This article was created in partnership with AEG Presents.

The Billboard Live Music Summit returns to Los Angeles on November 3, honoring Usher as Touring Artist of the Year. With 8 Grammy Awards, 9 Billboard Hot 100 No. 1 hits, and countless sold-out arena tours, Usher has built a career few can rival. From his record-breaking Las Vegas residency to his electrifying world tours, he continues to redefine what it means to be a live performer. Another notable name in Latin music is Rauw Alejandro, who will be speaking with Hans from Live Nation and Leila Cobo on his rise in the Latin music space and his experience on touring.

Usher and Rauw Alejandro will appear in conversation during Billboard‘s Live Music Summit, held Nov. 3 in Los Angeles. For tickets and more information, click here.

From iconic festival to global tour promotion for superstar artists, to some of the most iconic and well-known venues, AEG Presents is a world leader in the music and entertainment industry. They are a part of every step of creating a live music experience, bringing fans and artists together, which will all be covered at the Billboard Live Music Summit and Awards.

This year’s Live Music Summit will bring a wide range of touring executives and music industry professionals together for a day of insights and conversation. The event featured Usher along with other top artists and key touring executives sharing their perspectives throughout the day. 

AEG Presents will be sponsoring the Luncheon, which will be held in between panels during the Live Music Summit. The Luncheon will allow artists, attendees, and panelists an opportunity to talk in a more relaxed setting, allowing for additional conservations and networking opportunities. 

Usher will sit down with Gail Mitchell to speak about his current tour and how he went from being an aspiring artist to a household name. Usher’s legacy is unmatched – a 28-year touring career, which has taken him to arenas, residencies and the world’s largest stage: the Super Bowl.

Rauw Alejandro and Hans from Live Nation will join Billboard Español’s Leila Cobo in conversation about his rise in Latin Music and touring. Both Usher and Rauw Alejandro had two of the biggest tours in 2025. Which makes them the perfect representatives on the artists front. They will both appear on November 3 at the Billboard Live Music Summit and Awards in partnership with AEG Presents.

The Ticketing Panel panelists include Kristen Mitchell (Wasserman), Lauren mcKinney (Foundations Artist Management), and Dean Dewulf (AXS) and will be moderated by Dave Brooks (Billboard).  Ticketing is one of the most important aspects of the touring industry, connecting fans to their favorite artists. The panel will focus on accessibility to tickets, fan first ticketing, and the steps ticketing partners are striving toward for the future.

The Agents Power panel will bring together top agents from WME, CAA, UTA, AGI, and Arrival Artists to cover all things related to artist development and representation. 

Following the Ticketing, Usher Legend of Live, and Agents Panels in the morning, the AEG Sponsored Luncheon allowed leaders and attendees to come together by creating a space for networking and discussion in a relaxed, professional setting.

Billboard Live Music Summit 2025 returns on November 3 in Los Angeles. Click here for more information, the programming schedule, and to buy tickets.

For over two decades, Keith Caulfield has been an integral part of the Billboard charts team, tabulating which singles and albums are the most popular in the United States. To be more specific, Caulfield — managing director of charts and data operations — looks after the Billboard 200, the standard bearer for an album’s performance since it was first introduced in 1956.

In the years since the Billboard 200 — and the Hot 100, Billboard‘s premiere singles chart — debuted, a lot has changed in the music industry. Music fans went from buying vinyl records at physical stores, to buying 8tracks, cassettes and CDs, to downloading singles online, to streaming music for a flat monthly rate. To keep up with how people are listening, Caulfield and the charts team at Billboard have evolved the rules a number of times to balance the incorporation of new media while still staying true to the origins of the charts.

In this wide-ranging conversation on Billboard’s new music business podcast, On the Record, Caulfield discusses how to compare chart performance in the past versus the present, why albums are often longer than ever and why artists are releasing so many album variants. He also offers some chart fun facts that might come as a surprise, discusses the power of algorithms to push songs to new audiences, and explains how the charts are keeping up with an increasingly fragmented cultural landscape.

The interview can be watched in full below or listened to at this link.

To catch up on past episodes of On the Record, including interviews with guests like Atlantic CEO Elliot Grainge, top investor Matt Pincus, hitmaker Amy Allen, Spotify exec Sam Duboff, head of Sphere booking Josephine Vaccarello and more, click here.

This podcast is a co-production of Billboard and Sickbird Productions.

When Juan Gabriel released his debut album El Alma Joven (1971) — which included the hit “No Tengo Dinero” — and received his first paycheck, the iconic Mexican singer-songwriter bought a house for his mother and gifted himself a Super 8 camera to meticulously document his life on and off stage. Years later, that vast video archive became the foundation for a documentary narrated in his own voice.

In Juan Gabriel: I Must, I Can, I Will (Juan Gabriel: Debo, Puedo y Quiero), a four-episode docuseries available on Netflix starting Thursday (Oct. 30), the artists also known as the “Divo de Juárez” is showcased like his audience has never seen before: through his own lens and from his intimate perspective. This was made possible thanks to access granted to documentary filmmaker María José Cuevas to hundreds of tapes recorded by the artist himself from the 1970s until shortly before his death in August 2016.

“What makes this project unique is being immersed in the two personas: the private and the public figure,” Cuevas tells Billboard Español in an interview in Mexico City. “Juan Gabriel was music. Alberto Aguilera Valadez (his real name) was his pause.”

Cuevas explains that she relied on hundreds of home videos, concert recordings, family scenes, and intimate moments that had been stored in a warehouse for over 40 years. But the sheer volume of material — “all filmed by him and for him,” she emphasizes — became the project’s main challenge for the filmmaker, producers Laura Woldenberg and Ivonne Gutiérrez, and their team.

“Any cassette could hold a gem. There were tapes in 8 mm format, VHS, everything,” Gutiérrez recounts. “We had thousands of photos, many audio and video files, but the story was crafted by Juan Gabriel with the recordings he left behind.”

The series title comes from a newspaper headline after his first concert at the iconic Palacio de Bellas Artes in 1990, a performance that sparked great controversy due to criticism of his desire to perform at Mexico’s most prestigious cultural venue as a popular artist. This chapter in the great singer-songwriter’s life is one of the most symbolic moments in the documentary. The phrase is also included in his song “Debo Hacerlo.”

That very first concert in 1990 — one of three Juan Gabriel performed at the Palacio de Bellas Artes throughout his career — will be screened at the Zócalo in Mexico City, the country’s main public square, on Nov. 8 as part of the promotion for Juan Gabriel: I Must, I Can, I Will. Thousands of attendees are expected, much like in Sept. 2024, when a projection of his 2013 show drew 70,000 people.

For Cuevas, who also directed the 2016 documentary Bellas de Noche, about legendary Mexican vedettes, the incredible aspect of Juanga’s docuseries is the timeline of his story in video, which allows the viewer to witness the journey from beginning to end. “To understand the public persona, the idol, you first have to know Alberto,” the filmmaker explains. “That story is in his songs. Alberto is the songwriter, but Juan Gabriel is the performer.”

Juan Gabriel, known internationally for classics like “Querida” and “Amor Eterno,” died on August 28, 2016, at his home in Santa Monica, California, of natural causes, in the middle of a concert tour. He was 66.

Inducted into the Billboard Hall of Fame in 1996, he built a legacy as a multifaceted artist over more than four decades, recording songs in genres as diverse as ranchera, ballad, pop, and bolero, and producing for other artists. Among his many achievements, he sold over 150 million records, wrote more than 1,800 songs, released 34 studio albums, was nominated for six Grammy Awards, won three posthumous Latin Grammys, and saw more than 20 of his hits reach the top 10 on the Billboard charts, including seven No. 1s on Hot Latin Songs. His hit “Yo No Sé Qué Me Pasó” inaugurated the first edition of that chart in 1986, at No. 1.

Karol G made her debut on The Jennifer Hudson Show on Thursday (Oct. 30), where she talked about her latest career milestones including performing with Andrea Bocelli at the Vatican, the Victoria’s Secret Fashion Show and soon becoming the first Latina to headline Coachella. 

“When [Bocelli] invited me, I said no, because I was super nervous,” Karol admitted to Hudson. “It’s the Vatican, we’re going to sing in La Plaza San Pedro, I’m going to perform for a lot of people and with Andrea Bocelli. I don’t know if I’m ready, and I was doing a lot of stuff at the same time, so maybe it wasn’t the moment to do this? So, I said no. My mom got crazy, [and said], ‘How is this possible? Karol, this is an opportunity that you have every 25 years, because the jubilee is every 25 years.’ So I was like, ‘OMG that’s true, so maybe the opportunity came to me because I’m ready. I’m actually ready.’”

Karol ultimately joined the iconic Italian tenor for a performance of “Vivo Por Ella” at the Grace for the World concert that took place in Vatican City in September. 

Weeks later, the Colombian superstar was strutting the runway at the Victoria’s Secret Fashion Show in October. 

“I grew up watching the show and living the fantasy,” she said. “ I never thought I would be able to be there, with my shape, my curves, the music that I do in Spanish, but actually, I was there. The first thing I thought about when creating the show was the wings and then the performance. I was like, ‘Can I have the wings?’ because if I’m going to be, like, a Victoria Secret Angel, I need my wings. It was amazing … the moment of the show was the runway. I loved the runway. I was having so much fun.” 

Next Spring, the “Provenza” singer will headline the 2026 Coachella Valley Music and Arts Festival in Indio, Calif. She told Hudson: “I have a mantra in my life: You don’t lose the opportunity because you’re not ready. You get ready and you take that opportunity.”

Watch the interview clips below:

Billboard’s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, visit the event’s website.

Kenshi Yonezu’s “IRIS OUT” extends its run at No.1 on the Billboard Japan Hot 100 for a sixth straight week, topping the chart dated Oct. 29.

The Chainsaw Man – The Movie: Reze Arc theme leads four metrics this week: — downloads, streaming, video views, and karaoke. Downloads dipped 26% from the week before, but the song returns to No. 1 on the metric for the first time in three weeks. Radio airplay continued to build for a second week, rising to 127% of last week’s points. 

Yonezu’s previous longest consecutive streak at No. 1 was the five-week run of “Lemon” in January 2019 (seven total weeks at the summit). With “IRIS OUT,” he now sets a new personal record for consecutive weeks at the top.

JO1’s “Handz In My Pocket” moves to No. 2, soaring from No. 41 following its CD release. The single sold 692,223 copies in its first week, launching at No.1 for sales. Since debuting, JO1 have now placed all ten of their singles at No. 1 for sales. The CD release also lifted other metrics: downloads climbed from 19-3, streaming 40-33, radio 58-4, and video 65-47. Radio saw the sharpest increase, jumping to 655% of last week’s points.

At No. 3 is “JANE DOE” by Kenshi Yonezu and Hikaru Utada, rising a spot from last week. Karaoke increased to 108% of the previous week. HANA’s “My Body” climbs two notches to No. 4 as the breakout girl group places seven songs on the chart this week, including “Blue Jeans” at No. 6 and “ROSE” at No. 14.

Yonezu’s “1991” settles at No. 5, down two positions. The track comes in at No. 3 for streaming, No. 6 for downloads, No. 8 for video, and No. 14 for radio.

Elsewhere in the top 10, CLASS SEVEN’s first single “miss you” bows at No. 9, selling 18,522 CDs to place No. 4 for sales, while hitting No. 2 for radio and No. 89 for downloads. CUTIE STREET’s “We Can’t Stop Suddenly!” returns to the tally for the first time in about three months, charting at No. 10. The CD sold 50,567 copies to hit No. 2 for sales.

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. 20 to 26, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.