K-pop girl group TWICE announced the dates for their This Is For 2026 world tour on Tuesday morning (Sept. 30), with plans to hit North America, Europe and the U.K. The outing will find members Nayeon, Jeongyeon, Momo, Sana, Jihyo, Mina, Dahyun, Chaeyoung, and Tzuyu performing in-the-round on a 360-degree stage for the first time on arena dates slated to kick off on Jan. 9 at Rogers Arena in Vancouver.

After completing dates on a previously announced Asian swing that will include October shows in the Philippines and Singapore, November shows in Australia and Taiwan and December stops in Hong Kong and Bangkok, the 26-date 2026 North American tour will include stops in Seattle, Oakland, Los Angeles, Phoenix, Dallas, Philadelphia, Atlanta, Montreal, Orlando, Boston, Chicago, Detroit and Denver before winding down on April 17 at the Moody Center in Austin, Texas.

The European leg is slated to kick off on May 9 at the MEO Arena in Lisbon, Portugal, and hit Barcelona, Paris, Berlin, Cologne and Amsterdam, wrapping up on June 3 at the O2 in London.

Tickets for the North American dates will kick off with an artist pre-sale on Oct 9 at 11 a.m. local time; fans have to sign up here by 7 p.m. ET on Monday (Oct. 6), with no code needed as access is tied to Ticketmaster accounts. Remaining tickets will be available during the general on-sale beginning on Oct. 9 at 3 p.m. local time here. Tickets for the European dates will go on sale beginning on Oct. 9 at 10 a.m. local time here.

The 2026 dates follow a massive live run by the group over the past two years, including historic gigs in which they became the first female K-pop act to headline both MLB and NFL stadiums in the U.S. when they sold out L.A.’s SoFi Stadium and New Jersey’s MetLife Stadium. This year they also became the first female K-pop group to headline Lollapalooza in Chicago. The act released their fourth full length album, THIS IS FOR, in July, hitting No. 6 on the Billboard 200 album chart and also contributed the original song “TAKEDOWN” to the hit soundtrack to the Netflix K-pop film K-Pop Demon Hunters.

Check out the dates for TWICE’s 2026 tour below.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Some things in life just go together, no questions asked.

For example, peanut butter and jelly, salt and pepper, apples and oranges, a burger and fries and dogs and cats. The list could go on and on and on. Our favorite pairing? Fall and animal print, obviously. The combo is a classic one that we’ve seen time and time again, serving as a constant despite the ever-changing trend cycle. We’re not the only ones who think this combo is elite. Adidas does too.

The brand’s women’s SL 72 sneaker offerings are chock full of animal-printed options that just scream fall, from sleek leopard printed models to shiny snakeskin options that we’re kind of obsessed with. Unlike your standard fall booties, we’d argue sneakers, like the SL 72, are a more comfortable option with a wider range of more playful options, a la snake and leopard print. If you didn’t know, the SL 72 OG sneaker is heavily inspired by the archival ’72 running model Adidas dropped in, you guessed it, 1972. The sneaker revolutionized the industry with its lightweight build, hence the SL, or “super light,” moniker.

If you’re currently sitting aimlessly shopping for fall footwear without an end in sight, we’re here to make your buying journey a little easier. We’ve picked out four of our favorite SL 72 animal-printed silhouettes available to shop on Adidas’ website now that would make the perfect addition to your footwear rotation for fall.

Adidas SL 72 OG Shoes

$110

Buy Now at adidas

An all-over leopard-printed low-top sneaker.

---

Adidas SL 72 OG Shoes

$110

Buy Now at adidas

A black and leopard-printed low-top sneaker.

---

The SL 72 leopard-printed options are head-turners for sure. We’ve picked out a more conservative black silhouette with hints of leopard throughout, along with the more maximalist all leopard-printed option. Both silhouettes will run you $110. The all-over leopard is equipped with textural pony-hair uppers mixed with white leather accents that create a welcome contrast. Speaking of contrast, the laces are a vibrant neon orange hue that brings a unique pop of color, appealing to those who like a “weird” and funky shoe. The performance aspect comes in the form of gum rubber outsoles, creating a durable, non-slip finish with flexible traction.

On the opposite spectrum but still keeping the same energy, the black model features hints of leopard in the brand’s iconic three-striped motif and towards the heel, accompanied by small doses of textural black suede paneling. Like our last entry, you’ve also got sturdy non-slip gum rubber soles. This is a more subtle option for those not looking to dive headfirst into the cool waters of animal print. It’s a more digestible play on the print, and one we can see diversifying any outfit you pair these with.

Adidas SL 72 OG Shoes

$100

Buy Now at adidas

Brown snakeskin low-top sneakers.

---

Adidas SL 72 OG Shoes

$100

Buy Now at adidas

Green/emerald snakeskin low-top sneakers.

---

If you aren’t a fan of leopard, snakeskin is another stylish alternative that works in sort of the same way. This SL 72 iteration is made of shiny leather in either brown or a deep green hue with contrasting off-white or cream accents throughout.

Both sneakers are currently available for $100. Black cotton laces give way to subtly branded tongues and non-slip gum soles that harken back to the athleticism the OG running sneaker needed for performance purposes. Today, you still get those athletic aspects, along with that stylish snakeskin and high-shine finish that gives the shoe a lifestyle angle. The muted emerald and brown hues are unique jewel-toned touches that easily elevate the otherwise simplistic low-top silhouette.

After years of rumors and speculation, Latto seemingly confirmed that she’s indeed dating 21 Savage. TMZ caught Latto walking through the streets of New York on Monday (Sept. 29), where the rapper revealed she was on her way “to go have dinner with my husband.”

TMZ followed up, asking Latto if she ever gets “tired of people asking about you know who?” The reporter then clarified she was talking about 21 Savage.

“No,” Latto responded. “My man, my man, my man, my man!”

There have been reports of Latto and 21 Savage being together since 2020. Footage of the alleged couple surfaced in August, showing the rappers on vacation together.

Both artist have played it coy when it comes to their relationship in the past, dodging questions and steering clear of making things publicly offiical. However, at the top of 2024, Latto popped out with a “Shéyaa” tattoo in red ink behind her ear, which happens to be 21’s birth name, further fueling dating rumors.

One thing they’ve definitely done is work together on music, with 21 and Latto collaborating on “Wheelie” in 2022, which reached No. 14 on the Bubbling Under Hot 100 chart. Even going back to the summer of 2024, Latto remained tight-lipped about her dating life when pressed by Ebro Darden on Apple Music.

“The internet don’t know a got-damn thing. Let’s start there,” she said. “It ain’t really nobody’s business. Like, listen to the music and you’ll know what you need to know.”

Perhaps it was a Freudian slip by a joyful Latto, or maybe she’s going to be more open about her relationship with 21 Savage going forward.

John Jigitz used to spend his work days helping musicians promote their art. His own music, however, he kept to himself.

“I took it really seriously, but I never thought it would be an actual thing,” the producer tells Billboard over lunch at a bustling Sunset Strip cafe on a sunny afternoon in Los Angeles.

Always interested in music, the Albuquerque, New Mexico native was simultaneously coming at it from a business angle, graduating from Portland State University and later landing a job at UMG — where he started as an assistant and worked his way up to the team at Interscope Records — and then at °1824, the label’s culture marketing and content strategy team.

“The whole time I was making music in the office but not telling anyone,” says Jigitz, who eventually quit the job and moved to New York to close the gap on a long distance relationship and work at social media focused creative agency.

He was still simultaneously plugging away at his music, posting his sleek indie dance productions to SoundCloud but never to Instagram as he was, in an irony for both a musician and a person whose job was helping musicians find success, afraid of being discovered.

Still, sleuthy coworkers at more than one of his jobs approached him at the office and asked if he was behind the tracks they were finding on the internet. “I said no,” Jigitz says. “I was so nervous that I was going to f–k up my job.”

But fate pushed him towards the spotlight when another major component of his life got f–ked up, as Jigitz and the girlfriend he’d moved to New York for broke up. Heartbroken, and “so depressed” in an unfamiliar city, he spent countless hours on music production, if only because tunnel visioning on the productions “gave me something to focus on. I got through it with music.”

By this point, the music he was making was too good to keep secret, a fact he realized for himself while on a mushroom trip with friends, an experience during which he decided that music was the only thing he really wanted to do with his life, and that it was time to take it seriously.

The decision has proven prescient. Jigitz’s music has since racked up millions of plays, launched a label bidding war and fostered a 21-date North American tour that started last week in Boston, follows a three show run through Austria and Germany in August and comes ahead of five Australian concerts in January. The comments section of the @jigitz Instagram post announcing the tour is packed with people looking for tickets for the sold out shows. Meanwhile, the post commemorating his debut Lollapalooza set on Aug. 3 contains many a fire and goat emoji.

Wild then that up until a few months ago, Jigitz was still working a nine to five, which he quit this past April so he could focus full time on music. (“They were definitely sad, but I felt really supported,” Jigitz says of giving notice to his now former employer.) Taking the money he got from a publishing deal with APG and high-tailing it to scenic Bozeman, Montana, Jigitz rented a house in a landscape he says “looked like a screensaver” and worked 15 hours a day, for eight days straight.

A self-described “kind of nervous guy,” Jigitz simply didn’t want to waste the opportunity he’d been given, with this head down approach also being a function of witnessing many artists’ careers up close through his label and agency jobs. He’d seen some acts get lazy after receiving a big advance and some get so in their heads about their art that they couldn’t finish anything. He also saw how his own patterns that needed to shift.

“I used to finish work and watch TV or be on TikTok or whatever,” Jigitz says. “Now I think about opportunity cost. I can’t bring myself to watch TV when it’s like, ‘I should be making music right now.’”(He clarifies that he does make an exception for Love Island.)

Staying in the Montana house with his friend Faizan Malik, who’s also his manager and a marketing director at Columbia Records, Jigitz made four new songs, matching them with another four he’d previously produced. Altogether, they formed his July EP all my exes live in brooklyn. (Jigitz’s real ex is in Manhattan, but he thought the title, an homage to George Strait’s 1987 “All My Ex’s Live in Texas,” sounded better with the other borough, where he himself also still lives.) The project’s biggest track, “tell you straight” has nearly 40 million streams on Spotify, and 2.8 million on YouTube.

The EP pulses with heartache, longing and the other medley of emotions one feels during a particularly brutal breakup. But it’s also sharp, uplifting, danceable and extremely of-the-moment, falling into a wheelhouse Fred again.. fans will recognize and gravitate towards. The project came out on R&R, and although several other labels were trying to sign Jigitz over the summer (“Everyone I talk to is my favorite person. I leave every meeting, like, ‘I love these people,’” he says of trying to choose between offers), he ultimately stayed with R&R, which is also home to artists like Mk.gee and Dijon.

R&R also released Jigitz’s Sep. 19 single “s.o.s.” featuring rising Los Angeles-based singer Tabi, which in its first 11 days has clocked nearly 800,000 streams across Spotify and YouTube. This success is no doubt bolstered by a familiarity with social media marketing that Jigitz cultivated at his previous jobs (a skillset that also surely made him attractive to all the labels who were trying to sign him.) His Instagram and TikTok channels are full of artfully shot clips along with more quotidian, behind the scenes fare.

“It took me awhile to be authentic online and find my voice, he says. “The stuff I’m posting now finally feels like me.” Finding this voice, he says, was a function of deciding whether he’s posting just because he wants the serotonin rush gratification of all the likes and comments, or because he genuinely has something to say. “I really think about that every time before I post.”

The social marketing for “s.o.s.” vibrates with energy, with Jigitz and his team posting loads of live performance videos that find him dancing alongside the tutu and point shoe wearing ballerinas he often brings to shows. This was another concept that came from the breakup: “I wasn’t talking to anyone about it yet,” he says, “so one of the ways I got it out, which was so extra, was choreographing an eight-minute ballet” to some of his music. He subsequently hired a ballerina to perform this dance at one of the DIY live shows he threw in the wake of the breakup.

The audience loved it, he loved it, and the ballerina loved it too, “so I just started doing that with every show,” he says. “I was losing so much money, because I was making like, $200 and spending $600, but it was so fulfilling.”

The ballerina motif is now woven throughout his work, with the imagery appearing on the cover of all my exes live in brooklyn, along with its social videos and the video for “s.o.s.”. (The most recurring of these dancers is Paige Litle, a USC alum and current member of The Rockettes.)

But the ballerinas are not on tour with Jigitz this fall, given that all his shows are being played on the floor in the round, where the energy can get hectic. “But I’m a big dude,” Jigitz says, “so I can get pushed around.”

Altogether, none of this looks much like the days he used to spend in the office writing emails and hiding his art from the world. He and his workweek, while now more unconventional, are both better for it.

“I don’t get Sunday scaries anymore,” he says. “That’s not a thing I experience.”