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Zara Larsson is having her moment in the “Midnight Sun” in 2026.

After snagging her first Grammy nom for the track for Best Dance Pop Recording at the 68th Annual Grammy Awards this year, and landing multiple spots on the Billboard charts with tracks like “Stateside” (with PinkPantheress, No. 30), “Lush Life” (No. 36) and “Midnight Sun” (No. 69), it seems like nothing can stop the Swede’s success. Keeping up the momentum, Larsson is heading out on tour in support of her fifth studio album, Midnight Sun.

The Midnight Sun tour has already made waves despite general sales for the event starting today, Feb. 13. According to Epic Records, the North American leg of the singer’s tour officially sold out. Not to fret, though, Larsson and her team added more dates to make up for the high demand in stops like Los Angeles (The Wiltern, March 4 & 5) and New York (Brooklyn Paramount, March 26 & 27). That means put on your keychain belts and rainbow eyeshadow, because you’ll be dancing to tracks like “Lush Life” and “Ain’t My Fault” in no time. The only issue? Larsson’s popularity has made ticket prices skyrocket, meaning it can be tricky to snag your perfect seats without breaking the bank.

If you’ve been dying to see Larsson on stage, like we have, we’ll be showing you where you can get affordable tickets to her tour below. We’ve also included promo codes to help lower those prices even more.

How to Get Tickets to Zara Larsson’s 2026 Midnight Sun Tour Online

AMPLE SEATING

StubHub

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StubHub features some of the best seating we’ve seen thus far, giving fans options to sit up close or take in all the action further from the stage. The third-party platform still has a ton of seating options available. You can shop for all dates and arenas with ease thanks to the ticketing service’s FanProtect Guarantee. This initiative protects fan’s purchases by ensuring valid tickets or your money back. Plus, if your event is canceled and not rescheduled, you will receive a credit worth 120% of the amount you paid for the impacted event, or the option of a cash refund.

EARN REWARDS

Vividseats

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Seating is ample through Vivid Seats now, with prime pricing on some venues starting at just $175. The ticketing service offers a 100% Buyer Guarantee that vows your transaction will be secure, that your tickets will be delivered before your event and that those tickets will be valid and authentic. Right now, you can use promo code BB30 to snag $30 off of your purchase. Our favorite feature of the site is that it shows you the lowest ticket pricing for each venue on the landing page without having to click into the venue so you can compare in one place.

PROMO CODES

Seat Geek

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Get ready for even more affordable pricing on us with SeatGeek. With her rise in popularity, Larsson’s ticket prices have skyrocketed, making finding affordable seating a challenge. Right now, you can use promo code BILLBOARD10 at checkout to receive $10 off at checkout. We’ve seen tickets at some venues for as low as $171, and our promo code will bump that price down even further. The ticketing service features a Buyer Guarantee that ensures smooth ticket purchases every time. The site also offers you venue options based on your location, giving you the closest venue to you.

PROMO CODE

TicketNetwork

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TicketNetwork is another great option for those looking for Larsson tickets at an affordable price. You can use code BILLBOARD300 at checkout to save $300 off orders of $1,000, and BILLBOARD150 to save $150 off orders of $500. If you don’t have the funds to buy your tickets just yet, you can also buy the tickets on the website now and pay later with help from Affirm. Plus, the website includes all-in pricing that lets you see exactly what you’ll be paying upfront (fees included).

GREAT PRICES

Gametime

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Gametime is one of our favorite options when it comes to finding affordable tickets. We don’t always have the budget to shell out, which makes this third-party site great in a pinch. We’ve seen tickets going for as low as $115, a steal given how in high-demand the tour is and how pricy tickets can become. Gametime guarantees the lowest prices, event cancellation protection, job loss assurance and on-time ticket delivery for a smooth ticket buying experience every time, no matter the occasion.

OFFICIAL TICKETING

Ticketmaster

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Ticketmaster is usually the spot for official ticketing for most artists. It is widely considered the safest place to snag tickets, but pricing can be extremely high. Pickings are slim, given many venues have already sold out, but it’s worth keeping your eyes peeled in case new dates are added. The ticketing service offers a Fan Guarantee, which allows for cancellations, refunds or exchanges within 24 hours of booking, subject to certain exclusions.

The ticketing site also recently announced that they’re barring fans and brokers from operating multiple accounts on its platform. They also plan to shut down its long-criticized TradeDesk ticket uploading application and start requiring ticket brokers to hand over their Social Security numbers in order to sell tickets on Ticketmaster’s resale platform, further making sure your tickets are secure.

Zara Larsson’s 2026 Midnight Sun North America Tour Dates

February 28, 2026 – Portland, OR – Crystal Ballroom +
March 1, 2026 – Seattle, WA – Showbox SoDo +
March 3, 2026 – Oakland, CA – Fox Theater +
March 4, 2026 – Los Angeles, CA – The Wiltern +
March 5, 2026 – Los Angeles, CA – The Wiltern +
March 7, 2026 – Anaheim, CA – HOB Anaheim +
March 8, 2026 – Phoenix, AZ – The Van Buren +
March 10, 2026 – Salt Lake City, UT – The Union +
March 11, 2026 – Denver, CO – Summit Music Hall +
March 13, 2026 – Minneapolis, MN – The Fillmore Minneapolis +
March 14, 2026 – Milwaukee, WI – The Rave/Eagles Club +
March 15, 2026 – Chicago, IL – Riviera Theatre +
March 17, 2026 – Detroit, MI – Royal Oak Music Theatre +
March 18, 2026 – Indianapolis, IN – Egyptian Room at Old National Centre +
March 20, 2026 – Cleveland, OH – Agora Theatre and Ballroom +
March 21, 2026 – Columbus, OH – KEMBA Live! +
March 22, 2026 – Pittsburgh, PA – Stage AE +
March 24, 2026 – Toronto, ON – History +
March 26, 2026 – Brooklyn, NY – Brooklyn Paramount +
March 27, 2026 – Brooklyn, NY – Brooklyn Paramount +
March 28, 2026 – Boston, MA – HOB Boston – Music Hall +
March 30, 2026 – Philadelphia, PA – The Fillmore Philadelphia +
March 31, 2026 – Washington, DC – The Anthem +
April 1, 2026 – Charlotte, NC – The Fillmore Charlotte +
April 3, 2026 – Raleigh, NC – The Ritz +
April 4, 2026 – Nashville, TN – Marathon Music Works +
April 5, 2026 – Atlanta, GA – Tabernacle +
April 7, 2026 – Miami, FL – The Fillmore Miami Beach+
April 8, 2026 – Lake Buena Vista, FL – HOB Lake Buena Vista +
April 10, 2026 – Austin, TX – Stubb’s Waller Creek Amphitheater +
April 11, 2026 – Dallas, TX – The Bomb Factory +
April 12, 2026 – Houston, TX – HOB Houston +

Margena A. Christian hoped to shine a light on an under-appreciated artist with the just-published It’s No Wonder: The Life and Times of Motown’s Legendary Songwriter Sylvia Moy (Da Capo). But things have gotten a little more uptight than alright with Moy’s family.

Moy, a Songwriters Hall of Fame inductee who died in 2017 at the age of 78 in her native Detroit, joined Motown in 1964 and is best known for saving Stevie Wonder’s then-flagging career by co-writing “Uptight (Everything’s Alright),” which hit No. 3 on the Billboard Hot 100 in 1966. Moy also collaborated on other Hot 100 top 5 hits for Wonder (“My Cherie Amour,” “I Was Made to Love Her”) as well as “It Takes Two” for Marvin Gaye and Kim Weston (a Hot 100 top 20 hit), “This Old Heart of Mine (Is Weak For You)” for the Isley Brothers, and singles for Martha and the Vandellas.

In her research Christian also found evidence that Moy worked as a producer as well as a writer, but never received proper credit from Motown’s patriarchy. The book claims that she contributed to other songs — Wonder’s “Signed, Sealed, Delivered I’m Yours” and the Temptations’ “Ain’t Too Proud to Beg” — also without citation.

“She was the first female to do both [write and produce]; she did produce but never got credit for it,” Christian, a Chicago-based writer who worked for Jet and Ebony, tells Billboard. She didn’t know much about Moy prior but became interested in her story during the pandemic, when she came upon a photo of Moy with Stevie Wonder and members of Motown’s Funk Brothers studio band. “I started digging in to find her story and was amazed. I had never heard of this woman before. Why didn’t we know about her? I set out to find the truth, and it was quite fascinating. I had to dig and dig and dig and when I found evidence…it’s there for everyone to see, and decide.”

Christian interviewed Motown figures such as Mickey Stevenson, Smokey Robinson, Martha Reeves, Patricia Cosby (widow of Moy’s frequent songwriting partner Hank Cosby), songwriters Eddie Holland and Barrett Strong, song arranger Paul Riser Sr. and Louvain Demps of the Motown vocal group the Andantes. Christian also had the cooperation of Moy’s family, but an ongoing schism developed during lead-up to It’s No Wonder‘s publication.

According to Celeste Moy, a veteran music industry attorney and co-manager of the Estate of Sylvia Moy LLC, the family entered into a written agreement with Christian during 2023, before a publishing deal was signed, that secured its participation — including opening doors with some of the other Motown folks. Terms included portraying Moy in a positive light and compensating the family for its assistance. Moy claims that Christian reneged on the deal, however.

“(Christian) told us, ‘I want to do an authorized biography, not just about her Motown life but her entire life and her legacy,’” Moy says. “So we hired a lawyer…to negotiate an agreement with her for us to participate as major contributors.” Moy says the family, which also provided photos, was never notified about the publishing deal and was not given review of the manuscript, and it did not see the book until less than two weeks before publication. Christian, she adds, also stopped communicating with the family.

“That was such a blow because we treated her like she was almost a part of the family,” Moy says. “There are things nobody knows, nobody had access to but us…and photos that were not in the public domain. So we feel terribly betrayed.” She adds that the family, which did not seek an injunction to stop the book from being published, is trying to resolve the issues without going to court but is “willing to go there if necessary…. Until this dispute is resolved we are not supporting or promoting this book.”

In response, Christian says, “I did nothing wrong. My attorney and the publishing house had everything taken care of, and these are baseless claims that were addressed.” John Kendall, her Chicago-based attorney, adds that the family was paid “more than” $2,200 for the use of photos, and that an advance read of the book was not stipulated in the agreement. Other compensation terms were unspecified, he says, and would be considered on the back end, once the book had been published and was selling.

“They had no legal standing for any of the assertions they were making,” Kendall says. “It’s not logical and makes no sense for them to attack her the way they have when she’s done nothing but be upfront. If they do anything (legally) we’re prepared to respond, as I’ve already done with their attorney, point by point. Ms. Christian has, and she remains trying to take the high road on this because she doesn’t want to get anything stuck. The only thing she wants shine from this is Sylvia Moy, because of the accomplishments she made as a woman. That’s her focus.”

Jason Aldean secures his 26th Billboard Country Airplay No. 1 as “How Far Does a Goodbye Go” rises to the summit on the chart dated Feb. 21, having drawn 31.2 million audience impressions Feb. 6-12 (up 13% week over week), according to Luminate.

Produced by Michael Knox and written by Kurt Allison, John Edwards, Tully Kennedy and John Morgan, the track becomes Aldean’s first Country Airplay leader since “Trouble With a Heartbreak” ruled for three weeks in 2022. He ties Luke Bryan, Alan Jackson and George Strait for the fourth-most No. 1s since the chart began in 1990, after only Kenny Chesney (33), Blake Shelton (30) and Tim McGraw (29). His new leader previews his 20-track LP Songs About Us, due April 24.

At 22 weeks, the single’s rise is slightly slower than Aldean’s typical 19-week climb to No. 1 since October 2012, when Country Airplay split from the Hot Country Songs chart, which adopted a multimetric methodology. Still, it arrives well ahead of the overall 28-week average trip to No. 1 in that span. The run falls between his quickest ascent — 12 weeks for “Take a Little Ride” in 2012 — and his longest, 36 weeks for “Blame It on You” in 2021, and it succeeds Ella Langley’s “Choosin’ Texas” (31.1 million, up 5%), which led in its 16th week.

New Top 10s, New Music

Luke Combs earns his 25th Country Airplay top 10 as “Days Like These” climbs 11-9 (17.6 million, up 10%). Written by Combs, Brent Cobb and Aaron Raitiere, the song sets up his sixth studio album, The Way I Am, due March 20. Plus, Dylan Scott scores his eighth top 10 as “What He’ll Never Have” rises 12-10 (17 million, up 9%).

Meanwhile, debuting this week are The Band Perry’s “Psychological,” at No. 43 (1.7 million). The revamped act, now featuring Kimberly Perry and husband Johnny Costello, makes its first entry since 2016. Also, Blake Shelton’s 65th career charted title, “Let Him in Anyway,” bows at No. 56 (950,000).

All charts dated Feb. 21 will update Wednesday, Feb. 18 (one day later than usual, due to the Presidents Day holiday Monday, Feb. 16) on Billboard.com.

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.

Junior H & Gael Valenzuela, DEP</3$$SED MFKZ

Junior H’s first album in three years opens with a trilogy of songs — “No Tengas Miedo,” “En Donde Estás,” and “Errores” (where every “s” is swapped with a “$”) — each forming a mosaic of love, loss, and lingering heartbreak. The themes are unmistakably heavy, yet there’s a tenderness in the way the star balances despair with self-awareness. It’s less a requiem for ruined relationships and more a meditation on the impact of emotional scars — how they shape us without fully defining us.

Songs like “Cholo” and “La Cama” are born from fleeting inspiration, and “Mis Llamadas” shimmer with raw authenticity. Junior H’s knack for crafting confessional ballads glows alongside Gael Valenzuela’s measured vulnerability. Their collaboration LP feels effortless, unfolding as though each track were exhaled into existence in dimly lit rooms, armed with steely guitar interplay, a notebook, and the weight of their thoughts.

Stylistically, the 15-track album retains Junior H’s signature blend of brooding simplicity, born from the ethos of the ever-growing $ad Boyz movement. The Guanajuato-born artist elevates the project further by grounding his listeners in its duality: an intimate one-man confessional yet richly collaborative. Through his mentorship of the up-and-coming Mexicali singer-songwriter, the album becomes just as much about companionship as it is about the lonesome introspection Junior H is famous for. — ISABELA RAYGOZA

Julieta Venegas feat. Natalia Lafourcade, “Tengo Que Contarte” (Altafonte)

Two iconic voices of Mexican music, Julieta Venegas and Natalia Lafourcade, reunite 17 years later to celebrate friendship and offer solace through the rhythm of regional Mexican music, interpreted from a contemporary and deeply emotional perspective. In “Tengo Que Contarte” (I Have to Tell You), the second single from Venegas’s new album, Norteña — to be released this May — the singer-songwriter duo presents an ode to sisterhood through an intimate and sincere conversation, a blend of nostalgia, confession, and sisterhood, all set to the guitars and wind instruments that accompany this moving piece, reflecting the rich soundscape of Mexico. The lyrics are co-written by Venegas and El David Aguilar, co-producer of the Tijuana-born songwriter’s new album and a frequent collaborator of Lafourcade. The song is accompanied by a video of both artists during the studio recording, which captures the connection between them. — NATALIA CANO

CA7RIEL & Paco Amoroso and Sting, “HASTA JESÚS TUVO UN MAL DÍA” (5020 Records)

Following the chaotic music video for “GIMME MORE,” where they are seen burning one of five Latin Grammys they won last November, CA7RIEL & Paco Amoroso are now in a healing journey at the hand of English icon Sting. Marking their first collaborative effort, “Hasta Jesús Tuvo un Mal Día” (Even Jesus Had Bad Days) captures in essence how the Argentine duo is overcoming a crash-and-burn moment in their career due to their overwhelming rise to success.

Now, with a holistic approach and after doing a 12-step healing program, which will be turned into songs, CA7RIEL y Paco Amoroso present their new song with Sting — a jazzy punk rock song, where they sing about breaking free, paying their debts, learning from their mistakes, and becoming better people. “No, don’t give up just yet/ Even Jesus had bad days/ Follow your heart/ Everything has a solution,” they chant. “Hasta Jesús Tuvo un Mal Día” marks the first single off of the pair’s FREE SPIRITS album due in March, where they will address the 12 problems that took them to their breaking point. – JESSICA ROIZ

Carlos Rivera & Alejandro Fernández “Sin Despedida”(Sony Music Mexico)

The stunning voices of Carlos Rivera and Alejandro Fernández unite in “Sin Despedida,” where pop blends with trumpets and violins, giving it a mariachi touch, while the accordion adds its part for a norteño sound. “Drive me crazy, blind me, leave without saying goodbye and go in silence/ Lie to me a little, say it isn’t true, or take my life, my very life, and leave me dead,” they sing. The song is accompanied by a music video, filmed at an old hacienda in Guadalajara, Carlos Rivera’s birthplace. This track is the first single from Rivera’s upcoming album, Vida México. “Sin despedida” will also be the theme song for the Televisa/Univision telenovela Mi Rival. — TERE AGUILERA

Lila Downs & Snow Tha Product, “Cambias mi Mundo” (Sony Music México)

With a message of female empowerment, these two singer-songwriters, who share a dual Mexican-American heritage, send a message of freedom and pride in their origins in a powerful cumbia that invites both dancing and reflection. It’s Downs’ first new song since 2023 and a preview of her upcoming album, featuring all her own compositions. For this track, the Oaxacan-born artist drew inspiration from the strength of young women who study and strive to improve their communities, making the Californian rapper’s participation all the more symbolic. “I think women are at a turning point. We’re at that moment of taking up the mantle and saying, ‘We’re going to change our world. We’re going to do it,’” Downs says about her creation. The single’s artwork is a lithograph by artist Alex José, hand-printed using a tortilla press and inspired by the World tarot card. — N.C.

Carolina Ross & Kalimba, “No puedo olvidarte” (FONO)

Carolina Ross joins pop star Kalimba on the latest single ahead of her debut mariachi album, slated for release in March. “No puedo odiarte” (I Can’t Hate You) speaks of the frustration of not being able to forget a past love that still hurts deeply. The track marks the first time the former OV7 member has recorded in the regional Mexican genre. The classic mariachi sound — with its elegant violins and trumpets — sounds romantic and even nostalgic in this Ross track, included on the album Coleccionando Corazones (Collecting Hearts), her debut on Fono Records after a successful independent career. Carolina is nominated for a Premio Lo Nuestro award for female artist of the year – Mexican music. — T.A.

Check out more Latin recommendations this week below: