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Season 51 went on a short break after Sabrina Carpenter hosted and performed as musical guest a few weeks ago. Miles Teller is set to play host, while Brandi Carlile is set as musical guest during this week’s Saturday Night Live on Saturday (Nov. 1). SNL airs on NBC at 11:30 p.m. ET/PT.

Want to watch SNL online without cable? Your easiest bet is to grab a free trial to DirecTV or FuboTV to stream an NBC live feed online without needing a subscription.

Keep reading to learn all the other streaming options to watch SNL online without cable.

How to Stream Saturday Night Live for Free

In order to watch SNL, you’ll need to have access to NBC. If you have cable, then you just need to look up what channel NBC is on, which you can find it in your channel guide through your cable provider. Don’t have cable? There are a few ways to watch Saturday Night Live online for free.

Your best bet is to subscribe to Peacock, which is the official NBC streamer. The Peacock Premium Plus plan ($16.99 per month) gives you access to the NBC channel, which means you can watch SNL live. There is no free trial for the streaming platform, but if you want to watch the episode on-demand, Peacock does comes with an ad-supported plan that’s only $10.99 per month month and you’ll have access to new episodes of SNL the day after it airs.

Want to watch SNL online for free? DirecTV also offers a five-day free trial and the live TV streaming service also includes NBC as part of its channel lineup. Use the free trial to stream SNL online free from your phone, tablet, computer or smart TV.

FuboTV offers a seven-day free trial when you sign up for one of its plans. You’ll gain access to more than 200 live TV channels — including NBC — so you can watch SNL for free. After your free trial is over you’ll be charged the subscription price based on the plan you choose or you can cancel at anytime.

You can also expand your streaming library through Hulu + Live TV, which gives you access to the entire Hulu, Disney+ and ESPN Unlimited libraries on top of hundreds of live TV channels, like NBC.

In the meantime, watch a promo reel for tonight’s episode below:

Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

Taylor Momsen is revisiting a holiday classic — with a rock twist.

The Pretty Reckless frontwoman has re-recorded “Where Are You Christmas?” 25 years after first performing the song as Cindy Lou Who in How the Grinch Stole Christmas.

The reimagined version appears on the band’s new holiday EP, Taylor Momsen’s Pretty Reckless Christmas, released Friday (Oct. 31) via Fearless Records.

The original ballad, co-written by Mariah Carey, James Horner, and Will Jennings, first appeared on the 2000 film’s soundtrack and was famously performed by Momsen at just seven years old. That same year, Faith Hill’s version reached No. 65 on the Billboard Hot 100.

Momsen’s 2025 update opens with a nostalgic snippet of her childhood recording before launching into a full-blown rock version, anchored by crunchy guitars and her signature gritty vocals. “Where are you, Christmas? Why can’t I find you?” she sings, giving the wistful lyrics new energy and edge.

The six-track EP also includes four original songs — “I Wanna Be Your Christmas Tree,” “Christmas Is Killing Me,” “Blues on Christmas,” and “When We Were Young” — as well as a reprise titled “Christmas, Why Can’t I Find You.”

“Pretty Reckless Christmas started as just one song, but the moment we got into the studio, it took on a life of its own,” Momsen said in a statement. “There was so much emotion, nostalgia and chaos wrapped up in it that it didn’t feel right to leave it standing alone. To really honor it, I needed to build a whole world around it. That’s how this project became a full body of work — something bigger, deeper and far more personal than I ever expected.”

Momsen’s last studio album with The Pretty Reckless, Death by Rock and Roll, debuted at No. 1 on Billboard’s Top Album Sales chart in 2021, making them the first female-fronted band to hit No. 1 on the chart with their first four albums.

Meanwhile, “For I Am Death,” The Pretty Reckless’ first new music since its 2021 album Death by Rock and Roll, climbs to No. 1 on the ranking dated Nov. 8. It’s the band’s eighth leader and fourth straight, a streak that dates to 2020, when “Death by Rock and Roll” led for three weeks, followed by reigns for “And So It Went” and “Only Love Can Save Me Now” in 2021.

In 2013, The Pretty Reckless made its maiden appearance on the tally with “Heaven Knows,” a song that ended up reigning for four weeks beginning in March 2014. That kicked off a streak of four consecutive No. 1s, with “Heaven Knows” followed by “Messed Up World” (2014), “Follow Me Down” (2015) and “Take Me Down” (2016).

Liam Gallagher has called out a fan who launched flares into the crowd during Oasis’ opening Australian tour stop at Melbourne’s Marvel Stadium on Friday night (Nov. 1), describing the individual as a “seriously f**ked up” person in a profanity-laced post on social media.

The incident occurred during the final song of the night, “Champagne Supernova,” when two flares were seen flying into the densely packed floor section of the sold-out stadium.

One concertgoer told Australian outlet news.com.au that the flares sparked visible flashes among the crowd. “Each time you saw this flash, it looked like a fire, and then it was contained fairly quickly,” said Virginia, who attended the show with her 13-year-old daughter. The pair exited the venue early due to safety concerns.

Security reportedly conducted thorough bag checks at the gate, though it remains unclear how the flares entered the venue or whether any injuries occurred. Marvel Stadium has yet to comment.

Gallagher, never one to mince words, addressed the flare-thrower directly on Saturday morning.

“To the massive C*** who launched that flare into the crowd last night at the gig in Melbourne you are 1 seriously f***ed up individual and you will get yours trust me,” the singer he wrote on X.

During the performance, fans say Liam was visibly displeased, reportedly wagging his finger and mouthing “naughty, naughty” from the stage. His brother Noel Gallagher appeared concerned, though the band did not stop the performance. It is unclear if there were any injuries as a result of the incident.

The Melbourne concert marked the first show of Oasis’ long-awaited Live 25 reunion tour Down Under. The group is scheduled to play three shows at Marvel Stadium before heading to Sydney’s Accor Stadium for two nights.

Before taking the stage, Liam greeted fans with, “G’day Australia! Did you miss us? Because we missed you!” The sold-out show drew massive crowds, with fans queuing from 5 a.m. to secure front-row spots and breaking into spontaneous singalongs outside the venue.

The Live 25 tour sees Noel and Liam Gallagher reuniting alongside Gem Archer, Andy Bell, and drummer Joey Waronker. Mike Moore is filling in for original guitarist Paul “Bonehead” Arthurs, who is undergoing treatment for prostate cancer.

HYBE shares soared 18.4% in the week ended Oct. 31 after a South Korean court ruled that K-pop group NewJeans may not leave HYBE imprint ADOR and make music under a different name. The five members of the girl group had attempted to break away from HYBE after the K-pop giant dismissed NewJeans’ mentor, ADOR CEO Min Hee-jin, in April 2024.

Rather than lose NewJeans — which would have created additional headaches for HYBE and other K-pop companies — ADOR will retain the group through the end of its exclusive contract in 2029. The fact that Min is no longer at ADOR didn’t sway the court. “Merely the fact that NewJeans personally places high trust in Min Hee-jin does not make guaranteeing her the position of ADOR’s CEO a significant obligation under the exclusive contract,” according to a report. The ruling added approximately $1.5 billion to HYBE’s market value, suggesting that investors were fearful a court loss would spill over to other acts currently under contract with HYBE. 

Despite HYBE’s considerable gain, the 19-company Billboard Global Music Index was unchanged at 2,845.53. Music stocks were almost evenly mixed between winners and losers, and only two companies had either a gain or a loss in excess of 10%. 

Music stocks lagged behind major indexes’ gains. In the U.S., the Nasdaq composite index rose 2.2% to 23,724.96 and the S&P 500 improved 0.7% to 6,840.20. The U.K.’s FTSE 100 rose 0.7% to 9,717.25. South Korea’s KOSPI composite index jumped 4.2% to 4,107.50 on AI optimism after Samsung announced it would build a semiconductor factory in partnership with American company Nvidia. China’s Shanghai Composite Index ticked upward 0.1% to 3,954.79. 

SiriusXM shares finished the week up 1.4% to $21.69 after a see-saw end to the week. The stock gained 10.1% on Thursday (Oct. 30) after the company’s third-quarter results, but fell 6.5% on Friday (Oct. 31). The bump in share price came after SiriusXM increased its full-year forecasts for revenue, EBITDA and free cash flow. The Q3 results also showed that the satellite radio company, which also owns streaming platform Pandora, turned a net loss into a net profit. 

Universal Music Group shares fell 2.3% to 23.27 euros ($26.99) despite gaining 1% on Friday after the company reported solid Q3 earnings following the close of trading on Thursday. Following the results, J.P. Morgan reiterated its “overweight” rating and 39.00 euros ($45.23) price target while Guggenheim maintained its “neutral” rating and eliminated its price target, which was previously 27.00 euros ($31.32). 

Spotify’s stock benefited from news that the company is raising prices in the U.K., finishing the week up 1.5% to $655.32. That modest gain helped Spotify reclaim some of the loss it suffered after the share price dropped 4.1% on Oct. 24. The Stockholm-based company will report Q3 earnings on Tuesday (Nov. 4). 

Radio giant iHeartMedia was the week’s biggest loser after dropping 12.4% to $2.97. The company’s share price has been on a roll lately, though, gaining 39.4% in 2025. iHeartMedia will release Q3 earnings on Nov. 10.

Most live music stocks lost ground. Live Nation fell 2.2% to $149.53 ahead of its earnings results on Tuesday. German promoter CTS Eventim dropped 2.9% to 77.60 euros ($90.00). MSG Entertainment dipped 3.5% to $44.16. Sphere Entertainment Co. was an exception, rising 1.7% to $68.48. 

Rufus Wainwright is the latest singer to change the lyrics of “O Canada.”

At Wednesday’s (Oct. 29) Game 5 of the World Series between the Toronto Blue Jays and the Los Angeles Dodgers, the Montreal-raised singer-songwriter performed a bilingual version of the Canadian national anthem at Dodger Stadium.

Instead of the anthem’s usual line, “true patriot love in all of us command,” Wainwright sang: “true patriot love that only us command.”

The change has been interpreted as a protest of U.S. President Donald Trump, who has made threats of annexation of Canada as the “51st state.”

It’s the same lyrical change that fellow Canadian singer Chantal Kreviazuk made during the height of tariff tension in February, while performing at the final 4 Nations Face-Off hockey game in Boston, Massachusetts.

Kreviazuk subsequently shared a now-deleted Instagram post, confirming that the lyric change was intentional and that she wrote the words on her hand to remember them.

“I truly believe that we must stand up, use our voices and try to protect ourselves,” she wrote at the time. “We should express our outrage in the face of any abuses of power. I was raised in part by music that was inspired by brave voices committed to peaceful conflict resolution.”

This isn’t the first time a Canadian artist has taken a jab at Trump’s comments. Country singer Dallas Smith is currently on a 51-date cross-country tour, an intentional nod to the 51st state comments, making intimate stops all across Canada.

Two days before Wainwright’s performance, Toronto-born, Los Angeles-based singer JP Saxe performed the Canadian national anthem at Dodger Stadium during Game 3. He swapped out the “Our home and native land” line for “Our home on native land.”

Saxe went viral on social media in August for starting an important conversation about touring as an artist, after cancelling his tour due to low ticket sales.

He followed in the footsteps of acclaimed singer-songwriter Jully Black, who made the one-word lyric change in 2023, while performing “O Canada” at the NBA All-Star Game. Black went on to be honoured by the Assembly of First Nations.

Wainwright and Saxe join the growing list of Canadian artists who have performed the national anthem at this year’s World Series, including Alessia Cara (Game 2) and Deborah Cox (Game 4).

Following yesterday’s 6-1 win, the Jays are one game away from winning the World Series, which returns to Toronto for Game 6 tomorrow night (October 31) and Game 7 (if necessary) on Saturday (Nov. 1).

Read more here. — HTS

Toronto’s Budweiser Stage to Become RBC Amphitheatre

Say hello to RBC Amphitheatre.

Live Nation Canada and RBC have announced a multi-year partnership to expand the Toronto waterfront venue — starting with the replacement of its former name, Budweiser Stage, effective immediately.

RBC Amphitheatre is set to be transformed and expanded into a year-round venue by 2030.

The concert venue, on the site of the old Ontario Place Forum, opened in the mid-1990s under its initial name, Molson Amphitheatre, and was renamed Budweiser Stage in 2017. Its new name is a callback to its origins.

“It is a nod to the past, but it’s also forward looking,” says Wayne Zronik, president of business operations at Live Nation Canada, in an interview with Billboard Canada. “We’ve all been down there for shows. It’s been around for 30 years, and it’s one of the best in the world. It’s so amazing and so to preserve that, yet to also have it be available in this very unique year-round configuration for generations to come is very exciting for us.”

Embarking on renovations, the event space will expand its indoor and outdoor capabilities. By becoming a full-year venue, RBC Amphitheatre will include an expanded capacity in the summer and approximately 9,000 seats in the winter, featuring seated and an open-air lawn section from May to October.

Zronik says the winterization will include an “operable panel system” that will enclose the pavilion in a temperature-controlled environment starting in the fall months.

The event space is expected to close for renovations in fall 2027 and reopen in spring 2029, with full-year capabilities complete by summer 2030.

Inspired by fan feedback, the venue will feature a pedestrian bridge that improves access and eases crowd flow. Live Nation also promises upgraded amenities like expanded food and beverage options, hospitality areas and a new lookout deck with elevator access to the lawn. The city skyline views will remain central to the venue’s identity.

With the proposed changes and transformation, RBC Amphitheatre is set to significantly increase its show count, hosting over 1.5 million fans annually.

Venue upgrades will include multiple tiers of VIP experiences (as is the current trend with venues), as well as infrastructure to support modernized concert production and backstage amenities for some of the biggest artists in the world. Toronto has become one of the biggest global touring markets, which has inspired Live Nation’s expanded presence in venues, including the new Rogers Stadium that opened this summer.

“I think we have to continue to invest in cultural infrastructure so that we can accommodate these shows,” says Zronik. “The Amphitheatre is 30 years old; by the time this is done, it would have been 35. You have to revitalize these things.”

Building signage of the previous venue name will remain visible as the space transforms in the months leading up to the 2026 season, when the RBC Amphitheatre name will replace it. The venue currently has four shows announced for next year’s lineup, including Canadian rapper bbno$, American musician MGK, country star Bailey Zimmerman and Australian boy band 5 Seconds of Summer.

Read more here. — Heather Taylor-Singh, Richard Trapunski

Independent Music Industry Groups Ask for Public’s Help to Renew Canadian Music Funding

Independent music organizations are asking the public for help as the deadline looms for Canadian music funding.

A $16 million annual boost was announced in 2024 as a temporary top-up to the Canada Music Fund — which supports both FACTOR and Musicaction, two of the country’s biggest and most important music grants.

The update promised $32 million over two years to enhance the careers of Canadian artists, while strengthening the competitiveness and stability of the Canadian music sector.

With the deadline for the funds approval looming by March 31, 2026, independent groups including the Canadian Independent Music Association (CIMA), SaskMusic, Music NL and more have requested the public’s assistance in reaching out to local MPs to ensure the funds are renewed.

If not, they warn, the investment, which impacts Canadian-owned music companies and artists, could be slashed by up to 50%.

Earlier this month, the federal government announced that the 2026 budget will be discussed on Nov. 4 — months earlier than its initial March deadline.

The news comes at a pivotal time for the Canadian music industry.

According to CIMA, contributions from private radio broadcasting to FACTOR have significantly decreased from $16 million in the early 2020s to approximately $2 million this year. In 2024, the funding body was the victim of a $9.8 million cybertheft.

Meanwhile, funds from Bill C-11 (Online Streaming Act), a part of which was intended to allot 5% of revenue from major foreign-owned digital streaming platforms, have been paused after major streamers like Spotify, Amazon and Apple took the government to court.

“Whether you are a large Canadian company, a new music start up, an established artist or fledgling musician, everyone in our sector benefits from the investments made by FACTOR and Musicaction,” shares Andrew Cash, CIMA president and CEO, in a statement.

Cash urges the public to contribute by emailing Stephen Guilbeault, Minister of Canadian Identity and Culture, François-Philippe Champagne, the Minister of Finance and Prime Minister Mark Carney.

“Now more than ever before we need to be strengthening the fabric of Canadian-made culture,” he said.

With only a week to go, the organizations are encouraging the public to speak up by emailing representatives.

Read more here. — HTS