Nick Jonas will have to dip into his music bag for his next big screen role. According to Deadline, the Jonas Brothers member will co-star alongside Paul Rudd in the upcoming John Carney-directed Power Ballad.
The film, due out on June 5, tells the story of “past-his-prime” wedding singer Rick (Judd) who meets “fading boy-band star” Danny (Jonas), with the two men bonding in a late-night jam session over their passion for music. “But when Danny turns one of Rick’s songs into the hit that ignites his career, Rick sets out to reclaim the recognition he believes he deserves… even if it means risking everything he cares about,” according to a description of the script co-written by Carney and Peter McDonald.
The movie is pitched as a “feel-good story about music, self-respect, friendship and the price of ambition.”
In addition to Jonas and Rudd, the movie stars Marcella Plunkett, Havana Rose Liu, and Jack Reynor.
Jonas is currently on the road with his brothers as part of the JoBros’ JONAS20: Greetings From Your Hometown tour, which hits the Lenovo Center in Raleigh, North Carolina on Wednesday night (Oct. 29). It’s been a busy year for Nick, with the multi-hyphenate wrapping his run in the Broadway play The Last Five Years in late June after appearing in director Nicholas Stoller’s romantic comedy You’re Cordially Invited alongside stars Will Ferrell and Reese Witherspoon.
Earlier this year, it was rumored that Jonas was in the lead to portray KISS frontman Paul Stanley in an upcoming biopic, Shout It Out Loud. The role in the McG-directed movie would reportedly see Jonas doing his own singing in the film that is slated to go into production in late 2025.
Reneé Rapp’s North America trek has come to a premature end, on doctor’s orders.
After health problems forced her to delay shows in Atlanta (Oct. 26) and Tampa (Oct. 27), the pop singer and former Sex Lives of College Girls star has postponed a third consecutive show — the homecoming finale on this Bite Me Tour, originally scheduled for tonight, Oct. 29 at Spectrum Center in Charlotte, NC.
“As of right now,” she writes on Instagram Stories, “I still don’t have a voice. I’m recovering slowly,” she adds, “but still not in a place where I am able to perform safely” at her hometown show. “I am so sorry and heartbroken that I have to postpone”.
The Charlotte show has been rescheduled for Nov. 7, and all original tickets will be valid for the new date.
As previously reported, the Tampa show is now set for Nov. 4 and the Atlanta stop has been nudged to Nov. 5.
“Again,” she continues, “I want to stress that I know the time and effort and preparation attending a show takes. I promise you it doesn’t go unnoticed or unseen. I’m taking this time to recover and then next week for these rescheduled shows I will give you the best version of me. The best version of this show that I love so much. The show you deserve to see.”
On the weekend, Rapp revealed she had never had to reschedule a concert — until now. “I’ve been pushing through an illness but my body has finally given out,” she wrote. “My doctors have told me that it isn’t safe to perform due to the need for vocal rest and physical recovery.”
After completing those North American dates, Rapp will cross the Atlantic in early 2026 for a European jaunt that’s booked to star March 11 at Lotto Arena in Antwerp, Belgium, followed by dates in the Netherlands, Germany, France, and the United Kingdom, where here sophomore collection Bite Me hit No. 1 in August, for her first leader.
Halloween came to Dancing With The Stars on Tuesday night, Oct. 28, and Robert Irwin completed a routine that was bloody excellent.
For week seven’s Halloween Night, the Australian conservationist and his dancing partner Witney Carson performed a Tango to “Sweet Dreams are Made of This” by The Hampton String Quartet.
In the clip, which can be seen in full below, Irwin, dressed-up like the Prince of Darkness, tangles with Carson on a fog-filled stage before taking the action to the main floor. Staying in theme to the bitter end, Irwin collects himself from the hardwood and is dragged to hell (or backstage) by dark forces, returning to face the judges with his face splattered in fake blood.
The judges loved it, as Irwin and Carson collected 38 out of a possible 40 points, their best result yet in the competition which included two perfect 10s. It wasn’t enough, however, to take top spot on the night, as the pair was pipped by Alix Earle and Val Chmerkovskiy with 39/40.
Irwin, the son of the late “Crocodile Hunter” Steve Irwin, has a fine chance of emulating the success of his older sister Bindi, who won the 21st season of DWTS, in 2015.
Irwin and Carson had two rounds of action on Tuesday night. The remaining cast members took part in the “Dance Monster-thon,” a dance off which awarded five points to the last pair standing. In the end, those bonus points went to Whitney Leavitt and Mark Ballas, who shimmied to a score for the night of 37/40. Elaine Hendrix was a no-show on Tuesday, following an injury suffered during rehearsals.
The remaining contestants in this 34th season of Dancing With the Star includes TV personality Dylan Efron, Olympic gymnast Jordan Chiles, social media star Alix Earle, actress Danielle Fishel and actor Andy Richter. The list of contenders is shrinking. Jen Affleck and Jan Ravnik are no longer competing for the Len Goodman Mirrorball Trophy, following their elimination on Tuesday evening.
Dancing with the Stars airs live Tuesdays on ABC and Disney+, and streams the next day on Hulu. The finale will be on Nov. 25.
When Michael Bublé suggested that “Wreck-It” Ralph Edwards could smash the competition in this 28th season of The Voice, he was onto something.
Edwards had just finished an impressive rendition of Teddy Swims’ “I Lose Control” in his Battle with Jerrell Melton, when Bublé let the love flow.
The Fresno, California could “go far on the show,” he remarked.
There’s apparently no stopping Edwards, as he shifted gears from that final round of Battles on Monday night, Oct. 27, and leapt into the first wave of Knockouts.
Next up, the 30-year-old Team Snoop singer went for the heartstrings with a cover of Ed Sheeran’s “Dive.” Edwards, who proposed to his partner after his Blind Audition, didn’t have any trouble finding the emotional buttons.
“Wow, Ralph,” coach Niall Horan enthused. “The stuff that you were doing. I actually didn’t recognize it as your voice. It was so different than what we’ve heard. You could easily win this show, dude.”
Reba McEntire weighted in. “Wow. What a voice,” the coach and country star remarked. “It comes from your toenails. It’s just incredible.”
Bublé knows he’s looking at, and hearing, the real deal. “You have that grit in your voice, but man, you sort of saved it. You let us hear the sweetness and the softness,” the Canadian king of Christmas remarked. “It looked easy for you, dude.”
Snoop Dogg had a call to make. Edwards or Kenny Iko?
There could be only one. The rap legend tapped Edwards, while Iko goes home. “I think Ralph has the ‘it’ factor,” Snoop noted. “The ‘it’ factor is that he could actually win it, this competition. Knockout performances are really the groundbreaking, award-worthy, top of the line, performing at his highest level.”
Earlier, Snoop welcomed Zac Brown to mentor his team before the Knockouts. “My team is smoking,” Snoop remarked, with some authority.
The Knockout episodes will air every Monday on NBC until Nov. 24. Then, the Playoffs will beam out on Monday, Dec. 1 and Monday, Dec. 8 on NBC, with the Season 28 Live Finale set to spread over the two nights of Dec. 15 and 16. Episodes stream the following day on Peacock.
Watch Iko and Edwards’ Knockout performances below.
Cornel Wilczek, Megan Washington and Bluey composer Joff Bush were in the winners’ circle Tuesday night, Oct. 28, as the 2025 Screen Music Awards were presented in Brisbane’s Fortitude Valley.
With two donut-shaped trophies, Wilczek, the Melbourne-based composer, was the big winner on the night, taking out best music for a television drama (Fake) alongside 2024 emerging screen composer of the year champion Alex Olijnyk; plus best opening title television theme with Thomas Rouch for the Netflix adaptation of the Jane Harper book, The Survivors.
Washington, winner of several ARIA Awards, including best female artist back in 2010, now has a Screen Music Award for her collection. The homegrown talent won for best original song composed for the Screen with “Dream On,” lifted from How to Make Gravy, the film adaptation of Paul Kelly’s iconic Christmas song.
The gravy kept flowing as Electric Fields, who performed the song in the movie, closed the evening with a stunning performance, accompanied by a choir led by Deline Briscoe.
Another Queensland creative, the celebrated children’s screen composer, Joff Bush, scooped most performed screen composer – overseas category for his work on Bluey, the most-streamed show in the US in 2024. Bush won the same category in 2023.
And Adam Gock and Dinesh Wicks extended their impressive streak, taking out most performed screen composer – Australia for the 11th time, thanks to their work on Farmer Wants a Wife, LEGO Masters, MasterChef and Travel Guides.
Jed Kurzel nabbed feature film score of the year for the British period action-drama Tornado, his fourth win in the category after Monkey Man (2024), Slow West (2015) and Snowtown (2011).
Veteran screen composer Christopher Gordon was awarded the coveted distinguished services to the Australian screen award in recognition of his “extraordinary body of work and enduring contribution to the screen music industry.”
Legendary Australian director Bruce Beresford was on hand to present the trophy to Gordon, with he has collaborated on several acclaimed films including Ladies in Black and Mao’s Last Dancer.
“I feel like such an imposter, there are so many people worthy of this award,” Gordon remarked, before exploring his self-destructive 20s and how he got a fresh, healthier mindset through his connections with the Screen Writers Guild. “I got my life together.” He continued, “the support that I felt and the sense of community with other composers was extremely important for me.” He also discussed the drought he experienced between film scores, something every creative needs to prepare for. “You really need patience in this business.”
Stage and screen star David Wenham hosted the ceremony alongside Mark Coles Smith and Nathalie Morris, with Erkki Veltheim returning as music director, helming a live orchestra performing selections from nominated works.
The evening got away with a Halloween trick, with a creepy piece set to a gory edit from the horror film Wolf Creek, which this year celebrates its 20th anniversary.
Wenham would describe the moment as “probably the most terrifying opening to an awards, ever.” It was a good thing the hundreds of guests at Fortitude Music Hall had finished their dinner.
Presented for the first time in the Sunshine State, the annual ceremony is an initiative of APRA AMCOS and the Australian Guild of Screen Composers (AGSC).
During his third and final speech leading the AGSC as president, Dale Cornelius touched on streaming quotas, AI, the human condition and more. Cornelius will hand the reins over to composer and Go-Betweens great Amanda Brown, who was in the audience, but not before he returned to the stage to collect the win for best music for a short film, for The Way Home.
Timing is everything. And, with the federal government on Monday ruling out a controversial proposed exemption to the Copyright Act that would allow for text and data mining, the timing wasn’t lost on guests and speakers.
“This is a massive win,” Jenny Morris, chair of APRA AMCOS, remarked from the podium. And not just for APRA AMCOS members, “but for every creator in the room and the country.” She continued, “We said ‘no.’ And importantly, we said no together…when we unite, when we speak with one voice, we are unstoppable.”
The music community, she continued, had real cause to celebrate after a such an “historic” victory.
Tame Impala’s first full-length studio album in five years, Deadbeat, makes a splashy start on Billboard’s charts, as the set launches at No. 1 on six different rankings (dated Nov. 1). It bows at No. 1 on Top Rock & Alternative Albums, Top Rock Albums, Top Alternative Albums, Top Dance Albums (the act’s first entry on the list), Vinyl Albums and Indie Store Album Sales.
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Deadbeat also lands in the top 10 on the all-genre Billboard 200 (No. 4, the act’s third top five-charting project), Top Album Sales (No. 2), Top Current Album Sales (No. 2) and Top Streaming Albums (No. 7).
Deadbeat is Tame Impala’s (Kevin Parker) first release for Columbia Records after signing with the label in July. According to a press statement announcing the album in September, the project was inspired by the Western Australia rave scene.
The album debuts with 70,000 equivalent album units earned in the United States in the week ending Oct. 23, according to Luminate, with 38,000 of that sum in pure album sales — individual purchases of physical and digital copies of the album. Vinyl sales account for 28,000 of that total — the best week ever on vinyl for Tame Impala.
Tracks from Deadbeat also take over Billboard’s Hot Dance/Electronic Songs chart, with eight of the album’s cuts populating the 25-position ranking, including six of the top 10. “Dracula” debuts at No. 1 (the act’s first No. 1), followed by fellow new entries “My Old Ways” (No. 3), “No Reply” (No. 5), “Oblivion” (No. 7), “Not My World” (No. 8), “Afterthought” (No. 10), “End of Summer” (No. 11) and “Ethereal Connection” (No. 12).
Over on the Hot Rock & Alternative Songs chart, 11 of the 12 tracks from Deadbeat dot the 50-position tally: “Dracula” (rising 7-3, a new peak), “My Old Ways” (No. 8, debut), “Loser” (40-13, a new peak), “No Reply” (No. 17, debut), “Oblivion” (No. 21, debut), “Obsolete” (No. 22, debut), “Piece of Heaven” (No. 23, debut), “Not My World” (No. 24, debut), “Afterthought” (No. 27, debut), “End of Summer” (No. 31, reentry) and “See You On Monday (You’re Lost)” (No. 36, debut).
Deadbeat has also given Tame Impala its first entries on the all-genre Billboard Hot 100, as “Dracula,” which debuted in October, vaults into the top 40 for the first time, rising 59-33. Meanwhile, “My Old Ways” and “Loser” debut at Nos. 56 and 91, respectively.
ASCAP, BMI and SOCAN have all adopted policies to accept registrations of musical compositions partially generated using artificial intelligence (AI) tools, the PROs jointly announced Tuesday (Oct. 28), while noting that they will continue to reject registrations of fully AI-generated works.
According to a press release, all three PROs define a partially AI-generated musical work as one fusing elements of AI-generated musical content with elements of human authorship. All of these works will be included in the repertoires licensed by each of the societies.
Also in the release, the three PROS reiterated their stance that training AI technologies on copyright musical works without permission, credit or compensation is theft — adding that all three societies have continually advocated for strong copyright laws and defended music creators amid debates over AI policies in the U.S. and Canada. They additionally note that they have endorsed legislation and supported lawsuits to protect creators against the illegal use of their works to train AI, among other things.
“Songwriters and composers have always experimented with innovative tools as part of their creative process, and AI is no exception,” said Elizabeth Matthews, CEO of ASCAP, in a statement. “We are clarifying our registration policy to now welcome partially AI-generated musical works because we believe AI can be a powerful tool for our members, as long as the law puts humans first and technology companies play fair and respect the rights of creators.”
“This is an important first step in protecting human creativity as AI technologies evolve, while supporting the songwriters and composers who choose to use AI as a tool to enhance their creative process,” added Mike O’Neill, president & CEO of BMI. “All music creators will benefit from this aligned approach to the registration of partial AI-works that appropriately values creators’ contributions and ensures they are paid properly.”
Added Jennifer Brown, CEO of SOCAN: “This alignment creates a legal and ethical path forward for AI in music. It recognizes that music creators are embracing new tools, while reinforcing our commitment to what matters most: respect for their work and the protection of human creativity. The future of music can embrace AI and still remain deeply human.”
Spotify subscribers in the U.K., the world’s third-largest recorded music market, will be paying more for Spotify premium plans starting with the next billing cycle. As confirmed by a company spokesperson, Spotify customers in the U.K. were notified of upcoming price increases, marking the second time in approximately 18 months that Spotify has raised prices in the market.
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For U.K. subscribers, the Spotify premium individual plan will cost 12.99 GBP ($17.24), up from the 11.99 GBP ($15.91) price established in 2024. Family plans will rise to 21.99 GBP ($29.18) from 19.99 GBP ($26.53). Duo, a two-person plan, will increase to 17.99 GBP ($23.87) from 16.99 GBP ($22.55). All three plans include 15 hours per month of audiobook listening time (only the plan managers receive audiobook time on family and duo accounts). The student plan, which does not include audiobook listening, remains unchanged at 5.99 GBP ($7.95) per month.
Price increases, along with gains in the number of subscribers, drove Spotify’s 16% increase in subscription revenue in the second quarter, CFO Christian Luiga said during the company’s July 29 earnings call. The number of subscribers rose just 12%, suggesting that revenue growth from price increases was the larger of the two factors.
The U.K. is not alone in experiencing higher prices. Earlier this year, Spotify hiked prices in France, the world’s sixth-largest recorded music market, and announced a price increase in Germany, the fourth-largest market. The U.S., the world’s largest market, could be next. As Billboard reported on Oct. 22, numerous equity analysts believe Spotify will raise prices in the U.S. by early 2026.
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If you’re looking for a new smartphone, tablet, home audio system or even a new 4K TV, then now is one of the best times of the year to pick one (or two) up on the cheap — thanks to the Samsung Week Sale Event. Taking place Monday, Oct. 20 through Sunday, Nov. 2, shoppers can save almost 60% off tech-savvy electronics and smart home gadgets all week long.
With new products and savings being added in daily, we’ve rounded up the best deals during the Samsung Week Sale Event so you don’t have to. Save on everything from massive 4K Ultra HD TVs (and 8K TVs), sharp smart gaming monitors, soundbars, wearable tech, like the Samsung Galaxy Watch7 and more home electronics at samsung.com.
In fact, even select smart home appliances, like the Samsung Bespoke AI 4-Door French Door Smart Fridge and Samsung Bespoke AI Laundry Combo are also over 30% off during the event. As more holiday deals continue to pop up, ShopBillboard will continue updating this page throughout the sale event.
Ahead, you’ll find the best deals during the Samsung Week 2025 Sale event.
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Want more deals? We’ll be updating this page with more great tech savings until the Samsung Week Sale Event ends on Sunday, Nov. 2.
For more product recommendations, check out our roundups of the best over-ear headphones, wifi extenders, laptop deals and more.
