Tame Impala just might make a triumphant homecoming in the not-too-distant future.

Kevin Parker’s psychedelic pop project has got the year started in the best possible fashion, by collecting a second successive Grammy Award in the category for best dance/electronic recording, winning for “End of Summer.”

Then, last Friday, the West Australian dropped a remix for Deadbeat single “Dracula,” this time featuring the vocals of BLACKPINK star JENNIE.

Now, a hint that Tame Impala will support Deadbeat with a tour of Australia, the band’s first in these shores since 2022.

A social post shared this week by Frontier Touring, a division of the Melbourne-based Mushroom Group, features a simple poster emblazoned with the question, “End of Summer,” soundtracked with the epic, rave-y first release from Deadbeat.

The post is soundbedded by a snippet of the track, and is shared as a collaboration with Michael Chugg’s Chugg Entertainment, a joint venture with Frontier Touring.  Another cryptic clue is given with the phrase “’ll see you when I see you,” and a website endofsummer.au. Just punch in your email and wait for more.

Tame Impala last played Australia in 2022 in support of 2020’s The Slow Rush. On that occasion, an arena tour delayed by the pandemic, the dates were produced by Laneway Presents, Chugg Entertainment and Frontier Touring.

Parker did play arenas in Sydney, Melbourne and Brisbane in the back end of 2025, although in a different capacity. For that run, he was the opening DJ for French electronic maestros Justice.

Deadbeat opened at No. 2 on the ARIA Chart last October, continuing a streak that has see all five of Tame Impala’s studio albums crack the national top 5, starting with Innerspeaker (from 2010) and Lonerism (2012), both of which peaked at No. 4. Tame Impala’s previous two albums, Currents (2015) and The Slow Rush (2020), went all the way to No. 1.

All told, Tame Impala has won 13 ARIA Awards, one BRIT Award and now two Grammys. Parker can add to his groaning trophy cabinet with the coveted song of the year at the 2026 APRA Music Awards, for which “End of Summer” is shortlisted.

Guns N’ Roses will rock Australia’s City of Churches this November for a one-off show.

The rock legends are booked to headline the 2026 bp Adelaide Grand Final Sunday Concert on Sunday, Nov. 29, a show that waves the checkered flag on the Supercars season.

GN’R follow AC/DC, who in 2025 had the honors of wrapping the bp Adelaide Grand Final, Australia’s largest domestic motorsport event which counted more than 285,700 fans pass through its gates.

The Rock Hall-inducted American group will visit South Australia four years to the month since their last tour of these parts, back in November and December 2022 for the Australasian leg of their We’re F’N’ Back! stadium trek.

The Adelaide show follows the rockers’ 2025 tour which visited Europe, the Middle East, Asia and Latin America, and the release in December of two new songs, “Nothin’” and “Atlas,” their first new music since 2023’s one-off singles “The General” and “Perhaps.”

In a recent interview with Sylvia Alvarado of Las Vegas radio station KOMP 92.3, guitarist Slash said it was “good to have a couple of songs that we’re promoting and then a tour that’s really a long tour.”

There may be more new music on the way. “We took a bunch of material that [singer] Axl [Rose] had and we sat down and listened to it and we sort of picked out all the different songs that we wanted to do, and what Axl wanted to do, and we just took all of the guitars and bass off and re-did it,” Slash said of the recent singles.

Slash also promised that the band would play both of the new and old songs on their upcoming 2026 world tour, which gets underway March 28 at Monterrey, Mexico’s Tecate Pa’l Norte festival, and includes dates in Europe and North America (summer) and Latin America (spring).

The artist presale for the 2026 bp Adelaide Grand Final Sunday Concert runs until this Sunday, Feb. 15 at 5pm local time. For more visit gunsnroses.com and Ticketmaster.

On Thursday (Feb. 5), Best Coast frontwoman Bethany Cosentino was the first artist signed to the powerful Wasserman agency to speak out over revelations that its founder and CEO, Casey Wasserman, had carried on a flirtatious relationship with convicted sex trafficker Ghislaine Maxwell — the main accomplice of convicted child sex predator Jeffrey Epstein — after the latest tranche of 3 million files in the Epstein case was released. Expressing anger over Wasserman’s apology, in which the executive said he “deeply regret[s]” his communications with Maxwell, Cosentino called for Wasserman to step down from his post and for the agency to change its name, among other demands.

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Since Cosentino’s Instagram post went live, several more artists — mainly indie acts — have responded to the controversy. Though these responses have varied somewhat, most have either announced their exit from the agency over the revelations or seemingly threatened to leave if Wasserman isn’t held accountable for his actions. Nearly all have expressed support for their agents. On Monday evening (Feb. 9), Chappell Roan became the first major star to speak out on the issue, writing that she had left the agency amid the growing outrage (without explicity mentioning Epstein or Maxwell).

The growing number of artist defections is now continuing to snowball into a major issue for Wasserman and his namesake agency, which represents such superstars as Ed Sheeran, Coldplay, SZA, Noah Kahan, Lorde and Kenny Chesney. Will any of those other big acts follow Roan’s lead?

Below, we’ve rounded up every Wasserman artist who has spoken out on the issue. We’ll continue updating the list as more of them make their feelings known.

To celebrate the 40th anniversary, the ARIA Awards will induct six legends of the Australia music scene into its Hall of Fame during a “landmark” event in Sydney this June.

The special stand-alone event be on presented Thursday, 11 June at Carriageworks, Sydney, honoring “some of Australia’s most beloved and influential artists of the past 40 years,” reads a statement from the labels body.

That format marks a return to the annual ARIA Hall of Fame event, a treasured moment on the music industry calendar which was discontinued with the 2010 spot, when John Williamson, Models, Johnny Young, The Loved Ones, and The Church all got the nod.

From 2011 onwards, the ARIA Hall of Fame was downsized and incorporated into the annual ARIA Awards. In that year, The Wiggles and Kylie Minogue were elevated, with the-then prime minister Julia Gillard on hand to induct the princess of pop.

Since then, the ARIA board has selected just one act for inclusion into its honors list, including Missy Higgins (2024), Jet (2023), the late Archie Roach (2020), Tina Arena (2015), Crowded House (2016), and last year’s inductees, You Am I.  

“This landmark event will shine a spotlight on artist excellence, legacy and cultural impact, bringing together icons, peers and fans to celebrate the best of Aussie music,” the statement continues.

Also announced today, the 40th annual ARIA Awards returns to Sydney’s Horden Pavilion, on Gadigal land, on Wednesday, 18 November. Spotify is, for the second year, the headline sponsor, and the show will the free-to-air 10 network and stream live on Paramount+. 

“Reaching 40 years of the ARIA Awards is a powerful moment to reflect on just how deeply Australian music is woven into our story,” comments ARIA CEO, Annabelle Herd.

“The 2026 ARIA Hall of Fame anniversary event gives us the chance to properly honour the artists, and industry figures whose work has shaped generations, while the 2026 ARIA Awards will continue that story by championing the next wave of Australian talent on an increasingly global stage. This milestone is about legacy but it’s also about backing where Australian music is going next. We can’t wait for what 2026 will bring.”

As previously reported, audience engagement hit record highs across genres for the 2025 ARIAs, reps say, with nearly 700,000 fan votes through the ARIA website and Spotify.

Register here for information and ticketing on the 2026 ARIA Hall of Fame event

The sheer number of artist signings announced on a weekly basis makes it difficult to keep up, no matter how closely you pay attention to the industry news cycle. That’s why every other Tuesday, Billboard compiles the latest signings to labels, distributors, agencies, management companies and more, in an effort to provide a snapshot of the latest moves in the artist space, from household names to indie stars to emerging acts.

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Ian Munsick and his West to the Rest Records have partnered with Triple Tigers Records. In the process, Munsick joins the Triple Tigers roster, which also includes Russell Dickerson, Scotty McCreery and Shane Profitt.

Munsick’s new song “Geronimo” was released on Jan. 30. He will launch his Eagle Flies Free tour in February.

“Every artist dreams of partnering with a record label that not only understands their vision, but creates a clear, passionate plan on how to reach that destination. After I played some of my new music for the team at Triple Tigers, they told me exactly what songs they thought could achieve that vision,” Munsick said in a statement. “In a day [and] age where labels often rely on third parties for opinions that may or may not eventually lead to action, it was so refreshing to hear the words ‘that song is a hit’ when playing a guitar/vocal work tape for the label heads. Results are never guaranteed in the music industry but I am confident that the combination of this new era of Ian Munsick music and the strategic workhorse of Triple Tigers will result in a true 50/50 partnership made in country & western heaven.”

“Ian Munsick is the ultimate artist: unique identifiable voice, compelling songs and perspective, established brand and a massive fanbase that is growing by leaps and bounds,” added Triple Tigers Records’ Kevin Herring and Annie Ortmeier in a statement. “We are ecstatic to partner with Ian and are ready to take country music by storm.” — Jessica Nicholson

Read up on more of the latest artist signings below.

Bad Bunny’s Super Bowl halftime show was one of the most watched shows of all time. We’re taking you inside the big day, and the days leading up to it, with an exclusive interview from the NFL’s Global Head of Live Event Production sharing what it was like to work with Bad Bunny on his iconic show, talking with the hottest stars including J Balvin, Spike Lee and more about his performance, and more.

J Balvin:

It’s really special, because this is not just about Bad Bunny. It’s about us as a culture, you know? 

Jon Barker:

It is beautiful. It is cinematic. It is storytelling. It is all the things that you want in those 13 minutes.

Spike Lee:

The people will be watching Bad Bunny. 

Bad Bunny:

The biggest feeling is being grateful.

Diplo:

There’ll be a lot of dancing, a lot of good dancing. And I think just you know, the moment that he has right now is so important, to win the first Spanish-language [album of the year] Grammy and then headline the biggest sports event in the world is so amazing. So viva Puerto Rico! Bye.

Tetris Kelly:

We went to Benito Bowl in Santa Clara, California, and we talked to the celebs in town about Bad Bunny’s halftime set, and got to speak with the NFL themselves. We take you there in Billboard All Access, presented by Lexus.

Jon Barker:

Bad Bunny has been in the process with us from from the jump. It’s his team really leading that creative process with our production partners at Roc Nation. That’s where it comes from. We help facilitate it, but he has been a fantastic partner ever since we announced it. When you think about the production of a halftime show, it is a massive amount to do in 13 minutes. You have a time window. You have a moment you have to start, and you have a moment you have to stop. And when you take all the moving pieces of something this big with a global superstar like Benito and do that in the right way that’s authentic to him, authentic to his fans, authentic to our fans, authentic to everybody, you’ve got to be precise, and that’s what it takes. There’s thousands of people that work on this show to get it right. And in six minutes, a stage will be built. In 13 minutes, a show will be done. And in six minutes, a stage will be taken off the field, and that’s how it goes.

Keep watching for more!

Days after going off on Bad Bunny‘s Super Bowl halftime show in a since-deleted social media video, Jill Zarin has been dropped from the upcoming Real Housewives of New York spin-off The Golden Life on E!, the show’s studio announced Tuesday (Feb. 10).

“In light of recent public comments made by Jill Zarin, Blink49 Studios has decided not to move forward with her involvement in The Golden Life,” the studio behind the RHONY reboot posted on Instagram. “We remain committed to delivering the series in line with our company standards and values.”

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Zarin was set to star alongside fellow Real Housewives of New York alumnae Luann de Lesseps, Ramona Singer, Kelly Bensmon and Sonja Morgan in the Palm Beach-set reality series, which was just announced on Feb. 3 and hadn’t yet started production.

In a minute-long video posted to Zarin’s Instagram account on Sunday, the reality star called Bad Bunny’s performance “the worst halftime show ever.”

“It’s 250 years that we’re celebrating right now in the United States, and I just don’t think it was appropriate to have it in Spanish,” Zarin said in the now-deleted video. “And quite frankly, I didn’t need to see him grabbing his G-area. I think it was totally inappropriate. You’ve got all these young kids watching the Super Bowl, and he doesn’t have to be grabbing himself every five seconds. Is he so insecure? Seriously. I don’t speak Spanish. I would have liked to understand the words he was saying.”

She also complained that the Puerto Rican superstar was making a “political statement” with the performance. “To me, it looked like a political statement, because there were literally no white people in the entire thing. I think it was a political statement, and I’m not taking a side one way or the other, I just do. I think it was an ICE thing.”

She added that “the NFL sold out” by booking Bad Bunny and also accused guest performer Lady Gaga of getting a facelift that left her unrecognizable. “I didn’t recognize her! I literally had to Google her face to see who it was.”

Zarin was an original castmember on Bravo’s New York-set Real Housewives from 2008 to 2011.

Find Blink49 Studios’ statement below:

Zayn Malik is gearing up to release his fifth solo album, Konnakol — but in his upcoming interview on Call Her Daddy, he revealed that he’s still mind-blown he even got to make his prior four LPs in the first place.

In a preview of the podcast episode — which Billboard is exclusively premiering Tuesday (Feb. 10) before the episode’s Wednesday morning premiere — the One Direction alum shares what he’s proudest of going into his next solo era. In his words: “Honestly, the fact that people still give a sh–.”

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“Five solo albums now — I was just buzzing that I got to do the first one after [leaving] the band, [and] people seemed to care,” he continues in conversation with host Alex Cooper. “I’m really proud of the progression and just the development and understanding of myself through my music.”

As announced Feb. 4, Konnakol will arrive April 17, complete with 15 tracks. Its lead single, “Die for Me,” dropped two days after the album news.

The new era comes a decade after Malik first burst onto the pop scene as a soloist after departing 1D in 2015. His debut effort as a one-man show, Mind of Mine, peaked at No. 1 on the Billboard 200, after which the singer released Icarus Falls, Nobody Is Listening and Room Under the Stairs.

With Konnakol, Malik hopes fans “get more insight on maybe my culture and heritage,” he tells Cooper on Call Her Daddy in the exclusive clip.

The U.K.-born musician is of Pakistani descent and was raised Muslim by his parents. The word “Konnakol,” which Malik used for his fifth album’s title, is a “vocal percussion technique used in South Indian Carnatic music, where complex rhythmic patterns are spoken aloud using specific syllables,” according to Forbes.

Beyond the new album, Malik’s podcast appearance also comes ahead of his 31-date Konnakol arena tour through the U.K. and North and South America. To gear up for the trek, he recently closed out a seven-night residency at Dolby Live at Park MGM in Las Vegas.

He’s also not the only former One Direction member who’s been dropping music as of late. In January, Harry Styles returned from a four-year break in releases to unleash “Aperture,” his third Billboard Hot 100 No. 1 hit. That same month, Louis Tomlinson unveiled How Did I Get Here?, securing a No. 1 slot on the U.K. albums chart.

Watch the exclusive preview of Malik’s interview on Call Her Daddy above.

Adam Sandler has received numerous awards for comedy, most notably the Mark Twain Prize for American Humor in 2023. On Thursday, he’ll be honored for his songwriting.

Sandler, 59, is set to receive the ASCAP Founders Award, which is presented to songwriters and composers who have made pioneering contributions to music by inspiring and influencing their fellow music creators, according to ASCAP.

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The award has previously gone to the likes of Sir Paul McCartney, Stevie Wonder, Tom Petty, Patti Smith, Stephen Schwartz, Dr. Dre, Carly Simon, Billy Joel, Tom Waits, Elmer Bernstein, Jeff Lynne, Diane Warren, Quincy Jones, Neil Young and Elvis Costello.

The award will recognize Sandler’s contributions to music and songwriting across comedy, film and popular culture. Sandler will accept the award at the 2026 ASCAP Experience, a full day of panels, workshops and performances, which will be held Thursday (Feb. 12) at the Skirball Cultural Center in Los Angeles.

“Adam is a giant of comedy, and so many of his most hilarious onscreen moments are based in music and song,” ASCAP chairman of the board and president Paul Williams said in a statement. “From Opera Man to ‘The Chanukah Song’ to ‘Grow Old With You,’ Adam’s genius ability to seamlessly blend comedy and music helps us all appreciate the wonders and absurdities of life and love. ASCAP is honored to recognize Adam Sandler for his singular contributions to the comedy music canon.”

An ASCAP member for 33 years, Sandler has made his mark on comedy and music with nearly 450 ASCAP-registered works ranging from amusing ballads to playful sing-alongs. His 1995 classic “The Chanukah Song,” recorded live at UC Santa Barbara, reached No. 10 on Billboard‘s Hot 100 Airplay chart. His 1996 follow-up, “The Thanksgiving Song,” also cracked that chart.

From his famous SNL classics like “Lunchlady Land” and “Red Hooded Sweatshirt” to newer songs like his heartfelt tribute to Chris Farley in his 2019 Netflix special 100% Fresh, no Sandler sketch is complete without a song.

Sandler has released six albums, three of which received Grammy nominations for best spoken comedy album: They’re All Gonna Laugh at You!, What the Hell Happened to Me? and Stan and Judy’s Kid.

Sandler’s songs are also featured in several of his hit films including The Wedding Singer (“Grow Old With You”), 50 First Dates (“Forgetful Lucy”), The Meyerowitz Stories (“Genius Girl”) and Eight Crazy Nights (“The Chanukah Song, Part 3”).

Now entering its 20th year, ASCAP Experience is designed to unite aspiring songwriters, composers and producers with hitmakers and industry leaders, offering practical guidance, creative inspiration, and essential tools for navigating the future of music.

Confirmed to participate in the 2026 Experience are Grammy-winning songwriter/producer duo Nova Wav (Beyoncé, Rihanna), writer and activist Justin Tranter (Chappell Roan, Justin Bieber), Oscar-nominated songwriter Mark Sonnenblick (KPop Demon Hunters), four-time Grammy-winning creator James Fauntleroy (Justin Timberlake, Bruno Mars), hitmaker Andreas Carlsson (Backstreet Boys, NSYNC), and writer-producers Darrell Brown (Keith Urban, LeAnn Rimes) and Theron “Neff-U” Feemster (Justin Bieber, Sia), among others. In addition, legendary producers Jimmy Jam and Terry Lewis will join ASCAP Experience for an afternoon fireside chat.

The day kicks off with ASCAP’s membership meeting, opening with a performance from Cautious Clay, followed by remarks from Williams and ASCAP CEO Elizabeth Matthews. After that, a mix of panels, performances and workshops will take place.

TIA RAY’s latest self-penned English album NEW DAY stands as a testament that Chinese artists are now poised to shine brightly on the world’s musical platform.

For anyone attuned to the Chinese pop music scene, TIA RAY is undoubtedly a name that commands attention. A singer devoted to fusing Chinese musical sensibilities with Western genres like jazz, R&B and soul, she collaborated with Kehlani as early as seven years ago. She has frequently traveled overseas to work directly with Grammy-winning producers on her projects. Throughout her decadelong career, she has consistently pushed the boundaries of her artistic expression.

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While soul and R&B are not China’s mainstream genres, TIA’s prolific creativity and exceptional vocal talent have garnered an ever-growing fanbase. She has already headlined major arena tours across China, captivating tens of thousands at each show. In 2018, she made history as the first Chinese singer to enter the IFPI Global Top 10 Singles chart, securing the seventh position. She also set an attendance record as the closing act at the Australian SXSW music festival. Rooted in China yet resonating globally, she serves as a vital bridge connecting Chinese music with the international scene.

NEW DAY represents another bold stride in expanding her musical lexicon. As a fully self-composed album, TIA was intimately involved in crafting every track. The involvement of top-tier producers — Antonio Dixon, Khris Riddick-Tynes, Tommy Brown and Warren “Oak” Felder — ensures production quality that rivals leading Western artists. Notably, Khris Riddick-Tynes, a core producer on TIA’s album, just won best R&B song at the 68th Grammy Awards for his work on Kehlani’s “Folded.” Furthermore, TIA’s extraordinary vocal prowess has drawn acclaim from Panos A. Panay, chairman of the Recording Academy, and four-time Grammy winner Luca Bignardi.

Yet, TIA’s multifaceted artistry imbues these tracks with a distinctive character that sets them apart from mainstream Western offerings.

While soul and R&B form the core of her sound, TIA continually experiments by blending these genres with contemporary elements. The opening track “Phone” pairs ’80s-tinged emotive guitar and strings with a modern tale of emotional betrayal. “COLOR BLIND” begins with a Motown-inspired intro before seamlessly evolving into a fresh fusion of soul and electronic elements. “HEART SHAPED HOLE” polishes future bass and intimate spoken-word to a delicate, ethereal finish. In “PRESSURE,” Afrobeats rhythms intertwine with breathy vocals, revealing a unique Eastern sensibility. “BALANCE” fluidly merges Jersey Club and trap, bridging R&B with dance-floor energy.

“BEAUTIFUL DAY” evokes the dreamy sunlight after a night of revelry. “FLOWING LOTUS,” with its natural sounds and distinct Eastern flair, unveils a deeper emotional layer of the album, proving her voice profoundly moving even without complex production. “OLD DAYS” showcases the exquisite nuance of her vocals—her ability to capture subtle emotions is a standout strength, distinguishing her from many R&B peers. Over sparse guitar in “COLD,” her flexible melisma mimics a sudden chill, demonstrating her skill in conveying thoughtful details through voice alone. The mid-tempo “CALL ME” leads to another album highlight, “BORED.” As the lead single, it remains one of the strongest tracks, where retro soul and hip-hop beats create a modern, wild, and effortlessly sensual vibe that TIA owns completely. Finally, “OCEAN OF THE SUN” closes the album with fluid soundscapes and New Age elements, painting a mystical picture reminiscent of Eastern ink wash painting — a richly evocative conclusion.

Perhaps TIA RAY’s music truly transcends East-West dichotomies. In her voice and creations, diverse influences have long been fused into a unique whole, reflecting varied hues from different angles. Her R&B possesses a rare diversity and inclusivity, where tenderness and wildness co-exist in harmony. She is a pride of Asian music and deserves the attention of music lovers worldwide.