This story is part of Billboard’s Global World Cup Series, a collection of 11 cover stories which pairs top soccer stars across the world competing in the 2026 FIFA World Cup with highly-touted musicians in accompanying countries.

This summer, the World Cup arrives bigger than it has ever been: 48 teams, three host nations, the first edition played across the United States, Canada and Mexico together. South Korea travels to it for the 11th time in a row — a streak that runs unbroken to 1986 and still carries the memory of 2002, when the team reached the semifinals as co-hosts. For a few weeks every four years, an entire nation keeps the same schedule, wears the same color and shouts the same three words at the same instant: “Oh Pilseung Korea.”

A World Cup is a scored event — walkout anthems, stadium singalongs, the chant that turns tens of thousands of strangers into a single voice. Football and pop have been two of Korea’s loudest exports of the century, each carrying the country’s name abroad. And underneath the noise, the two run on the same engine: long, invisible preparation spent on one public moment, judged the second it arrives.

For its FIFA World Cup Edition, Billboard Korea puts two performers in one frame who rarely share it: singer Kwon Eunbi and footballer Heo Yong Joon. The surface logic is obvious — a stage, a pitch, two people who work in front of crowds. The more telling logic is timing: both arrive on the front edge of a new chapter.

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Kwon spent the spring changing homes, leaving her label of eight years to sign with RBW, the house of MAMAMOO and ONEWE. She comes in as a soloist who has already shown she can will a song up the charts on her own terms — “Underwater,” the lead single from her 2022 EP Lethality, became a delayed hit roughly eight months after release, reignited by a 2023 Waterbomb set that made her a fixture on the summer festival circuit and earned the “Summer Queen” tag. Heo, the striker fans call “Heonaldo” for the Ronaldo-style celebration that trails his goals, has chased the next finish across nearly a decade in the K League — a 2016 debut at Jeonnam Dragons, a 2017 national-team call-up — and is now eyeing a move abroad.

One works to a beat, the other to a whistle. Both are betting the best of it is still ahead.

This edition brings music and sport into a single frame. How does it feel to be part of it?

Kwon Eunbi: I think music and sports are deeply alike in the way they bring people’s emotions together. The World Cup especially is such a special event — people all over the world cheering together in the same moment. It feels genuinely meaningful and exciting to be part of a project like this.

What does the World Cup bring back for you?

Kwon: For me, the World Cup brings back memories of the whole family gathering in front of the TV to cheer together. When I was little, I remember watching the matches with my family in a Red Devils T-shirt — and I can still vividly picture the way everyone erupted at once the moment Korea scored.

And for you — when did you first start dreaming of becoming a footballer?

Heo Yong Joon: I think I first started dreaming of becoming a footballer around the third grade. From then on, my goal was to play for the national team. The period when I felt I grew the most as a player was during my elementary school years, too. I met wonderful coaches when I was young and learned so much from them, and those experiences are the biggest reason I’ve been able to keep going as a player all this time. That’s why I believe the youth years are so important.

Fans also call you “Heonaldo.” Were there players you looked up to, or who shaped how you play?

Heo: I think the nickname “Heonaldo” came from my goal celebration. Of course, it would’ve been even better if it came from my playing style or skill. (Laughs.) I like Neymar of Brazil and Cristiano Ronaldo.

What do fans mean to you as a player?

Heo: I think fans are the greatest source of strength inside a stadium. When I hear the roar of the crowd and their voices cheering me on, it really gives me so much power on the field. I turned pro in 2016, and there are fans who’ve supported me without fail ever since. Just knowing they’ve stayed by me so steadily, for so long, makes me truly grateful.

Heo Yong Joon

Heo Yong Joon

Kim Tae Hwan

And on stage — when did you feel that love most strongly?

Kwon: I think I felt it most at summer festivals and college events. It made me so happy when the audience sang along to my songs and threw themselves into the performance from start to finish. In moments like that, it really hits me: “Wow, I’m truly being given so much love.”

Stepping out as a soloist means carrying the whole stage on your own. What changed most for you?

Kwon: I think the biggest difference is the sense of responsibility. In a group, there were so many moments when we could lean on one another. Onstage, just catching a member’s eye gave me strength, and we could share our energy back and forth. As a solo artist, I have to carry the stage on my own, so at first there was real pressure. But because of that, I think I’ve been able to express my own voice and emotions more deeply.

On the field you read as full of confidence. What do you see as your greatest strength?

Heo: I love the phrase “always with confidence,” and I think that naturally comes through on the field. At the same time, I always remind myself not to let confidence tip over into arrogance.

A single play can change a match. How do you handle the pressure of those moments?

Heo: I once read an interview with a player who said you should enjoy the pressure and the tension, and I remember relating to that so strongly. So I try to enjoy those situations as much as I can, too. It isn’t easy, of course, but I keep working toward that mindset.

Watching footballers, what do you respect most?

Kwon: I think it’s amazing how they hold their focus right to the end under that kind of intense pressure. When I’m onstage, there are moments when my concentration wavers for a second, and each time I have to work to pull it back. But footballers are out there for a long stretch, and it must be so physically demanding — so for them to sustain that focus is genuinely impressive. Especially in the big matches, I really sense how much mental strength must matter.

Do you play any sports yourself?

Kwon: I usually enjoy exercises that work on balance, like Pilates or running. I’ve been performing on stage for a long time, so taking care of my stamina is really important. I also keep up activities like hiking and weight training to build my strength.

And your own routine for staying in condition?

Kwon: I put the most importance on sleep and meals. No matter how busy I get, I try to keep my sleep rhythm as steady as I can, and I think eating well is really important too. When things get hectic it’s easy to skip meals, so whenever I can, I make a point of eating properly.

Up close, what do you think the two fields share?

Kwon: I really do think there’s a lot in common. A performance or a match itself is over in a brief moment, but you practice and prepare for such a long time for it. That part feels very similar to me. And the audience or the fans feel the emotion of that moment directly — so in the end, I think music and sports share a similar power to move people’s hearts.

Kwon Eunbi Billboard Korea

Kwon Eunbi

Kim Tae Hwan

From your side, what impresses you most about musicians?

Heo: I think the patience it takes to carry a fleeting spark of inspiration all the way through to a finished piece is incredible. We only ever hear the completed song — maybe three minutes long — but behind it are countless revisions, recordings and long hours of creation. That doggedness it takes to turn an abstract melody in your head into real music is something I find truly impressive.

And what do you think the power of music is?

Kwon: I think the greatest power of music is that it can carry emotion even when people don’t share a language. A song can bring you comfort without your trying, or fill you with energy instead. That’s something special that only music can do.

What are you listening to before a match?

Heo: I really love listening to music in general. I tend to listen to a lot of ballads and hip-hop — I think I play a lot of Ash Island and Kid Wine. For ballads, I lean toward older songs.

And your routine to get into game mode?

Heo: Before a match I always do visualization. I also make sure to hydrate and stretch, and I try to listen to upbeat music to loosen up my body and lift my mood a little.

What about you, before you go onstage?

Kwon: Usually I listen to my own songs the most. I use that time to rehearse and picture the kind of stage I want to put on, so I tend to play through the setlist. After that, the music I reach for shifts a little depending on the mood of the day.

If you could pick just one song as your stadium entrance music?

Kwon: From my own songs, I’d pick “Underwater.” It has this quality that takes over the room from the very first note, with an energy that gradually pulls you in — so I think it would work well as entrance music in a stadium.

And which of your own songs would best suit a World Cup stadium?

Kwon: I think “Hello Stranger” would fit well. The song has such intense energy and momentum that I think it would match the fever-pitch atmosphere of a stadium.

Behind the highlights are long hours of repetition. What keeps you going through them?

Heo: I think the biggest thing is not wanting to let down the fans who come out to the stadium. They spend their time and money to come watch us, so I always find myself working to show them a better version of myself. I also push through and overcome the hard moments for my own growth as a player. In the end, I believe all sports exist because of the fans, and that’s one of my greatest sources of motivation.

And what does it mean to take the field for your country?

Heo: Taking the field for your country comes with enormous pride and responsibility. There’s pressure, of course, but I think you have to play with a pride that’s even greater than that. So many people are cheering for us, and I draw a lot of strength from that. I always try to give my all with the mindset that I’m playing for the team and the country, not just for myself — and after that, I try to leave the result up to fate.

What are you focused on next?

Kwon: I always want to show people something new, so I’m constantly mulling over different musical directions to try. I can’t go into detail yet, but I’m hard at work on new projects I think my fans will love.

What do you hope fans take from this edition?

Kwon: Just like the passion and excitement the World Cup brings, I hope this photo shoot and interview carry that same positive, high-energy feeling to everyone.

Billboard Korea World Cup Cover, Heo Yong Joon and Kwon Eunbi

From a Hollywood film premiere straight to Game 4 of the NBA Finals in New York City the next night, Taylor Swift is on a coast-to-coast adventure.

Swift was spotted courtside with two of the three Haim sisters — Alana and Este — at Manhattan’s Madison Square Garden to cheer on the Knicks, who lead the series 2-1 heading into Game 4. How do we know that the trio is rooting for the Knicks? Based on their hilarious homemade shirts.

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Each of the shirts is a Knicks-based pun on a celebrity name, with Swift’s shirt reading “Stevie Knicks,” Alana Haim’s shirt saying “Knickleback,” and Este’s shirt reading “Knickole Kidman.”

Swift previously attended an NBA Eastern Conference Finals game between the Knicks and the Cavaliers last month with her fiancé, NFL star Travis Kelce, who is a lifelong Cleveland fan. But Swift has historically cheered for the New York squad after her time living in NYC.

The pop superstar is in town to attend the 2026 Songwriters Hall of Fame Induction & Awards ceremony on Thursday night, when Swift will be inducted into the hall after previously winning the Hal David Spotlight Award in 2010.

On Tuesday night, she was in Los Angeles to attend the Toy Story 5 world premiere and surprise-perform “I Knew It, I Knew You,” her song for the Disney Pixar film. She also joined forces with Toy Story music maestro Randy Newman to duet on “You’ve Got a Friend in Me.”

The Wu-Tang Clan is set to perform at halftime of Game 4, following a halftime set from Cardi B during Monday’s Game 3 at Madison Square Garden.

Taylor Swift reacts before Game Four of the 2026 NBA Finals between the San Antonio Spurs and the New York Knicks at Madison Square Garden on June 10, 2026 in New York City.

Taylor Swift at Game 4 of the 2026 NBA Finals between the San Antonio Spurs and the New York Knicks at Madison Square Garden on June 10, 2026 in New York City.

Dustin Satloff/Getty Images

Primary Wave Music has partnered with the estate of Donna Summer, the company announced on Wednesday (June 10). The deal will see Primary Wave work alongside Summer’s estate to expand the reach of her song catalog and recordings. It also includes her name, image and likeness (NIL) rights.

Through the agreement, Primary Wave will work closely with the estate on new marketing, branding digital and sync opportunities, along with film and TV projects. Terms of the deal were not disclosed.

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According to a press release, Summer, a primary force in bringing disco to the mainstream, has sold more than 100 million albums globally. Her catalog includes 17 studio albums, three of which went to No. 1 on the Billboard 200. That includes 1978’s Bad Girls, which spent six weeks atop the tally. She also enjoyed four No. 1 hits on the Billboard Hot 100, including “Hot Stuff,” “Bad Girls,” “MacArthur Park” and “No More Tears (Enough Is Enough).” A total of 14 of her songs hit the Hot 100’s top 10.

Other hits in Summer’s catalog include “I Feel Love,” “She Works Hard for the Money,” “On the Radio” and “Love to Love You Baby.” Notably, Beyoncé recently sampled “I Feel Love” on “Summer Renaissance,” a track off her 2022 album Renaissance.

Over the course of her career, Summer was nominated for 18 Grammys and won five, including best female R&B vocal performance for “Last Dance,” best female rock vocal performance for “Hot Stuff” and best dance recording for “Carry On” with Giogio Moroder. She was inducted into the Rock and Roll Hall of Fame in 2021 and the Songwriters Hall of Fame in 2025.

Summer died in 2012 at age 63.


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UPDATE (June 10): AMC Theatres announced that the Arena One screenings originally scheduled for June have been postponed to later this year.

“Week after week in 2026, the domestic box office performance has exceeded or met expectations,” said a statement from AMC Theatres sent to Billboard. “With a robust lineup of films and strong advance ticket sales in the weeks ahead, AMC is making some programming adjustments during the month of June.

“As part of those adjustments, the previously announced Arena One at AMC Girls Night Live concert series featuring Maren Morris, Paris Hilton, Kim Petras, and Bebe Rexha will move to later in 2026. Tickets purchased for the originally scheduled events have been automatically refunded.

“AMC is very excited about its partnership with Arena One, and we look forward to announcing updated dates and additional artists in the weeks and months ahead.”

PREVIOUSLY:

Your favorite performer is coming to a movie cinema near you.  

Bebe Rexha, Paris Hilton, Maren Morris and Kim Petras are among the first wave of artists participating in new, interactive concert experience that will beam the show into hundreds of theaters across the United States.

Arena One, the new live entertainment company, and AMC Theatres, the giant theatrical exhibitor, join forces for Arena One at AMC, a real-time, interactive concert format that will be pumped into 300 AMC locations in 89 markets from June.

The concerts are an upgrade from the cinecast experience that found traction with some a-list artists and their fans in the late 2000s, when a slew of live concerts and exclusive events were fed into participating cinemas.

Through this new concept, announced this week, the artist will perform on Arena One’s purpose-built stage, while “seeing and responding to fans at AMC locations through innovative interactive technology,” reads a statement from organizers.

The advantages are obvious. For the artist, the initiative enables them to reach more fans, in more places, without hitting the road. And for those fans who can’t physical get to see their hero, due to cost, distance or other reasons, they now have a virtual front-row seat.

“The next chapter of live shows isn’t about proximity to big venues, it’s about creating visceral, intimate, affordable live connection between artists and fans no matter where they are,” explains Rohit Kapoor, founder and chief creative officer of Arena One. “Arena One gives artists a new cinema-native canvas to create live performances, while amplifying the raw energy and shared fandom that makes live shows unforgettable.”

First up, Bebe Rexha will perform an Arena One at AMC concert June 17, followed by Paris Hilton (June 18), Kim Petras (June 19) and Maren Morris (June 20).

Ticketholders will soak up an atmosphere that’s “designed to feel immediate and electric, featuring powerful sound, massive screens,” comfortable seats, and more, reads a statement.

“We consider this to be a major announcement,” explains Adam Aron, chairman and CEO of AMC Entertainment, and an “innovative step forward” for the business.

Additional artists and dates will be announced in the coming weeks, with ticket prices varying by market.

“We built a cinematic stage optimized to translate seamlessly to cinemas, but artists are defining what it becomes,” adds Peter Hamilton, CEO of Arena One. “They’re not adapting tours; they’re building something new. That’s when a medium sparks reinvention.”

Showtimes are available on AMCTheatres.com, the AMC Mobile App, and at arenaonelive.com/shows.

One of the most energetic fan moments at Billboard Country Live 2026 came courtesy of Under Armour’s Knockout activation at Category 10, where attendees lined up throughout the day to test their arm strength and accuracy for a chance to win exclusive prizes.  The activation also spotlighted the Under Armour Bouncy Tee, tying the product directly into the fan experience at Country Live.

Inspired by the competitive spirit that defines both sports and country music, the experience challenged fans to take their best shot. 

The biggest reward of the night came by way of surprise signed merchandise from country superstar and Under Armour’s newest brand ambassador, Parker McCollum, awarded to fans from the stage during the stacked live performances, drawing huge reactions from the crowd.

While McCollum wasn’t able to attend in person, his presence was felt through a custom video liner that played across venue screens, encouraging fans to bring their best throw and join in the fun.

Set against the backdrop of Billboard Country Live’s celebration of country music culture, community and fandom, the Under Armour Knockout activation delivered exactly what fans crave: a chance to participate, compete and walk away with a story to tell. 

Echoing the themes highlighted throughout Billboard’s coverage of the event—from the genre’s deep connection to its audience to the communal atmosphere that filled Category 10 all weekend long—the activation transformed a simple challenge into a high-energy destination. By combining fan participation, exclusive rewards and Parker McCollum’s signature charisma, Under Armour created one of the weekend’s standout experiences.

To shop the Under Armour Bouncy Tee and explore more from the brand, visit UnderArmour.com

When Mouse On Mars were preparing to welcome Lee “Scratch” Perry to their Berlin studio in December of 2019, the occasion came with parameters.

“We were told like, ‘Three hours a day is the maximum Lee can do,’” says the duo’s Jan St. Werner, “and take care of his health, and no drugs or alcohol.”

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The longstanding electronic act — St. Werner and Andi Toma — were prepared to abide by these outlines. Perry, then 83 years old, was not. “[The first day] he worked from 10 in the morning until two or three in the morning, and he was super happy about it,” says St. Werner. “Then he was like, ‘When do we start tomorrow,’ and we were like, ‘Whenever you want?’ and he said to pick him up at 10 a.m. He was just constantly going… The vibe after was like, ‘What did you do to Lee? He’s so happy,’ and we did exactly the opposite of what we were supposed to do.”

Mouse On Mars ultimately spent four long and happy days in the studio with the dub icon, who lived up to his reputation as a far-out musical genius. “I thought he was going to live for another 10 or 20 years, because he was very energetic, super concentrated and he didn’t seem to be old,” says St. Werner. But as it will for all of us, death caught up with Perry on August 29, 2021, when the artist died at the age of 85 in his native Jamaica.

The men of Mouse on Mars, who’ve released 12 studio albums since 1994, had a lot of unfinished Perry music on their hands, and — having thought they’d get together with him again to complete it — weren’t sure what to do. “We didn’t know if we wanted to finish without him,” says St. Werner. “When Lee passed away, we were like, ‘We’re so glad we got to meet him and share this beautiful time.’ That already was a huge gift, so we were kind of like, ‘Maybe that’s it.”

But it would not go down like that, with the duo ultimately finishing and releasing the music seven years after it was recorded as Spatial, No Problem. Heady, stylish and deep the eight-track collaborative album from Mouse On Mars and Lee “Scratch” Perry was released last week on Domino Records.

The most forceful cajoling to make it happen came from Mouse on Mars’ friend and frequent collaborator Louis Chude-Sokei, who over the years kept on them about finishing the project. “Louis was like, ‘Guys, you cannot sit on this material,’ recalls St. Werner. “He heard a few of the sketches and kept bothering us, like “You have to get your s–t together.”

While the duo reasonably had reservations about finishing the work without input from Perry, Chude-Sokei emphasized they had an obligation and responsibility to Lee, to his fans and to music history at large. “He was like ‘It’s not just about you or whoever thinks they have claims on this [music] or ideas about what this session was supposed to be,’” says St. Werner. “This just has to happen, because it’s precious.”

He was right. As Chude-Sokei’s liner notes to the album explains, after Perry’s passing, “a deluge of recordings appeared claiming to be the ‘last’ or ‘final’ project of the Jamaican icon. These came from musicians and producers from an incredible range of genres — trip hop, dub, ambient, rock, reggae. This range represented Perry’s hunger for new sounds and ideas. However, his last official album project took him to Berlin, Germany where he landed on the doorstop of electronic pioneers Mouse on Mars. He was looking for something that remained unclear. The only thing clear was that it should not be reggae.” 

As such, Spatial, No Problem. is the final transmission of a career that began in the 1960s in Jamaica, where Lee first released music with The Upsetters, then under his own name, over the years working with and helping expand the sounds of artists including Bob Marley and King Tubby while pioneering the practice of sampling and creating the dub genre, innovations that would inform the sound and trajectory of electronic music. The way Mouse On Mars came to see it, their time with him represented a special chapter of Lee’s art, not only because it came so close to the end, but for how it functions as a confluence of styles, ideas and musical traditions.

“The material is great, and Lee loved the stuff he had recorded, but besides that, this is a particular chapter in his history and in what you could call Black Technopoetics or Afrofuturism,” says St. Werner. “It was a also moment where we were not just Mouse On Mars; we were also representing a maybe more Western or Central European idea of improvised or free music. At the same time, it was this whole history of electro-acoustic and electronic music and all this stuff coming together so casually.”

Lee’s legendary status preceded him before he arrived in Berlin, and when Mars On Mars friends and associates heard Lee would be around (arriving to town from Switzerland, where he then lived with his wife Mireille) people just started showing up. “It was like a community, because people were telling friends who were telling friends like, ‘Lee Scratch Perry is coming if you want to come by and maybe contribute something.’”

As such, the workspace got so cramped with singers, harpists, brass players, drummers and other hopeful contributors that at one point. St. Werner was in the recording booth looking out through the glass and wondering who everyone was. This freewheeling vibe suited the freewheeling Perry, who seemed to be enjoying this looseness and the possibilities therein.

“Lee was basically walking through rooms in a kind of dream state,” St. Werner continues, “sometimes sitting there listening, sometimes firing up the situation, sometimes just moving along, asking for a pen or writing something down, putting a sticker somewhere very intentionally.” Despite the untraditional nature of the sessions, the resulting recordings were rich, interesting, ready. Says St. Werner: “Everything was first take, as if the planets were working for us.”

Amalgamating dub, free jazz, electronic elements and a melting pot of other sounds, Spatial, No Problem. is, quite appropriately, a sort of retrospective of Lee’s life. Each song tells a story, with “Fire Dali” referencing the famous 1979 destruction of his Black Ark Studios in Kingston, Jamaica (with Lee often claiming that he burned down the space himself due to the negative energy that had settled there). The crackling of fire is heard of the end of the track, before it fades to nature sounds. In the eight-minute closer “State of Emergency,” Lee recounts stories of Bob Marley and other deceased reggae artists over the sounds of a New Orleans-style funeral jazz band.

“It was like he was talking about his past,” says Toma. “Then right in the end he also said, ‘This is the end, and he was laughing.”

Having performed their sacred obligation to finish the project, the pair now think of it as, St. Werner says, “a meeting of timelines, histories, genres, styles and technologies. It’s tape and digital, electronic acoustic instruments and recording techniques, and then AI.” To wit, when the duo asked Perry’s widow if it would be okay to use AI to render elements of his voice, she told them, St. Werner recalls, to “‘Go for it. Lee would have loved this, he was super into that kind of stuff.’”

As an explorer of music, art, philosophy and the nature of time itself, Perry’s work across mediums melded sounds and styles, bending things and transforming them into something different while infusing logic both scientific and spiritual. Spatial, No Problem. manages to capture that wizardry, presenting Perry’s work while functioning as a retrospective and celebration of his life.

“This record kind of predicts like, what could it be if all the knowledge you have at hand could just merge and fertilize and create something again?” says St. Werner. “It’s like you’re on a spaceship and all the nations of the world try to find other forms of life and engage in dialog, and it’s like a time capsule that travels backwards as much as it travels forward. I think that’s what that record is.”

Following the release of his latest studio album, Loco X Volver, Maluma officially unveiled his new management team, led by Katherine Florez as general manager, Billboard can exclusively announce Wednesday (June 10). 

Florez, who has formed part of Maluma’s team since 2022 and was his former project manager, will now oversee his brand management and creative vision. 

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“As I step into this new role as manager, I’m grateful for the journey we have built together,” Florez tells Billboard. “It has also been a process of tremendous growth for me, both professionally and personally. I have learned how to lead, make strategic decisions, adapt constantly, and grow alongside a project that has challenged and taught me so much at every stage.” 

Joining Florez is Enrique Narciso as business manager, as well as WME, which will handle booking and brand partnerships for the Colombian star. 

“It brings me great joy to look back and see everything we have built as a team,” Florez adds. “We are experiencing a very special moment and I believe that is reflected in every project we are developing. My goal is to continue driving that vision forward and supporting the growth of a career that keeps evolving with authenticity and purpose.”

Under his new management, Maluma attened the 2026 Met Gala, performed on The Tonight Show Starring Jimmy Fallon and executed a successful album release strategy for Loco X Volver in the streets of his native Medellín. 

Last summer, Billboard exclusively confirmed that the artist, born Juan Luis Londoño, terminated his managerial relationship with marquee manager Walter Kolm and his team at WK Entertainment after working together for more than 12 years. The professional split was amicable.


Billboard VIP Pass

On Tuesday (June 9), Billboard honored this year’s Indie Power Players during an event held at the Cutting Room in midtown Manhattan, celebrating many of the independent music industry’s top artists and music executives.

Billboard co-chief content officers Jason Lipshutz and Leila Cobo kicked off the evening, highlighting how indie music’s market sector has continued to expand over recent years.

“Many of the world’s biggest artists are signed to indie labels,” Cobo said. “Some of them are here in the house. And, more importantly, what you do is really fueling creativity and musicianship at a very essential and existential time for music.”

Zena White, COO of Partisan Records, accepted the award for Executive of the Year, which was presented to her by Femi Koleoso, the drummer and leader of British jazz group Ezra Collective. The group has had two top 10 hits on Billboard’s Contemporary Jazz Albums chart with 2019’s You Can’t Steal My Joy and 2024’s Dance No Ones Watching. Partisan is also the label home to Geese, Cigarettes After Sex, Blondshell and Interpol, among many others.

“Your belief and support is allowing us to scale and genuinely compete with established players with much bigger pockets than us,” White said in her acceptance speech. “Art is not a luxury. It’s necessary for us to connect with and understand one another, as well as ourselves. It can be a balm, an escape and in some cases, even a lifesaver.”

Read the full recap of Billboard’s Indie Power Players event here.

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.

With festival season in full swing, the Bonnaroo Music & Arts Festival is one of the biggest gatherings of recording artists during the month of June. In fact, there’s more than 100 artists scheduled to perform across 10 stages during the four-day festival.

The music and arts event takes place at Great Stage Park in Manchester, Tenn., starting on Thursday (June 11) and ending on Sunday (June 14). Headliners for the 2026 festival, include Skrillex, The Strokes, Turnstile, Teddy Swims, Noah Kahan and Kesha.

How to Watch 2026 Bonnaroo Music & Arts Festival Live Online, At a Glance:

How to Watch 2026 Bonnaroo Music & Arts Festival Live Online for Free

Last year’s festivities were canceled due to severe weather. Let’s hope for clear skies this year. If you weren’t able to snag tickets or you just can’t make the trip up, we’ll be showing you how you can stream the festival at home for free.

Disney+

You can tune into the multiday music festival with a standalone subscription to Disney+. The service’s ad-supported plan is $11.99 a month, while the ad-free option is $18.99 a month. Regardless of the subscription, users will be able to enjoy streaming Bonnaroo at home, as well as movies and TV shows from Star Wars to National Geographic in 4K Ultra HD and stream on multiple devices. Learn more about all the perks per plan here.

Disney+ and Hulu Bundle

Get all the content of both streaming services in one place with the Disney+ and Hulu bundle. Right now, the package is starting at $9.99 a month (with ads) for three months, saving users 58% compared to the prices of both standalone subscriptions combined. Following the promotional period, the ad-supported plan auto-renews at the regular price of $12.99 a month. This offer ends at 11:59 a.m. ET/8:59 a.m. PT on June 15. The ad-free option is $19.99 a month and does not currently feature a promotion.

When you register, you’ll gain access to hit movies and shows from Disney, Pixar, Marvel and Star Wars alongside entertainment in Hulu’s extensive library, including Hulu Originals. This is the most cost-effective option to tune into Bonnaroo 2026 because you’re essentially getting two streaming services for the price of one. Learn more about this bundle here.

Hulu

Hulu is expected to be integrated into Disney+ and discontinued as an individual app, but for now, it is still available as a standalone service. The video on demand site is $11.99 a month for the ad-supported plan, while the ad-free option is $18.99 a month. Hulu comes with a 30-day free trial for new and returning customers, so you can livestream Bonnaroo for free. Once subscribed, you can enjoy perks like streaming on multiple devices and 4K Ultra HD video quality. Learn more here.

Who is Performing during the 2026 Bonnaroo Music & Arts Festival?

Other acts set to perform at Bonnaroo 2026 include Four Tet, Vince Staples, Spiritual Cramp, Mt. Joy, Major Lazer, Jessie Murph, Yungblud, Geese, Cloonee, Lil Jon, Blood Orange, Wet Leg, Hot Mulligan, The Dare, Wolfmother, The Neighbourhood, Alabama Shakes, Chase & Status, Sara Landry, Rainbow Kitten Surprise, Freddie Gibbs & Alchemist, Amyl and the Sniffers, Sub Focus, Gorgon City, Flipturn, Passion Pit and others.

Bonnaroo Music & Arts Festival’s Livestream Schedule

  • Thursday (June 11): Channel 1 at 7:45 p.m. ET/4:45 p.m. PT
  • Friday (June 12): Channels 1 and 2 at 7 p.m. ET/4 p.m. PT
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Musical travels tend to take you far.

Whether you’re touring with a band, taking business trips to close a record label deal or booking an up-and-coming act for a venue halfway across the country, you’re going to need a place to rest, recoup and lay low. Hilton just so happens to have music industry-friendly properties in cities where genres were born, from jazz and hip-hop to country. We’ll be highlighting some of our favorites that our weary readers can stay at while out on the road.

At each Hilton property mentioned, guests can accumulate points along with perks via the company’s free-to-join Honors Program. New members can join now to earn 3,000 BonusPoints on their first three stays.

Hilton Nashville Downtown

Book a room blocks away from where country music began at the Hilton Nashville Downtown. Located in the heart of the city, this tuneful stay is perfect for tourists and music industry players alike since it sits just across from Bridgestone Arena, which has hosted the likes of Taylor Swift, Garth Brooks, Beyoncé, Paul McCartney, Bruce Springsteen, Elton John, Bon Jovi and Metallica and the iconic Country Music Hall of Fame, which opened in 1967. Just a block away, you’ll also find Broadway’s honky-tonks and the Music City Center.

According to WSMV-TV, Nashville has the highest concentration of musicians and music businesses in the nation, “with industry activity up to 30 times greater than the national average.” The city is a hub for music industry dealings. After long days spent dealing with business on calls and talking with artists, you’ll have access to a slew of amenities like yummy on-site and in-room dining, a tidy fitness center and a helpful and friendly concierge. If work never sleeps, the hotel also features an executive lounge and meeting rooms, perfect for taking calls and working in peace.

Room features include large flat-screen TVs with streaming capabilities, a dedicated workspace, a coffee maker, tea service, blackout curtains and a mini-refrigerator, among other things. Hilton takes the number two spot of premier hospitality companies globally, according to Fortune on their World’s Best Workplaces list from 2024. Just another reason to book with Hilton.

Visit the Hilton Nashville’s website for more info on booking your stay.

Hilton Chicago

Hilton Chicago is located on Michigan Avenue, which is home to a slew of historical audio tours, guided walk-throughs and classical performances. If you have a free day, you can pop by the Chicago Symphony Center to watch the world-renowned Chicago Symphony Orchestra. On the same avenue, you can visit Willie Dixon’s Blues Heaven Foundation for a guided tour of the former home of Chess Records, founded in 1950. Music activities aside, the views from the hotel are undeniable, overlooking the freshwater of Lake Michigan.

Not to mention, Chicago is the place to be for music business dealings. The city has smaller labels and niche venues. According to a report released by the Chicago Independent Venue League or CIVL, “Independent live music venues in Chicago generate $2.8 billion in annual economic output, support nearly 17,000 jobs, and deliver $184.9 million in tax revenue,” a major win for the little guys.

This property features over 1,544 rooms and suites with amenities similar to those of Hilton’s Nashville location, like on-site and in-room dining, access to meeting rooms for work and a fitness center. There’s also a spacious indoor pool for those looking to take a dip after a long day. Going above and beyond for the comfort of their guests, this hotel is pet-friendly and also offers cribs to those traveling with infants. Room features include blackout curtains, in-room tablets for dining orders, concierge and more, 55-inch HDTVs and ergonomic desks for getting work done, among other amenities.

Visit the Hilton Chicago’s website for more info on booking your stay.

Hilton New Orleans Riverside

Located alongside the Mississippi River, the Hilton New Orleans Riverside property is yet another musical stay just steps from the French Quarter. If you’re seeking out live music, Frenchmen Street, a little way off the Quarter in the Faubourg Marigny neighborhood, is a favorite among locals for local jazz, blues, funk and brass. Cash Money Records was founded in 1991 in New Orleans. At one point, No Limit Records also called the city its home. Today, you’ll find independent labels working out of the city, boasting a small but mighty presence when compared to hubs like Los Angeles and Nashville.

Amenities are similar across all three properties, with key differences here and there. This New Orleans location features a HealthClub with access to an indoor tennis court, Pilates, pickleball, squash, TRX, spin and a full weight room. This location also features a FedEx Business Center that can come in handy for those working in their room and need access to printers or copy machines. Room features include modern amenities like a fridge, flat-screen TVs with cable and streaming capabilities, among a slew of other helpful amenities.

Visit the Hilton New Orleans Riverside website for more info on booking your stay.

More on Hilton Honors Diamond Reserve

The best way to enjoy your stay at any one of these properties is with Hilton’s Honors Membership, a free-to-join program giving guests access to perks galore. For example, members can access their room with digital keys from their smartphone via the Hilton Honors app. They can also select their room before check-in. Learn more about Hilton Honors here.

The hospitality company just launched a Diamond Reserve tier as part of its Hilton Honors program. Those eligible for the premium loyalty tier must have spent 80 nights or 40 stays at a Hilton property and have $18,000 annual eligible spending with Hilton to qualify.

Once you qualify, you’ll have access to perks like lockable suite upgrades at booking, guaranteed 4 p.m. late checkout, priority upgrades and a 120% points bonus. These are all unique offerings that lower-tier members don’t have access to. Tiers are earned through nights, stays, or eligible annual spend. Learn more about Hilton’s Diamond Reserve tier here.