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In spring and summer 2026, music legend Bob Dylan goes on the Rough and Rowdy Ways Tour throughout the United States with dates going until Saturday, July 25 at Filene Center at Wolf Trap in Vienna, Virginia. Meanwhile, during select dates during the tour, there’s a few recording artists supporting as openers, including Lucinda Williams and the John Doe Folk Trio.

Tickets to the tour first went on sale through Live Nation and Ticketmaster, as the retailer’s Face Value Exchange program is an option for fans to resell tickets.

However, many of the dates have either sold out, or are very close to selling out, so one of the best ways to find Bob Dylan tickets online is through third-party sites, including StubHub, Vivid Seats, SeatGeek, Event Tickets Center, Gametime and others. All online retailers guarantee authentic tickets in time for your concert.

In addition, Billboard likes that tickets are all delivered digitally, so you can get them sent instantly to your smartphone or email. Prices may also be above or below face value at times.

Where to Find Bob Dylan’s Rough and Rowdy Ways Tour Tickets Online

Looking for cheap seats to see Bob Dylan live? Here’s where to find tickets still available and on sale online.

StubHub has Bob Dylan tickets available. Stubhub’s Fan Protect Guarantee ensures valid tickets or your money back.

You can find Bob Dylan tickets online at Vivid Seats, which lets you search by price, location and “Super Sellers,” which denotes reputable sellers with the best deals on tickets. Vivid Seats is great for group tickets: the site has a rewards program that gives you your eleventh ticket free (in the form of a credit) after you buy 10 tickets online.

One of the lowest prices we’re seeing for Bob Dylan tickets is at SeatGeek, which has stubs from $50 and up.

TicketNetwork has tickets to Bob Dylan’s concerts with all-in pricing that lets you see exactly what you’ll pay up front (fees included).

Bob Dylan’s Rough and Rowdy Ways Tour 2026 Dates

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

Megan Thee Stallion has spoken out with a message to the Hotties after departing Broadway’s Moulin Rouge! midshow and being hospitalized due to “extreme exhaustion” on Tuesday night (March 31).

The Houston rapper explained that she’s been pushing the limits of her body and called Tuesday’s health scare a “real wake-up call.”

“Last night was a real wake-up call for me. I’ve been pushing myself past my limits lately, running on empty, and my body finally said enough,” she wrote on Instagram on Wednesday (April 1). “It honestly scared me. I thought I was gonna faint on stage, I really tried to push through my performance but I just couldn’t. Hotties I wanna be real with y’all because you mean everything to me and I hate letting yall down.”

The 31-year-old calmed fans’ worries and promised she’d be back on the Broadway stage for Thursday night’s (April 2) show.

Megan continued: “I just need one day to rest, reset, and take care of myself the way I should have been. I’ll be right back on that stage Thursday, stronger, clearer, and ready to give you 100% the way you deserve. Thank you for always riding with me and loving me through everything.”

Fans attending Tuesday’s show at New York’s Al Hirschfeld Theatre were informed Megan fell ill and wouldn’t be continuing her role as Zidler for the rest of the evening.

“On Tuesday evening, Megan was transported to a local hospital to undergo a medical evaluation after experiencing concerning symptoms,” a rep for Megan told Billboard. “Doctors ultimately identified extreme exhaustion, dehydration, vasoconstriction and low metabolic levels as the cause of her symptoms. Megan has since been treated, discharged and is now resting.”

The rep added: “Megan is incredibly grateful for the prayers and well-wishes from her supporters and is looking forward to resuming her role as Zidler.”

Megan’s hairstylist informed fans that she was hospitalized and asked for prayers. “Everyone say a prayer for Megan, we are all at the hospital,” Kellon Deryck wrote to X.

Megan Thee Stallion made history in March when she became the first female-identifying performer to play Zidler, which kicked off an eight-week run on March 24 and will go through May 17.

Music executive Scott Borchetta continues building a stable of artists at his recently launched Borchetta Entertainment Group (B.E.G.) management division, with The Band Perry announced as the latest signing.

The country group was brought in by music executive Shelby Marvel, who also joins the B.E.G. management team as part of the deal. Marvel, formerly with Make Wake Artists, also brings to the B.E.G. roster artists Trey Pendley and Kendell Marvel. Last month, Borchetta launched Borchetta Entertainment Group with flagship artist Carly Pearce.

The Band Perry (Kimberly Perry and Johnny Costello), also signed to Nashville Harbor Records & Entertainment, recently released its first new song in nine years, “Psychological.”

“Kimberly and I have had so many incredible successes in the past, and as we’ve both entered this new season, we’re finding we’re more aligned than ever,” Borchetta said in a statement. “She is one of the greatest live frontwomen of all-time and her musical vision has never been clearer. This is going to be a beautiful era for The Band Perry.” 

“There are very few people who truly see your vision and fight for it the way Scott has always fought for mine,” Kimberly Perry added. “Being apart for a moment only made it clearer how rare that kind of belief is. I’m obsessed with building this second chapter with him. I’m incredibly proud of everything we’ve built so far and wildly excited about everything we’re about to.” 

“Partnering with Scott Borchetta and Borchetta Entertainment Group comes down to shared values — believing in artists, doing the work, and building something that lasts,” Shelby Marvel said. “Stepping into Season 2 of The Band Perry with someone who’s been in their corner since day one makes it that much more meaningful. I’m proud to also bring Trey Pendley and Kendell Marvel into what we’re building together.”

This week, Billboard is publishing a series of lists and articles celebrating the music of 20 years ago. Our 2006 Week continues here with a collection of stories from people who knew Taylor Swift during her first year on the music scene.

Wise beyond her years. Smart as a whip. An extraordinary talent.

When you ask industry insiders who crossed paths with Taylor Swift back in 2006 – the year she released her self-titled debut album – many of the same phrases come up again and again. All of them are descriptors you’d generally expect to hear of the person who, in 20 years, would be the biggest artist in the world, and all of them are traits she’s continued to exhibit over time not only as an experienced musician but as a person.

What’s more striking than the ways she’s remained exactly the same since then, however, are the ways that, two decades ago, Swift was just like any other teenage girl.

For instance? “Taylor did not know how to peel shrimp,” country radio coach John Shomby tells Billboard, laughing fondly at the memory of meeting her for the first time in 2006.

It had been the evening before Swift was slated to play for listeners of WGH-FM, which Shomby oversaw at the time as Max Media’s operations manager, and she and her fledgling team at label Big Machine had requested to go out to dinner with him at Bubba’s in Virginia Beach. Shomby remembers a driven young artist who asked endless questions, was forthright about her ambition to have a No. 1 song someday and — aside from some concern that her parents selling their Christmas tree farm back home to support her pursuit of a music career in Nashville might end up in vain — was strikingly confident, self-assured and accomplished. There was seemingly nothing she couldn’t do.

Until the server set her food down at the table.

“She thought the shrimp was gonna be these little round things that you get in Pennsylvania, where she grew up, at TGI Fridays or something like that,” Shomby says, smiling. “Then they walked in with this big plate of shrimp that were the size of her hand.”

He mimes how her famous blue eyes widened at the sight. “She went, ‘Oh, my. How do you eat these things?’”

Shomby’s wife, Marilyn, went about teaching Swift which parts of the shrimp to peel, eat and avoid, and just like that, the cuisine was the latest of many challenges she had conquered. The next day, she would play debut single “Tim McGraw” for Shomby’s team at the station, and afterward, when he told her that the performance had convinced the team to add the song to their on-air rotations, Shomby says: “You’d think we gave her a million dollars.”

This was how Swift spent much of her first year out – traveling the country, meeting different radio executives and, if she was lucky, getting them to play her music. Oftentimes, she succeeded. If the quality of her early songs didn’t win people over, her natural charm usually did. And if not, she didn’t react with any trace of embarrassment or self-doubt – it was simply on to the next.

That’s how Big Machine’s former west coast promoter Rick Barker, who became Swift’s manager for two years after she signed to the label and accompanied her on those radio visits, remembers it.

“She didn’t know any better,” he says, citing one time when they’d planned a big visit to a station and ordered several pizzas for the occasion, just for three people to show up. “You would have thought there were 300. She went up, shook hands, looked them in the eyes and played her heart out in the conference room.”

“She would just always say things like, ‘Do you think they like me? Do you think they’re gonna add my record?’” Barker continues, remembering how their downtime between tour-bus strategy meetings was filled with talk of Swift’s crushes, MySpace posts and Grey’s Anatomy DVD marathons. “I said, ‘Taylor, I’ll [always] be 100% honest with you, as long as you show me you can handle it. If not, I’ll just blow smoke … and tell you how good you are. She goes, ‘No, I want to know. I want to know what I can do better.’”

Swift was also down to try anything. WGN Radio 720’s Lisa Dent, who conducted one of the singer’s very first major radio interviews in 2006 while working at Chicago’s WUSN, says Swift had no hesitations about spending all day on the air speaking unscripted to countless listeners (most of whom likely had no idea who she was), or about taking a microphone out to Michigan Avenue and asking strangers whether they were Cubs or Sox fans for a segment of the broadcast.

“She’s always been fearless,” Dent says incredulously, inadvertently referencing the title of Swift’s massively successful 2008 sophomore record. “She engages people, and she does that by listening intently – even at that age, you would feel like you were the only person in the room when she made eye contact [with you]. That’s just a part of her DNA.”

Audacy vp of country programming Tim Roberts, who met Swift when she stopped through Detroit on her radio tour, has similar memories. Again, her team had asked to meet for dinner – this time dining at P.F. Changs – and again, she requested to play her music for on-air consideration. Perplexed, Roberts offered to ask the waitstaff if they had a CD player they could borrow.

“She goes, ‘No, I want to play you the songs on my guitar,” he recalls. “Let’s just go out to the parking lot, and I’ll sit in the back of your truck.’”

Outside, she ran through “Tim McGraw” and two other tracks that would become singles from her debut album: “Teardrops on My Guitar” and “Should’ve Said No.” When she was done, Swift – snapping back into teen-girl mode, so to speak – requested to see 8 Mile, the famous namesake and setting of one of her favorite movies she couldn’t stop gushing about over dinner. (Later, when opening for Rascal Flatts in Detroit, she’d play an acoustic-guitar cover of leading man Eminem’s “Lose Yourself.”)

Roberts obligingly took Swift to visit the stretch of road, and “after she left,
I looked at my wife, and I go, ‘Every song she played to me sounded like a No. 1 hit. Maybe it’s just because we spent so much time with her.’ And my wife’s like, ‘No, absolutely. They’re all No. 1s.’”

They were almost right. The first two tracks Swift played would reach No. 2 on the Hot Country Songs chart, after which “Should’ve Said No” became one of Swift’s nine No. 1s on the chart to date.

It’s hard not to notice how certain parts of these memories foreshadow future hallmarks of Swift’s career. In Roberts’ story, she didn’t have a stage on which to perform – so she made her own, evidently spotting his truck at some point before dinner and remembering it later that evening to create an essential opportunity using only what she had at her disposal. That’s not so surprising for someone who would later turn her inability to buy back her own masters into a billion-dollar profit through a series of “Taylor’s Version” releases and her historic Eras Tour.

Then there’s Shomby’s anecdote from the seafood restaurant, which included how “all these guys started looking over” at the tall, blonde and traditionally beautiful young girl he’d walked in with, “but she was completely oblivious.” Instead, she was solely focused on making a good impression with the radio executives – a symbolic counter to how the public would later label her “boy crazy” in dismissal of her talent, meanwhile her career was always the real love of her life (a title fiancé Travis Kelce now shares, of course).

And in Dent’s tale, Swift, after finishing for the day at the Chicago station, taught the radio personality how to take one of those newfangled “selfies.” “That was the first time I’d seen that done,” Dent says, chuckling. “There had to be somebody else in the room, but she took control and said, ‘No, let’s do this.’ It was, I think, an early sign of her controlling her image.”

There are also specific calling cards linking each story. Every person, for instance, volunteers – all unprompted – that 16-year-old Swift followed up each visit with a handwritten thank-you note. (For Dent, Swift went to a nearby stationary store, bought supplies and created a custom piece of colored-pencil art that she then personally delivered to WUSN the next day.) Everyone also remarked on Swift’s “scary good” memory, with Shomby saying, “She knows everybody’s name and everybody’s wife or husband’s name, and their kids.”

“When she played here at Nissan Stadium [in 2019], a bunch of us were backstage,” he continues. “She comes, we’re getting ready to take a picture, and she looks over, and there’s a bowl of shrimp over there. She looks at me and goes, ‘This is kind of ironic, isn’t it?’”

And of course, there’s Andrea. In the periphery of each story from Shomby, Barker, Dent and Roberts, a calm, supportive figure is present in the form of Taylor’s mother, who accompanied her daughter on every step of the radio tour and on most of her journey after that. She served as a constant, protective force (at one point drawing the line that Taylor must wear a coat if she was going to insist on signing autographs for fans lined up in a snowstorm in Utah, Barker remembers). But she also always let the younger Swift take the reins.

“You could tell that she wasn’t, like, a momager,” says Shomby. “Taylor did her thing. Taylor was Taylor.”

At the heart of all these stories is an almost supernaturally determined young girl that was both ravenous for success and deeply interested in forging real connections with the people who could help make that happen. As her star has risen and exploded over time, many have been unable – or unwilling – to reconcile one with the other. She’s been called calculated, manipulative, disingenuous.

But ask the people who knew her from the start, and they’ll tell you something different.

“When she would start winning awards, and people would mock her facial expression or her surprise, it really offended me,” says Dent, whose now-adult son Liam has an autographed poster from Swift – one of his earliest playmates from times spent backstage with her after that initial radio visit – calling him her “favorite boy.” “That was not fake. It wasn’t put on. That was genuine surprise and gratitude.”

Roberts stresses that Swift wasn’t just kind in the moment – she also always remembered who’d helped her and found ways to pay it forward. A few years after meeting at P.F. Changs, she played Palace of Auburn Hills on her Fearless Tour, where a member of her team found Roberts in the crowd mid-show and escorted his party to the end of the stage. Moments later, his face was on the big screens.

“[She] says, ‘This is the song I started my career with, and these people are 100% responsible for me being what I am today,’” Roberts recalls her saying before launching into “Tim McGraw.”

There are also those who attempt to explain away Swift’s success by pointing to her upper-class upbringing or her uber-supportive parents. While certainly helpful, those things are infinitesimal in the long run, argues Barker. After he left his management post with Swift to spend more time with his family – later funneling his experience with her into his book, Music Business for Parents – he started consulting for Sony, where he really got to see, by contrast, just how rare Swift was at 16.

“All these oil dads from Texas were showing up with a blank check and a teenage daughter, thinking that was the magic secret,” he says. “If it were that easy, there would have been a thousand Taylor Swifts.”

Taemin is making history a long way from home. SHINee member and K-pop star appeared on the Wednesday (April 1) episode of The Jennifer Hudson Show, where he spoke about being part of this year’s Coachella lineup.

“You’re making history as the first K-pop male solo artist to perform at Coachella,” Hudson points out during their chat. “How does that feel?”

“There is a saying in Korea, ‘Big opportunities come three times in life,’” Taemin responds after sharing that he was feeling “honored and grateful” to be performing at the festival. “And this is one of them.”

Hudson continues the chat by asking the star if he will release more solo music.

“Oh, yes,” Taemin replies. “I am still evolving.”

The star was also on the talk show to perform his new single, “Long Way Home.” The “Idol’s Idol” sang alone on the stage, dancing effortlessly with his rhinestone microphone and mic stand for the adoring audience.

Performing at Coachella isn’t the only history Taemin is making this year. Billboard exclusively revealed in March that the Grammy Museum in Los Angeles will open a new exhibit dedicated to the K-pop star’s nearly two-decade long career, making him the first K-pop soloist to receive such recognition from the museum. “TAEMIN: Performer. Artist. Icon” will opens April 1 and will give fans a peek behind the curtains of Taemin’s career. Multiple performance looks — including one from his Ephemeral Gaze World Tour — will be on display as well as his official lightstick and a handwritten note addressed to his fans. The special exhibit will run through May 25.

Watch Taemin’s performance and chat on The Jennifer Hudson Show above.