Great news for Michael Jackson fans who flocked to theaters over the past week to help boost the Michael biopic to a record-breaking $97 million domestic opening: they might get one more chance to revisit the singer’s story on the big screen. In an interview on The Town With Matt Beloni podcast this week, Lionsgate vice chair Adam Fogelson said it’s possible a sequel could start filming this year or next.

“There is a massive amount of music, some of his greatest music, and life experiences separate and apart from [sexual abuse] allegations, a ton of that would fill more than a second movie on its own,” Fogelson told Beloni. Fogelson was asked about the first part of the film sidestepping the sexual abuse allegations leveled against Jackson that reportedly made up a majority of the third act of the film, before that footage was scrapped due to a previously reached settlement with the estate that barred it from being depicted in future commercial projects. He said the public clearly voted with their wallets.

“It turns out the general public really wanted to see a movie that did not engage with those allegations and celebrated the man and his music and the, you know, the trajectory to the top,” Fogelson said of the film that covered the years 1960-1988, ending the story before Jackson was accused by then-13-year-old Jordan Chandler of sexual abuse; the singer and his legal team vehemently denied the accusations and reached a financial settlement in a civil suit with Chandler’s family in 1994, with no criminal charges filed against the singer due to a lack of testimony. The removal of the segment taking on the Chandler allegations reportedly resulted in a costly $50 million reshoot.

Belloni noted that a potential sequel has a “problem” in that it cannot dramatize the specifics of that case due to the settlement, as well as a huge audience that showed up for the first film, prompting a question about whether those die-hards even want to see the lurid allegations on screen. “Do they want to see the dark script that I read when I read the original Michael Jackson movie?” Belloni asked, noting that the original script had a “strip search” scene and negativity about the allegations that went to “dark places.”

“How do you make a second move and dramatize all that without alienating the audience that came to the first movie?” he wondered.

While he didn’t want to get ahead of what the creative team has planned for a potential second part, Fogelson acknowledged that some of the things Belloni read in the original script cannot be included. “But continuing to get a deeper understanding of who Michael was, I think there are any number of ways the filmmakers will be able to pull that off,” Fogelson said. “And over the next couple weeks, when we all sit down and talk about their full and complete vision for what this movie will be, I’ll be in a better position to answer the question.”

Noting the reports of the dancing in the aisles reaction of fans at screenings, Fogelson said Jackson’s fans would have been happy if there had been “50 performances” in the original performance-heavy film. “People could have stayed in this theater forever,” Fogelson said. “And there are giant albums left and we just one song out of, you know, Bad as the end of the first movie, the [1993] Super Bowl [halftime show, which was included in the original script] which has been talked about, the first Super Bowl halftime show that literally changed the Super Bowl and he NFL and I’m not guaranteeing any of these moments are or not in,” Fogelson said. “I’m just saying there’s a huge portion of his life separate and apart from allegations.”

Fogelson added that director Antoine Fuqua and the creative team have been paying attention to audience reactions and will listen to those audiences when they think about the structure of a sequel “if and when we green light it.” As for whether Fogelson and the team feel a responsibility to engage with the allegations in the second part given how they tarnished the latter half of Jackson’s career and life, Fogelson said it is a “really complicated question” and that he’s not the best person to answer it and now is not the time to take that issue on. He reiterated that the original screenplay did attempt to tackle that thorny issue. Jackson steadfastly denied any allegations of sexual impropriety and was never convicted or held legally liable in any of the lawsuits against him in his lifetime or in the years since.

“Irrespective of what people would think, that screenplay had the courage to address and not because of anything that the estate or the filmmakers wanted to do, but the revelation of the agreement that prevented it from being dramatized is what prevented it,” Fogelson said. “And I think that needs to be a part of any conversation about what the filmmakers or what the estate were willing to do.”

The movie ends with a credits card that reads “His Story Continues,” hinting at a part II, with director Fuqua confirming to Deadline that there is “absolutely” one-third or more of shot footage that could be rolled into a sequel. “We went pretty far,” he said in describing how deep into Jackson’s later years the film originally went. “We went through the Jordan allegations we couldn’t use. We went farther than that. Maybe a year or two after that (1995) when things turned against Michael.”

Though he is reportedly scheduled to work on a Netflix project with Denzel Washington next, Fuqua said he would love to direct the next chapter if the schedule works out. “It would kill me if somebody else did it,” he said.

Listen to Fogelson talk about a possible Michael sequel below.


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Is Charli xcx gearing up to reveal her rock summer? The singer announced a very special event for her New York fans in an Instagram post on Tuesday (April 28) in the form of a note scrawled on a piece of paper with the heading: “New York, May 2026 CONVERSATIONS.”

“Would love to talk w you [heart],” the singer scrawled on the note. In the accompanying caption, she added, “i love talking about making things and process and stuff with my friends so if you want to ask me questions about creative process / song writing / anything else that would be cute. wanna hear what you’re making too. would love to talk with you <3 charlixcx.com.” A link to her official website takes fans to a sign-up form for the conversation, with no information at press time on the date or location of the gathering.

After blowing up in 2024 with her Brat album, which gave way to “Brat Summer” and Charli’s ascent to mainstream global stardom and a string of acting and film/TV score work, earlier this month the singer told British Vogue that her in-process eighth studio album will be a pivot from dance pop to straight-up rock.

“For me, it’s fun to flip the form,” Charli said of the switch to more electric guitar-forward compositions after Brat scored her highest chart ranking ever, peaking at No. 3 on the Billboard 200. “We know there’s gonna be people who are bothered by it, but that’s fine.” She took the magazine into a studio session, where she previewed a song with strikingly confessional lyrics that presages her purposeful sonic switch-up. “I think the dance floor is dead, so now we’re making rock music,” she sings on the untitled work-in-progress track.

Not wanting to repeat herself, Charli said the genre jump made perfect sense to her. “If I’d made another album that felt more dance-leaning, it would have felt really hard, really sad,” she said. “What’s interesting for me is to bend the possibilities of what my perspective on that could be.”

In addition to the as-yet-untitled new album, in February Charli dropped an album of experimental tracks for Emerald Fennell’s Wuthering Heights adaptation.

See Charli’s note below.


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PRS For Music has shared that its royalty collections for 2025 increased by 7.7% year-on-year to £1.24 billion ($1.6 billion) on Thursday (April 30).

The U.K. collection society, which represents 190,000 songwriters, composers and music publishers, shared the figures as part of their financial results for the past 12 months.

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The release says that PRS paid out against 7.8 million unique works in 2024, an increase of 41% (2.3m) since 2020. Royalty collections increased by 7.7%, or £88.2 million ($119.2 million) from 2024 to the £1.24 billion ($1.6 billion) total, and PRS reports a payout of £1.07 billion ($1.44 billion) to rights holders in 2025, a 4.9% increase making up £49.9 million ($67.5 million) on 2024. Of that amount, 4,541 songwriters and composers were paid out for the first time with £1.96 million ($2.65 million) in royalties.

The report also highlights that revenue collected from live music generated a £101.4 million ($137.2 million) lift of 13.2%, or £11.9 million ($16.1 million), on 2024. Revenue from public performance, including live and music played or performed in public (in shops, restaurants, bars etc.) represented a 9.1%, or £26.1 million ($35.3 million), year-on-year increase to £313.4 million ($424 million).

Streaming continues to dominate discovery and access to music, contributing £351.4 million ($475.4 million) of royalties collected, up 11.8%, or £37.1 million ($50.1 million), on 2024. Video-on-Demand revenue also saw a year-on-year increase, up by 20.1%, or £12.9 million ($17.4 million), to £77.2 million ($104.4 million). In total, PRS collected £447.2 million ($604.9 million) of online royalties, up by 9.6%, or £39.3 million ($53.1 million), on 2024.

Europe was the most lucrative market for PRS members’ music, with revenue crossing the £200 million mark at £200.6 million ($271.2 million), up 7.9%, or £9 million ($12.1 million), on 2024’s amount. International royalty income totaled £367.3 million ($496.5 million), an increase of 4.2%, or £14.8 million ($20 million), on 2024, of which 28% was collected for music used in North America.

Andrea Czapary Martin, PRS for Music’s chief executive said: “We’ve delivered another year of strong growth, with revenues up 7% and for the second consecutive year paying over £1 billion [$1.3 billion] to songwriters, composers and publishers. In just 10 years PRS has doubled the value flowing back to rightsholders, £621 million [$839.2 million] in 2016 to £1.24 billion [$1.67 billion] in 2025, by accelerating licensing in new markets and securing new terms with major existing customers.

She added: “I believe success for a society shouldn’t be measured by the money collected. It must be measured by how quickly, fairly and accurately the songwriters and composers receive the royalties they are due. In 2025, we saw particularly strong growth in live with more creators earning from performances than ever before, including many being paid for the first time. We moved to monthly payments for online streaming, giving creators faster access to the money they’ve earned and the insights they need to understand how their music is performing, all with the aim of continuing to deliver a world-leading royalty distribution service in a rapidly evolving music landscape.”


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LeAnn Rimes apologized to fans on Wednesday (April 29) after postponing two dates on her 30 Years of Blue tour at the last minute due to what she described as “severe illness.” In an Instagram Story the singer, 43, wrote, “due to severe illness, I am unable to travel & perform this week,” she wrote, without detailing the illness that had laid her low.

“I’m sorry to share that the upcoming shows in Spokane and Seattle will be rescheduled … also, good news as we will be seeing you very soon.” The reworked dates will push the show scheduled for tonight (April 30) in Spokane to May 31 and the Seattle show originally slated for May 1 to June 2 on the tour that kicked off on April 19. Rimes told fans that ticket holders will be notified directly soon, with all tickets remaining valid for the rescheduled dates, or refunds available at point of purchase.

“I am truly heartbroken to have to reschedule and I am so very grateful for your kindness, and continued support as I recover,” she wrote. “I look forward to being back on stage and seeing you very soon.”

At press time the next scheduled date on the tour celebrating three decades of the singer’s 1996 major label debut, Blue, is a May 8 stop in Waukegan, Ill.

According to E! News, in an Instagram Story on April 28 Rimes posted a photo of her under the covers in bed surrounded by three boxes of tissues. “I don’t know exactly what I have, but it’s BRUTAL!” she wrote. “Haven’t left the bed.” 

The news about the tour hiccup came less than a week after Rimes shared a bittersweet Instagram post featuring a picture with husband Eddie Cibrian celebrating their 15th anniversary. “we got to step away for 3 days amidst work and some very tense, heart wrenching things happening at home with family. it’s been a different anniversary, one filled with tears and worry, but in between, there were moments of laughter and deep gratitude for this love of ours,” Rimes wrote alongside a series of pictures of the couple smiling on the beach and one of a candle-lit hotel room arrayed with flower petals and candles, including a floral heart on the bed.

“day by day, we walk hand in hand through the rollercoaster of life… and god, i’m so grateful that it’s with each other,” she continued. “we’ve been through so much in our 15 years as husband and wife. we know how to ride the waves 🌊, hold each other in times of need, mend what needs mending. i’m so proud of what we have created together. 15 years is just the beginning.”

Rimes made headlines last month when she posted a video of what was called a “deep jaw release” in which Human Garage founder Garry Lineham placed his hand inside her mouth and manipulated her jaw, causing the singer to cry and then laugh. When some commenters suggested the reaction was fake, Rimes reacted in a livestream that she couldn’t have faked it if she tried.

“The people were commenting on [the post], being [like], ‘Of course the camera was on, she was gonna cry.’ I’m like, ‘I can act, but I am not that good,’ ” the singer said according to People. “I am not that good. I’m not Meryl Streep. That’s just real, and I feel like the older I get, and it’s been probably the last decade of my life, I feel like the more honest I can be. People finally get to see me, and there’s no pretense about that.”

In the original livestream, Rimes said the unconventional jaw release therapy treatment was one of the methods she’s tried as part of the “perimenopausal, menopausal journey I’m on … I’m starting to see new things show up in my body. And so I want to be able to maintain a level of performance on stage, a level of health and wellness in my own personal life and a sense of ease in my body.”

In June of last year, the country-pop singer abruptly left the stage during a show in Washington when her front dental bridge unexpectedly popped out of her mouth. Then, in January, Rimes took fans along with her to a Nashville clinic where she was getting a $10,000 plasma exchange to help “clear micro-toxins, such as mold and microplastics” and to encourage “overall repair” of the stem cells.

“listening to my body and choosing what feels supportive for this season of healing, especially after a very busy year of filming [9-1-1: Nashville] and touring,” she wrote. “i demand so much from my body and it’s incredibly important to me to take the best care of it i possibly can.”


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Amyl And The Sniffers snared a hattrick at the 2026 APRA Music Awards, presented Wednesday night (April 29) in Sydney, while INXS was feted with the lifetime achievement award.

For the past year, few Australian acts could touch Amyl And The Sniffers on the awards circuit. It was the same story at the Hordern Pavilion, as the loveable rogues collected the peer-voted APRA song of the year, marking the second consecutive year the punk rockers have won prestigious honor, having done so in 2025 with “U Should Not Be Doing That”. The Melbourne four piece also collected most performed rock work for their Cartoon Darkness hit “Jerkin’,” and lifted the coveted songwriter of the year award. Earlier in the day, Amyl’s managers Simone Ubaldi and Andrew Parisi (of Sundowner Artists)  jointly won manager of the year at the AAM Awards, also presented in Sydney.

Doubling up on the night was Guy Sebastian and co-writers Ned Houston and Robby De Sa, who won most performed Australian work and most performed pop work for “Maybe”. The victory marks Houston’s first APRA Award, and the fourth career win for Sebastian and De Sa.

Sia snagged the category for most performed Australian work overseas for the third consecutive year with “Unstoppable,” for the singer and songwriter’s 14th donut-shaped award across her career. The Adelaide-raised artist is now APRA’s most-awarded writer member of all time.

Hitmaker Sarah Aarons made the trip from her base in Los Angeles to receive the international recognition award, her sixth APRA Award. While visiting the stage, Aarons, who was worked with the likes of Tame Impala, BTS, Flume, Gracie Abrams, ROSÉ and Maren Morris, told of her homesickness. Her favorite restaurant on the West Coast is the Qantas business lounge at LAX, she quipped. “Not being home is really hard.”

Emily Wurramara made history at the 2024 ARIA Awards, when Nara won for best adult contemporary album, the first time an Indigenous woman had won the category since its inception in 1987. The proud Warnindhilyagwa woman etched her name in APRAs history at the Hordern when she nabbed emerging songwriter of the year, a board-appointed award recognizing her incredible body of work over the past year.

The biggest cheers of the night, however, were directed at INXS, who were saluted with the Ted Albert Award for Outstanding Services to Australian Music. Long-time friend, artist and APRA chair Jenny Morris inducted the new wave band, with an emotional trip down memory lane.

“People ask me what made INX different. The honest answer is everything,” she remarked. “I’ve stood on the riser with these guys. I watched them from the wings, from the front of the house, from the stage door, from every single angle. They were extraordinary.” The six-piece’s “power, intelligence, and visceral effect of the music couldn’t be ignored.”

Holding back tears, Morris recounted the late, great frontman Michael Hutchence, who passed away in 1997, aged 37. “The Michael I knew was modest. As his friends will tell you, in his private time he liked nothing better than just being part of the cohort. One of the bunch. He was not someone who looked over your shoulder at the room full of glitz and glamor. He would look you in the eye. He genuinely wanted to hear what you had to say. He once said, ‘there is an integrity to INXS in the music, that makes it worthwhile.’” He claimed they were “worthwhile. A modest word from a modest man.”

The surviving members of the band were on hand to receive the award, ahead of what will be INXS’ 50th anniversary. Each spoke. Andrew Farriss recounted a youthful conversation with his older brother and bandmate, Tim. “I said to him early in our career, you know, we’re going to have to get real job one day. And this is fun, we play music, have a few beers, a few laughs. We get away with it. Then we went and did all that. Incredible. You were right brother.” Kirk Pengilly, who spoke last, admitted the band made “amazing choices.”

As previously announced, the awards celebrated the 100th anniversary of APRA, and were hosted by Julia Zemiro with guest presenters Bernard Fanning, Jessica Mauboy, Mark Coles Smith and Stella Donnelly, and music curated by François Tétaz.

Performers included Christine Anu, Ngulmiya and Rob Ruha; Barkaa; Ecca Vandal; Paul Kelly; and The Presets’ show-stopping electronic rendition of Midnight Oil’s “Power and the Passion,” featuring a special guest appearance by Peter Garrett, in tribute to the late Oils drummer, Rob Hirst.

“The 2026 APRA Music Awards were a fitting way to celebrate not only 100 years of APRA, but today’s biggest and brightest stars,” remarks Dean Ormston, CEO of APRA AMCOS. “It’s a privilege to look back at 100 years of service to our members and the incredible breadth and diversity of Australian talent. As a nation we derive so much, socially, culturally and economically, from our music creators, it’s imperative that we recognize and celebrate that contribution.”

The APRAs celebrate excellence in contemporary music, honoring songwriters and publishers who have achieved artistic excellence and outstanding success in their fields. At told, 18 awards were presented across three distinct selection processes: board selected, most performed (based on statistical analysis) and peer voted.

See all the winners at apraamcos.com.au/apramusicawards2026 and below.

Peer-Voted APRA Song of the Year
Title:                             
Artist:                  
Written by:     
 Jerkin’
Amyl and The Sniffers
Declan Mehrtens / Amy Taylor / Bryce Wilson
Songwriter of the Year
Amyl and The Sniffers
Declan Mehrtens / Fergus Romer / Amy Taylor / Bryce Wilson  
Emerging Songwriter of the Year
Writer:   
Published by:                       Emily Wurramara               
Mushroom Music Publishing
International Recognition Award
Writer:   
Published by:                       Sarah Aarons          
Sony Music Publishing
Most Performed Australian Work
Title:                             
Artist:                  
Written by:
Published by:      Maybe
Guy Sebastian  
Guy Sebastian / Robby De Sa* / Ned Houston*
Universal Music Publishing / Sony Music Publishing*
Most Performed Australian Work Overseas
Title:                             
Artist:                  
Written by:
Published by:      Unstoppable
Sia
Sia Furler / Christopher Braide*
Sony Music Publishing / Concord Music Publishing ANZ*
Most Performed Alternative Work
Title:                             
Artist:                  
Written by:
Published by:      Please Don’t Move to Melbourne                                  
Ball Park Music
Sam Cromack   
Sony Music Publishing
Most Performed Blues & Roots Work
Title:                             
Artist:                  
Written by:  Survival           
Karen Lee Andrews      
Daniel March / Adam Ventoura
Most Performed Country Work
Title:                             
Artist:                  
Written by:
Published by:      Who You Are   
Rachael Fahim
Rachael Fahim / Shawn Mayer / Liam Quinn / Vlado Saric / Keenan Te*  
Sentric Music Publishing obo Acts Music Publishing*
Most Performed Dance/Electronic Work
Title:                             
Artist:                  
Written by:

Published by:        Tell Me
Sonny Fodera & Clementine Douglas
Stuart Crichton / Sonny Fodera* / Clementine Douglas^ / Ruth Cunningham^
Concord Music Publishing ANZ / BMG* / Mushroom Music Publishing^

Most Performed Hard Rock/Heavy Metal Work
Title:                             
Artist:                  
Written by:
Published by:      RAINDROP      
Ocean Grove    
Samuel Bassal* / Brent Hunter* / Luke Holmes 
BMG*
Most Performed Hip Hop / Rap Work
Title:                             
Artist:                  
Written by:

Published by:      Spinnin    
ONEFOUR & Nemzzz    
Jerome Misa* / Salec Su’a* / Hoi Tang / Nemiah Simms* / Robin Turrini  
Sony Music Publishing*

Most Performed International Work
Title:                             
Artist:                  
Written by:

Published by:      Timeless          
The Weeknd & Playboi Carti                 
Abel Tesfaye* / Jordan Carter^ / Raul Cubina+ / Mike Dean^ / Evan Hood^ / Jarrod Morgan^ / Chisolm Petty+ / Tariq Sharrieff+ / Mark Williams~ / Pharrell Williams^
Universal/MCA Music Publishing* / Sony Music Publishing^ / Kobalt Music Publishing+ / Warner Chappell Music~

Most Performed Pop Work
Title:                             
Artist:                  
Written by:
Published by:      Maybe
Guy Sebastian  
Guy Sebastian / Robby De Sa* / Ned Houston*
Universal Music Publishing / Sony Music Publishing*
Most Performed R&B / Soul Work
Title:                             
Artist:                  
Written by:Pity Party        
PANIA  
Pania Hika / Jake Amy / Chelsea Warner / Sam Verghese
Most Performed Rock Work
Title:                             
Artist:                  
Written by:Jerkin’
Amyl and The Sniffers
Declan Mehrtens / Amy Taylor / Bryce Wilson
 
Ted Albert Award for Outstanding Services to Australian Music
INXS
 
Licensee of the Year
The Bob Hawke Beer and Leisure Centre

Duran Duran brought the love back to late-night TV on Wednesday (April 29), with some help from Nile Rodgers.

The Rock Hall-inducted British band stopped by ABC’s Jimmy Kimmel Live to deliver their TV debut of “Free to Love” (via Tape Modern), a funky disco throwback tune that dropped earlier this month.

“‘Free To Love’ has a simple message,” explained Nick Rhodes ahead of the performance. “There is nothing more important than freedom and love. We certainly need a lot more of both in the world right now.”

Rodgers and Duran Duran have been making musical magic together since the early 1980s, starting the global smash “The Reflex.” While the winters have marched on, Duran Duran found their groove in recent times, and fans have clamored to the one-time heart-throbs. The group was inducted into the Rock And Roll Hall of Fame in 2022; their past three albums have crashed the top 5 in the United Kingdom; and their tran-Atlantic tour this year will include a headline show at London’s Hyde Park, the scene of their summer date in 2022 which drew an estimated 70,000 Duranies.

Judging by their latest West Coast TV spot, Simon Le Bon’s vocals have aged like an expensive wine. And their performance, backed by rainbows, unicorns, and cuts from the official “Free to Love” music video, is a sure sign that DD’s live shows will be a party.

“Free To Love” has been a long time coming. Last June, Duran Duran shared an image with Nile Rodgers at Abbey Road Studios. “Stay tuned,” the social post read.

Earlier this week, the Chic founder gave his own update on their latest collaboration. “My love for Duran Duran and what our music together has always been about is the love we share for our song’s deepest meanings,” he writes. “Whatever chaos is going on outside, inside the studio we’re free to love our peace.”

The new wave legends play BeachLife Festival 2026 this Friday, May 1. The follow day, they settle in for a residency at Bleaulive at the Fontainebleau Las Vegas. Pan-European dates follow from June.

Watch the Duran Duran’s performance of “Free to Love” featuring Nile Rodgers below.

Believe’s Label & Artist Solutions is now open for business in the United States.

Music industry veteran Thomas Maxwell will lead the activities as vice president U.S., Label & Artist Solutions (LAS), Believe, reporting to the company’s global head of music, Romain Vivien.

Going forward, Maxwell will sign and develop partnerships with independent labels, and expand the independent music specialist’s presence in the U.S., the world’s No. 1 recorded music market. He’ll split time between New York City, Nashville, and Los Angeles while “scaling the company’s U.S. operations and cementing Believe as a premier partner for growth-minded independent music companies in the region,” reads a statement.

Previously, Maxwell served in multiple positions at IDOL, where he opened and established the first U.S. office for the Paris-based indie distributor, and led signings including Mexican Summer, Young Art, The Ray Charles Foundation, HighNote Records, Old Soul Music, Roundhill, and Acrophase Records. During his time with IDOL, he worked on key releases from artists including Erick the Architect, Ginger Root, TOKiMONSTA, Cate Le Bon, Channel Tres, Yaeji, George Clanton, and Drugdealer.

Also, Maxwell has spoken at conferences and events including SXSW, Indie Week and Music Biz and is said to maintain strong relationships across the streaming and label ecosystem.

“For 20 years,” Vivien comments in a statement, “Believe has succeeded by supporting local music ecosystems and developing labels and artists in nearly every major music market around the world. Thomas’ expertise and connections make him the ideal candidate to lead Believe’s expansion into the largest music market in the world, the United States, and to scale our business to support local artists and labels throughout the region.”

Adds Maxwell: “I’m incredibly excited to be joining Believe at such a dynamic moment for the company and the independent sector. Throughout my career, I’ve focused on helping independent labels and artists navigate an increasingly complex digital ecosystem and build sustainable businesses. Believe’s global scale, technology, and artist-first approach uniquely position the company to support the next generation of independent success, and I’m thrilled to help expand those opportunities in the U.S.”

In a night all about women supporting women, Zara Larsson took the Billboard Women in Music mission statement literally on Wednesday night (April 29) at the Hollywood Palladium, with the Swedish pop star being held aloft by her four backup dancers as she flawlessly performed her Grammy-nominated song “Midnight Sun.”

And that was just one of many iconic moments in a night full of them. Larsson was honored with the Breakthrough award, for taking over the charts in a major way after 10 years in the business, while the singing voices of HUNTR/X — EJAE, AUDREY NUNA and REI AMI — were celebrated for their “Golden”-powered KPop Demon Hunters success as our Women of the Year.

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Host Keke Palmer did double-duty, kicking off the night with the first performance, while Mariah the Scientist was honored as Honda’s Rising Star and Tate McRae received the Hitmaker title. Country chart-topper Ella Langley accepted the Powerhouse prize, and Laufey was honored as our Innovator. But we were just getting started: Kehlani took home the Impact award, Thalia was named our Icon, and Teyana Taylor was presented with the Visionary award.

Beyond our artist honorees, ASCAP’s Beth Matthews was also celebrated with the Executive of the Year title, presented by Kim Petras.

And there were even two big global moments as well, with Canadian rockers The Beaches and Filipina girl group BINI accepting Global Force accolades, thanking Billboard Canada and Billboard Philippines for their support back home.

Below, go inside the empowering night with the 11 best moments from the 2026 Billboard Women in Music Awards.

David Allan Coe, a standout in the pack that was country music’s outlaw movement in the 1970s, whose music reached a loyal following that has grown into something bordering on cult status, has died at 86, according to various published reports.

The controversial artist wasn’t a prolific hitmaker, but he played to the beat of his own drum. With a sound that blended country, rock and blues, he landed eight singles in the Top 40 on the Country Singles chart, and is remembered for such songs as “You Never Even Called Me By My Name,” “Mona Lisa Lost Her Smile,” “The Ride,” “If This Is Just a Game,” “Waylon, Willie, and Me,” “Long Haired Redneck.”

Coe’s checkered past made him headline material, from his marriages, to incarceration in his native Ohio Penitentiary, time spent in a hearse parked outside of the Ryman Auditorium, and the release of his infamous X-rated albums, Nothing Sacred and Underground Album, after which critics denounced him as a racist and misogynist, accusations he strongly denied.

Born in Akron in 1939, Coe was raised in a broken home, and by the age of nine was sent to a reform school. His was a life “full of bad luck and misadventure,” reads a biog on the songwriter, published by Sun Records. As a songwriter, he was gifted, and as a performer, charismatic.

Coe would spend the next two decades in and out of various correctional institutions, for crimes including possession of burglary tools and auto theft. Music came to him when he was locked up.  In 1967, Coe was a free man and travelled to Nashville to pursue his dream in music. 

In the years that followed, he would earn a reputation as one of the more mysterious artists in the genre’s history, and one of the more outspoken. In 1977, Johnny Paycheck bagged a hit with his version of Coe’s song “Take This Job and Shove It,” a song that would soundtrack the 1981 feature film of the same name. 

As time marched on, the hits dwindled though Coe was often the subject of colorful stories in the press. In the 2010s, he was in the news for being ordered by the IRS to play more than $980,000 in restitution for obstructing the tax agency. When he was unable to pay, the unverified story goes, Coe sold his house and lived in a cave. Then, in March 2013, he was involved in a vehicle crash in Florida, but after several months shrugged off internal injuries and broken bones and headed back out on tour.

Coe was a constant presence on the road, and at the end of the ‘90s formed an unlikely tandem with Dimebag Darrell, the late guitarist with metal legends Pantera, from which an album was recorded, alongside bassist Rex Brown, and drummer Vinnie Paul. Rebel Meets Rebel didn’t see the light of day until 2006, after Dimebag’s murder. Coe’s rebel spirit caught the attention of Kid Rock, who namechecked the veteran artist in the song “American Badass,” and who invited Coe to open his 2000 concert tour. The friendship became a collaboration. Coe contributed to “Single Father,” housed on Rock’s self-titled 2003 album.

In 2017, Coe appeared in both the song and the video for The Moonshine Bandits’ release “Take This Job,” which he wrote. For the clip, Coe was happy to return to the penitentiary where he was incarcerated. “He had to walk three or four flights of stairs in that creepy old prison. He had to put in a lot of work to make this thing happen. It was just cool,” the Bandits told Billboard at the time. “The relationship we built with him has been so meaningful. I get text messages from him out of the blue. The night before the video, we were in his hotel room sipping on whiskey, and listening to him tell his stories.”

Coe died just after 5pm on Wednesday, April 29, his representative confirmed to PEOPLE in a statement. “David was a Country Music treasure and loved his fans,” his rep said. “Most importantly, he was a true outlaw and A great singer, songwriter, and performer.”

BINI caught up with Drew Afualo & Billboard’s Lyndsey Havens on the red carpet at the Billboard Women in Music 2026.