Spotify is facing a class action lawsuit claiming its Discovery Mode and editorial playlists are a “modern form of payola” that allow record labels and artists to secretly pay to promote their music.

The lawsuit, filed on Wednesday (Nov. 5) in New York, alleges that Spotify’s recommendation tools are a “deceptive pay-for-play” program, but that the streamer misleads consumers into trusting that they are neutral and based on personal musical tastes.

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“Spotify exploits that trust by marketing itself as a platform that offers organic music recommendations — whether through its algorithmic or curated playlists — only to secretly sell those recommendations to the highest bidder,” reads the lawsuit, obtained by Billboard.

The case was filed by a Spotify subscriber named Genevieve Capolongo, who seeks to represent “millions” of other users who were allegedly misled by Spotify’s offerings. Her lawyers say she used the platform’s personalization features for years, but “kept hearing the same major-label tracks” that “bore little resemblance to her listening habits.”

In a statement to Billboard, a spokesperson for Spotify called the accusations “nonsense” and pointed to its detailed explanation of the program.

“Not only do they misrepresent what Discovery Mode is and how it works, but they are riddled with misunderstandings and inaccuracies,” the company said. “Discovery Mode is a feature artists can use to flag priority tracks for algorithmic consideration in limited contexts: Radio, Autoplay, and certain Mixes. It doesn’t buy plays, it doesn’t affect editorial playlists, and it’s clearly disclosed in the app and on our website.”

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The new case is the latest to claim that major labels are buying placement on Spotify to boost their artists. The high-profile lawsuit filed by Drake over Kendrick Lamar’s “Not Like Us” included accusations that Universal Music Group used bots and payments to juice the song’s popularity on many platforms, including Spotify. Another case, filed earlier this week, claims that Spotify “turned a blind eye” to bots and other forms of fraudulent streams designed to inflate certain artists.

First unveiled in 2020, Discovery Mode allows artists and labels to get boosted on Spotify in return for accepting reduced royalties. It was initially met with scrutiny, including a Congressional investigation, over its similarities to payola, or the practice of secretly paying radio stations for airplay. But it has become a popular industry marketing tool around the release of new music.

Much of Wednesday’s lawsuit is focused on the extent to which Spotify discloses the exact parameters of Discovery Mode to its users. Though listeners are offered a link to an “About Recommendations” explainer when using it, Capolongo’s attorneys say that isn’t enough.

“Telling users that ‘commercial considerations may influence’ recommendations does not reveal which songs are being promoted commercially and which are being recommended organically,” her lawyers write. “Without that specificity, users cannot distinguish between genuine personalization and covert advertising.”

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The lawsuit also claims that Spotify’s editorial playlists, like the hugely influential Today’s Top Hits and RapCaviar, are also subject to pay-for-play. But it fails to offer any concrete examples of such payments, citing only unnamed “industry insiders” confirming that it happens and circumstantial evidence about the “disproportionate” rates of major-label music on such playlists.

In technical terms, the lawsuit claims Spotify’s conduct violated New York state law with deceptive practices and false advertising. It also claims Capolongo was fraudulently induced to subscribe and that Spotify was unjustly enriched by its behavior.

In more straightforward language, Capolongo says she simply wouldn’t have paid for Spotify if she had “known the truth” about the service: “That Spotify’s playlists and recommendations are shaped by undisclosed pay-for-play arrangements and hidden commercial incentives, not by her listening history alone.”

From having the country “talm ‘bout innit” to getting name-checked on “Whim Whammie,” one of the year’s buzziest breakthrough rap hits, BunnaB, 22, has emerged as one of the most resonant voices in a new class of Atlanta-bred female rappers. 

Blending the raucous debauchery of mixtape-era Gucci Mane and the Futuristic Era sounds that dominated their childhoods, this new class of female MCs prioritizes party music that speaks to the specific realities and intricacies of female relationships in the social media-stained 2020s. For her part, BunnaB, beloved for her infectious, near-constant laughs, has separated herself from this ascendant pack by infusing her bubbly disposition, girl’s girl attitude, unfettered authenticity — and the unmistakable gravity of earning a second shot. 

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Out Wednesday (Nov. 5) via Artist Partner Group, Bunna’s new Sweet Lick mixtape doubles down on the sing-songy melodies and positive vibes that she rode to the zenith of Gen Z culture with June’s Ice Cream Summer Deluxe mixtape. “I didn’t want to go in a specific direction,” she explains to Billboard. “Maybe I can do it for my album.” When “Bunna Summa” first started gaining traction on TikTok and Instagram Reels this spring, the Edgewood-born rapper had just relaunched her music career with January’s “No Drought” (the song YKNiece and PLUTO nod to on “Whim Whammie”). She initially caught some steam with 2023’s “My Man,” which resulted in a deal with Atlantic Records; creative differences sank the pair’s relationship, ending in the label shelving Bunna and the rapper signing with APG in March. 

With “No Drought” reviving her momentum, “Bunna Summa” reached No. 27 on R&B/Hip-Hop Songs, and follow-up tracks “Fine Shyt,” “Innit” and “Mad Again” kept her in the forefront of the conversation. In August, Metro Boomin recruited Bunna for A Futuristic Summa standout “My Lil S—t,” and legendary producer Jermaine Dupri called her the following month for “Magic City Money,” a track from his compilation album tributing the famed ATL strip club. Both collaborations proved that even her city’s leading voices recognized Bunna as not just one of the most obvious new stars of her class, but also as a bridge between today and the city’s late ‘00s and early ‘10s Futuristic Era. 

Though she enraptured TikTok all over again with her hysterical outbursts during a viral stream with Plaqueboymax and Rakai, Bunna isn’t all giggles. In October, her Ice Cream Girl Road Trip tour of HBCU homecomings brought her to Spelman and Morehouse Colleges in her hometown. Social media clips captured students groaning and booing in response to Bunna’s performance announcement, so she treated them with an uncharacteristically reserved performance, plainly saying, “If y’all don’t f—k with me, I don’t f—k with you… I want to save my energy for the people [who] want to see it.” Incredibly, that level of authenticity won over the oft-unmovable TikTok comment section, proving that, in just a few months, Bunna has built a fanbase intimately in-tune with both her artistry and her personhood. 

Below, BunnaB speaks with Billboard about Sweet Lick, what makes this new class of ATL female MCs special and how meet-and-greets inspire her songwriting.

How’s it been like walking around your hometown after the year you’ve had?

It’s been good, but people ask for pictures and stuff. I’m really surprised. I ain’t really took it in yet.

What’s been your biggest pinch-me moment so far?

When I had a show at UCLA. It was a couple weeks ago. I just seen so many lights. I’ve never seen that many phones before, and everybody’s screaming the song.

Where did you even find the time to record this new mixtape?

In between the days when I ain’t got to go out of town and do something. I was focused on myself with this mixtape.

“D.P.W.M.F.” goes hard. When’s the last time you really had to arrive from one of your homegirls like that?

It was some time ago because I really tried to mature when it comes to my friends. But I don’t like people hurting people who I love. I can’t tell you what I did, but I be having my friends back though.

“Just a Girl” is a nice, softer parallel to “D.P.W.M.F.” Would you consider a remix for that one? 

I’m not sure about a remix. I wanted to put that song out there because some girls really need to hear it. All the conversations I have in my meet-and-greets made me go home like, “Let me make a song for them.” [My fans] really come to me in tears and tell me what they’re going through, and I cry too. I can’t control my emotions when I’m talking to these people.

What are some things that you learned from working with icons like Jermaine Dupri and Metro Boomin?

Working with them helped me meet different people and helped me learn better. It gave me a bigger opportunity for people to see me.

What do you hope to bring from the Futuristic Era to your audience?

I don’t be trying to give futuristic, it just comes because it’s our culture. When I’m in the studio, it just pops out.

What made you want to incorporate your humor into your brand with your songs like “LMAO?”

[Laughs.] I didn’t know people would gravitate to it so much. Once I seen people keep talking about the way I smile, I was like, “Let me make a song about it.”

Were you a happy baby?

Yeah, always.

Do you prefer freestyling or writing?

Writing. Because you kind of know what you’re going to go in there and say, instead of just coming off the head.

What inspired “DeadBeat BabyMama?”

If I’m having a conversation and I feel like somebody’s speaking on a good topic, I put it in my notes and I write to it later. I was speaking with my sisters, and they were talking about somebody being a deadbeat, and I was like, “This would be a good song somebody could relate to.” I done had this song for a minute now.

What’s been your favorite performance of the year so far outside of UCLA? What have you learned from being on the road this year?

My favorite performance was probably when I stopped in Dallas on my [Ice Cream Girl] Road Trip. Maybe it was because it was my first stop, but I feel like they gave me all the energy that they had. I couldn’t believe I was headlining my own show and people was buying tickets to see me. The college people love me, so when I go to homecomings, it’s cool to step out there and know that people been waiting on you.

What have been some of your biggest takeaways on the business side this year?

I learned I am the business. I got to move like a business. My body is my brand, so I got to take care of myself.

When you look back on 2025, what are you most proud of and what are you most surprised by?

I’m proud of me just elevating and putting out more music and trying to learn my sound. And I’m most shocked by people really loving me. Still can’t believe it, but they love me. Some artists got diehard fans who ride for them, and I feel like I got the same.

Do you have any more videos on the way?

Yes, I got videos for “DeadBeat BabyMama,” “LMAO,” “Hoe Is You Cool,” and maybe one more for “To the Left.” I really wanted to put out 4 videos, but it’s been hard for me to move around and pick a day.

What excites you most about this new class of female rappers, especially the ones that are coming out of Atlanta?

It’s really us girls right now! And it’s not like we’re just making the music, we doing something with it. We elevating and building fan bases. It ain’t just rap. I feel like it’s bigger than rap.

What do you most hope to accomplish by the end of next year?

I want to drop my debut album, go on my first headlining tour, and connect with my fans in real life.


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Kenshi Yonezu’s “IRIS OUT” continues to dominate the Billboard Japan Hot 100 for the seventh consecutive week, on the chart released Nov. 5.

While overall chart points for the Chainsaw Man – The Movie: Reze Arc theme dipped slightly compared to last week, karaoke performance increased to 116%. The track sits at No. 1 for streaming, video views, and karaoke, while hitting No. 3 for downloads, No. 9 for CD sales, and No. 13 for radio airplay, extending the hitmaker’s longest-running stay atop the Japan Hot 100.

At No. 2 is Sakurazaka46’s “Unhappy birthday Koubun,” which jumps from No. 15. The girl group’s 13th single sold 614,231 copies to take No. 1 for sales, and comes in at No. 10 for downloads, No. 9 for streaming, No. 70 for radio, and No. 61 for video.

Three songs debut in the top 10 this week. LE SSERAFIM’s “SPAGHETTI (feat. j-hope of BTS)” sold 92,621 copies to arrive at No. 3, BE:FIRST’s “I Want You Back” rules radio to bow at No. 4, and Travis Japan’s “Disco Baby” lands at No. 7 after topping downloads.

In other chart moves, several songs by veteran band back number see renewed momentum. “Blue Amber” rises 35-32, “Takaneno Hanakosan” 72-56, “Suiheisen” 79-77, while “Koi” returns at No. 87.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 27 to Nov. 2, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

“Nice guys finish last.”

Baseball manager Leo Durocher first said a version of that now-legendary phrase in 1946, and nearly 80 years later, bending, breaking and ignoring the rules is commonplace in public life.

Deceit is so mainstream that a number of merchandisers have developed “Make Lying Wrong Again” ballcaps and T-shirts.

But Drew Baldridge counters the idea that nice guys are losers. He went all the way to No. 3 on Billboard’s Country Airplay chart in 2024 with “She’s Somebody’s Daughter (Reimagined),” a song with a protective veneer that he released on his own Patoka Sounds label. Follow-up “Tough People,” an affirmation of regular Joe resilience, peaked at No. 13 in June 2025.

His latest single — “Rebel,” which Stoney Creek released to country radio via PlayMPE on Oct. 30 — takes on the good-guy stereotype, imbuing it with notable power.

“Sometimes in our society, the wrong things get glorified,” Baldridge notes. “It’s hard sometimes when you’re trying to stand up for good things and you see [the] wrong things get glorified.”

Around March 2024, he reached out to one of his “Tough People” co-writers — fellow artist Adam Sanders, currently a competitor on the CBS series The Road — with a request to help him write a song that would flip the narrative on decency, casting someone who does the right thing as an against-the-grain character.

Sanders was in. They met at Sony Music Publishing on Music Row and worked first at developing a setup line, which proved challenging. They finally found an appropriate rhyme for the title: “If the whole wide world wants to dance with the devil/I guess you could call me a rebel.”

Knowing where they were headed, they dug in on the opening verse, both of them writing on acoustic guitars and logging the lyrics on their phones. Sanders tuned his guitar a full step down to meet the mood.

“It gives it more of a bottom end, a droning kind of feel,” Sanders suggests.

The first verse seems to almost mimic the TV show Cops to build its bad-guy images: a mug shot, a DUI and “cussin’ out a cop.” Baldridge and Sanders were conscientious about avoiding politics, though 20 months after they wrote “Rebel,” that last item may sound like a loaded phrase to listeners who hear the “cop” reference without paying close attention to the rest of the verse. Immigration and Customs Enforcement has angered many Americans by wearing masks while on duty, attacking peaceful protesters and arresting mostly people with no criminal record. Many would consider cussing those law enforcement officers an act of rebellious patriotism.

“I could be wrong, but I feel like ICE is very different than a cop protecting his city,” Baldridge says. “In my head, I don’t view them as the same people.”

They made the chorus anthemic, pledging to “stand my ground” and protect the family name. They also inserted the word “integrity” — uncommon for a country song — at the end of a line, giving it a figurative spotlight.

“It is not an easy word to put in a song,” Baldridge notes. “It’s hard to sing and hard to rhyme with. I remember being in there with Adam, and I was like, ‘Look, we have to say this word like it is.’ Standing up for integrity right now is such a big thing.”

Once they had a verse and chorus, they decided to stop.

“We could have easily, probably, in that first writing session, finished the song, but would it have been the best the song it could be?” Sanders asks rhetorically. “We both agreed that we wanted to live with where we got the song to and come back with fresh brains.”

When they reconvened, verse two emphasized family loyalty and setting an example for the next generation. They also fashioned a bridge by repeating a key line from the opening stanza: “When did wrong become right/And right become wrong become so cool?”

“I felt like those two lines were the most important,” Baldridge says. “When I wrote in my notes, I had ‘Rebel’ at the top, and I had ‘right is wrong and wrong is right’ underneath it. And so I wanted to iterate that again.”

Sanders enlisted steel guitarist Andy Ellison to produce a demo, and Baldridge’s team got excited about “Rebel” once they heard it. His usual producer, Nick Schwarz, took the first crack at it and cut a version that hit hard. Stoney Creek thought it could use a lighter touch and brought in Zach Crowell (Sam Hunt, Dustin Lynch), who rerecorded it at Nashville’s Saxman Studios with programmed claps and Nathan Keeterle’s subtle banjo. 

“Lyrically, it’s an intense song,” Crowell says. “It can be heavy. It can really make you think about your life, so any little commercial, acoustic, clappy thing we can put in there, it’s like, ‘Let’s do that.’ ”

“Rebel” was so intense that Baldridge needed rest after about five takes while cutting his part.

“We definitely made a conscious choice of how intense his vocal is, like ‘How gravelly is his vocal? How much is he screaming? How pulled-back is he?’ ” Crowell recalls. “I remember when he was singing a time or two, he’s like, ‘Hey, should I be singing harder? Or not as hard?’ We were like, ‘Hey, calm down just a little bit.’ ”

The label wanted some changes, but Crowell moved to a new home shortly after turning in “Rebel,” and his studio would not be ready for a month. He suggested they have Schwarz finish the production. Crowell’s version peaked in intensity at the bridge and then dropped in volume by the end; Schwarz beefed up the back end, keeping the energy at peak volume to the very finish. He played several parts himself and hired guitarists Justin Ostrader and Mike Payne for overdubs. Schwarz also resurrected the drums and a slide solo from the middle of the original production and repurposed them in the final minute of the new version.

“It’s the same tempo, same key,” Schwarz says. “May as well use it.” In the end, the story and the conviction in the performance suited Baldridge well. “It’s perfect for Drew because Drew is a tough guy, but he’s also a very reliable and loyal, dependable guy,” Schwarz says. “The rebel that he’s talking about is Drew.”

“Rebel” seemed destined to become a single, almost from the minute they turned it in. “I’ve had people from both sides of the aisle tell me we need this,” Baldridge says. “I don’t have anybody coming up and saying, ‘This is political.’ They’re all coming up and saying, ‘I’m glad somebody is standing up for honesty and truth and love. We all need this message.’ And that is what excites me.” 


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Alix Earle’s performance on the latest episode of Dancing With the Stars may have been a nine on Flavor Flav‘s scorecard, but in his heart, it was a 10.

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In a couple of Wednesday (Nov. 5) posts on X, the Public Enemy rapper — who served as a guest judge on the program’s broadcast the night prior — explained that he had intended to give the influencer and pro dance partner Val Chmerkovskiy a perfect score for their routine set to Bon Jovi’s “Livin’ on a Prayer.” Instead, Flav says he plugged in the number nine by mistake.

“As a judge on #DWTS,,, you hit your score on a computer first,,, then hold up the sign,” he wrote. “I accidentally hit 9 for someone and told the crew I meant to hit 10,,, and they said they can’t change it and there’s nothing I can do. That girl deserved perfect 10s.”

In a second post, Flav went on to point out that the snafu was why he’d been captured on camera “looking down at the computer confused” after punching in his score.

“Couldn’t get the words out because I was watching the computer and then couldn’t find the other paddle cuz I was ready to go with my 10,” he added. “I found [Earle] afterwards and apologized and let her know what happen , she was cool.”

If the rapper had given Earle the score he’d intended, she and Chmerkovskiy would have received perfect numbers across the board for the first time this season. They’d also come close to the feat on last week’s episode, earning 39/40 for a performance set to Billie Eilish’s “Bury a Friend.”

Flav also spoke about the situation while still on the DWTS set, telling People, “I gave them a nine which was an accident. I really wanted to give them a 10, but they wouldn’t let me change it.”

Billboard has reached out to the TV show for comment.

Despite not getting the best possible score, Earle can still celebrate knowing that she’s advancing to the next round. This week’s episode — which had a Rock & Roll Hall of Fame theme — resulted in Danielle Fishel getting sent home, while Jen Affleck and former Taylor Swift backup dancer Jan Ravnik were eliminated the week before that.

Also still in the game are Dylan Efron, Andy Richter, Whitney Leavitt, Elaine Hendrix, Jordan Chiles and Robert Irwin. The next episode will air on Nov. 11 and celebrates the 20th anniversary of DWTS.


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David Israelite’s guest column on October 23, 2025 explained how little music creators get paid across different streaming services. I just want to lay out the facts and be clear: YouTube pays the least for music, full stop. They always have and always will unless someone stands up to them. They’ll throw up smoke screens and tempt you to look the other way, but let’s not be fooled.

YouTube recently touted that it paid artists $8 billion over the past year. This sounds impressive, but it’s not. During the same period, Spotify generated roughly $18 billion in revenue and paid about $12 billion to music rights holders — nearly 67% of its revenue. By contrast, YouTube generated $60 billion in revenue and paid only $8 billion to rights holders — about 13%. YouTube will say they’re not just a music service. But I would argue that YouTube never would have become such a successful platform without music, and even if only one-third of their revenue comes from music (and it’s likely higher), they certainly should be paying more than Spotify, not 50% less.

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How does YouTube pay less than their competitors? They are a behemoth bully. They have 2.7 billion monthly active users and more than $60 billion in annual revenue. It’s the dominant video platform, with more hours streamed than Netflix. It’s the largest music service, with more users than Spotify. And in the “traditional” TV space, it’s on track to surpass Comcast as the largest U.S. cable provider. This company now owns audience and content delivery in a way the world has never seen before.

Their tyranny isn’t just limited to music. If you read the headlines, you will see a pattern of coercion: YouTube vs. Televisa/Univision. YouTube vs. NBCUniversal. YouTube vs. Fox. YouTube vs. Paramount. And now YouTube vs. Disney. The playbook is always the same: if you refuse to accept YouTube’s below-market terms, YouTube threatens to go dark until you capitulate. They then shift the blame and spin the story — when in reality, YouTube just wants to pay less.

And now they’re trying to dictate terms to consumers too. If you’re a YouTube TV subscriber, you received an email saying “if Disney’s content is unavailable for an extended period of time,” YouTube will give you a paltry $20 credit. So, YouTube gets to unilaterally decide for consumers how long is too long and how much ESPN is worth to them? They bully the people creating the content and then they bully the consumers who want access to it.

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Disney understands that “content is king,” but at YouTube, content is just a pawn in their game. And the game at YouTube is clearly about aggregating services and market power (across Google and YouTube) and using that market power to strong-arm everyone in the ecosystem — rights holders, content creators, advertisers, everyone — for their own financial gain. YouTube is showing us what happens when unchecked power and greed collide.

Thankfully, Disney is standing up to YouTube, and we all need to support Disney because enough is enough. As artists, consumers, and companies, let’s voice our support for Disney in this battle with YouTube. And in parallel, Washington needs to take a good hard look at YouTube’s abuse of market power and explore whether it’s time to break up Google so that YouTube, YouTube Music, and YouTube TV are separate businesses that finally have to compete on a level playing field.

YouTube: without the artists, athletes, and actors, there is no business.

Irving Azoff holds the title of chairman and CEO of The Azoff Company and is the personal manager of the legendary Eagles, Jon Bon Jovi, U2, John Mayer, Van Halen, Gwen Stefani, Steely Dan, Maroon 5, and many others. The Azoff Company is a privately held media and entertainment company dedicated to investing in positively disruptive businesses that put artists and fans first. Azoff was inducted into the Rock and Roll Hall of Fame in 2020.

Katy Perry has long made being a charming klutz part of her brand. The singer leans all the way into that part of her personality in the brand new preview of her upcoming single, “Bandaids.” After teasing what fans assume is her next single on Tuesday (Nov. 4) with a picture of her somber face all cut up and bruised, Perry offered up a brief video preview of the song that is due out at 7 p.m. ET on Thursday (Nov. 6).

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Spoiler: things get way, way worse.

Though it does not contain any actual music, the eight-second sneak peek at what appears to be the visual for the track finds Perry perishing in all the worst ways. It opens with the 41-year-old pop star sticking her hand into a garbage disposal, which she seems shocked to learn will set off a blood geyser as her unseen fingers are chewed up, blasting the white sink with gore.

For her next trick, Perry sits on the wrong end of a giant tree branch and saws away at it until the bit she’s resting on comes crashing down, followed by KP suffering a major face plant as she trips at the top of an escalator at a mall, leading to her getting seriously electrocuted while walking through a puddle at a gas station.

And sorry Katy Kats, but it does not get better. While enjoying a coffee at the Crumb Café, Perry is blasted with shards of glass from an unseen explosion, then forced to dodge gigantic tree trunks falling off an 18-wheeler on the highway and, finally, covered in dirt, bruises, scratch and bandages, Katy is blown to bits after lighting a cigarette, resulting in a massive, fiery blast.

What does it all mean? You’ll have to wait one more day to find out.

At press time, a spokesperson for Perry had not returned Billboard‘s request for additional information on whether the song is a one-off single or attached to a new album. Perry released her uptempo seventh studio album, 143, last September, which debuted at No. 6 on the Billboard 200 album chart. The LP, written and produced by controversial producer Dr. Luke, as well as pop savants Max Martin and Stargate, was fronted by the single “Woman’s World — which peaked at No. 63 on the Billboard Hot 100 singles chart — followed by the songs “Lifetimes” and “I’m His, He’s Mine” featuring Doechii.


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Milwaukee’s newest live entertainment hub, The Argo, will officially open its doors next month inside the historic Fox Bay Theater in Whitefish Bay, anchoring a full-scale renovation of the 1949 Art Deco building and marking the debut of a new mid-size venue for the region’s touring circuit.

The 700-capacity space — which includes a full bar and restaurant, ballroom, and flexible event areas for private rentals, weddings, and community programming — will host its first public concert on Dec. 5 with performances by local artists Chris Haise Band and Zach Pietrini alongside Nashville alt-pop trio VEAUX. The event doubles as a fundraiser benefiting Milwaukee music education programs.

The following night (Dec. 6), Milwaukee rock favorites Goran and Morgan of The Gufs will headline The Argo’s grand-opening celebration, marking the 30th anniversary of their 1995 album Collide.

More than 40 concerts are booked between December and spring 2026, with a mix of touring acts, regional artists and thematic dance parties. Highlights include Grateful Dead tribute act Another One, bluegrass veterans NewFound Road, Minnesota rock band Remo Drive, punk mainstays The Casualties and bluegrass singer Dan Tyminski. A rotating Wednesday swing-jazz residency will feature groups including The Flood, The Sazerac 5, Micro Brew Swing Band and Old Sam & The Teardrops.

The Argo’s ownership group — Andrew J. Coate, Adam Powers and Josh Bryant — completed the venue build-out in under five months after receiving revitalization approval earlier this year. The team has instituted a permanent give-back model, pledging $1 from every ticket sold to support music-industry wellness, with an emphasis on mental health, sustainability and career longevity.

“We’ve lived every angle of this industry — we’ve seen the best of it, we’ve felt the burnout,” Coate says. “The Argo is our way of tipping the scales back toward the good — for our peers, for our city, and for the next generation coming up behind us.”

Talent buying for the venue will be handled exclusively by Knitting Factory Entertainment’s live division, Knitting Factory Presents, led by SVP James Irvine. “This is just the start for The Argo,” Irvine says. “The space is built the right way — production, hospitality, artist amenities — and it has the backbone to become a real destination for touring artists.”

The venue’s bar and kitchen will be helmed by chef Dan Jacobs — a five-time James Beard semifinalist, 2024 nominee and co-owner of Milwaukee restaurants EsterEv and DanDan. The restaurant will soft-open Dec. 5 with a limited menu and will operate independently from ticketed events, allowing locals to dine without attending a show.

Additional partners include exclusive ticketing provider Eventbrite, developer New Land Enterprises and design-build firm Three Sixty Design, whose past work includes Café Centraal and the Milwaukee Athletic Club.

“After months perfecting this venue and the customer experience, we’re finally ready to show our faces to Milwaukee and the world,” Coate adds. “We’re looking to become a must-stop for local artists, prominent touring acts and fans of almost every kind of music.”

The Argo

The Argo

Three Sixty

The Argo

The Argo

Three Sixty

A calendar of upcoming dates at Argo is below:

Dec 05                    Public Soft Opening ft. VEAUX w/ Zach Pietrini, Chris Haise Band
Dec 06                    Public Grand Opening ft. Goran & Morgan of The Gufs Celebrating 30th Anniversary of Collide
Dec 10                    Swing Jazz Wednesday featuring Old Sam & The Teardrops
Dec 12                    The First Wave (80’s New Wave Tribute)
Dec 13                    Birth-Tay (Taylor Swift Dancy Party)
Dec 17                    Swing Jazz Wednesday featuring. The Flood
Dec 19                    Another One (Grateful Dead Tribute)
Dec 20                    Second Hand News (Fleetwood Mac Tribute)
Dec 24                    Free Holiday Film Screening
Dec 26                    Free Holiday Film Screening
Dec 27                    Free Holiday Film Screening
Dec 28                    Free  Holiday Film Screening
Dec 31                    Steve Beguhn Presents “New YearS’ teve”

January 2026
Jan 07                     Swing Jazz Wednesday featuring The Sazerac 5
Jan 09                     An Evening with Field Report
Jan 10                     Gabriel Harris
Jan 11                     School of Rock Shorewood
Jan 17                     Violet Wilder
Jan 14                     Swing Jazz Wednesday featuring Old Sam & The Teardrops
Jan 23                     The Midnight Purchase
Jan 24                     Pat McCurdy
Jan 28                     Swing Jazz Wednesday featuring Micro Brew Swing Band
Jan 30                     Fool House (90s Dance Party)
Jan 31                     Hot In Herre (00’s Dance Party)

February 2026
Feb 04                    Swing Jazz Wednesday featuring The Sazerac 5
Feb 11                    Swing Jazz Wednesday featuring Old Sam & The Teardrops
Feb 12                    NewFound Road
Feb 15                    Whitefish Bay High School Music Club
Feb 18                    Swing Jazz Wednesday featuring The Flood
Feb 20                    Remo Drive
Feb 25                    Swing Jazz Wednesday featuring Micro Brew Swing Band
Feb 28                    Jump (Van Halen Tribute)

March 2026
Mar 04                    Swing Jazz Wednesday featuring The Sazerac 5
Mar 07                    Scythian
Mar 11                    Swing Jazz Wednesday featuring Old Sam & The Teardrops
Mar 18                    Swing Jazz Wednesday featuring Micro Brew Swing Band
Mar 25                    Swing Jazz Wednesday featuring Micro Brew Swing Band
Mar 28                    Bangers Before Bed

Coming Soon
Apr 03                    Not Quite Brothers (Classic Rock Tribute)
Apr 10                    Smells Like Nirvana
May 16                   The Casualties
May 29                   Dan Tyminski
Jun 18                     Thurston Howell (Yacht Rock Tribute)
Aug 8                       The Pork Tornadoes

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

If you’re having Wicked withdrawals from waiting for the second film’s release, you’re not alone.

NBC is feeding fans’ love for Wicked ahead of the movie’s Nov. 21 release date with a TV special titled Wicked: One Wonderful Night. The two-hour special airs for one night only on Thursday, Nov. 6, at 8 p.m. ET via the network.

This moment is one fans won’t want to miss. Below, we’re showing you how you can watch the special live and stream it the next day. No FOMO here.

Where to Watch NBC’s Wicked: One Wonderful Night Special

DIRECTV is our top choice for those looking to watch the special live for free with the service’s five-day free trial. A subscription, which gives you access to watch NBC, runs you just $49.99 for the first month of service ($89.99 a month afterward).

You’ll get access to live TV, local networks such as NBC, ABC and PBS, and you can also watch many cable networks, including FS1, Lifetime, FX, AMC, A&E, Bravo, BET, MTV, Paramount Network, Cartoon Network, VH1, Fuse, CNN, Food Network, CNBC and many others (some local channels are not available in select markets). That’s more than 90 channels that you can tap into, once you’re done watching the Wicked special, of course.

If you don’t have access to live TV, not to fret. You can watch the special the next day, Friday, Nov. 7, via Peacock. A standard subscription to the streaming service runs you $10.99 a month, while the commercial-free Premium Plus is $16.99 a month. With a subscription to the service, users have access to an expansive library of movies, along with NBC, Bravo shows and Peacock Originals.

Unlike other streaming services, Peacock has a more diverse library with titles usually not seen on other platforms. The service is also one of the more affordable ones on our list.

If you don’t have a DIRECTV account, you can also always watch the special live with Fubo TV. To watch, you’ll want to subscribe to a Fubo TV Pro plan, which includes NBC, for $54.99 for the first month ($84.99 a month afterward). When you sign up for the service right now, you’ll be saving yourself $30 off for the first month of service. Plus, Fubo has a seven-day free trial to watch the Wicked TV special for free.

The event features musical performances — both from Ariana Grande and Cynthia Erivo — plus appearances from Michelle Yeoh, Jeff Goldblum, Ethan Slater, Saturday Night Live’s Bowen Yang and Marissa Bode. Fans also may just get a sneak peek of Wicked: For Good if they stick around long enough. 

The special was filmed in October at the iconic Dolby Theatre in Los Angeles in front of a live audience. Per a synopsis provided by NBC, “Wicked: One Wonderful Night transforms the legendary venue into a breathtaking Emerald City-inspired set, complete with a 37-piece live orchestra led by the award-winning musical director Stephen Oremus, plus jaw-dropping musical numbers and unforgettable performances.”

More About Wicked: For Good

Following the box office success that was Wicked in 2024, Wicked: For Good hits theaters on Friday, Nov. 21, just one day shy of the one-year anniversary of the film’s first half. The sequel was first announced on X in April from director Jon M. Chu’s “OzPhone.” The filmmaker wrote at the time, “With more space, we can tell the story of Wicked as it was meant to be told while bringing even more depth and surprise to the journeys of these beloved characters.”

Following the cheeky post, fans and followers of the franchise were treated to a trailer on June 4, sharing first looks at Glinda and Elphaba’s journeys following the very dramatic “Defying Gravity” sequence and a hefty cliffhanger folks were left with in part one. In the meantime, watch the trailer for Wicked: One Wonderful Night below:

Andrew Del Villar is set to take over as the new CEO of regional Mexican music powerhouse Del Records. The transition that he and his dad, Ángel Del Villar, have been “planning for years” will take effect Thursday, Nov. 6.

The 26-year-old will step in amid his dad’s legal battles as he faces a prison sentence that will begin on Dec. 1. Over the summer, Ángel was sentenced to four years in prison following his conviction on felony charges of doing business with a concert promoter linked to Mexican drug cartels. Now, the California-based indie record label — founded by Ángel in 2008 and previously home to música mexicana giants like Eslabon Armado, Ariel Camacho and Gerardo Ortiz — is looking to enter a new era with a new leader in tow.

“While we never talked about when this transition would actually happen, I’m excited because my dad and I had been planning this for years, it’s been a while and it’s finally happening,” Andrew tells Billboard over Zoom, just days before stepping into his new role.

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Previously Del Records’ COO, Andrew began working for his dad’s company as a teenager and mainly worked behind the scenes, booking theater or arena shows for the label’s roster and flagging artists on social media that he thought his dad should sign, including sierreño acts Eslabon Armado and T3R Elemento.

“I started getting involved like 7 or 8 years ago and started from the bottom; collecting tickets, charging when we were doing the nightclubs, and booking U.S. shows in theaters and arenas,” Andrew says. “Then, I kinda of became A&R, sending my dad artists I was finding on social media. I would say, ‘Hey, what do you think about them?’ Just like my dad, I have a good ear and can identify who has potential.”

While Andrew is open to branching out to different genres, for now, Del Records will continue to focus on signing música mexicana acts. “[Regional Mexican] has been our bread and butter,” he adds. “DEL has done a lot over the years, and I want to keep that legacy alive, and keep signing artists and build them from the ground up,” he explains. “But this new era will differentiate from my dad’s run because I will launch new marketing and promotion strategies, leaning heavily on social media. That’s the biggest marketing you can invest in. There’s more to just posting on social media, you need a team dedicated to taking that post to the next level.”

Ángel del Villar & Andrew del Villar

Ángel del Villar & Andrew del Villar

Patty Othon

Andrew is revamping his dad’s “Canta Con Del” initiative that launched 10 years ago, inviting local California acts to sing at the family’s restaurant for a shot at getting signed by the label. Andrew will relaunch that initiative but open it to artists from all over the world who can submit their songs/performances on social media. “There’s talent everywhere and we want people to be heard and get an opportunity,” he says.

Over the years, Andrew gained confidence to make decisions, encouraged by his dad to find his voice. “He would tell me, ‘Hey, mijo, whatever you want to say, whatever you want to do, let’s roll with it.’ He’s given me that confidence to speak up.”

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Andrew further adds, “My dad has always been my role model, everything that has been thrown at him is a lot, we’ve had these talks for years and he’s always been positive about everything. He’s told me to never let things get to me because in our genre, and the industry in general, people don’t wish you well. But never let the negativity get to you.”

Del Records’ roster today includes Lenin Ramírez, Yahir Saldívar, Sucesión M and Panchito Arredondo, plus newly added acts Marco Granillo, Andi Luan and Cobian Montana.