A Turnstile concert in Richmond, Va., has resurfaced in the news following viral footage of an audacious stage dive and an earlier pepper spray incident that prompted backlash and an ongoing investigation into police conduct.

The Baltimore hardcore band played Brown’s Island in September, and as is typical for their high-octane live shows, fans were encouraged to join the band onstage during their performance of “Birds.”

In video footage that recently gained traction online, one fan is seen sprinting across the stage and launching himself over the photo pit, attempting to clear a large gap between the stage and the barricade. The crowd erupts as he rotates midair, landing with the back of his legs clipping the top of the barricade before crashing into the audience.

The stunt is just one of several wild moments from the show. That same night, another fan was pepper sprayed by a local sheriff’s deputy — an act that drew widespread criticism after fan-filmed footage captured the officer brandishing a can of spray and firing it directly into a teen’s face. Bassist Franz Lyons, standing nearby onstage, is seen recoiling and shielding his eyes from the dispersing spray.

Speaking about the incident at the time with The Guardian, Turnstile frontman Brendan Yates called it “A cowardly action from an officer coming in and spraying a 15-year-old kid and then walking away – I don’t think that’s an isolated event. But at our shows, it was a new thing. It’s something that we strive to keep away.”

The incident was later confirmed to be under review. Richmond Sheriff Antoinette Irving announced that her office had launched an internal investigation and was reviewing bodycam footage to determine the circumstances around the use of force. Further details about the outcome of the investigation have not yet been released.

Turnstile has become one of the most critically acclaimed live acts in recent years, breaking out of the underground with their 2021 album Glow On. The record debuted at No. 30 on the Billboard 200 and landed the band three Grammy nominations: best rock album (Glow On), best rock song (“Holiday”), and best rock performance (“Blackout”).

Their live shows — often defined by nonstop mosh pits, stage dives, and cathartic fan interaction — have helped them secure spots on major festival stages including Coachella, Glastonbury, and Lollapalooza. The Brown’s Island show was part of their fall U.S. tour ahead of a U.K. and European run that kicked off in Dublin on Oct. 31.

The European tour includes upcoming stops in Glasgow, Manchester, and London, before heading through Hamburg, Amsterdam, Milan, Paris and more. Turnstile will then head Down Under in January for a series of Australian shows.

Ken Carson is back with a haunting new single just in time for Halloween.

Released Oct. 31, “yes” sees the Opium rapper dive deeper into his blown-out, post-apocalyptic sound — arriving alongside his ongoing run on Playboi Carti’s Antagonist 2.0 world tour.

Produced by Clif Shyne, the track delivers Carson’s signature distortion-drenched rage, layering eerie melodies with anxious declarations like, “How you say yeah on the face / How the f*** I grow apart from you?”

Fittingly timed for the spookiest night of the year, “yes” feels like a sonic exorcism — chaotic, emotionally unhinged, and fully locked into Carson’s dark creative universe.

Fans had been waiting for the official version after weeks of leaked snippets and TikTok edits circulating online. Its release also extends Carson’s tradition of Halloween drops. In 2022, he dropped the XTENDED deluxe of X on Oct. 31. In 2023, his full-length A Great Chaos arrived two weeks before Halloween — and still dominated fan playlists during spooky season. This year, “yes” keeps the streak alive, arriving with fanfare from the Opium faithful, many of whom had been circulating snippets for weeks.

It’s also Carson’s first solo offering since More Chaos, the experimental project he dropped in early 2025 as a surprise for fans. That tape followed the A Great Chaos deluxe and helped solidify Carson’s reputation as a relentless content-dropper with cult appeal.

Live audiences are already getting a taste of “yes” on tour, with Carson’s high-energy sets often blurring the line between concert and riot. As part of the Antagonist 2.0 tour alongside labelmates like Destroy Lonely and Homixide Gang, Carson has been performing to packed venues across North America and Europe.

Stream “yes” below.

Dan Rosen has been promoted to an expanded role at Warner Music Group, now overseeing both the Australasia and Southeast Asia markets in a strategic move that consolidates leadership across a region of more than 550 million people.

Rosen, who currently serves as president of Warner Music Australasia, will now also lead recorded music operations in Indonesia, Malaysia, the Philippines, Singapore, Thailand and Vietnam. He continues to report to Lo Ting-Fai (Lofai), president of Warner Music Asia-Pacific.

Under the new unified structure, Rosen will guide teams across eight diverse markets, with Warner Music citing the region’s heavy engagement with digital platforms and its increasing global influence. Southeast Asia is considered a “trigger region” by major labels — where digital momentum can break songs globally. WMG notes that some of its biggest acts receive up to a third of their global streams from this region alone.

“This region is richly diverse, full of extraordinary artists, talented entrepreneurs, and young passionate fans, who are highly engaged with a booming music ecosystem,” said Lofai. “Under Dan’s skilled leadership, our artists will tap into both the economic value and weight of population across all eight countries, providing a powerful springboard to global fame and fortune.”

The company also confirmed that Warner Music Australasia is evolving its domestic artist structure to double down on developing local acts. Recent global breakthroughs under Rosen’s leadership include Balu Brigada, Budjerah, Boy Soda, Kita Alexander and Thelma Plum.

“Our mission has always been to find dynamic ways to help our local artists go global, and for our global artists to grow passionate local fanbases,” Rosen said. “I’m honoured to lead a talented, focused team, and work with our amazing local partners, in these six diverse and exciting markets in Southeast Asia, while reinforcing our commitment to Australian and NZ artists.”

As part of Warner’s growing Southeast Asian presence, the company recently launched a pan-regional campaign for Vietnamese indie artist Vũ, who is set to embark on the largest-ever Australian tour by a Vietnamese artist.

Rosen will continue to lead Warner Chappell Music in Australia and New Zealand. Publishing operations in Southeast Asia remain under Arica Ng, president of Warner Chappell Music APAC, who reports to Guy Moot, co-chair and CEO of Warner Chappell Music.

The multi-genre Wicked Oaks festival, which held its first edition in Austin, Texas, on Saturday and Sunday (Oct. 25-26), has released a statement addressing reports that multiple attendees were injured or killed during the event — and offered information on refunds for attendees impacted by the severe weather that forced temporary closures throughout the weekend.

According to festival organizers, there were no fatalities on the festival grounds, though two attendees were transported to hospitals on Saturday, while five were transported to hospitals on Sunday. “[Austin-Travis County] EMS has advised they are not aware of any deaths or critical patients among those transported from the festival,” the festival’s statement reads.

The statement goes on to note that organizers “are also aware of a tragic vehicle accident in the Bastrop area, involving individuals traveling home after the event,” that killed one person, Anthony Pike, after “a truck ran a red light and caused the wreck.”

“Our community is small, and losses like this are felt deeply,” the statement continues. “We are profoundly saddened by this tragedy and extend our heartfelt condolences to Anthony’s family, friends, and all who are affected.”

Wicked Oaks organizers also acknowledged the severe weather that impacted all three days of the festival — including a “severe storm” that struck around 10 p.m. on Saturday, prompting “a site-wide evacuation” and forcing the festival to shut down for the remainder of the evening — and offered refund and reimbursement information for impacted attendees.

The festival says it’s offering a full refund to attendees who held Saturday single-day tickets; a 50% refund to two-day ticket holders; a hotel reimbursement for campers who had to secure alternate lodging on Friday when forecasts of heavy rain and lightning delayed the opening of the festival’s campgrounds; a 50% refund for attendees who paid to park in the festival’s Enchanted Overnight Parking areas, after the festival’s parking lots were deemed “unusable” on Sunday following rainstorms; and a full refund for attendees who paid to ride festival shuttles on Saturday. All qualifying refunds will be issued to the original form of payment.

Festival organizers instruct those requesting a hotel reimbursement to email an itemized receipt to contact@wickedoaksfest.com by midnight on Friday (Oct. 31).

“We are working closely with our multiple ticket providers to finalize the refund timeline,” the festival’s statement continues. “Because many guests purchased through payment plans, the process is more complex and requires coordination across several platforms. We understand the time, money, and planning that goes into a festival weekend. We are committed to resolving this quickly and will update everyone as soon as possible.”

Performers at Wicked Oaks included Martin Garrix, Eric Prydz, Bob Moses, Kaskade, Cloonee and Nightmre.

Universal Music Group (UMG) reported solid growth across all three business units on Thursday (Oct. 30), with revenue rising 10.2% in constant currency to 3.02 billion euros ($3.53 billion). Early shipments of Taylor Swift’s The Life of a Showgirl, which had an Oct. 3 street date, helped UMG’s physical sales jump 23% year over year. But the quarter was dominated by subscription gains and strong publishing results. During Thursday’s conference call, the conversation was heavy on AI and UMG’s new partnership with the generative AI platform Udio. 

Here are some main takeaways from UMG’s third-quarter results and executives’ comments during Thursday’s conference call. 

UMG Announced a Renewed Licensing Deal with YouTube 

Usually, a major announcement regarding a leading streaming platform gets its own press release. But during Thursday’s conference call, CEO Lucian Grainge slipped news of UMG’s new licensing deal with YouTube into his opening remarks. It’s the company’s third licensing deal in its “Streaming 2.0” initiative and covers both recorded music and publishing. Previous Streaming 2.0 deals, which the company says prioritize artist-centric principles, were signed with Amazon in December and Spotify in January.  

“The agreement includes all aspects of YouTube’s various music services and platforms, embodies our artist centric principles and drives greater monetization for artists and songwriters,” Grainge said. “And as part of our new YouTube deal, we’ve secured really important guardrails and protection for our artists and writers around Gen AI content.” 

The Udio Partnership Furthers UMG’s Superfan Ambitions  

Some people view a generative AI platform as a means to create music that competes with artists signed to both major and independent record labels. That may have been the common perception of Udio, a popular music-making platform that requires only simple text prompts to create fully formed songs. But on Thursday, UMG made it clear it views its newly signed licensing partnership with Udio as part of its ambitions to reach “superfans,” the people who spend the most time and money on music. That puts Udio in the same category as the long-awaited superfan tiers of subscription services such as Spotify.  

“What we’ve announced with Udio, and in terms of artist centricity, what’s significant there is that the product vision is to focus on a superfan experience for customization, a deep engagement [and] hyper-personalization of the experience for fans interacting through AI technology with the artists that they love,” chief digital officer Michael Nash explained during the conference call. Nash called Udio’s new platform, which will launch in 2026, a “subscription service [that] will transform the user engagement experience, creating a license to protect the environment, to customize, stream and share music responsibly on the audio platform.”  

The Artist is Central to AI Music 

UMG executives were coy when asked for specifics about the Udio partnership, but they repeatedly emphasized that any AI music platform that partners with UMG will have an artist-centric approach. Nash mentioned UMG’s just-announced partnership with Stability AI, a startup that builds generative AI models for audio and video, to create new tools that benefit its artists and songwriters.  

“The economics of the music ecosystem are really driven by fans’ desire to engage with artists and by fans’ desire to participate in music culture,” Nash explained. “We’re envisioning products that deepen both of those things.” Nash pointed to UMG’s internal research of the U.S. market that revealed 50% of music consumers are interested in AI “in relationship to their music experience.” But fake artists ranked lowest amongst U.S. consumers. “There’s a lack of traction” amongst fake artists, he noted, “other than the occasional novelty phenomenon that may capture some headlines.” 

Short-Form Video Has Caused a “Disruption” in Ad-Supported Royalties 

People love watching short videos on platforms such as TikTok and YouTube Shorts. Unfortunately for record labels and music publishers, newer short-form platforms don’t monetize music as well as older, long-form platforms with established advertising businesses. As a result, UMG’s streaming revenue — everything other than subscriptions — was flat in constant currency. Other than digital downloads, which were also flat, every other aspect of UMG’s recorded music division posted gains in the quarter. Nash said UMG’s recent licensing deals, including the one with YouTube that was announced during the conference call, were the result of “broad-based efforts” to address the “disruption” to ad-supported royalties caused by short-form video and efforts to better monetize it.  

UMG is Making Progress with Japanese Music — Both Inside and Outside of the Country 

Japanese music has a reputation for not traveling well, but Grainge highlighted the success of Japanese artists outside of their home country. In March, BABYMETAL signed to Capitol Music Group in the U.S. and, according to Grainge, became the first Japanese artist ever to reach the top 10 of the Billboard 200 album chart with its album Metal Forth. Earlier this year, Grainge added, UMG’s J-pop artist Ado played to 500,000 fans in 33 cities across Asia, Europe, the U.S. and Latin America. UMG fared well inside Japan, too, led by releases from Mrs. GREEN APPLE and Fujii Kaze, with strong sales there helping drive UMG’s 23% increase in physical sales. 

Additionally, Grainge said that UMG recently increased its majority stake in Japanese label and artist management company A-Sketch by acquiring the minority stake of KDDI Corporation. UMG initially acquired its majority interest in February by purchasing the stake of the company’s co-founder, Amuse.  

The Best Subscription Growth in Q3 Came from Outside the U.S. 

Growth in subscribers in the top 10 markets, not price increases, was the major factor in UMG’s 8.7% (in constant currency) subscription revenue growth, said CFO Matt Ellis. But the U.S. wasn’t at the top of the list. UMG saw double-digit subscription growth in China, Brazil and Mexico, while in the U.S., it saw high single-digit growth. Four of UMG’s top five streaming services delivered double-digit or high single-digit revenue growth.  

With 8.7% subscription growth, UMG was within the 8% to 10% range it targets for long-term growth. Good thing, too, since investors see subscription growth as an all-important metric when assessing UMG’s market value. “We remain encouraged by the trajectory of the subscription business,” said Ellis.