No matter how killer the spread you laid out for your Super Bowl LX experience was, you can rest assured that Beyoncé‘s was several levels above it. We know this because on Monday (Feb. 16) Queen Bey posted an Instagram reel featuring photos from her private suite at Levi’s Stadium in Santa Clara, Calif. on Feb. 8, where the Seattle Seahawks dismantled the New England Patriots 29-13.

Beyoncé wasn’t spotted during the game and was not one of the many special guests Bad Bunny brought out during his inclusive, celebratory halftime set. But the series of pics proved that Bey lived it up and joined Benito in paying tribute to his Puerto Rican heritage.

The series of snaps opens with the singer pretending to chat on an old-fashioned rotary dial phone while wearing a brown animal-print coat with leather and feather accents. The second slide is a stop-motion series of snaps in which Bey smokes a stogie in front of the suite’s window, followed by one in which she uncovers a football from underneath a golden room service food dome. The fourth slide finds Bey seated at a desk with a cheeseburger on a golden tray and mini American and Puerto Rican flags flying in the foreground.

The singer also strikes some fashionable poses around the suite, takes a bite of the burger, lounges on the suite’s bed, poses on the balcony, checks her ‘fit in the mirror and includes a still life-like image of the stubbed-out stogie, the golden room service set and the two flags laying side-by-side on the desk. Interestingly, Bey chose to highlight an older version of the P.R. flag, which has a lighter blue triangle on it, versus the official, darker blue version adopted in 1952 when it officially became a commonwealth of the U.S.

The lighter blue version, which is preferred by citizens who support a drive for the island’s independence, was also carried by Benito during his halftime set, paying homage to the original 1895 design.

In another set of photos, the Cowboy Carter star shows off her full brown leather coat and matching hat, peers through the suite’s peephole and holds up a fortune cookie fortune that reads: “Your team’s Super Bowl dreams are looking bright.” She also provided her followers with a suite’s-eye view of the America 250 placard display in the seats at Levi’s Stadium, included a brief clip of the famous dancing bushes from Benito’s show and a snap with hubby Jay-Z.

The second set also featured a snap of Beyoncé digging into a yummy-looking desert and a black and white shot of the unifying message on the Jumbotron at the end of Bad Bunny’s set reading, “The only thing more powerful than hate is love.”

SYDNEY, Australia — The Wiggles are taking their big red car to Universal Music Group.

The iconic Australian children’s entertainers have struck a strategic global agreement with UMG, Billboard can exclusively reveal, marking a new chapter for an act, a brand, that’s 35 years young.  

Going forward, Universal Music Australia (UMA) will take the lead in amplifying the Wiggles’ reach, feeding into UMG’s global network and know-how on streaming, digital and physical distribution, promotion and marketing, and more.

Put simply, the collaboration has a mission to introduce the Wiggles to more families worldwide through new recording projects, expanded digital content and integrated campaigns.

Through the arrangement, the Wiggles’ recordings will be released in the United States through Republic Records: Kids & Family.

“The Wiggles are a true cultural phenomenon and one of Australia’s most iconic and enduring success stories,” comments Sean Warner, president and CEO, Universal Music Australia and New Zealand. “Their music has soundtracked childhoods for generations and continues to resonate across audiences worldwide. We’re proud to be shaping the next chapter of their international journey as a trusted and much-loved Australian group.” 

The new arrangement will be formally announced Tuesday afternoon (Feb. 17), and concludes the Wiggles’ successful relationship with ABC Music, which had served as the group’s record label since formation back in 1991.

Since then, the jolly collective, know globally by their signature skivvies and upbeat songs, has accumulated 30 million album and DVDs sales, six billion YouTube views, with 10 million YouTube subscribers.

On the awards front, the Wiggles have snagged 18 ARIAs, including induction into the ARIA Hall of Fame, and in 2011 its members were on hand to receive at Ted Albert Award for Outstanding Services to Australian Music at the 2022 APRA Music Awards. 

Celebrity admirers include Shaquille O’Neal, Coldplay’s Chris Martin, Dolly Parton, Kevin Parker, Teddy Swims and Robert De Niro.

“The Wiggles have built an extraordinary creative legacy in children’s entertainment,” comments Andrew Kronfeld, executive VP, international and label and artist ventures, UMG. “We see strong potential to continue growing the Wiggles brand globally, while staying true to what has also made them so beloved for more than 35 years. We’re thrilled to welcome them into the Universal Music family.” 

With UMG on board for the recording side, the Wiggles’ rights are brought under the one roof. Five years ago, in January 2021, Universal Music Publishing Group (UMPG) signed the Wiggles to the musical group’s first exclusive, global publishing agreement.

In the same year, the group expanded to an eight-member lineup. Today, the outfit includes Anthony and Lucia (Blue Wiggles), Simon and Caterina (Red Wiggles), Tsehay and Evie (Yellow Wiggles) and Lachy and John (Purple Wiggles).

The Wiggles was established at the turn of the 1990s while the founding members were students at Sydney’s Macquarie University, enrolled in Early Childhood Education. Two of the performers had history with the 1980s pop-rock band the Cockroaches, which had a hit down under these parts with the song “She’s the One.”

“The Wiggles’ mission has been about creating fun, educational and enriching music for children and families,” Anthony Field, the Wiggles’ co-founder and original “Blue” Wiggle. “What makes this new partnership so special is the opportunity to take everything we do—music, storytelling, live performance—and amplify it on a truly global scale. Universal Music understands both the legacy and the future of the Wiggles, and together we’re looking forward to reaching families everywhere across America and around the world in new and meaningful ways.”

In Australia, where the Wiggles have landed No. 1 albums and, in 2022, topped the triple j Hottest 100 countdown, the act’s flagship TV series Ready, Steady, Wiggle! will continue to air on ABC Kids and ABC iview. A new season is said to be premiering this year. 

Since opening its doors six months ago, Blue Note Los Angeles has been living up to the company’s expectations — more quickly than envisioned.

“The speed at which it’s developed into a comfortable home for artists is moving more rapidly than I expected,” says Alex Kurland, director of programming/talent buyer for the L.A. venue as well as Blue Note New York and the company’s festivals division. “That usually takes time to develop and evolve. However, it’s becoming a magnet for artists — not just to perform but to hang out and check out other artists; to also be an inspirational resource. That’s a very natural, organic process that gives birth to ideas, collaborations and special experiences.”

Blue Note LA closed out 2025 with shows featuring Killer Mike, Ben Folds, Charlie Puth, Andra Day and El DeBarge, the latter for a special New Year’s Eve performance. The club has since kicked off 2026 with another diverse lineup of artists ranging from Nick Jonas, Sienna Spiro and Willow to upcoming engagements headlined by Lizzo, Samara Joy, newly minted Grammy winner Durand Bernarr and rising artist JayDon. As an example of ticket prices: for hip-hop trio Digable Planets — appearing in March — the cost for table seating is $77.20 ($65.00 + $12.20 fees); the bar area goes for $54.54 ($45.00 + $9.54 fees). Various shows, like Bernarr’s in April, are already sold out per the club’s website.

Blue Note LA is also part of the hotel and ticket packages being planned for the annual Blue Note Jazz Festival Hollywood Bowl. In addition to the two-day (June 13-14) show starring jazz, R&B and soul artists (lineup to be announced), attendees are being offered the opportunity to book a three-night luxury stay at the iconic Hollywood Roosevelt in a package that also includes additional events at Blue Note LA.

In the following interview, Kurland further outlines how “we hope to work toward Blue Note LA being an epicenter for artistic greatness and high visibility moments in culture.”

What else makes the club such a draw for artists?

Because the room is so intimate, up close and personal, you’re right in the midst of the music as it’s happening. You can really feel it. And as the venue’s artistic ambassador, Robert Glasper brings another vibe. The range of programming is dynamic and consistent, which is extremely important when it comes to developing anything new. So is sustainability with the spontaneous, improvised moments that unfold every single night, seven nights a week.

Moments like Robert Glasper collaborating with Stevie Wonder, Charlie Puth singing duets with Coco Jones; Raphael Saadiq singing his heart out and Thundercat with Questlove laying down grooves. Strong vibes and special moments that are impactful artistically and within culture. There’s so much range, and the influence of jazz pulses through the veins of it all in terms of the music having the freedom and spontaneity. Moments that are reflective of and dealing with improvisation within the intimate space of the jazz club. 

I say moments because typically, in the music business, we think very transactionally in terms of shows. Shows come and go: they’re booked and programmed. They have a start time and an end time. But the intention at Blue Note is to be a sanctuary for artists where the spirit of jazz is very much alive. An artist may not be as familiar with performing in such an intimate space. But this type of presentation really reveals that next level; the vulnerability and choices that an artist makes onstage. It’s a great resource for artists to hone their musicianship and artistry. Because of the intimacy and the truly live element, it’s a very revealing format. There’s no opportunity to hide behind a track. No opportunity to hide behind clipping, editing and repurposing a 30-second clip that may find its way on TikTok.

From Nick Jonas to Lizzo. From Durand Bernarr to the buzzed-about Sienna Spiro. Talk about your booking strategy.

There are so many artists ranging from pop to R&B to jazz and beyond. I don’t even like to use genres to describe some of these artists because it’s all kind of one thing and there’s so much cross pollination. For me, the process is a bit case-by- case. There isn’t really one angle. Some shows are booked far out in advance. Some are booked just weeks out based on availability. It’s important to leave space in the calendar because some of the best magical moments present themselves at the last minute. It’s just about having open ears; having artists, friends and other resources with great taste. It’s very holistic and open-ended.

Sometimes we see artists who are special guests on shows with other artists, and it’s, “Wow, you’re unbelievable; we have to do shows with you.” Like with Death Row artist Jane Handcock. She works with the Anderson.Paak camp and was a special guest with Tank and the Bangas. It’s about being very intentional and strategic around timing and how to bring the most value to the artist. Timing is really important for a lot of these acts coming in who may be treating the Blue Note show as a promotional vehicle. Nick Jonas and Willow were recently presented around an album release. I’ve been very intentional about trying to also expand our booking process by being very inclusive of the labels; even working directly with them in support of marketing and promotional outcomes. Sienna Spiro played here during Grammy Week with an incredible band that we curated for her, and it was a total win-win. That experience was very much led by Interscope.

I’d like to work with all the label systems on a regular basis because, at the end of the day, this is a 200-capacity jazz club. Artists have choices and major artists don’t need to play small rooms. So it has to be in service and support of something that’s special to them and their labels. Something that has a big impact, a big outcome and, ultimately, is enjoyable and reaffirming for them as an artist.

What role do Blue Note’s mini-residencies play in fostering Blue Note vibe?

Multi-night engagements have always been a primary characteristic of Blue Note New York, dating back to when it opened [1981]. During the jazz club period in the ‘50s, Charlie Parker would probably be playing on 52^nd Street for a week, four sets a night. It’s a format that a lot of artists playing the Blue Note now are completely unfamiliar with: performing two shows a night and sometimes over multiple nights. Upcoming, we have Lizzo who will be performing six sets in a row over three nights [Feb. 20, 21 and 22]. I’m excited because that’s a very deep musical experience for an artist. It can also be physically and emotionally challenging. It means different things to different artists, but it’s all part of the growth process. Wyclef Jean recently did four nights in New York and in L.A. And his last set of his last night was unbelievable featuring special moments that were fresh for the audience — and him.

How did your pairing hip-hop artists with live backing bands come about?

It’s just another type of approach to performing live and reimagining the music. In New York, we brought in [jazz keyboardist] Bob James, credited as being one of the most sampled artists. He performed multiple nights with rapper Talib Kweli and his band. We also brought in different MCs who had sampled James and that music was performed live with James actually playing those parts. When performed live like that, you’re listening and finding your space within the spontaneous qualities coming out of the choices an MC is making of what to do and what not to do around the music. It’s just a whole kind of vibe.

What are the additional benefits of the coast-to-coast synergy you’re establishing between the New York and L.A. venues?

Performing at Blue Note LA. and Blue Note New York in close alignment is designed to mirror and complement one another. Examples include Sasha Keable, Tiana Major9, Charlie Puth, Tank and the Bangas and Aloe Blacc. This approach creates a special opportunity for artists to tap into the distinct qualities of L.A. and New York City. The venues share the same intimate jazz club format and physical capacity. Yet the experience also offers artistically inspiring contrasts: the iconic original Blue Note New York jazz club — rooted in the history, character and culture of that city — paired with the modern, elevated, very “L.A.”  Blue Note Los Angeles experience. This coast-to-coast journey allows artists to create meaningful, enriched experiences that reflect the iconic vibes of each city, while maintaining the intimacy and connection that defines Blue Note. For instance, we had The Soul Rebels in New York City and brought in special guests Rakim, Ja Rule and Ghostface Killah to perform with them. In L.A., we had Too $hort join them.

How challenging are the economics of running a live club today vs. five-10 years ago?

Everything is more expensive. Costs are significantly higher. It’s a burden to venues because of the overwhelming expenses. But it’s a real burden to the artist: the cost of travel, hotel accommodations, getting a band together, routing a tour or even a one-off date. It’s all just more challenging. It also requires increasing ticket pricing to be able to cover the increase in expenses and costs. That’s challenging as well for the patrons. We haven’t seen an overwhelming decrease [in sales], but the responsibility on our end is that the shows have to be experiences. For ticket buyers to take money out of their wallets that they work very hard to make — considering the current state of the economy — they have to be investing their money in an experience that they’re going to remember. That’s the goal we’re working toward every single night of the week.

The Kid LAROI announced dates for his 2026 A Perfect World tour on Tuesday morning (Feb. 17), a global outing in support of his third full-length project, Before I Forget, that is slated to kick off on April 27 at the War Memorial Auditorium in Fort Lauderdale, Fla.

The Live Nation-produced tour will hit Atlanta, Tampa, Charlotte, Boston, Philadelphia, Toronto, Brooklyn, Chicago, Cincinnati, Nashville, Houston, Austin, Albuquerque, Phoenix, San Diego, San Francisco, Los Angeles and Salt Lake City before winding down on June 11 at the Fontainebleau Las Vegas; Tommy Richman will support the North American leg.

From there, it will hit the U.K., Belgium, the Netherlands, France, Italy, Germany and Copenhagen, wrapping up on Nov. 17 at the O2 Arena in Prague.

Citi card members will have access to a pre-sale open now through 10 p.m. local time on Thursday (Feb. 19) here. An artist pre-sale will begin at 10 a.m. local time on Wednesday (Feb. 18), with additional pre-sales slated throughout the week leading up to the general on-sale on Friday (Feb. 20) beginning at 10 a.m. local time; click here for ticketing information.

LAROI, 22, released Before I Forget in early January, with the set debuting at No. 6 on the Billboard 200 album chart, marking the singer’s second top 10 entry on the chart.

Check out the dates for The Kid LAROI’s 2026 A Perfect World tour below:

+ Support by Tommy Richman