Jennifer Lopez is well aware of the heat Bad Bunny can bring and that’s why she’s so psyched that the Puerto Rican superstar has been tapped to headline the 2026 Super Bowl 60 halftime show. Chatting with the Today Show on Monday morning (Oct. 6) to promote her upcoming movie musical Kiss of the Spider Woman, Lopez was asked to share her reaction to the Puerto Rican superstar being tapped to headline next year’s Super Bowl halftime show.

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Recalling that Benito was a special guest in 2020 when JLo and Shakira lit up Hard Rock Stadium in Miami during that year’s Super Bowl halftime celebration, Lopez recalled the “amazing time” the trio had creating what she called a “cultural moment.”

“I think he’s about to blow everybody’s minds,” Lopez said of Bad Bunny, who she predicted might be introducing himself to some in America who are not aware of his worldwide fame. Asked to respond to the controversy ginned up by some on the right who have complained about a Latin artist headlining the traditionally biggest TV moment of the year — with some in the Trump administration threatening to deploy ICE agents to Santa Clara’s Levi’s Stadium to search for undocumented attendees at what they called a “shameful” show — Lopez said she was unaware of any flap.

“I swear I don’t know,” she said about the push back from some quarters. “Why? Buy why? I don’t understand that. He’s one of the top artists in the world right now, probably the top.” And while it could have been any number of other acts, Lopez said she’s “super excited” to see Benito do his thing and for some non-fans to see what he’s capable of.

“I’m super excited for people to see him who think that because I think they’ll be pleasantly surprised because his music transcends language. It’s amazing what he’s done…” Lopez said of Bad Bunny. “I’m excited to see what he does. He puts on a great show. He’s a great entertainer.”

Though she did start he movie career with the 1997 musical biography Selena about Tejano music icon Selena Quintanilla-Pérez, Lopez told Today Show co-host Craig Melvin that the big screen remake of Kiss of the Spider Woman is her first proper movie musical in which she gets to show off her triple-threat singing, acting and dancing skills.

“This is like a dream come true. I get to sing, I get to dance, I get to play a Hollywood movie star,” said Lopez. “There was so much about it that were checks of the bucket list of when I was a little girl and was dreaming of doing this with my life.”

Melvin got a playful laugh out of Lopez when he deftly pivoted from talking about the touching love story at the heart of Kiss of the Spider Woman to noting that JLo filmed the movie in the midst of her divorce from Ben Affleck and that her ex is one of the movie’s executive producers. “If it wasn’t for Ben the movie would not have got made,” Lopez said generously of her former husband.

“Things happen… you have to keep going, but the movie is about escapism, about how movies and art save us in the hardest times of our lives,” she added. “Doing this project was such a dream come true for me and it really got me through, to survive a moment that was difficult in my personal life as well.”

Watch Lopez on the Today Show below.


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The U.S. Supreme Court won’t hear a case against Live Nation over the company’s use of arbitration agreements for ticket buyers, leaving in place a ruling last year that called the provisions “opaque and unfair.”

The concert giant had asked the justices to tackle the case and overturn that strongly-worded decision, arguing it “creates massive uncertainty” for the many companies that have long required consumers to sign such clauses.

But in an order issued Monday, the Supreme Court denied Live Nation’s request; as is typical, it did not issue any explanation for the decision. The justices hear only a tiny fraction of the thousands of petitions they receive each year.

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Filed as a class action in 2022 on behalf of “hundreds of thousands if not millions” of ticket buyers, the lawsuit claims Live Nation and Ticketmaster violated federal antitrust laws by abusing their dominance to charge “extraordinarily high” prices to consumers.

Faced with those allegations, Live Nation argued that fans had waived their right to sue in court when they bought their tickets because they had signed arbitration agreements — a common requirement when purchasing tickets and other services from many companies.

In rejecting that argument in October, the U.S. Court of Appeals for the Ninth Circuit ruled that Live Nation’s agreements were “unconscionable and unenforceable” since they would make it “impossible” for fans to fairly pursue claims against the company.

The criticism centered on Live Nation’s decision to alter its terms of use to require fans to submit to “mass arbitration.” Offered by an upstart arbitration firm called New Era ADR, the new process was aimed at handling many cases at once rather than individually, which Live Nation believed was necessitated by aggressive tactics from lawyers representing huge numbers of concertgoers. But the appeals court said it was clearly unfair to the fans.

“Forced to accept terms that can be changed without notice, a plaintiff then must arbitrate under … opaque and unfair rules,” the appeals court wrote at the time. “The rules and the terms are so overly harsh or one-sided as to unequivocally represent a systematic effort to impose arbitration as an inferior forum.”

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In asking the Supreme Court to review that ruling, Live Nation called it a “deeply flawed decision” that exemplified the kind of “judicial hostility” to private arbitration that’s prohibited under federal law.

“The Ninth Circuit’s decision below flouts [federal arbitration law], defies this court’s precedents, and threatens to block sensible measures for addressing the new phenomenon of mass arbitration filings,” the company’s lawyers wrote.

Following the Supreme Court’s rejection of the case, the lawsuit will now return to a federal court, where the concertgoers’ antitrust allegations against Live Nation will now proceed into litigation. Neither side immediately returned requests for comment on Monday.


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“I went into Not for Radio with the intention of not writing any pop songs,” María Zardoya says. It’s a sharp departure for an artist on the heels of a breakthrough in the genre: With the indie-pop quartet The Marías, Zardoya has enjoyed crossover success this year, from performing at Coachella to landing three Billboard Hot 100 hits, including the group’s viral smash “No One Noticed” — and now contending for a Grammy nomination in the best new artist category. Yet Melt, Zardoya’s solo debut as Not for Radio, plays like a love letter to the environment rather than a side quest for solo stardom.

“It’s a project with songs that I want people to experience the way that I love experiencing music — out in nature, lying under a tree or going on a walk,” she says. “[It’s written] completely out of my comfort zone and away from the industry.”

Penned during the wintertime in upstate New York, Melt (out Oct. 10) was created in collaboration with Sam Evian and Gianluca Buccellati and offers a lush collection of reflective ballads infused with gothic romanticism and a touch of psychedelia. As Zardoya describes, the album is an invitation to reconnect — with oneself, with love and with the natural world.

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Winter Walks

We went into a cabin in the woods in upstate New York in the dead of winter — and I’m Puerto Rican, I hate the cold. (Laughs.) But I wanted to make myself uncomfortable. I made it a point every single morning to go on a two-hour nature walk. It didn’t matter if it was snowing, raining, sleeting or ice everywhere. I was like, “Let’s just put on whatever gear we have and go trekking through the woods.” You can see that reflected in the music. I was so inspired by nature and everything that I was seeing on those walks — how the light [sparkled], the moss sprouting from the snow and the little green sprouts.

Lord Of The Rings

The first day there, I discovered that Sam and [Gianluca] were both huge fans of Lord of the Rings. Luca was reading the books, and Sam had already read it. They were geeking out over the story, and I felt kind of left out. So I watched the movie; I really liked it, but I got spooked that I couldn’t finish it. It felt very much in line with how we were experiencing life, like hobbits in the woods. I think that movie early on showed itself to us. We were loosely inspired by the visuals and the essence of the movie.

Broadcast At Dawn

We were also listening to a lot of [indie band] Broadcast on our way to the hikes, Hope Sandoval’s solo projects and Thom Yorke at night. We were sharing music back and forth with each other. I want Not for Radio to be very much of the season. We wrote the entire album in three weeks, and what’s interesting is that the tracklist [follows the] order in which we wrote the songs. It’s very much of the moment.

Natural Psychedelia

Sam and Luca dabbled a little bit with psychedelics, but I just felt like I was already living in a psychedelic time because I was experiencing a world that I had never experienced before. I had never been in upstate New York trekking through snowy woods. There was one morning that we walked on a frozen lake — literally walking on water! Psychedelic moments continuously happened that expanded my awareness, just like a psychedelic [substance] would, without ever having to dabble. Nature was showing itself to me in ways that I had never experienced before, which informed the album.

This story appears in the Oct. 4, 2025, issue of Billboard.

Brandon Lake and Jelly Roll will perform together at the 2026 GMA Dove Awards, which will be taped at Bridgestone Arena in Nashville on Tuesday (Oct. 7). Their collab “Hard Fought Hallelujah” cracked the top 40 on the Billboard Hot 100 in May. The song — which the two artists cowrote with Steven Furtick, Chris Brown and Benjamin William Hastings — is nominated for song of the year. Lake is this year’s leading Dove Awards nominee, with nine nods.

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Four of the six nominees for artist of the year – Lake, CeCe WinansJosiah Queen and Lauren Daigle – are set to perform on the show. Of this year’s artist of the year nominees, only Forrest Frank and Phil Wickham have not been announced as performers.

The show will also feature a Special Opry 100 performance from Opry members Lady A, Steven Curtis Chapman and Vince Gill, and a separate multi-artist Latin performance from Israel & New Breed and Unified Sound, whose “Coritos de Fuego” is nominated for Spanish language recorded song of the year. In the segment, they will be joined by Aaron Moses, Adrienne Bailon-Houghton, Alex Campos, Christine D’Clario, Ingrid Rosario, Janina Rosado, Josh and Waleska Morales from Miel San Marcos, Lucia Parker and Nate Diaz.

The show will air on TBN and stream on the TBN+ app on Friday, Oct. 10, at 7:30 p.m. and 10 p.m. ET. The show will be simulcast on SiriusXM The Message. An encore presentation will air on TBN and the TBN+ app Friday, Oct. 17, at 7:30 p.m. and 10 p.m. ET.

Prior to the Dove Awards broadcast, viewers can watch TBN’s Red Carpet hosted by Kristin Adams on Friday, Oct. 10, exclusively on the TBN+ app and TBN YouTube.

The 56th Annual GMA Dove Awards are presented in partnership with the Cantinas Arts Foundation. Tickets are on sale on the awards show’s website.

The Dove Awards are produced by the Gospel Music Association. Jackie Patillo and Justin Fratt serve as showrunners and executive producers, Curtis Stoneberger and Paul Wright as producers, and JoAnna Illingworth and Shama Mrema as scriptwriters. Russell E. Hall returns as director and Scott Moore and Go Live Productions as production manager.

For the complete list of nominees, visit the Dove Awards website.

Performers

Brandon Lake and Jelly Roll

CeCe Winans

Christine D’Clario

ELEVATION RHYTHM

Elevation Worship

for King + Country

Fred Hammond featuring The Choir Room

Gaither Vocal Band

Israel & New Breed and Unified Sound

Josiah Queen

Lauren Daigle

Leanna Crawford

Lecrae

Tamela Mann

Tauren Wells feat. gio.

Opry 100 performance: Lady A, Steven Curtis Chapman and Vince Gill

Latin performance: Israel & New Breed and Unified Sound with Aaron Moses, Adrienne Bailon-Houghton, Alex Campos, Christine D’Clario, Ingrid Rosario, Janina Rosado, Josh and Waleska Morales from Miel San Marcos, Lucia Parker and Nate Diaz.

Presenters

Aspen Kennedy

Bart Millard

Bodie

Candace Cameron Bure

Chris Tomlin

Crowder

David Mann

DOE

Jackie Hill Perry

Jason Crabb

John Crist

Karen Peck

Lee Vasi

Milo Ventimiglia

Naomi Raine

Natalie Grant

Pastor Mike Jr.

Patricia Heaton

Sadie Robertson Huff

Sarah Jakes Roberts

Sonya Isaacs

Special Appearances by

Colton Dixon

Joel Courtney

John O’Leary

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Fan or otherwise, it’s hard to keep up with Taylor Swift and her busy schedule.

Whether she’s selling out major tours around the globe, dropping internet-breaking albums or getting ready to head to one of her fiancé Travis Kelce’s football games, the “Lover” singer is constantly on the go. If you can’t keep up with her in real life, these fan-made Where’s Waldo-esque books are a fun alternative. Our first pick is Where’s Taylor? by Chartwell Books and currently retails for $10.99 and is only available in a hardcover version.

Our second pick is Taylor Swift: Unofficial Search and Find Biographies by Gus Morais which currently retails for $19.99. It will be available on Oct. 7 but can be preordered now via Amazon. This book is available in two versions, hardcover and electronically through Kindle. Both books parody the musician’s impressive on-the-go lifestyle, offering fans both young and old an interactive experience, for affordable prices.

Taylor Swift Fan-Made Puzzle Books: Where to Buy

Unofficial ‘Where’s Taylor?’ Book

A fan-made Where’s Waldo-esque puzzle book about Taylor Swift.


Taylor Swift Fan-Made Puzzle Books: Where to Buy

Taylor Swift: Unofficial Search and Find Biographies

A Taylor Swift puzzle book.


These Swift-themed book makes great gifts for the die-hard Swiftie in your life. Through each book’s colorful illustrations, readers are tasked with searching for the superstar in various settings from New York City to Nashville, taking fans through all of her eras from Lover and Speak Now to Folklore.

Throughout the scenes, the reader will also find special objects that Swifties will be very familiar with, including the star’s iconic sparkly guitar, red heart sunglasses, her three cats, Karyn the cobra, the number 13 and so much more. While they’re busy solving puzzles, readers will be treated to interesting anecdotes and facts about Swift’s record-breaking career, so they’ll be learning about their idol, and having fun doing it.

Taylor Swift Fan-Made Puzzle Books: Where to Buy

Unofficial Taylor Swift Eras (The Sticker Version): 1,100 Stickers, 11 Eras, and More!

$5.04 $9.99 50% off

Buy Now On Amazon

A book featuring 1,100 stickers inspired by Taylor Swift.


While you’re surfing Amazon for Swift-inspired books, you might also want to grab this unofficial sticker book, also inspired by the performer’s many eras. Lucky for you, this sticker book is currently on sale on Amazon for just $5.04. That’s 50% off the book’s original price.

The book features a whopping 1,100 stickers that reference Swift’s 11 eras, along with nods to her personal life, like her status as a proud cat mom. If your laptop or notebooks are looking a little bare, spruce them up by slapping a few Swift-inspired stickers on them and decking them out in honor of your favorite singer.

We can also see these stickers looking great on your favorite water bottle or on the bumper of your car. This sticker book allows you to freely jazz up any empty space you want with these stickers. The sticker book, like the aforementioned puzzle book, is chock-full of Easter eggs we’re sure Swifties will love, including references to the ever-iconic Eras Tour friendship bracelets and fan-favorite lyrics. Whether you’re a die-hard Swiftie or a lover of eclectic stickers, this one’s for you.

Sergio Maya, a young mariachi musician from central Mexico, was crowned the winner of the binational Mexico Canta contest in the best performer category on Sunday night (Oct. 5). Meanwhile, singer-songwriter Carmen María González, representing the central region of the country, took the top prize in the best composition category.

The final of the contest, broadcast live on Mexican public television from the Esperanza Iris Theater in Mexico City, also awarded Galia Siurob, from the border city of Tijuana, with a special mention from the jury of the Mexican Music Council. A total of 222,900 votes were cast by the television audience, according to figures from the Mexican Government’s Ministry of Culture, which organized the contest.

The three winners will receive a contract with transnational or independent record labels, announced Federal Secretary of Culture Claudia Curiel de Icaza.

The contest, the first of its kind, is a cultural initiative promoted by the administration of Mayor Claudia Sheinbaum, who seeks to change the narratives of violence in Mexican music as an integral part of her government’s policy for peace and against addiction.

The winners are announced at at the Mexico Canta contest finale on Oct. 5, 2025 in Mexico City.

The winners are announced at at the Mexico Canta contest finale on Oct. 5, 2025 in Mexico City.

Consejo Mexicano de la Música

“I wrote this song inspired by the president’s words when she said we should create new narratives,” Maya told the press after the ceremony. The 21-year-old from the state of Hidalgo won over the audience with his song “Quiero Soñar” (I Want to Dream), a cheerful mariachi-style tune full of patriotic sentiment. “The message of building a different Mexico was very inspiring.”

Carmen María, a Mexican singer-songwriter who combines traditional and contemporary genres, won the composition category for her song “Todo Para Nada” (All for Nothing). And Galia Siurob was awarded by the jury for her charisma, powerful voice, and heartfelt performance of “De Menos a Menos” (From Less to Less).

“There was an important representation of what young people do today, without stereotypes. They talk about a Mexico that exists, that young people talk about, but what is lacking are platforms that give them visibility,” Curiel de Icaza said at a press conference. “This has no commercial purpose in any sense; it has a purpose in terms of content and expression.”

The final brought together 11 contestants from the six regions that made up the initiative (eastern, central, and western United States; northern, central, and southern Mexico), who were chosen by a jury during the weekly semifinals held from August 17 to September 21. Four of them were “rescued” by the Mexican Music Council, giving them a second chance after their elimination.

The Mexico Canta final featured special appearances by Mexican-American regional music group Intocable and singer Majo Aguilar, who captivated viewers with a cover of Juan Gabriel’s “Así Fue.”

The Mexican Ministry of Culture, responsible for organizing the contest, reported that more than 15,000 performers — including 12,448 participants in Mexico and 2,444 in the United States — registered as contestants in this event that seeks to transform music into a vehicle for identity, peace, and resistance.

The competition was supported by a sector of the country’s music industry that included transnational record labels Virgin Music Group and Fono/Universal; the Consejo Mexicano de la Música (CMM or Mexican Music Council); the Sociedad de Autores y Compositores de México (SACM or Mexican Society of Authors and Composers); the Asociación Mexicana de Productores de Fonogramas y Videogramas (AMPROFON, or the Mexican Association of Producers of Phonograms and Videograms), among others.


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As one of crunk music’s high-energy pioneers, no one could have foreseen that Lil Jon would use that rambunctious genre as a jumping-off point to teach Peloton classes, compete in weightlifting competitions, make three meditation albums, or appear on an NBC game show about IDing music.

Lil Jon is the latest guest to appear on Celebrity Name That Tune, which airs on Monday night (Oct. 6) at 8:00 PM ET. He’ll face off against Chord Overstreet, and Lil Jon’s appearance serves as the latest unexpected twist in the rapper’s career. He’s emerged as one of hip-hop’s most talented renaissance men, from performing on the Super Bowl stage to touring Australia with Mariah Carey and Pitbull. Lil Jon tells Billboard he’ll do just about anything to keep his spirit happy these days.

“When I turned 50, I started looking at my life and reevaluating things in my life,” Jon says over Zoom, “and I just chose mental health and my physical health over everything else, and that’s super important, as well as family. We only got one life to live, and especially if you’ve worked a long career like I have and accomplished so many things, why not have fun? It’s time to do what makes you happy and put yourself first.”

Lil Jon talks with Billboard below about his time on Celebrity Name That Tune, shares his thoughts on Bad Bunny ahead of his Super Bowl Halftime Show, and discusses his new remix meditation album dropping Oct. 29.

When did you realize you had such a deep knowledge of being able to name that tune?

I have a DJ ear, then, being a musician and a producer, I have a musical ear. It’s easy to do it on the couch, but it’s harder to do it in person! But even listening to the radio, I could tell what song was coming in, I could tell before too much of it played. I love Name That Tune, I loved being a part of the show and doing the show. It worked out; it was so much fun. It was a lot of people in there too! I was surprised it was such a big studio audience, and they had a lot of energy. It was a really competitive show. It was fun.

What were some ways you locked in to help you against Chord Overstreet?

I was being silly a lot, and I was kinda just breaking the ice by laughing and interacting with the crowd. That helps me to relax, just being at home on the stage. Then it’s just listening, really listening intently and catching it as soon as I can.

Speaking of which, you’re going on tour in Australia with Mariah Carey & Pitbull. How did that opportunity come about, and what are you most excited for?

Man, me and Pit go back 20-plus years. We were just on tour together; he took me to Europe. We had a great time and spent a lot of time together just laughing and talking music. So whenever we get together, it’s amazing; it’s like we picked up where we left off like it was 20 years ago. The same energy, the same kind of relationship and respect and admiration for each other. So whenever I can go, hang out, and wild out with my homie? That’s amazing.

Then, you know, the last time I did [an Australian] tour, I did it with Usher. That was the first time Usher called me and said, “Hey, I want you to be my music director.” So from that tour, he was like, “Hey, I’m doing this Vegas residency. I want you to be my music director for my Vegas residency.” And the Vegas residency led to Super Bowl! So Australia started some good things for me last time I went on tour.

This time I got my own set, and, you know, I haven’t seen Mariah live! So looking forward to Mariah live!

I feel like there’s a very divisive conversation about Pitbull’s GOAT status. What’s your take on it?

People that are [hating on Pitbull] have not been to a show because when you go to a Pitbull show, the energy of the crowd and energy as soon as he sets foot on stage to when he goes off the stage is high energy. Every Pitbull song he performs is uptempo! There’s no slow songs. He’s jumping the entire show. I hadn’t seen his show in a while, and he’s tightened it up a lot. So when we went on tour in Europe, I was like: This is the best show out there, period. It’s him interacting, giving his motivational quotes; it’s just high energy. There are no boring parts of the show whatsoever. I rate him up there as one of the best tours and shows you can see.

How has the reception been to your meditation albums? I heard your next one is gonna be a bunch of remixes?

The reception has been amazing to both albums. So many people were like, “Wow, thank you! I’ve never meditated before or tried before, but your albums helped me meditate.” I even had school teachers say they played it for their schools to help kids go down for nap time. This third album is called Remixed Meditation, and basically, my attorney had the idea of, “Why don’t you take your own songs, remix those, and turn them into meditation?”

So the same time we recorded Total Meditation, we recorded this one, but I didn’t want this one to come out first because I wanted people to take me seriously. I didn’t want people to be like, “Ah, this guy’s a joke.” So now that I’ve been in the space for a while, we can release this project, and it’s basically like we take “Yeah!” and “Turn Down For What,” and all the music is reproduced and redone. So just imagine: “Yeah!” is no longer this hype song. It’s more laid back, and I’m like, “Say yeah, to life!” Like, “Get Low” is like, “Get low and ground.” So it’s a really cool project, and I think it’s probably gonna do well on TikTok, because people are gonna be making jokes of it.

Are you worried at all that people might see that as a gimmick?

Nah, I’m cool now —because I had two projects and the interactive workbook too, where you can kinda write down what you’re trying to manifest. So a book, two meditation albums, I did a retreat. I showed I’m serious in this space — but now we can have a little fun. And it also shows that meditation can be fun! It doesn’t have to be so stiff and serious.

As 2025 comes to a close, curious what your album of the year pick is so far and why?

The thing that got the most talk was Kendrick, really. The hype around music is not like it used to be. I saw debates about, “There’s no song of the summer.” When “Turn Down for What” came out, that was one of the songs of the year, not just the summer, and there hasn’t really been something that’s crossed all the different lanes. It’s just that songs are big in their particular area, and it just hasn’t been everywhere like it used to be.

I think also, people are streaming and not listening to the radio. Back in the day, you’d listen to the radio, and that’s how you’d know what the song of the summer was because everyone was bumping it in their car on the radio! The radio dictated a lot of what was hot, and radio isn’t where it used to be because there are other ways of listening to music. Coming off Super Bowl, all you heard was Kendrick, Kendrick, Kendrick, so I think he’s had the most hype this year.

As someone who popped out at the Super Bowl Halftime Show last year, do you have any advice for Bad Bunny?

I don’t even think he needs any advice. He’s such a seasoned performer and artist. I don’t think he looks at things in a regular way; he’s very deliberate in the way he does things and the way he puts his shows together. I think he’s probably gonna put on the best show he’s ever done in his entire life, and I think he’s also probably gonna open his audience up where he’s gonna bring in people who weren’t necessarily Bad Bunny fans of that nature. I think he’s gonna win some people over with his show. Of course, he’s gonna bring some special guests out, so I think it’s just gonna be a great show.

I saw you were in a weightlifting competition? What was that experience like?

I got in shape initially to look good for the Super Bowl, on that stage. The competition I did was Venice Muscle Beach, and [my trainer] had gotten into it the year before, and he told me, “If we got you right, you could win this.” So we started training after Super Bowl, and for me, I just had a daughter in November. So it’s not just about me, it’s about being here for her. Health was already a lifestyle change, but more so now it’s a goal for me because I wanna be here for her first day of school. I wanna be here for her high school graduation. I wanna walk her down the aisle.

So the only way I can do that is to take care of myself and my health. I also wanna be a role model to other people who try to make excuses that they can’t get healthy or work out. I did all of this while performing every weekend, jumping on planes, hard to find good food in certain cities, in the studio — I’m doing all this other stuff where I was able to transform my body and transform it enough where I could enter a bodybuilding competition and come in third. And I’m the first entertainer ever to enter in that competition. I think I’m the first entertainer to do bodybuilding, period. It’s pretty awesome; a lot of people had already come to me and said I inspired them to get their health in order. I try to share knowledge as much as I can.


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Gunna announced the dates for his upcoming global Wun World tour, which is slated to kick off a run of North American shows next month beginning with a No. 17 show at the MGM Music Hall in Boston. The Live Nation-promoted tour will then move on to Philadelphia, Washington, D.C. and, on Nov. 22, Gunna’s first-ever headlining show at New York’s legendary Madison Square Garden.

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The run of shows will then move on to Toronto, Miami, Tampa, Atlanta, Houston, San Diego, Los Angeles and San Francisco before winding down on Dec. 19 at the WAMU Theater in Seattle, Wash. The dates then pick up again in January with gigs at the Milk & Cookies Festival in Cape Town, South Africa on Jan. 3 and Johannesburg, South Africa on Jan. 10.

The “Fukumean” rapper will then stop by for a pair of dates on the Rolling Loud lineup in Sydney, Australia on March 7 and Melbourne, Australia on March 8. The outing will wind down with a run of concerts in Europe and the U.K. beginning with a March 20 stop at Adidas Arena in Paris, followed by gigs in Cologne, Berlin, London, Manchester and Amsterdam, wrapping up with a July 3 festival date at Afronation in Portimão, Portugal.

Tickets for the tour in support of the rapper’s sixth studio album, this year’s Billboard 200 No. 3 LP The Last Wun, will go on sale in North America starting with a Citi pre-sale and in Europe with a Mastercard pre-sale in select markets on Wednesday (Oct. 8). An artist pre-sale will follow on Thursday (Oct. 9) at 10 a.m. local time, with more pre-sales throughout the week. A general on-sale for North America and Europe/U.K. beginning on Oct. 13 at 10 a.m. local time; addition information on tickets can be found here.

Prior to the announcement of his first world tour, projections teasing the news went up on iconic structures in London, Atlanta and Los Angeles, including on the Louvre museum in Paris, in Times Square in New York and on the CN Tower in Toronto.

Check out the dates for Gunna’s Wun World Tour below.

  • Nov. 17: Boston, Mass. @ MGM Music Hall
  • Nov. 18: Philadelphia, Pa. @ Liacouras Center
  • Nov. 20: Washington, D.C. @ The Anthem
  • Nov. 22: New York, N.Y. @ Madison Square Garden
  • Nov. 24: Toronto, ON @ Coca Cola Coliseum
  • Nov. 29: Virginia Beach, Va. @ The Dome
  • Nov. 30: Charlotte, N.C. @ Bojangles Coliseum
  • Dec. 4: Miami, Fla. @ FPL Solar Amphitheatre
  • Dec. 6: Tampa, Fla. @ Yuengling Center
  • Dec. 7: Atlanta, Ga. @ State Farm Arena
  • Dec. 10: Houston, Texas @ 713 Music Hall
  • Dec. 11: Irving, Texas @ Pavilion at Toyota Music Factory
  • Dec. 14: San Diego, Calif. @ Viejas Arena
  • Dec. 16: Los Angeles, Calif. @ YouTube Theater
  • Dec. 17: San Francisco, Calif. @ Bill Graham Civic Auditorium
  • Dec. 19: Seattle, Wash. @ WAMU Theater
  • Jan. 3: Cape Town, South Africa @ Milk & Cookies Festival*^
  • Jan. 10: Johannesburg, South Africa @ Milk & Cookies Festival*^
  • March 7: Sydney, Australia @ Rolling Loud*^
  • March 8: Melbourne, Australia @ Rolling Loud*^
  • March 20: Paris, France @ Adidas Arena
  • March 22: Cologne, Germany @ Palladium
  • March 23: Berlin, Germany @ Uber Eats Music Hall
  • March 25: London, UK @ The O2 Arena
  • March 26: Manchester, UK @ AO Arena
  • March 28: Amsterdam, NL @ AFAS Live
  • July 3:  Portimão, Portugal @ Afronation*^

*Non-Live Nation Date
^Festival Date


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After generating an estimated $500 million for Puerto Rico during his record-setting residency there this summer, Bad Bunny is Super Bowl-bound. How much could his Feb. 8, 2026 halftime show performance at Levi’s Stadium in Santa Clara, Calif. be worth to him? 

Using Luminate data, Billboard estimates that over the past five years, solo acts who headlined the Super Bowl Halftime Show saw an average increase of 110% in the net revenue generated from streams and downloads of their songs in the week following the big show compared to the week prior. For Bad Bunny, that could work out to Super Bowl weekly net of nearly $1.7 million, based on the estimate that his catalog has generated almost $788,500 on an average weekly basis so far this year from U.S. on-demand audio and visual streams and digital downloads. 

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Previous Super Bowl halftime artists — Kendrick Lamar, Usher, Rihanna and The Weeknd — also saw a 60% boost in catalog earnings in the second week following the Super Bowl, compared to the week prior to the game.  

News of Bad Bunny’s upcoming show has stirred controversy, as right-leaning pundits criticize the artist’s decision not to perform in the United States on his upcoming tour due to his stated concerns that immigration officers might target his audiences. This week, an official in President Donald Trump’s administration warned that U.S. Immigration and Customs Enforcement agents will be present at the Super Bowl.  

Bad headlines are usually good news for an artist’s streaming numbers, which means Bunny’s catalog could get a bigger boost than these other recent headliners.  

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Below is a breakdown for how much the Super Bowl boost was worth for Lamar, Usher, Rihanna and The Weeknd, who headlined the Super Bowl halftime shows from 2021 to 2025. (Estimates for the artists who headlined the 2022 halftime show — Dr. Dre, Snoop Dogg, Eminem, Mary J. Blige and Lamar — are not included because, while their numbers did rise, their performance as a group resulted in significantly lower individual numbers.) 

Kendrick Lamar

Lamar’s performance, which followed his headline-making rap battle with Drake, drove his catalog revenue up 93% to more than $2.5 million in net revenue for his label and publishing companies in the week of the game, according to Billboard estimates using Luminate data. Lamar’s songs netted about $2.2 million in the second week following the game, as video streams of his songs — many likely clicked by viewers of Super Bowl halftime show footage — remained particularly high.

Usher

Usher, who released his 2024 album Coming Home just two days before his Super Bowl Halftime Show performance, saw his catalog’s revenue jump 211% to $841,000 in the week following the game and generated $462,000 the week after. 

Rihanna

The potency of Rihanna’s hits sent her catalog’s revenue up 150% to $1.24 million in the week following the Super Bowl, up from about $500,000 the week prior. 

The Weeknd

The first artist to perform at the Super Bowl Halftime Show during the pandemic, The Weeknd’s catalog grossed $1.02 million from U.S. on-demand streams and downloads in the week of the big game, up 70% from the prior week’s roughly $600,000.


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New Year’s Eve Live: Nashville’s Big Bash will return for its fifth year with a stellar headlining lineup featuring Jason Aldean, Lainey Wilson and Bailey Zimmerman.

The five-hour free concert takes place in Music City’s Bicentennial Capitol Mall State Park. Special guests include CeCe Winans and the Fisk Jubilee Singers with many more names to be announced in coming weeks. The concert airs live Dec. 31 starting at 8 p.m. ET on CBS and streaming on Paramount+.

Last year’s event drew 220,000 people, with headliners Jelly Roll, Keith Urban and Kane Brown. Past performers have included Aldean, Darius Rucker, Brooks & Dunn, Chris Janson, Jon Pardi and Riley Green. The show features primarily live performances with some taped sets peppered in. It’s the only televised New Year’s Eve network show that focuses solely on country music.

The event is executive produced by Robert Deaton and Mary Hilliard Harrington in partnership with Music City Inc., the foundation of the Nashville Convention & Visitors Corp. The special will be directed by Sandra Restrepo.

Deaton and Harrington launched the show in 2022 on CBS as a counterpoint to other New Year’s Eve programming and immediately found the talent community to be enthusiastic. “When I reached out to do talent bookings, so many of the managers and artists were saying the same things,” Deaton told Billboard in 2022, lauding the event highlighting country music and Nashville. With a new format and a new show, you don’t know until you start making the calls. I found out really quickly the artists are behind this show.”