Ahead of its 40th anniversary, Capital One City Parks Foundation SummerStage revealed its 2026 lineup on Tuesday (April 28). On June 10, Grammy winner Ledisi, in association with Blue Note Jazz Festival, will open the season with a set that salutes jazz icon Dinah Washington—fitting enough, given that the inaugural SummerStage concert was delivered by Sun Ra, another jazz legend, albeit one of a very different bent. (The Sun Ra Arkestra began the annual NYC concert tradition June 1986 in Central Park.)

The 2026 SummerStage lineup, which offers free concerts across all five boroughs, includes a number of legendary artists, familiar hitmakers and buzzing newcomers from a variety of genres: Laurie Anderson (who is somehow making her SummerStage debut despite being an integral part of the NYC art scene for longer than SummerStage has existed), Angélique Kidjo, Mavis Staples, De La Soul, Spoon, Andrew Bird, Bilal, MIKE’s Young World with Max B, Julieta Venegas, Edem, Black Country, New Road, Horsegirl, SHABAKA, Kokoroko, Trueno, Luedji Luna ft. Liniker, Shaggy, WayV, Charlie Aponte and more.

You can check out the full lineup (so far) here, but here are a few shows worth special mention. Longtime SummerStage mainstay Funk Flex taps Jon B. for the Birthday R&B Picnic on Central Park on Aug. 7, then hosts a night of house/freestyle and hip-hop with Crystal Waters, Cynthia and Frankie Cutlass on Staten Island on Aug. 8. He’s also presenting a Hip-Hop Appreciation Park Jam in the Bronx July 31 with Doug E. Fresh. One day earlier on July 30, a celebration of the wildly influential breakbeat compilation series Ultimate Breaks and Beats hits Central Park to celebrate its 40th anniversary, led by the series’ co-founder Breakbeat Lou and featuring Lord Finesse, Diamond D, Grand Puba and Sadat X.

As per usual, the 2026 SummerStage season includes ticketed benefit shows to help fund the free performances, including: The Martinez Brothers (June 13); Elderbrook (June 20); a showcase for British trance label Anjunadeep (July 18); Blues Traveler with Gin Blossoms and Spin Doctors (Aug. 15); Simple Plan with 3OH!3 and Bowling for Soup (Aug. 19); The Marcus King Band (Sept. 12); Charley Crockett (Oct. 1); and more artists, with additional names yet to be announced.

“Forty years ago, I had a simple idea: that world-class music and performing arts belonged to everyone, not just those who could afford a ticket. Four decades later, I’m genuinely moved by what SummerStage has meant to our city and what we helped build together with our fans,” said Joe Killian, SummerStage founder and executive producer (1986-1993) and City Parks Foundation board member.

“It is such a thrill to be presenting our 40th season lineup, while also celebrating four decades of showcasing iconic artists and dynamic new voices from around the world,” said Erika Elliott, executive artistic director of SummerStage. “We are extremely proud of SummerStage’s place in NYC music history and of championing artists across all genres, whether its local NYC icons or major stars from across the globe. This summer’s performances in each borough will continue to provide platforms for artists to share their creativity with the diverse communities that make up our city and further build our legacy.”

“I am thrilled to announce our 2026 SummerStage lineup and mark our momentous 40th anniversary,” said Heather Lubov, executive director of City Parks Foundation. “This season’s exceptional mix of artists truly embodies why SummerStage has become such a beloved music destination for the past four decades, and reflects our city’s rich cultural diversity. We are excited to continue the tradition of bringing memorable live performances to NYC’s parks and celebrating our communities.”

The legendary Estadio 3 de Marzo — which for 55 years served as the venue for some of the most iconic moments in sports and music in the Mexican state of Jalisco — will write a new chapter as it transforms into the Coliseo GNP Seguros: a renovated venue centered on live entertainment, featuring modernized infrastructure and a fan-focused experience, Ocesa announced on Tuesday (April 28).

According to the promoter, the renovation of the iconic venue — which will open its doors this coming August and accommodate up to 30,000 attendees — is the result of a historic investment and a partnership between OCESA, GNP Seguros and the Autonomous University of Guadalajara.

This project “redefines the way live entertainment is experienced, positioning Jalisco as a strategic hub within the global entertainment circuit,” the company said in a press release.

The Coliseo GNP Seguros will kick off this new chapter with an extensive artistic and cultural lineup, featuring performances by stars such as Alejandro Sanz and Yuridia, as well as a powerhouse trio of major ska bands — Auténticos Decadentes, Caligaris and Panteón Rococó — who will be performing together for the first time.

The renovation encompasses both structural and operational changes. One of the most significant is the elimination of unnumbered zones: the entire stadium will now feature assigned seating, in addition to new areas such as the Diamond Stand, designed to offer an experience closer to the stage. The redesign also includes a new entrance plaza, expanded tunnels, improved accessibility, and a renovation of the roof and façade — elements intended to facilitate movement and enhance audience comfort.

“The venue will also feature a digital screen system — including a perimeter LED ring and strategic visual communication points — that enhances the experience inside the stadium,” Ocesa added.

For decades, the Estadio 3 de Marzo served as the setting for some of the most significant moments in sports and music in Guadalajara, hosting international artists such as Luis Miguel, Shakira, Karol G, Linkin Park, Justin Bieber and Lady Gaga, while solidifying its status as a key venue within Mexico’s entertainment circuit.

“In this new phase, it will maintain its sporting vocation, coexisting with a world-class entertainment offering,” Ocesa said. Last year, Live Nation increased its stake to 75% in the operations of the Mexican company Ocesa and Ticketmaster Mexico.

Unbound Japan is a new interview series spotlighting entertainment industry professionals who have built careers on the international stage. For its inaugural installment, Billboard Japan spoke with Ryota Takaji, a professional dancer based in Los Angeles. Having danced since childhood, Takaji recently appeared as one of Bad Bunny’s dancers at the Super Bowl halftime show in February. He opened up about how he made his way to the world of U.S. entertainment and what keeps him going as a working dancer there.

When and how did you start dancing?

I don’t remember it clearly because I was so young, but apparently when I was around 5 I used to imitate idol performers I’d see dancing on TV. My mother happened to know someone whose daughter was taking dance classes, and we were invited to her recital. When we went, I thought, “I want to do that too,” and that’s how I started. Back then, I looked up to popular acts on TV like SMAP and Morning Musume.

When did your interest start to shift from Japanese artists to dancers overseas?

There was a teacher I really admired from elementary school, and that teacher got deeply influenced by a dancer when she went to the U.S. I attended a workshop this dancer held in Osaka, where I’m from, and that was my first real encounter with someone from outside Japan. Around the time I was in junior high school, more and more people started posting class footage on YouTube. Watching those videos, I kept thinking how cool it was, how people from where it all originates are just on another level. That’s when my interest really started to grow. By high school, whenever a foreign dancer came to Japan to teach, I was taking overnight buses to Tokyo by myself and going to their classes once or twice a month. The dancers I met there had a huge impact on me.

So you were getting information from abroad through the internet early on.

I think it was around that time that Japanese people making names for themselves overseas were gradually starting to emerge. I looked up to people like s**t kingz and Koharu Sugawara, who were making it internationally. From there I got curious about the dancers from other countries that I was seeing in class videos and started researching them. From high school onward, I’d say my switch had fully flipped toward going abroad. It was basically all I had my sights on.

When did you decide you wanted to go to the U.S.?

I always knew that once I graduated high school, I had to get to the U.S., at least once. So the first time I went was right after graduation. I was only there for two months, taking classes from people I admired and essentially doing a dance-only study abroad stint. But two months felt nowhere near enough to absorb what I needed. I figured I had to go for a full year or more next time, so I started saving money and preparing. I went back when I was around twenty, this time attending language school while also dancing, for about two years.

But being a student meant I couldn’t work, and I realized I’d need a visa to actually work as a dancer over there. The standard route to getting that visa is to build a career outside the U.S. and submit that track record as evidence. So I returned to Japan and moved to Tokyo to establish myself properly, but that coincided with the COVID lockdown. Live performances were off the table, and I worked within those limitations which made me think a lot about my future. Through all of that, I came to the conclusion that I still wanted to see what I could achieve in U.S., so I got the visa and came back around the end of 2022.

When you’re pushing toward a goal and obstacles inevitably come up, how did you deal with them?

The people around me were a huge help. But to be honest… High School Musical was really popular right around that time. I’d watched it and was caught up in this image of American life, so I was only seeing the exciting parts.lol

But there were plenty of practical problems, the everyday hurdles you simply can’t survive without clearing, like opening a bank account. I had no choice but to solve them. By stumbling through it all, I gradually figured out how to handle things.

Which artists have you’ve worked with so far?

I’ve danced for Kyary Pamyu Pamyu and Fujii Kaze, the Paralympic closing ceremony, and Amazon Prime’s The Masked Singer, where I was one of the exclusive dancers on the show. During my time in Tokyo, a lot of my work was music videos and commercials because of the COVID pandemic. Since coming to the U.S., I’ve done music videos for artists like Eric Nam, and I also do some behind-the-scenes work that’s common in K-pop called skeleton crew work, where you dance in videos that help artists learn choreography.

In terms of working in Japan, I was so honored I got to work with Fujii Kaze. I did his music video and danced at his stadium concert. I’d actually been listening to his music a little before that, and had been hoping I’d get to work with him someday. It was a dream come true when it actually happened. I was overwhelmed.

Most recently, you danced for Bad Bunny at the Super Bowl halftime show, held February 9th in Santa Clara, California.

It’s one of the biggest shows in America and every dancer’s dream. I couldn’t be more proud to be a part of it and it really left a huge impact in my heart.

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How did it come about?

It was an audition. This applies to any performing stint, but physical appearance and proportions matter enormously in this industry. So I honestly don’t know exactly how they selected the dancers for this halftime show. A massive number of people came to audition. I was chosen through whatever process they used to narrow things down, and I genuinely feel like it was all about the timing.

I imagine how hard it is just waiting for that time to come.

Opportunities come at different times for everyone. I kept up my daily training while waiting for my moment. The announcement that Bad Bunny would perform at the Super Bowl came in the fall of last year. He’s from Puerto Rico, so I was thinking it would be great if this became a stage where Latin and Hispanic people could shine. Given the political climate, with so much going on right now, I was hoping it would be a performance that made those people happy, a show that featured a lot of them. I was thinking about it almost like it was happening outside of the world. So the idea that I could actually be part of it never even crossed my mind.

When I got the email for the audition, it didn’t say “Super Bowl”, but I heard through word of mouth what it was actually for and thought, “I have to give everything I’ve got.” I passed one round, got called back for another, and it went from there. I gave it everything I had to make it through, of course, but I didn’t do anything particularly different from usual. Honestly, I think it really was just timing and luck.

You were the only Japanese dancer in Bad Bunny’s halftime show. Do you find it difficult to succeed as an Asian dancer based in the U.S.?

Very much so. Like a lot of times, as a male dancer you have to be tall to even get invited to auditions. Oftentimes there are height restrictions, so you don’t even get a chance. I’m a small guy, so it’s really hard keeping up alongside big and buff American dancers. On top of that, Japanese people tend to be shy. I’m no exception and have a very Japanese personality, so I still struggle with putting myself forward and pitching myself assertively. There were times where I couldn’t find the courage to step up even though I knew it was the only way to seize an opportunity, and it really got me down.

If you could offer advice to young people who want to make it on the world stage, what would you say?

Observe yourself, not necessarily every single day but consistently, and keep improving little by little without settling for where you are. I’ve seen a lot of people got burnt out and decide to quit by being too hard on themselves, so what matters is taking care of yourself while staying honest with yourself, and just keep repeating that cycle of getting a little better at a time. Like I said, timing and opportunities are completely different for each person. You have to believe your moment will come and just keep building toward it. Getting a chance early doesn’t necessarily mean everything, since you might get satisfied and stop working hard. No matter when the opportunity comes, what it always comes down to is the work you put in every day. I think all you can do is to keep growing in a gradual way like that.

Have there been times when you’ve struggled personally, watching fellow Japanese dancers find success while you were still waiting for yours?

Of course, that still happens all the time even now. In the age of social media, you’re constantly seeing people at their best, and that can really bring you down. But that’s just how it is. Something I’ve come to understand a little more recently is that everyone has a different relationship with social media and with friends in the same field. The distance that feels comfortable is different for each person. All you can do is look inward and keep figuring out what’s right for you.

Is there anything you’d like to take on going forward?

I love creating performances and shows, so I’d like to gradually get into choreography and direction, drawing on what I’ve experienced and seen. I’d especially love to do that kind of work in Japan. I’d be so happy if I could contribute the things I’ve gained through training and building my career in the U.S. as a small positive impact on Japanese entertainment. Alongside my dreams as a dancer, I want to start pursuing that goal as well.

—This interview by Sakika Kumagai first appeared on Billboard Japan

Rising Maryland rapper HavinMotion (born Dwayne Omar Isaacs, Jr.), 22, was shot and killed in Washington, D.C. on Thursday (April 23). According to a press release from the Washington Metropolitan Police Department from Friday, officers responded at 10:11 p.m. to reports of a shooting and when they arrived on the scene they observed an “adult male victim who was unconscious and not breathing, suffering from apparent gunshot wounds.”

DC Fire and EMS also responded an despite lifesaving efforts, said Issacs succumbed to his injuries at the scene. The release confirmed that the victim was Upper Marlboro, Maryland resident Isaacs, whose name matches that of the MC who last month released a pair of songs on his YouTube channel, a remix of Kehlani’s “Folded” and the distorted trap anthem “Druggin N’ Thuggin”; the video for the latter opens with a disclaimer reading: “All weapons in this video are AI-generated for the purpose of entertainment.”

According to Complex, D.C.’s Chief Medical Examiner said the rapper’s manner of death was “multiple gunshot wounds” and the manner of death was tagged as “homicide.”

MPD is offering a $25,000 reward for anyone with information leading to an arrest in the case. A spokesperson for the police department told Billboard on Tuesday morning (April 28) that the investigation into the shooting is ongoing and that there is currently no information on suspects or motive.

HavinMotion’s Spotify page has 113,062 monthly listeners and 28,100 followers. Starting with his 2002 single “iM SAD,” the rapper released a string of singles, EPs and albums, including the 2022 EPs Stuck Ina Mix and Lost Files, followed by the 2023 EPs Lost Files 2, 100 Day Run and Bang Music, the 2024 albums Motion, Trappin In Beverley and Sorry Ma, the 2025 LPs Romantic Trapper, F–k You Pay Me and Rich Junkie, this year’s 16-track How Life Been album and a string of singles.

Watch HavinMotion’s “Folded” remix video below.