Ultra Music Festival today (Nov. 12) added more than 70 news acts for the 2025 edition with the announcement of its phase two lineup.

Joining the bill are Martin Garrix and Alesso, who will play b2b in a headlining slot, the first ever headlining performance from Argy b2b Mind Against and Ray Volpe b2b Sullivan King. DJ Snake will perform the U.S. debut of his Outlaw alias in a b2b with TYRM and Joris Voorn and Kololova will also perform b2b for the first time in the States.

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Additionally, Ultra will host stage takeovers from legendary Ibiza club Amnesia, The Martinez Brothers’ Cuttin’ Headz, Armin van Buuren’s A State of Trance, Steve Aoki’s 30 years of Dim Mak, Coone’s Dirty Workz, Sara Landry’s Hekate and Germany’s Live From Earth collective.

These additions expands the previously announced phase one lineup that includes Afrojack, Amelie Lens b2b Sara Landry, Armin van Buuren, DJ Snake, Eric Prydz, Illenium, John Summit, Hardwell, Major Lazer, Steve Aoki, Sebastian Ingrosso b2b Steve Angello, Miss Monique, Excision, ISOxo, Boys Noize, OF the Trees, Madeon and many more. See the complete lineup below.

Ultra Music Festival 2026 happens March 27-29 at its longtime home at Miami’s Bayfront Park.

The festival annually closed out Miami Music Week a week-long run of parties, showcases, meetings, mixers and more that draws many in the global electronic music industry to the city. Winter Music Conference returned to Miami Music Week in 2025 after a hiatus, with organizers announcing earlier this week that it will be back in 2026 and happen in a new location at the Kimpton EPIC Hotel in Downtown Miami from March 24–26.

2026 will mark the 36th year of the conference. The next edition is set to feature a programming track tailored for dance industry professionals and a second track for DJs, producers and content creators.

Ultra Music Festival 2025

Ultra Music Festival 2025

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As artificial intelligence moves further into the music space, how concerned should the country community, which has built its reputation on authenticity and a trusted connection between artists and fans, be?

One-third of the top 10 on Billboard’s Country Digital Song Sales chart dated Nov. 15 is composed of AI-assisted artists, including “Walk My Walk,” attributed to Breaking Rust, which spends its second week at No. 1; Cain Walker’s “Don’t Tread on Me” which stands at No. 3; and Walker’s “Ain’t My Problem,” which debuted at No. 9. (Walker’s “Freedom” also debuted on the 15-position chart at No. 11).

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“Walk My Walk,” which is spending its second week at No. 1, has a gospel, stomping feel, while Walker’s tunes are more dark country rock. All three share similar “stand my ground, don’t mess with me”-type lyrics with boisterous vocals.

The songs are selling relatively small numbers: Breaking Rust’s “Walk My Walk” sold more than 2,000 copies in the U.S. for the tracking week ending Nov. 6, according to Luminate, while Walker’s “Don’t Tread on Me” sold more than 1,000 copies, and his “Ain’t My Problem” sold slightly under 1,000. By comparison, the top-selling song on Billboard‘s all-genre Digital Song Sales chart for the week ending Nov. 6, Taylor Swift’s “The Fate of Ophelia,” sold 29,000 copies.

“It’s a notable wake-up call but not yet an existential threat — more like a symptom of broader disruptions in how music is created, distributed and consumed,” says FEMco founder Leslie Fram. “In country, where authenticity and storytelling are core, this could erode trust if fans feel manipulated, but it’s mostly confined to sales charts so far, not airplay or streaming staples.”

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Yet. But AI has already spread to another genre’s airplay chart: Xania Monet, who signed to Hallwood Media after bidding offers reached $3 million, became the first known AI artist to earn enough radio airplay to rank on a Billboard radio chart when she debuted at No. 30 on the Adult R&B Airplay chart dated Nov. 11. Several other AI or AI-assisted acts have also debuted on Billboard charts in recent weeks, including Childpets Galore on Christian Digital Song Sales, Unbound Music and Emily Blue on Rock Digital Song Sales, and contemporary Christian artist Juno Skye on the Emerging Artists chart.

Terrestrial country radio stations have not yet added Breaking Rust or Cain Walker to their rotations, and country radio consultant Joel Raab says that’s wise. “Listeners react negatively to the idea of AI voices on their stations,” Raab says, citing research done on the question of AI use in general. “Listeners don’t like the idea of AI voices, so by association, I don’t think they’d like the music.”

Furthermore, other than playing the songs for curiosity value, “leaning on that type of programming consistently seems very shortsighted considering radio makes money off of touring advertising and other artist-driven revenue,” says F2 Entertainment Group president/CEO Fletcher Foster, who manages MORIAH and other artists.

Fram agrees. “[Country] stations prioritize ‘real’ voices tied to tours and endorsements, so Breaking Rust might need active promo (e.g., fake ‘artist’ interviews or tie-ins) to cross over,” she says. ”It’s going to be a real conversation for gatekeepers. If [the song] hooks listeners, they may want to play it — radio’s job is curation, not purity tests.”

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For real artists and their managers, though, the AI disruption could potentially make a difficult job even harder. “The artist development process has never been easy. Over the past few years, especially since COVID and the massive switch to DSPs, it has never been more challenging,” Fletcher says. “It’s incredibly detrimental to have AI-generated songs taking up precious spots on the chart because not only do they clog up the chart, but they take positions away from a well-rounded artist that can have a career generating revenue and publishing, touring, brand partnerships, etc.”

Some labels are embracing AI. Last month, Universal Music Group (UMG) announced a deal with Udio that settled UMG’s involvement in a lawsuit it had filed last year against the AI music startup, along with Sony and Warner — and paved the way for a version of Udio that would create a new commercial consumption and streaming experience that would pay participating UMG artists for lending their work to Udio’s AI model.

Country artist Martina McBride is among the artists who have been vocal about protecting artists and their voices. Earlier this year, she testified in support of the NO FAKES Act, bipartisan legislation that gives individuals the right to protect their voices and likenesses from being replicated by AI without their consent, both in music and in a broader context.  “AI technology is amazing and can be used for so many wonderful purposes. But like all great technologies, it can also be abused,” she wrote in a guest column for Billboard published in May.

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Raab and Fram are betting on the human race over deep fakes, even though there may be challenging times looming. “Looking ahead, the realness of human music with heart and human soul will win every time,” Raab predicts.

“Casual streamers might shrug — ‘If it sounds good, who cares?’, but dedicated fans — especially in genres like country — crave the human ‘mistakes’ that add soul, per a study on what makes tracks memorable,” Fram says. “Bottom line: Fans will stream AI songs short-term, but loyalty? That’s earned through real stories, not algorithms…Over time, ‘fake’ acts risk fizzling like one-hit wonders; true superfans bet on humans who evolve with them. AI might open doors, but only flesh-and-blood keeps ’em coming back for encores.”


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D’Angelo’s son, Swayvo Twain (born Michael Eugene Archer Jr.), spoke out for the first time since his music icon father’s funeral in a heartfelt post to Instagram on Wednesday (Nov. 12), which featured parts of his emotional eulogy at the neo-soul legend’s memorial service last month.

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“My dad, he came down to Atlanta. He spent three weeks with me. Anything we ever missed, any questions I ever had, anything I wanted to ask him about — anything — we just had every conversation,” Twain recalled. “Every laugh and every moment, man. It really just cleared my spirit, man. That’s the time I needed him the most ever. He stood right there.”

Twain explained how he gained a ton of clarity following his father’s funeral. “My mom [Angie Stone] passed and it left me with a lot of questions,” the 28-year-old added. “After [D’Angelo’s] funeral, I gained a lot of answers to things.”

Twain, a rapper and singer in his own right, is the eldest child of D’Angelo, who has two younger siblings: 26-year-old Imani and 15-year-old Morocco.

D’Angelo died at 51 years old following a battle with cancer on Oct. 14. “The shining star of our family has dimmed his light for us in this life,” his family said in a statement to Billboard. “After a prolonged and courageous battle with cancer, we are heartbroken to announce that Michael D’Angelo Archer, known to his fans around the world as D’Angelo, has been called home, departing this life today, Oct. 14, 2025.”

“We are saddened that he can only leave dear memories with his family, but we are eternally grateful for the legacy of extraordinarily moving music he leaves behind,” the statement continued. “We ask that you respect our privacy during this difficult time but invite you all join us in mourning his passing while also celebrating the gift of song that he has left for the world.”

There was an outpouring of tributes from the music community, including heartfelt messages from Doja Cat, Tyler, the Creator, Jill Scott, The Alchemist and DJ Premier.

Find Swayvo Twain’s post about his late father below.

Four of the U.K.’s leading artists are among those coming together to call on the British Prime Minister, Sir Keir Starmer, to honour a pledge to protect fans from online ticket scalpers, also known as touts.

Coldplay, Dua Lipa, Radiohead and Sam Fender are all signatories to a joint statement published Thursday (Nov. 13), in which artists, managers and fan groups are asking Starmer to commit to resale price cap legislation in the U.K.

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In its manifesto for the 2024 general election, the Labour Party proposed policies for new consumer protections on ticket resales. This evolved into an industry consultation in January, which invited views from venues, promoters, fans and other parties on a resale price cap, considering options from face value to a 30% uplift.

On Oct. 5, seven months after the consultation closed, the U.K.’s culture minister, Ian Murray, confirmed that the current Labour government would press ahead with plans for a price cap on resale tickets — but the specifics of these plans have yet to be revealed.

Now, dozens of industry figures are calling for the Prime Minister to make the commitment to price cap legislation in the next King’s Speech, which is set to take place next spring.

In the statement, the coalition says new protections are needed to “help fix elements of the extortionate and pernicious secondary ticketing market that serve the interests of touts, whose exploitative practices are preventing genuine fans from accessing the music, theatre and sports they love.”

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It adds: “For too long certain resale platforms have allowed touts to bulk buy and then resell tickets at inflated prices, forcing fans to either pay above the odds or miss out entirely. This erodes trust in the live events sector and undermines the efforts of artists and organisers to make shows accessible and affordable. Introducing a cap will restore faith in the ticketing system, help democratise public access to the arts in line with the Government’s agenda and make it easier for fans to spot illegal behaviour, such as ticketing fraud.”

Alongside the aforementioned names, the list of signatories includes The Cure’s Robert Smith, New Order, Mark Knopfler, Iron Maiden, PJ Harvey, alt-J, Aluna Francis, Bastille, Ben Howard, Brix Smith, Mogwai, Nick Cave & The Bad Seeds and Nubiyan Twist. (View the full list below.)

With the statement on Thursday, the group of signatories joins consumer choice organisation Which?, the FanFair Alliance, O2 and the Football Supporters’ Association, along with organisations representing the music and theatre industries, venues, managers and ticket retailers, among others.

The statement arrives alongside a new investigation from Which?, which outlines the global touting operations targeting the U.K.’s ticketing industry. The group identified prolific scalpers in locations including Brazil, Dubai, Singapore, Spain and the United States, all of whom were bulk-buying tickets for live music and sporting events in the U.K. before relisting them at inflated prices on platforms such as StubHub and Viagogo.

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Examples of this practice included tickets for Oasis’ Wembley Stadium shows, which were listed for prices as high as £3,498.85 ($4,594.04) on StubHub and £4,442 ($5832.41) on Viagogo. Another finding showed that a seat for the recent Minnesota Vikings vs. Cleveland Browns NFL clash at Tottenham Hotspur Stadium was listed for £3,568.39 ($4685.35) on StubHub.

Elsewhere, Which? also found multiple cases of speculative selling, which is when tickets are listed on secondary sites for double the price — even though the seller has not bought them yet.

In a press release, Lisa Webb, a consumer law expert at Which?, said: “Today’s joint statement makes clear that artists, fan organisations and consumers reject the broken ticketing market that has allowed touts to thrive for too long. The Prime Minister pledged to protect fans and a price cap on resold tickets will be a critical step towards fixing this industry, but he must commit to this legislation by including it in the next King’s Speech.”

Webb concluded: “Further reforms are also needed to ensure sellers actually own the tickets they advertise before listing them, that resale platforms ensure the identities of sellers and key information about a ticket are verified and that the new rules are effectively enforced.”

Artist signatories: Alfa Mist, alt-J, Aluna Francis, Amy Macdonald, Andro, Bastille, Ben Howard, Brix Smith, Charlotte OC, Coldplay, Dana Margolin (Porridge Radio), Dua Lipa, Graeme Park, Howard Jones, Idlewild, Iron Maiden, Johnny Marr, Keane, Kelli-Leigh, Low Island, Mark Knopfler, Mogwai, New Order, Nick Cave & The Bad Seeds, Nick Mason, Nubiyan Twist, Orlando Higginbottom, PJ Harvey, Quantic, Radiohead, Revenge of Calculon, Robert Mitchell, Robert Smith (The Cure), Sam Fender, SNAYX, Sweetie Irie, The New Eves, Travis.

Organisations: Fan Fair Alliance, Featured Artists Coalition, Football Supporters Association, LIVE, Music Managers’ Forum, Music Venue Trust, Musicians’ Union, O2, Society of London Theatre & UK Theatre, Society of Ticket Agents and Retailers (STAR), UK Music, Which?.


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In the wake of Calvin Harris’ bombshell fraud claims against business manager Thomas St. John, fellow star DJ Eric Prydz has brought a lawsuit alleging the financial adviser stole $269,000 from his accounts.

St. John, the head of beleaguered entertainment industry accounting firm Thomas St. John Group, was accused in arbitration this summer of secretly funneling $22 million from Harris’ accounts into a real estate side venture. St. John denies the claims, maintaining that the Scottish DJ was an informed and willing investor in the project.

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Now, Prydz — another titan of the EDM industry — says St. John exploited his account access to steal money. The Swedish DJ, who has been a client of St. John’s since 2012, claims in an Oct. 28 breach of contract and fraud lawsuit that St. John paid himself $269,000 in commissions for services Prydz says he never asked for or authorized.  

“Thomas St. John is a professional financial advisor who is supposed to be trustworthy and reliable, and who should be acting in the best interests of his client,” wrote Prydz’s attorney, Carla Wirtschafter of Reed Smith. “TSJ, however, proved to be none of those things. Instead, he is a fraud who not only abuses the trust of his clients, he takes money from them without their knowledge or authorization for his personal use and benefit.”

The lawsuit claims Prydz decided to fire St. John in September after discovering that the manager had taken $219,000 in unearned commissions on top of his regular 5% fee. St. John allegedly agreed to stay on through the end of October to finish a tax return for Prydz, though this process quickly turned contentious.

Prydz claims St. John tried to “extort” an additional $150,000 out of him and refused to complete the tax return otherwise, which Prydz says he refused. But according to the lawsuit, St. John unilaterally took another $50,000 out of Prydz’s accounts to cover part of this improper fee.

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The legal complaint alleges that after all this, St. John never filed the tax return as promised — and that he’s now refusing to turn over the necessary documentation to Prydz’s new financial advisers.

“As a direct result of TSJ’s malicious conduct to hold Prydz’s financial documents hostage, Prydz has been unable to complete and file the now past due tax forms,” the lawsuit reads.

Prydz is seeking a court order for St. John to release his financial records and return the allegedly stolen commissions. The DJ also wants additional monetary damages recouping St. John’s 5% fee, claiming the adviser did “little or no work” to earn those payments.

Reps for St. John did not immediately return a request for comment on Wednesday (Nov. 12).

Prydz’s lawsuit is just the latest legal woe for St. John, whose U.S. business arm has been in bankruptcy since March. The manager’s real estate project, a Hollywood development called CMNTY Culture Campus, is the subject of claims from both Harris and songwriter Philip Lawrence.

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A deep dive by Billboard last month reported that CMNTY Culture — originally envisioned as a recording studio and creative office complex — was born out of the St. John-advised, $90 million sale in 2020 of Lawrence’s catalog of Bruno Mars writing credits.

Following that deal, Lawrence opted to park some of the proceeds in a real estate venture to lessen his taxes on the sale and brought on St. John as a partner. But Lawrence’s finances soon dried up, and St. John ended up buying out the songwriter and helming the project himself.

It was at this point that St. John took on outside investors, including Harris. But while St. John claims Harris wanted in on CMNTY Culture, Harris alleges in his arbitration that the manager fooled him into signing investment documents without knowing what they were.

Harris now claims that his money has disappeared and that CMNTY Culture is a “complete boondoggle.” Indeed, St. John is no longer developing a recording studio and has yet to break ground on any construction, though he maintains that the project is still on track for success under reworked plans for a residential apartment complex.

The Harris action is still pending before a private arbitrator. Meanwhile, Lawrence has declared bankruptcy, while his estate trustee recently accused St. John in court papers of violating their fiduciary relationship during the CMNTY Culture partnership.


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Damian Lazarus’ longstanding Day Zero party will debut in Bali in 2026. The Indonesian island’s first edition of the event is set to happy April 17, with the lineup to be announced in the coming months.

The expansion makes an already major year for Day Zero even bigger, as in June Lazarus announced that Day Zero’s first Brazil edition will also happen on Jan. 3 in São Miguel dos Milagres, Brazil, located on the country’s northern coast in the state of Alagoas. Day Zero also returns to its original location in Tulum, Mexico on Jan. 10, 2026 with a lineup featuring Mau P, Seth Troxler, Nicola Cruz, Lazarus himself and many others. The event has happened annually in this location since 2012, taking off in 2018 and 2021.

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“There was never a concrete plan for Day Zero beyond our spiritual home in Tulum,” Lazarus tells Billboard of Day Zero’s new editions. “Over the years, however, my team and I have traveled to many far-flung places, exploring new opportunities—often at the invitation of established event producers and promoters. We’ve been deliberate in our expansion, never wanting to rush into anything that didn’t feel completely right for all of us.”

Day Zero Bali will be produced in partnership with the Savaya Group, a production team that puts on dance-focused events in Bali, Jakarta and beyond, and with whom Lazarus crossed paths with during his travels to the island.

“Some years ago, I also began exploring Bali as a potential destination to weave our magic,” he continues. “As I spent more time there, immersing myself in its rich culture, traditions, and cosmic energy, I fell deeply in love with the island. That connection led me to begin a dialogue with the Savaya Group, whom I immediately recognized as the perfect partners to help bring to life the vision I had been nurturing—a spectacular festival set in a truly extraordinary place I discovered.

Lazarus continues that the reason for the two new editions of Day Zero in 2026 is that it “just feels like the correct time to expand, in my soul. The Day Zero team comprises of incredibly talented people who connect in a very special way once a year in Mexico to create an other-worldly experience. We discussed the idea of bringing our love and honorable intentions to other special places and agreed that we were capable of building on what we have created so far; we all heard the call to make this kind of magic in a handful of other places.”

He adds that each site helps inspire the artist he books to play the event, saying that “every location speaks to me in different ways. I have to look at the location and try to imagine what would and would not work in each. I try to create a list of artists whilst walking the site, imagining how we will transform the site and what kind of sound and which kind of artist and personality will shine there.”

He also advises that these will be the only three editions of Day Zero to happen in 2026, given the demands of producing these shows. “We never want to water down our ethics, our care and attention to detail, our sustainability activations, or our performance led, heartfelt connections to mystical indigenous people and traditions.”

Actor Chadwick Boseman will be honored posthumously with a star on the Hollywood Walk of Fame on Nov. 20. Ryan Coogler, the director of Boseman’s biggest hit, Black Panther, and Viola Davis, the co-star of his final film, Ma Rainey’s Black Bottom, are set to speak at the event. Boseman’s widow, Simone Ledward-Boseman, will accept the award on the star’s behalf.

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Boseman’s star is located at 6904 Hollywood Blvd., in front of the Hollywood Experience. Fans who can’t be there in person can watch a livestream WalkOfFame.com.

Steve Nissen, president and CEO of the Hollywood Chamber of Commerce, will emcee the event, The Hollywood Chamber of Commerce administers the Walk of Fame for the City of Los Angeles and has hosted the star ceremonies for decades.

“The Hollywood Chamber of Commerce is deeply honored to celebrate Chadwick Boseman’s extraordinary legacy with a star on the Hollywood Walk of Fame,” Ana Martinez, Hollywood Walk of Fame producer, said in a statement. “His powerful performances and enduring impact both on and off screen continue to inspire generations around the world.”

Boseman’s breakout performance came in 2013 when he portrayed Jackie Robinson in 42. Boseman received accolades for his portrayal of James Brown in Get On Up. He next starred in the title role in Marshall, which followed a young Thurgood Marshall as he battles through a career-defining court case.

Boseman then joined the Marvel Cinematic Universe as the African superhero Black Panther in Captain America: Civil War. This marked the film debut of the character T’Challa. Boseman brought the character to the forefront starring in Black Panther, which received seven Academy Award nominations, including Marvel’s first-ever best picture nomination. Boseman won the NAACP Image Award for outstanding actor in a motion picture, and shared in the Screen Actors Guild Award for outstanding performance by a cast in a motion picture.

Boseman next starred in 21 Bridges, which he produced with his partner Logan Coles through their shingle, X●ception Content. In 2020, he appeared in Da 5 Bloods, directed by Spike Lee, as fallen soldier “Stormin’ Norman.”  In Ma Rainey’s Black Bottom, a screen adaptation of the classic August Wilson play, Boseman starred as Levee, opposite Davis. His performance garnered an Academy Award nomination and brought him the NAACP Image Award and Screen Actors Guild Award, among other honors. 

Boseman died of colon cancer on August 28, 2020. He was just 43.

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Jessica Simpson’s popular Walmart clothing line has some great picks for holiday gifts, or for stocking up on seasonal wear. The latest drop from her top-selling fashion line includes cozy jackets and other winter wear to welcome the holiday season in style — all without breaking your budget.

The fan favorite collection features affordable jackets, tops, jeans, boots, bags, dresses, skirts and more, and many of the pieces have been topping the Walmart’s bestsellers list for months. What’s even better than shopping Simpson’s clothing line? Getting select items on sale for Black Friday, including a popular faux fur jacket that’s marked down to $60 (it looks way more expensive).

Jessica Simpson Faux Fur Jacket

BLACK FRIDAY DEAL

Jessica Simpson Faux Fur Jacket

The boxy cropped jacket features a fashionable leopard print set against an oversized rounded collar and snap button closure.


What we like: it’s the perfect mix of practicality and style, with the cozy faux fur material and long sleeves keeping you warm, while the animal print and cape-style construction make it super on-trend for the season. The jacket pairs as easily with jeans as it does with a dress for a night out. The coat is almost out of stock, though you should be able to find select colors in sizes ranging from XS to XL.

Shopping for a different style? Grab the Jessica Simpson Women’s Sherpa Coat — currently on sale for $39.99 (it used to cost up to $79.99). The double-breasted sherpa peacoat is available in this chic cognac colorway with multiple sizes in stock as of this writing.

Jessica Simpson Women's Winter Coat - Full Length Double Breasted Sherpa Fleece Peacoat

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Jessica Simpson Women’s Sherpa Fleece Peacoat

$39.99 $79.99 50% off

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The wooly sherpa material is warm and cozy and hugs you like a robe.


We like the draped oversized fit, which is great for layering and flattering for all body types. The longer length, meantime, keeps you warm down below your knees. Two large pockets keep your hands snug and protected from the elements too.

Black Friday is one of the biggest shopping days of the year, and Walmart is front in line with epic rollbacks on holiday gifts and winter essentials.

Right now, Walmart shoppers can save up to 50% off, with early Black Friday discounts across fashion, electronics, beauty, toys and other departments. Walmart’s Cyber Monday sale, meantime, starts on December 1. Walmart+ members can shop both Black Friday and Cyber Monday sales early to get first dibs on closeout deals before they’re gone for good.   

When Hurricane Melissa made history as the strongest storm ever to make landfall in Jamaica, the island nation’s biggest stars immediately sprang into action to help provide relief to their home’s most devastated areas. Now, led by Sean Paul, Shaggy and Kes, several of the Caribbean’s brightest stars have teamed up for a massive benefit concert to further support relief efforts.

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Announced Wednesday (Nov. 12), the Jamaica Strong benefit concert will take place Dec. 12 at UBS Arena in Belmont Park, New York. At press time, additional confirmed performers include Chronic Law, T.O.K, Tessane Chin, Aidonia, Inner Circle, Ky-Mani Marley, Teejay, Richie Stephens, Gramps Morgan, and Mikey Spice, with more artists yet to be announced. Pre-sale begins on Thursday (Nov. 13) at 10 a.m. E.T., while general on-sale kicks off on Friday (Nov. 14).

“This is more than a concert — it’s a movement,” Jammins Events organizer George Crooks said in a statement.

With a death toll of over 75 across the Caribbean, Hurricane Melissa significantly impacted the region, particularly Jamaica, Cuba and parts of Haiti. Jamaican superstars like ShenseeaBeenie ManSean Paul and Spice have all documented their respective relief efforts via their social media channels.

Earlier this month, Shaggy spoke with Billboard about the destruction he witnessed in the days immediately following Melissa’s landfall. “We got [to Jamaica] early enough to reach the people, because it took me around six hours to get from Kingston to St. Elizabeth in Black River, which is normally a two-and-a-half-hour drive at most,” the reggae icon said. “We had to chop [tree] limbs down, move things out the way, and drive through high puddles of [runoff], so we got there in the middle of the night. At that point, all we could do was pass water out, so we had to regroup and drive six hours back to Kingston. The next day, we went to the Junction side of St. Elizabeth, which took us four hours. The square itself was shut down. It was ground zero because it wasn’t livable anymore. Nobody could stay there.”

UBS Arena is a worthy venue for the benefit concert, given its connection to New York’s Caribbean diaspora. This spring, Billboard reported that, in under a year, New York’s UBS Arena hosted five $1 million-grossing Caribbean-headlined shows across four different genres. From Buju Banton and Carimi to Machel Montano and Beres Hammond, the rhythms of reggae, dancehall, konpa, and soca ricocheted across the arena in 2025.

As Jamaica continues to rebuild, its people can find a moment of solace in the 2026 Grammy nominations. At the upcoming ceremony, all five nominees for best reggae album — Vybz Kartel, Lila Iké, Mortimer, Jesse Royal and Keznamdi — hail from Jamrock.

Check out the official Jamaica Strong benefit concert announcement below.

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.

This week: Gordon Lightfoot’s signature story song sees massive gains due to an anniversary of its titular tragedy, HAVEN. inspires odd trends and strange questions with a mysterious dance smash, Lily Allen grows buzz for her comeback album and more.

The Legend of ‘The Wreck of the Edmund Fitzgerald’ Lives On With 50th Anniversary Spike

Even among recent unlikely bringback streaming hits, few could’ve seen this one coming. “The Wreck of the Edmund Fitzgerald,” the sweeping and highly dramatic story song first captained by the late great Canadian singer-songwriter Gordon Lightfoot in 1976 — about a real-life 1975 tragedy at sea that struck the SS Edmund Fitzgerald, with all 29 on board dying — has found a second life among TikTok audiences. 

The song had gone viral in recent weeks, with videos and merch and even Chicago bar nights celebrating the song and the ship that inspired it, in commemoration of the wreck’s then-upcoming 50th anniversary (ultimately observed on Nov. 10, 2025). According to Luminate (and Billboard’s own reporting), the song had begun to rise in streams solidly in advance of that anniversary, with “Wreck” racking up 1.4 million official on-demand U.S. streams for the tracking week ending Nov. 6 — up a strong 77% from the prior week. 

And then, of course, on the actual date of the anniversary, it exploded: “The Wreck of the Edmund Fitzgerald” amassed over one million streams on Monday (Nov. 10) alone — while also selling over 1400 digital songs — up a whopping 436% and 930%, respectively, from its numbers the previous Monday (Nov. 3), according to early data provided by Luminate. It was enough to get “Wreck” onto the top 100 of the Spotify Daily Top Songs USA chart — and towards the top of the iTunes real-time chart, where it remains in the top five two days later. — ANDREW UNTERBERGER


Enigmatic Artist HAVEN. ‘Run’s Into Streaming Breakthrough 

Thanks to a viral trend likening the nondescript dance-pop of department store playlists to that of ski resorts and clubs, HAVEN. — an enigmatic artist with minimal musical footprint — has scored a streaming smash. 

“I Run” earned over 290,000 official on-demand U.S. streams during the four-day period of Oct. 31-Nov. 3. During the comparable four-day period the following week (Nov. 7-10), the viral EDM track exploded over 1,106% to 3.5 million streams, according to early data provided by Luminate. 

Though the song has quickly overtaken TikTok, opinions have been split on its quality. To date, the official “I Run” TikTok sound plays in over 25,000 posts. Last month (Oct. 21), Jorja Smith denied the narrative that the song’s vocal was sourced from an old demo of hers, leading some users to question if AI was used in the creation of “I Run.” At press time, “I Run” is unavailable on Spotify, but remains playable on Apple Music and TIDAL; the track appears to have been pulled from streaming due to possible rights issues. 

On Wednesday (Nov. 12), Andre Benz, the CEO of Broke Records, the label through which HAVEN. released “I Run,” shared an image to his Instagram Story that read “All my homies hate Sony.” Billboard has reached out to Benz, Sony Music Publishing and SoundOn for comment. — KYLE DENIS


Lily Allen Word-of-Mouths Her Way Into Top ‘End’ of Billboard 200

Veteran U.K. pop star Lily Allen hadn’t released an album since 2018’s tepidly received No Shame, which debuted at No. 168 on the Billboard 200 and No. 8 on the UK Official Albums Chart, becoming her first album to miss the top 100 and top two on the respective listings. Now, she’s back in both chart regions thanks to the slowly building embrace of her late-October-released new LP, the explosive concept album West End Girl

While West End Girl arrived with little fanfare, having only been announced by Allen four days prior, the minor detonation it sparked slowly grew over the course of last week, largely thanks to its subject matter: her recent separation from Stranger Things actor David Harbour, which the album details in often uncomfortable (if still quite catchy) detail. As the album captured headlines for its tabloid-y narrative, it also won over critics with its accessible melodies, biting lyrics and strong structuring, becoming a new favorite of pop fans who didn’t realize how much they’d missed Allen in her absence. 

As a result, the album grew steadily in official on-demand U.S. streams over the course of its debut week, ultimately racking up 11.5 million for the tracking week ending Oct. 30 — helping to propel it to a No. 118 debut on the Billboard 200 (and a No. 4 bow on the UK Official Albums Chart). By the next week (ending Nov. 6), that stream count was up 17% week-over-week, pushing it to No. 93 on the Billboard 200, as it also climbed to No. 2 on its home country’s chart. – AU


‘Wicked: For Good’ Anticipation & Live Special Boost Streams for Film Soundtrack & A Judy Garland Classic 

Wicked: For Good doesn’t hit theatres for another week and a half (Nov. 21), but the highly anticipated sequel to last year’s Oscar-winning, box office-topping musical epic is already boosting related songs on streaming. 

During the period of Oct. 31-Nov. 3, the 2024 Wicked motion picture soundtrack, led by Cynthia Erivo and Ariana Grande, earned 4.3 million official on-demand U.S. streams, according to early data provided by Luminate. By the comparable four-day period the next week (Nov. 7-10), the soundtrack spiked 55% to over 6.7 million official streams. Last year, the soundtrack reached No. 2 on the Billboard 200, and last week (Nov. 7), the compilation (and score soundtrack) earned three combined Grammy nominations, including best pop duo/group performance for Erivo and Grande’s rendition of “Defying Gravity.” 

The two Oscar-nominated witches also led the cast in a Nov. 7 special titled Wicked: One Wonderful Night. Featuring appearances from the principal Wicked film cast, viral fans and Broadway OGs Idina Menzel and Kristin Chenoweth, the Peacock special also churned out an accompanying live album. Billed to Grande and Erivo, the live album racked up over 4.3 million streams during the period of Nov. 7-10. 

To close the special, Erivo and Grande recreated Barbra Streisand and Judy Garland’s iconic 1963 duet of “Get Happy / Happy Day Are Here Again.” In the four-day period preceding the special (Oct. 31-Nov. 3), Garland’s version of “Get Happy” earned just over 10,000 official streams. In the four-day period after the special aired (Nov. 7-10), “Get Happy” logged 33,000 official streams, marking a 214% boost. 

The Wicked: For Good soundtrack, which features a pair of new original songs penned by three-time Oscar-winning composer Stephen Schwartz (“The Girl in the Bubble” and “No Place Like Home”), arrives on Nov. 21. — KD


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