Future Ruins, the inaugural film-music festival run by Oscar-winning duo Trent Reznor and Atticus Ross, has been canceled.

The one-day event, originally scheduled for Nov. 8 at the Los Angeles Equestrian Center, was abruptly called off on Friday (Oct. 3), with organizers citing “logistical challenges and complications” in a statement posted on its website and social media accounts.

“Unfortunately Future Ruins will not move forward this year,” organizers wrote on X. “The reality is, due to a number of logistical challenges and complications, we feel we cannot provide the experience that’s defined what this event was always intended to be.”

They continued, “Rather than compromise, we’re choosing to re-think and re-evaluate. Meanwhile, we are sorry for any inconvenience and appreciate all the interest and support. Refunds will be automatically issued and ticket holders will receive an email with more information.”

The festival was set to showcase an powerful lineup of film and music talent across three stages, including Devo frontman and frequent Wes Anderson collaborator Mark Mothersbaugh, horror filmmaker and composer John Carpenter, Oscar-winning Joker composer Hildur Guðnadóttir, and Questlove, who was scheduled to perform film scores by Curtis Mayfield.

Reznor and Ross were also slated to perform selections from their expansive film and TV catalog, including Watchmen, The Girl with the Dragon Tattoo, Empire of Light, Waves, Mank and The Killer.

Earlier this year, Reznor’s band Nine Inch Nails launched the Peel It Back tour — their first live shows since 2022 — with dates across Europe in June and July, followed by a North American leg starting in August.

See Future Ruins’ full cancellation statement below.

Unfortunately Future Ruins will not move forward this year. The reality is, due to a number of logistical challenges and complications, we feel we cannot provide the experience that’s defined what this event was always intended to be. Rather than compromise, we’re choosing to… pic.twitter.com/gxVO0XsRYk

— Future Ruins (@RuinsFestival) October 3, 2025

From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.

Karol G launches music channel

For Hispanic Heritage Month, Karol G has launched a Karol G Radio on SiriusXM. According to a press release, the channel will be available to subscribers in their cars on channel 79 from Oct. 3 – 9 and on the SiriusXM app through Oct. 14.

Karol G Radio will give listeners an inside look at the Colombian hitmaker’s journey to global stardom and the stories behind her biggest hits as well as her latest album Tropicoqueta.

“I’m so excited for my fans to immerse themselves in the world of Tropicoqueta through KAROL G Radio,” Karol said in a statement. “This is a chance for them to connect with me and the project on a deeper level—from the stories behind how certain tracks came together to the songs that shaped both me and this entire album. I hope everyone enjoys listening to KAROL G Radio as much as we did while bringing it to life.”

Sebastián Yatra’s special moment with fan

“I am about to invite someone onto the stage, one of those beings who do not often pass through this world,” Yatra said as he introduced Alonso in one of his shows in Madrid. “One of those people who come as if touched by a magic wand to guide us, unite us, to be bridges, to protect and love us, to teach us how to truly love. It is the first time he has ever stepped onto a stage to sing. Let’s make this a moment he will never forget.”

Yatra and Alonso sang “No Hay Nadie Más” in front of a crowd. Watch here.

Mexican pop stars join Apple Music

Belinda, Danna and Kenia Os team up for a new pop-up radio special on Apple Música Uno. The three Mexican pop stars team up for a candid conversation on music, projects, “gossip and secrets,” the three say at the top of the show, describing what fans can expect in the nearly 30-minute-long convo. The three also announce they are working on a new song together.

You can watch their takeover below:

Ñejo gets emotional over Feid’s support

During an Instagram Live with Feid, Puerto Rican artist Ñejo couldn’t hold back tears as he explained what the Colombian artist’s support has meant to him. The two have previously collaborated on the 2020 “Ferxxo & Ñejo” and are now once again joining forces for “Princesa,” released on Oct. 2.

“It makes me emotional, man, because when you see some of the new artists who are doing really well, and they forget about you,” he says wiping his tears. “Thank you, Feid, because when I reached out, you quickly recorded

Meanwhile, Feid hugged Ñejo and kept telling him he was a “beast” and that “you have contributed so much in order for me to get to where I am now standing next to you.” See the emotional exchange here.

Bad Bunny goes global with Billboard

The Puerto Rican superstar is the latest artist to grace Billboard global covers, including Billboard Arabia, Billboard Argentina and Billboard Canada. The next Super Bowl headliner, Bad Bunny spoke in a lengthy Q&A with Residente about nostalgia, music, film and Puerto Rican pride.

Check out the conversation below:

In an interview with Billboard Brazil, Backstreet Boys’ Nick Carter and Howie Dorough talk about the 25th-anniversary Into the Millennium tour, their show at The Town, their love for Brazil, the Swedish influence on their sound, and how they survived the changes in the music industry. And they confirm: “Brazil is our second home.”

“Okay, Claudia. Nick and Howie are ready.”

I join the Zoom call with two members of one of the biggest pop acts of the last 30 years: Backstreet Boys’ Nick Carter and Howie Dorough. When they emerged in 1993, pop music was operating at the highest standards, with Michael Jackson as king and Madonna as queen, while rock was turning toward the underground, with movements like grunge and indie.

In this context, the Backstreet Boys were born.

Facing two members of BSB, the ball was now in my court. Over a 30-minute interview, I would revisit 32 years of a career from one of the groups responsible for redefining 1990s pop, selling 100 million records, and entering the collective consciousness of generations with anthems like “As Long as You Love Me,” “Everybody,” “I Want It That Way” and so many other perfectly melodic songs with lyrics designed to make teenage hearts race.

Before diving into our conversation, a quick note on the group’s sixth visit to Brazil: They headlined The Town festival on the Skyline stage on Sept. 12 in São Paulo. It was the only chance for Brazilian fans to reunite with AJ McLean, Howie Dorough, Nick Carter, Kevin Richardson and Brian Littrell as part of the Into the Millennium tour — an updated version of the 1999 tour, now celebrating the 25th anniversary of the iconic album Millennium. The celebration includes the release of Millennium 2.0, a special edition with remastered tracks, previously unreleased demos, and live recordings from the historic tour that solidified the group as a global phenomenon.

COME TO BRAZIL

In an exclusive interview with Billboard Brazil, Nick Carter and Howie Dorough appeared smiling and welcoming, speaking to me and Camila Zana, our CMO, from their homes in the United States. My first question was about the Brazilian fandom and our internationally famous phrase, “Come to Brazil!”

“For 20 years, whenever we go to Brazil, we feel at home. We love being there. We always find so much love and support: fans at the airport, at the hotel, in the streets… It’s like we’re a Brazilian pop band! We even thought about moving there because we love it so much. But seriously, your love is incomparable,” Howie says.

Nick adds: “Brazil is always the first to remember us as a group. There was never a weak moment in support, through all the highs and lows of our career. It’s always been consistent: a loyalty that never waned. That’s why we love Brazil so much.”

They say they would visit the country more often if logistics allowed. Even so, the fandom “reaches them” through social media in full force. “Brazil is always on our mind when we do a tour. Sometimes it’s not possible due to costs. But it’s definitely the country that interacts with us the most on social media,” Nick explains.

Howie shares a vivid example of this connection: “I remember fans camping outside Maracanã for days in 2001. It’s something you never forget. Their dedication is incredible. We always sent water, food, made sure they were safe. Their well-being was always our priority.”

BIRTH CERTIFICATE

Just like Disney World, founded in Orlando in 1971, the Backstreet Boys were also conceived in the American capital of family entertainment. Like the world-famous park, the group was designed by a visionary businessman, who assembled the band piece by piece, following a proven formula previously applied to Boston’s boy band New Kids on the Block.

Each member was handpicked, like a character in an amusement park, following stereotypes: the rebel, the romantic, the youngest, etc. The idea was simple and brilliant: create not just a band, but a perfect product to conquer the teen world, especially girls. What began as a calculated experiment eventually became something real, authentic, and surprisingly enduring. This is the story of how an industrial dream became one of the longest-lasting phenomena in music history.

THE MANUFACTURER

The seed of what would become one of the greatest boy bands in history was planted in an unusual way: thanks to an air taxi service. In the early 1990s, businessman Lou Pearlman, owner of an aviation company, counted New Kids on the Block among his clients, a band formed in the mid-1980s.

Witnessing firsthand the fortune such a group could generate inspired Pearlman to start a new business. Determined, he went to Orlando, a city that attracted young talent due to its proliferation of theme parks and studios — the perfect ground to recruit and mold his own stars, and consequently, his gold mine. After numerous auditions with local youths, he selected the quintet that would enter history as the Backstreet Boys, Florida’s answer to New Kids on the Block.

Pearlman conceived the boy band in 1993 and replicated the model with *NSYNC (1995) and Take Five (1997). His career, however, was marked by a fraudulent scheme that deceived investors and artists for years. In 2008, Pearlman was convicted of conspiracy and money laundering, receiving a 25-year prison sentence. He died in 2016 at age 62, ending the life of an entertainment visionary who was also one of the greatest scams in music history.

The weight of the businessman profoundly impacted the Backstreet Boys: years of legal battles to reclaim what was theirs and gain autonomy over their career. Curiously, even as victims of their creator, they became proof that his “formula” could transcend calculation and manipulation. Surviving Pearlman’s empire collapse, the BSB built a story of artistic resilience and genuine connection with their audience.

SWEDES DO IT BETTER

One of the Backstreet Boys’ greatest assets lies in their melodies — easy to remember, hummable, enjoyable, and uplifting. This model could have come from sunny Florida, the boys’ home state. But it didn’t. It came from cold but happy Sweden.

Before diving into this, one must understand a Swedish word that defines the country’s lifestyle: lagom. Its beauty lies in its meaning, which goes beyond a simple translation. Lagom means something like “just the right amount; neither too much nor too little,” or balance, moderation, and appropriateness.

Lagom doesn’t directly apply to music but to a way of life. The concept reflects Swedish culture, which values satisfaction, harmony, and detachment from excess.

The Backstreet Boys’ musical identity was forged in Sweden under legendary producers Max Martin and Denniz Pop. Howie describes the collaboration as “magical.” “I think we captured a moment when music was looking for change. When we started, especially in the U.S., grunge and rap were at their peak,” he explains.

In the early 1990s, Stockholm became a high-level pop production hub, led by Denniz Pop and his protégé Max Martin at Cheiron Studios. They developed a precise formula combining irresistible melodies — inheriting ABBA’s legacy — with polished production and an almost scientific songwriting structure. This expertise drew Jive Records, which signed the Backstreet Boys and sent them directly there, bypassing traditional U.S. R&B and country routes.

The first Swedish studio sessions were a cultural shock for the group. Howie recalls: “We were a vocal harmony group, and they saw an opportunity to create a brand together.” Nick adds: “We went there and sang for them. I must have been 15 the first time I went to Stockholm, so we grew up going there, and it definitely shaped our sound.”

Working with Denniz Pop, singles like “We’ve Got It Goin’ On” and “Quit Playing Games (With My Heart)” shaped the first album (Backstreet Boys, 1996), introducing electronic beats, modern synths, and unforgettable choruses.

But it was with Backstreet’s Back (1997), under Max Martin’s greater influence, that the “Cheiron sound” reached its peak. Massive hits like “Everybody (Backstreet’s Back)” and “As Long as You Love Me” fused seemingly dissonant elements — funk guitars, industrial beats, soaring choruses — into a cohesive and irresistible unit, cementing not only the band’s global success but the gold standard for international pop for decades.

The combination of polished melodies and the group’s vocal harmonies created truly magical music. Nick emphasizes the Swedish touch: “When we met Max, Denniz, and all these guys, it was a perfect fit. Like us, they were just starting out.”

The small Stockholm studio became the birthplace of a sound that would conquer the world. Sensitivity to crafting timeless hits became the band’s signature. Totally lagom.

“The greatest legacy of our relationship with these Swedish production wizards. It became a hallmark of our sound — people know it’s us the moment they hear our songs,” Howie says.

Editor’s note: If you love pop music, perfect melodies, and flawless production, explore the history of these and other Swedish producers behind hits by Britney Spears, Justin Bieber, Katy Perry, Beyoncé, Adele, Demi Lovato, Lady Gaga, The Weeknd, Ariana Grande, Justin Timberlake, Taylor Swift, Rihanna, Maroon 5, and many more.

32 YEARS AND COUNTING

Over three decades, the Backstreet Boys faced ups and downs, experimented with different musical directions, and navigated industry changes. There was a period of “survival,” as Howie describes, during which the band sought to realign its identity and dealt with some rejection of boy bands.

He calls it reinvention: “I remember a conversation when we decided it was time to dance again, play hits, give the audience what they wanted.” This return to the group’s essence led to the special moment they are in now, with 18 more dates scheduled for 2026 at the Sphere in Las Vegas, after selling out 21 shows between July and August at the world’s most technologically advanced — and most coveted — venue.

Opened in 2023, the Sphere redefines immersion with impressive specs: the world’s largest 16K internal dome, 160,000 m² of LEDs, a spherical façade with 1.2 million LEDs, and an immersive sound system with 167,000 speakers.

“Honestly, it’s probably one of the most important feats of our lives,” Howie says, referring to the Sphere residency. “And the coolest part,” Nick adds, “is seeing a mix of generations in the audience — parents enjoying songs they loved as teens, and kids singing along. It brings a sense of peace in this crazy world we live in.”

On the possibility of bringing a version of the Sphere show to Brazil, Howie is cautious but optimistic: “We don’t have the whole show fully assembled yet. The idea is maybe to adapt it. It’s a work in progress, but we’re very excited.”

WHO’S AFRAID OF AI?

Of course, the interview wouldn’t end without discussing social media and the much-talked-about artificial intelligence. Considering that the group was born at the threshold between analog and digital — when the most tech you took to a show was a digital camera or a brick cell phone — the boys have witnessed an entire industry turn upside down from the stage perspective.

Howie reflects on this transformation: “Early in our career, we had to visit every country in person to promote our music. Today, with social media, your music can reach anywhere without going there.”

On AI, Nick is pragmatic: “We embrace technology and AI evolution, as long as there’s no abuse.” He advocates for “checks and balances” to ensure AI doesn’t threaten human creativity.

“You have to care about melody, music, and the intention behind it. We’ve released over 10 albums in our career. Each contains our voices, blood, sweat, tears, emotions. You can’t replace that.”

Howie jokes, but seriously: “Backstreet Boys are John Connor, AI is the Terminator. It’s going to be a war,” before adding, “I’m partly joking, but our responsibility is to ensure technology isn’t abused in the music industry.”

POP LEGACY

The conversation naturally turned to their relationship with Generation Z, with younger fans discovering their music through TikTok and other platforms. Howie sees this new audience with excitement: “It’s amazing how a band’s legacy can transcend generations. We were influenced by music our parents listened to, like Journey and Eagles. Now, it’s beautiful to see young fans, including our kids, really enjoying our music.”

Nick credits their longevity to the fundamental quality of their work: “It all starts with the music. We’re blessed to have great songs that help this generational transition. People may rediscover our work through new technology, but the foundation is solid music.”

Howie adds, highlighting social media’s role: “TikTok is an amazing tool these days. It’s where my kids discover a lot. I think it’s our greatest social ally now, along with Instagram, keeping our music alive and relevant.”

The interview ends with the same warm energy it began — two pop icons (representing a quintet) who, after three decades, maintain not only talent but genuine appreciation for their fans and the unique journey that transformed them from a calculated experiment in Orlando into one of the most enduring and beloved phenomena in global pop music.

Backstreet’s back, all right.

The man who appeared as a nude baby on the cover of Nirvana’s 1991 album Nevermind is once again asking an appeals court to resurrect his child pornography lawsuit over the iconic album art.

Lawyers for Spencer Elden filed their appeal on Thursday (Oct. 2), just two days after a federal judge issued a judgment throwing out his case against Nirvana for a second time. Judge Fernando M. Olguin originally tossed the lawsuit as time-barred back in 2022, but the Ninth Circuit Court of Appeals revived the claims a year later on technicalities.

Judge Olguin held this time around that there’s nothing pornographic about the famous Nevermind album art, which depicts a four-month-old Elden swimming in a pool and chasing a dollar attached to a fishhook. The judge said this image is not sexually explicit or suggestive, but rather is “most analogous to a family photo of a nude child bathing.”

Elden will now once again ask the Ninth Circuit to overturn that judgment and allow the case to move forward toward trial. His lawyers did not immediately return a request for comment on the appeal.

Nirvana’s legal team, meanwhile, appears confident as they gear up for a second Ninth Circuit showdown in the long-running battle.

“We will resist with vigor and will prevail,” says attorney Bert Deixler, who represents the band as well as its label, Universal Music Group, and Nevermind cover photographer Kirk Weddle, in a comment to Billboard.

Nevermind was originally released in in September 1991, topping the Billboard 200 in January 1992 and ultimately spending a whopping 554 weeks on the chart. It’s widely considered one of the most influential albums in rock history, and its cover art has been interpreted as an edgy critique of greed and capitalism.

Elden, who is now in his 30s, has been pursuing legal action over the cover since 2021. His civil lawsuit alleges that the display of his infant genitals constitutes child pornography under federal law — claims long denied by Nirvana and now rejected by Judge Olguin.

In addition to determining that the Nevermind cover was not sexually-charged, the judge pointed out in his ruling that Elden appeared to endorse the photo for many years before deciding to pursue litigation. Elden at times reenacted the photo, sold autographed memorabilia, and even referred to himself as the “Nirvana baby” — actions that are “difficult to square with his contentions that the album cover constitutes child pornography and that he sustained serious damages as a result,” according to Judge Olguin.