reiner, as he’s reviewing footage from the shoot with McEntire and Davis.
Davis also shared memories of working with Reiner on the video set. Sharing McEntire’s post on Facebook, she added, “Rob was really kind and funny. As Reba said in her post, she had gotten to know Rob on set shooting their movie. His cameo appearance in our video for ‘Does He Love You’ gave some the impression that Rob had directed the video. I can’t count how many times over the last 30 years folks asked me, ‘Was Meat Head nice?’ .. ‘How was it working with Rob Reiner?’ Rob was very nice and gracious to me. He has left us so much artistic work that will live on. Jon Small did a great job on our video…and having an icon like Rob be a part was one of the many fun memories that I will cherish…”
The music video for “Does He Love You” earned a CMA Award nomination for music video of the year in 1994.
Reiner was known for directing, producing and/or writing films including This Is Spinal Tap, Stand By Me, The Princess Bride, When Harry Met Sally…, A Few Good Men, North and The Bucket List. As an actor, he appeared in movies such as This Is Spinal Tap, The Jerk, Sleepless in Seattle, Misery and The First Wives Club, as well as portraying the character Mike “Meathead” Stivic on the series All in the Family.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-16 17:25:342025-12-16 17:25:34Reba McEntire Recalls Working With Rob Reiner on ‘Does He Love You’ Video: ‘What a Gift He Was’
Frank Sinatra Makes History With First No. 1 on a Billboard Songs Chart Since 1967
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Pentatonix Celebrates 11th Top 10 on Holiday Albums Chart With ‘Christmas In the City’
The carol, from Pentatonix’s new album, Christmas in the City, marks Pentatonix’s first No. 1 on Adult Contemporary — or any Billboard airplay chart.
Sinatra, who died in 1998, adds his seventh Adult Contemporary No. 1 — and first since the chart dated Sept. 30, 1967, when “The World We Knew (Over and Over)” wrapped a five-week reign. He linked five No. 1s in a row, with that single following “Somethin’ Stupid” with daughter Nancy, “That’s Life,” “Summer Wind” and “Strangers in the Night.” He first led with “It Was a Very Good Year” in February 1966.
For “I’ve Got My Love to Keep Me Warm,” the Frank Sinatra Estate allowed Pentatonix to mix its vocals with a previously unreleased vocal take of Sinatra singing the Irving Berlin-penned classic.
“Frank Sinatra is truly the blueprint for vocalists,” Pentatonix’s Scott Hoying tells Billboard. “Being connected to his music is beyond an honor, and we feel endless gratitude for this mind-blowing opportunity. We hope to make the Sinatra family proud and truly honor his culture-altering legacy.”
The Chairman of the Board ends the longest break between Adult Contemporary No. 1s: 58 years, two months and three weeks. He also claims the longest span of ruling the chart: 59 years, 10 months and two weeks, dating to the first week at No. 1 for “It Was a Very Good Year.” Plus, he boasts the longest span of appearing on the list overall: 64 years and five months, as he placed on the inaugural edition dated July 17, 1961.
Sinatra bookends Billboard chart archives, as he sang on the No. 1 song — “I’ll Never Smile Again,” billed as by Tommy Dorsey — on the first nationwide sales chart, the National List of Best Selling Retail Records, published in the July 27, 1940, issue.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-12-16 17:18:452025-12-16 17:18:45Pentatonix on Its Virtual No. 1 With Frank Sinatra: ‘We Hope to Make the Sinatra Family Proud’
The Rolling Stones have reportedly called off a 2026 U.K./European tour whose dates were never officially announced. According to a report in Variety on Tuesday morning (Dec. 16) citing an unnamed source close to the band, the Stones have walked back the plans for the outing they had not officially confirmed.
Variety cited “reports” that guitarist Keith Richards, who will turn 82 on Thursday (Dec. 18), was unable to “commit” to another rigorous road outing.
The reports appear to be tied to a pair of recent stories about the veteran group in the British tabloid The Sun, in which touring pianist Chuck Leavell reportedly said that the band were planning their first run of shows since a 20-date 2024 North American run in support of their Hackney Diamonds album after being forced to pull back from plans for a summer 2025 U.K. swing, which was also never confirmed.
Leavell suggested that indefatigable singer Mick Jagger, 82 and Richards, 81, are not ready to stop touring. “They don’t want to hang up the rock ‘n’ roll shoes yet,” Leavell reportedly said. “There’s no doubt in my mind.” Leavell also reportedly said the band has been working on a new album and that “I am also sure that the band wants to perform.”
The Variety report pointed to another Sun story on Monday that cited an unnamed American music critic, who claimed that Richards told his bandmates that he “didn’t think he could commit and wasn’t keen on a big stadium tour for over four months.”
At press time a spokesperson for the band had not returned Billboard‘s request for comment and it appeared that neither Richards nor Jagger had commented on the reports on their social feeds. A spokesperson for the band also reportedly told NME that the reports of the scotched 2026 tour are true.
Hackney Diamonds producer Andrew Watt told Rolling Stone in September that he’s producing the follow-up to the Stones’ Grammy-winning 24th album — their first new studio effort in more than 15 years — describing it as like “working for Batman. When the tongue is up in the air, you just go. I can say we did some recording together, but that’s all I can say.”
