From farm workers and street vendors to salsa dancing and abuelitos playing dominoes, Bad Bunny’s Super Bowl Halftime Show on Sunday (Feb. 8) was intentional, prideful and an honest representation of the Puerto Rican and overall, Latin culture. And that includes his jersey, which the superstar is now explaining.

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The football jersey featured his last name — Ocasio — embroidered on the back, and the number 64 on the front. According to Bunny, the number was in honor of the year that his late uncle, “Cutito,” his mom’s brother, was born.   

“What little I know about the NFL is thanks to him,” the Puerto Rican artist born Benito Antonio Martínez Ocasio told Rolling Stone in a statement.

He explained that Uncle Cutito moved to the United States from Puerto Rico, but would always visit them during the NFL postseason and he would watch the games with his uncle. Cutito was also a San Francisco 49ers fan, the home team of Levi’s Stadium in Santa Clara, Calif., where Super Bowl LX took place. Benito’s uncle passed away two years ago, the year when the 49ers lost to Kansas City in Super Bowl 2024. 

“I always dreamed of taking my uncle to a Super Bowl, but I couldn’t,” he noted. “He left unexpectedly, without warning. So, for my Super Bowl Halftime Show, I decided to have him on my shirt: OCASIO, his last name, the same as my mom’s, and his birth year, 1964. I dedicated my show to him before it started. I’m sure he appreciated it. He saw it, he was there, and he was proud of his nephew.” 

Bad Bunny headlined the 2026 Apple Music Super Bowl Halftime Show during the game between the Seattle Seahawks and New England Patriots. Seattle won 29-13.


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Rimas Publishing has renewed its agreement with Bad Bunny, extending a long-running creative partnership that has been key to the rise of the most influential global artist in Latin music. The company announced the deal Tuesday, calling it a reaffirmation of its publishing model built on creative collaboration and long-term career development.

“The fact that the number one artist in the world has chosen to renew his relationship with our music publishing company is a clear validation that we are doing things right,” said Carlos A. Souffront, president of Rimas Publishing. “Discovering talent is important, but retention is just as critical.”

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The renewal comes during an exceptionally active stretch for Bad Bunny (born Benito Antonio Martínez Ocasio), who just delivered a high-profile Super Bowl performance, added new Grammy Awards to his trophy case and continues to dominate global streaming charts and touring headlines.

Bad Bunny’s new deal is part of a broader wave of contract renewals across Rimas’ roster, which includes key writers and producers such as Mora, Cris MJ, Tempo and Caleb Calloway. The company has also finalized extensions with Cheo Legendary — producer of hits including “Neverita” — as well as multi-platinum Latin Grammy winner KARBeats; Andrés Jesé “Dirrty,” a reggaeton and Latin trap songwriter; and Magicenelbeat, a central figure in the company’s growth.

At the same time, Rimas is expanding its catalog with emerging acts shaping the next wave of Latin music. New signings include Octavio Cuadras, known for pioneering the Corridos Felices subgenre, and Chilean pop artist Diego Smith, whose “Shash” philosophy blends nostalgia and narrative-driven songwriting.

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“Renewing these agreements while welcoming new creative voices is part of a single editorial vision,” Souffront said. “We aim to be a publisher where creators can grow, evolve and find a strategic partner that understands their creative value today and in the long term.”

Founded more than a decade ago in Puerto Rico but operating independently from Rimas Entertainment since 2023, Rimas Publishing currently represents over 150 creators.

Punk and metal guitarist Ross “The Boss” Friedman has revealed that he’s been diagnosed with the incurable disease Amyotrophic Lateral Sclerosis (ALS), commonly referred to as Lou Gehrig’s Disease. The 72-year-old co-founder of New York punk stalwarts the Dictators and power metal band Manowar said in a statement on Monday (Feb. 9) that the diagnosis came after he’d suffered through several months of concerning symptoms.

“It’s difficult to know what lies ahead,” he said in a statement. “And it crushes me not to be able to play guitar, but the outpouring of love has been so, so strong. I’m absolutely blown away by the love and support from family, friends and fans. I love you all.”

An accompanying statement published on the Dictators’ Instagram revealed that the diagnosis came after Friedman suffered through a series of “seemingly unrelated symptoms” over several months, including weakness in his hands and legs, which he thought may have been caused by a number of “very minor strokes.”

But after changing his diet, beginning physical therapy and increasing his exercise didn’t seem to slow the disease’s progression or increase his strength, Friedman received the diagnosis. According to the Mayo Clinic, ALS is a progressive, incurable nervous system disease that “affects nerve cells in the brian and spinal cord,” causing loss of muscle control, trouble swallowing and slurred speech.

Bronx-bred Friedman co-founded the Dictators in New York in 1973 with his friends bassist/singer Andy Shernoff and rhythm guitarist Scott Kempner, with drummer Stu Boy King joining a year later. One of the original bands from what would become a fertile New York punk scene, the Dictators released their 1975 debut album on Epic Records, The Dictators Go Girl Crazy!, beating such scene stalwarts as the more well-known Ramones to record store shelves by a year.

The band whose sound melded the burgeoning snarly punk sound with a cheeky reverence for pop culture — they did a grungy cover of Cher and Sonny Bono’s “I Got You Babe” on their debut — released two more albums during their heyday. Friedman appeared on 1977’s Manifest Destiny, which hit No. 193 on the Billboard 200 album chart, and 1978’s Bloodbrothers, before the group broke up for the first of many times.

Friedman then co-founded the New York power metal band Manowar — who scored the Guinness record for the loudest band performance in 1984 — with friend bassist Joey DeMaio and played on the group’s first six albums, leaving the group in 1989. In the years since, he’s played with a variety of acts including Death Dealer, The Spinatras, Shakin’ Street, Brain Surgeons and his own Ross the Boss Band since 2009. Friedman was inducted into the Metal Hall of Fame in 2017.


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Bunnie Xo, who is married to country singer Jelly Roll, is here to share her journey, on her own terms, in a new memoir.

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The book, titled Stripped Down: Unfiltered and Unapologetic, is set to release Feb. 17, and is available on almost every platform, including Amazon for $24 and Barnes & Noble for $29.99. The memoir is witty and, at times, intense. That wittiness comes in handy to bring levity to otherwise dark topics. According to a synopsis from Amazon, the book is “cold, clear evidence that no one is irredeemable. With a heavy dose of humor and a refreshing sense of self-awareness, Bunnie pulls no punches as she shares her journey of redemption while offering some homespun wisdom to those who need a little saving themselves.”

The book’s cover is a reflection of Bunnie’s — born Alyssa DeFord — time in the sex-work industry. The star stands topless with her jeans unbuttoned, bearing her truth both physically and emotionally, through this memoir. According to Bunnie, her stint in the industry enabled her to “reclaim her power” following her struggle with addiction and the abuse she faced as a teen. Flash forward, and Bunnie has built an empire around Dumb Blonde Productions, creating a successful podcast with thousands of monthly listeners.

Where to buy Bunnie XO's new memoir 'Stripped Down: Unfiltered and Unapologetic.'

‘Stripped Down: Unfiltered and Unapologetic’

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This is a memoir by Bunnie Xo, Jelly Roll’s wife. The book is available for pre-order now.


The book is branded as a “modern-day rags-to-riches story,” spinning a tale of triumph against all odds. “Stripped Down is the rawest reflection of who I am in every form. It felt only fitting to name my book after the way I’ve always lived life — raw, unfiltered and in my naked truth,” Bunnie said in an interview with People in regards to the memoir.

Bunnie and Jelly met in Las Vegas while the musician was performing at the Las Vegas Country Saloon in 2015. The pair married a year later at Las Vegas’ Stained Glass Wedding Chapel in August 2016. They briefly split in 2018, but they rekindled their relationship. Since their whirlwind love story began, Jelly Roll has written songs dedicated to his wife, including “Hey Mama” from Beautifully Broken and “Kill a Man” from Whitsitt Chapel.

Some beefs never die. Tony Yayo and Uncle Murda were seated on a flight behind Ja Rule on Sunday morning (Feb. 8), which led to a heated confrontation with footage posted to social media by Murda.

“Sucka a— Ja Rule on the plane,” Murda said in the clip. “Shut yo sucka a— up you f—king sucka!”

Ja fired back: “Old a—, police a—, sucka a—!”

A second clip appeared to show Ja’s empty seat after leaving the plane. Yayo claimed Ja threw a pillow at him and called him a “soft a— n—a,” while Uncle Murda alleged they “got him out of here.”

50 Cent never misses a chance to troll Ja Rule, and the G-Unit mogul had a laugh at the situation, which he reposted to his Instagram on Monday (Feb. 9).

“He was by his self so he had to make a scene so they could remove his scary a—,” 50 wrote. “LOL YAYO said suck my d—k, the gay stewardess said it’s going down. LOL.”

TMZ posted additional footage from the alleged incident, which saw an enraged Ja Rule ready to pop off in the aisle. “Let’s shake,” he repeated while another person tried to calm him down.

According to TMZ‘s report, the ordeal took place before takeoff of a Sunday morning Delta flight out of San Francisco, which hosted Super Bowl LX.

Ja Rule hopped on X on Monday night to clarify from his perspective what went down with the G-Unit crew members on the flight. “I popped on these punks by myself on a plane lmao p–sy a— n—as I threw the pillow at yayo head cuz you soft…knocked ya hat all off shit was hilarious,” he wrote. “Whole team p—y…”

He attempted to provide more evidence backing up his recollection of the events while reposting what appears to be a TMZ staffer reaching out to him with a witness’s account of what took place.

“Via TMZ,” he began. “Hi Ja — Jamie here from TMZ — reaching out for comment regarding a Delta flight you were on Sunday morning. Witness tells us — From SFO to JFK where Ja Rule got into an argument with Tony Yayo on the flight. Ja was the aggressor and yelled profanities, saying he wanted to fight, then throwing a pillow at Tony Yayo. Crew stepped in and pulled both guys off the plane for a bit. Yayo yelled back that planes are federal offenses territory and he did nothing wrong.”

Billboard has reached out to Ja Rule, Tony Yayo and Uncle Murda for comment.

Even more than 20 years later, the 50 Cent and Ja Rule feud is still alive and well.


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BTS are back and ready to tear up the music scene once again. This time, however, they’re coming to a city near you.

The boy group’s 2026 album, titled Arirang, is dropping on March 20. In support of said album, the boy band is finally going on tour, aptly titled ARIRANG tour. The hype is so real that, according to HYBE, BTS’ parent company, the North American and European legs of the world tour have already sold out within a few hours, reflecting ARMY’s hardcore devotion.

Think of it this way. This is the first album BTS has released since they all took time off to fulfill the mandatory military service South Korea imposes on men in the country — a service that takes up to 18 to 21 months. Additionally, the last time the group went on tour in America was during their Permission to Dance on Stage residency, which wrapped up in Las Vegas, Nevada, on April 16, 2022. It’s safe to say that the lengthy hiatus and lack of music have left fans craving more of the BTS boys.

The North American leg of the ARIRANG tour will begin in Tampa on April 25, with stops in Mexico City, Las Vegas, Toronto, Chicago, and more. It will conclude with four-night shows at Sofi Stadium in Los Angeles with 31 shows in total. Tickets for BTS’ ARIRANG tour were available for presale Jan. 22-23rd, followed by a general sale on Jan. 24. We’d recommend checking Ticketmaster periodically to see if new tickets have been added. If not, third-party ticketing sites are your best bet at securing seats. Below we’ve listed out a few of those third-party sites, along with a few deals on us, that’ll hopefully help you snag the tickets you’ve been searching for.

While you’re at it, why not shop the boy band’s merch to prep for your concert attendance? Shop our picks here.

Where to Get Tickets to BTS’ 2026 ARIRANG World Tour Online

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BEST PRICES

StubHub


StubHub features some of the best pricing on tickets for BTS’ tour we’ve seen thus far, with some going for just $167, a steal when compared to other platforms. The third-party platform still has a ton of seating options available. You can shop for all dates and arenas with ease thanks to the ticketing service’s FanProtect Guarantee. This initiative protects fan’s purchases by ensuring valid tickets or your money back. Plus, if your event is canceled and not rescheduled, you will receive a credit worth 120% of the amount you paid for the impacted event, or the option of a cash refund.

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EARN REWARDS

Vividseats


Seating is ample through Vivid Seats now, with prime pricing on some venues starting at just $141. The ticketing service offers a 100% Buyer Guarantee that vows your transaction will be secure, that your tickets will be delivered before your event and that those tickets will be valid and authentic. Right now, you can use promo code BB30 to snag $30 off of your purchase. Our favorite feature of the site is that it shows you the lowest ticket pricing for each venue on the landing page without having to click into the venue so you can compare in one place.

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PROMO CODES

Seat Geek


With our help, you’ll be able to get tickets to BTS’ tour at an affordable price via SeatGeek. Right now, you can use promo code BILLBOARD10 at checkout to receive $10 off at checkout. We’ve seen tickets at some venues for as low as $143. The ticketing service features a Buyer Guarantee that ensures smooth ticket purchases every time. The site also offers you venue options based on your location, giving you the closest venue to you.

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PROMO CODE

TicketNetwork


More savings on us, this time with TicketNetwork. You can use code BILLBOARD300 at checkout to save $300 off orders of $1,000, and BILLBOARD150 to save $150 off orders of $500. If you don’t have the funds to buy your tickets just yet, you can also buy the tickets on the website now and pay later with help from Affirm. Plus, the website includes all-in pricing that lets you see exactly what you’ll be paying upfront (fees included).

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GREAT PRICES

Gametime


Gametime features a slew of seating options for a range of prices, making for another great third-party option for those looking to shop BTS tickets on a budget. Some venues have tickets starting at $134, a steal given how in high-demand the tour is and how pricy tickets can become. Gametime guarantees the lowest prices, event cancellation protection, job loss assurance and on-time ticket delivery for a smooth ticket buying experience every time, no matter the occasion.

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OFFICAL TICKETING

Ticketmaster


Ticketmaster is the official spot to snag tickets for BTS’. Picking are slim, given many venues have already sold out, but it’s worth keeping your eyes peeled in case new dates are added. The ticketing service offers a Fan Guarantee, which allows for cancellations, refunds or exchanges within 24 hours of booking, subject to certain exclusions.

The ticketing site also recently announced that they’re barring fans and brokers from operating multiple accounts on its platform. They also plan to shut down its long-criticized TradeDesk ticket uploading application and start requiring ticket brokers to hand over their Social Security numbers in order to sell tickets on Ticketmaster’s resale platform, further making sure your tickets are secure.

BTS 2026 ARIRANG World Tour Dates

Date City Venue
April 25 Tampa, Florida Raymond James Stadium
April 26 Tampa, Florida Raymond James Stadium
May 2 El Paso, Texas Sun Bowl Stadium
May 3 El Paso, Texas Sun Bowl Stadium
May 7 Mexico City, Mexico Estadio GNP Seguros
May 9 Mexico City, Mexico Estadio GNP Seguros
May 10 Mexico City, Mexico Estadio GNP Seguros
May 16 Stanford, California Stanford Stadium
May 17 Stanford, California Stanford Stadium
May 23 Las Vegas, Nevada Allegiant Stadium
May 24 Las Vegas, Nevada Allegiant Stadium
May 27 Las Vegas, Nevada Allegiant Stadium
August 1 East Rutherford, New Jersey MetLife Stadium
August 2 East Rutherford, New Jersey MetLife Stadium
August 5 Foxborough, Massachusetts Gillette Stadium
August 6 Foxborough, Massachusetts Gillette Stadium
August 10 Baltimore, Maryland M&T Bank Stadium
August 11 Baltimore, Maryland M&T Bank Stadium
August 15 Arlington, Texas AT&T Stadium
August 16 Arlington, Texas AT&T Stadium
August 22 Toronto, Ontario Rogers Stadium
August 23 Toronto, Ontario Rogers Stadium
August 27 Chicago, Illinois Soldier Field
August 28 Chicago, Illinois Soldier Field
September 1 Inglewood, California SoFi Stadium
September 2 Inglewood, California SoFi Stadium
September 5 Inglewood, California SoFi Stadium
September 6 Inglewood, California SoFi Stadium

Spotify executives shared new details about an internal bug-fixing tool they call Honk on Tuesday and issued a loud call to music industry rightsholders to strike licensing deals that let fans interact with artists’ music, possibly using AI, on the streaming platform.

The streaming giant reported strong fourth quarter revenue and subscriber growth that beat expectations. But that growth was in the rearview mirror during a call discussing earnings, as founder Daniel Ek and co-CEOs Gustav Söderström and Alex Norström focused almost entirely on Spotify’s AI ambitions.

“We know that there will be winners and losers, but there is no question in my mind that we will continue to be one of the big beneficiaries of AI,” Söderström said.

Related

Here are the highlights of what executives said on their fourth quarter earnings call.

What are they building?

As an example of what they can do with AI, Spotify shared details for the first time about an internal tool called Honk, which uses Anthropic’s AI model Claude to fix bugs and add new features to the streamer’s platform. Söderström described a theoretical Spotify engineer using Slack to ask Claude to solve a problem or add a feature to Spotify’s iPhone app while commuting to work.

“We are a tech company, and we consider ourselves the [research and development] department for the music industry,” Söderström said, highlighting its acquisition of AI-voice platform Sonantic in 2022 and the recent launch of Spotify’s interactive DJ and prompted playlists. “Our job is to understand new technologies quickly and capture their potential.”

Söderström said Spotify has the “technology and capabilities ready” for fans and artists to create derivative works, like remixes, using AI, and called on music companies to strike licensing agreements that would allow Spotify to go forward.

“We think [derivative works, like remixes] is an untapped opportunity for artists to make money off of their existing IP,” said Söderström. “We have the technology and capabilities that we need, and we are ready for the for the partners that are hungry to seize this opportunity. We think the ones that move first will benefit the most. We’re hungry and excited … We’re there for people who want to make money.”

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Spotify does not think AI music software companies will replace it.

Leading AI music creation software company Suno said last year it aims to create a “high-value, high-intent music discovery” ecosystem where music can be created, streamed and shared.

While not naming a specific company, Söderström said Spotify feels good about the increased volume of music created by AI software because creators, drawn to Spotify’s reach and monetization opportunity, upload that music to Spotify.

“There are tons of AI companies that let you create new music,” Söderström said. “But that’s not where the music breaks. It breaks on Spotify. We feel very comfortable about that position.”

Spotify is in talks with music industry stakeholders about its AI plans, and co-CEO Norström says they have widespread support.

“I’ve done the rounds, and no rights holder is against our vision,” Norström said. “We pretty much have the whole industry lined up behind us. We want to do it in a controlled way, respecting artists and the community.”

Spotify’s most senior engineers aren’t even writing code anymore.

Since December when Anthropic’s Claude Opus 4.5 was released, Spotify’s most senior engineers say they have not written a single line of code, says Söderström.

“They actually only generate code and supervise it,” says Söderström. “It is a big change. It is real, and it’s happening fast now, as I said. We’ve discussed for the last at least 1.5 years not if this should happen, but when it should happen.”

Shakira was spending the holidays at her farm in Uruguay, across a vast ocean from South Africa, host country of the 2010 FIFA World Cup, when she conceived “Waka Waka (This Time for Africa).” Already a global phenom known for her vocals and dance moves, the Colombian star had quickly gone to work when presented with the opportunity to write a song for the upcoming soccer tournament, and she soon turned a track around that fused genres, languages and multinational beats with abandon.

“It was sort of magical the way it happened, because I was just walking from the barn into the house, and I started singing the melody of the verse, with the lyrics, automatically, in English,” Shakira says. “It was like someone was dictating it from above. And I felt so connected to my childhood, to my roots, to my Afro Caribbean roots as well … I was so excited, I called the people at Sony and told them I had just written the most amazing World Cup song.”

“Waka Waka,” produced by Shakira with John Hill, was already catchy — but it became even more so after a fortuitous encounter in a New York studio between Hill and South African pop fusion group Freshly-ground, which then contributed to the song, adding a musical element that honored the host nation.

“Shakira moved swiftly from interest to creation, writing and recording a track that stood apart from the musical landscape at the time,” recalls Dusko Justic, senior vp of international artist strategy and development for Sony Latin Iberia, who at the time was responsible for the A&R and marketing for the official FIFA World Cup music program. “Once FIFA heard the finished record, there was no debate.”

For nearly four decades, FIFA has partnered with prominent musicians to craft songs that celebrate the World Cup and its competing nations. “Waka Waka,” the official song of the 2010 FIFA World Cup, remains the most successful World Cup song in history and a global juggernaut; its video has been viewed a staggering 4.4 billion times on YouTube, making it the platform’s eighth most viewed music video of all time. A decade after its release, Shakira would perform the enduring hit at another globally watched sporting event: the Super Bowl LIV halftime show, where it ended her co-headlining set with Jennifer Lopez.

“Waka Waka” had all the elements that make for a successful and enduring World Cup song: a danceable, uptempo beat to resonate with audiences around the world (the song samples “Zamina Mina [Zangaléwa],” by Cameroonian band Golden Sounds), an artist with global appeal and reach, and a featured artist representing the host nation. Shakira also recorded the song in Spanish, which drew in her Latin fan base. And significantly, she was already a genuine soccer aficionado; the song’s music video not only incorporated her signature dance moves but also major soccer stars from Lionel Messi to Gerard Piqué, who became Shakira’s longtime partner and the father of her two sons after meeting her at the video shoot.

World Cup songs are not always such massive hits — nor were they always officially sanctioned by FIFA. The first World Cup was played in 1930, but the event wouldn’t designate a song as “official” until the 1962 event in Chile when Chilean band Los Ramblers’ “El Rock del Mundial” was declared the tournament’s official song.

It’s unclear when FIFA became actively involved in the song’s selection (the organization did not respond to Billboard’s requests for comment), though multiple reports cite Italian composer Giorgio Moroder’s “To Be Number One,” recorded for the 1990 World Cup in Italy.

Since then, every tournament has had an official song, anthem or — for the past several World Cups — both. (The exact distinction between these designations has shifted over the years.) Some of them have been performed at the closing ceremony (as was the case with “Live It Up,” performed by Nicky Jam, Will Smith and Era Istrefi in 2018) and some at the opening ceremony (like 2014’s “We Are One [Ole Ola],” performed in Brazil by Pitbull, Jennifer Lopez and Brazilian artist Claudia Leitte).

But record labels didn’t -fully appreciate the possibilities of official songs until the 1998 tournament in France when, in addition to the official anthem (Youssou N’Dour and Axelle Red’s “La Cour des Grands [Do You Mind If I Play]”), Ricky Martin released the official song, “The Cup of Life.” With both English and Spanish (“La Copa de la Vida”) versions and its French rallying cry of “allez, allez, allez,” the track made the World Cup “the most influential and pivotal platform in the transition of helping to create the Latin explosion,” says Tommy Mottola, who was then Sony Music chairman.

“The Cup of Life,” with its mix of brash trumpets and Brazilian batucada, was a global hit, peaking at No. 45 on the Billboard Hot 100 and spending 34 weeks on the chart, long after the monthlong tournament had ended. It was so successful, in fact, that when Martin earned a 1999 Grammy nomination for best Latin pop performance for his Spanish-language album Vuelve (which included “The Cup of Life”), Mottola pushed hard to have him on the show, over the Recording Academy’s objections.

After the academy relented, the rest was history. Martin’s exuberant performance of “The Cup of Life” — complete with a huge backing band and performers on stilts — became what then-UTA head Rob Prinz called “the single biggest game-changing moment for any artist in the history of the Grammys.” It not only catapulted his career into the mainstream but also helped to usher in “the Latin explosion,” as it would become known stateside. “[Taking it] from the platform of the World Cup to the stage of the Grammys really was the key to set off this Latin explosion,” Mottola says. “There would probably be no Bad Bunny without this.”

The World Cup is, by far, the most widely seen sporting event in the world, with an estimated 5 billion people tuning in to watch the 2022 edition at some point, including 1.5 billion viewers for the tournament’s final match, according to FIFA. But while that platform “100% provides value” to any music release, Mottola says, it doesn’t guarantee huge, or lasting, commercial success.

Sony Music — which was FIFA’s official label partner for many years until 2019 — released “The Cup of Life” and “Waka Waka,” and in their wake, the importance of music as a promotional vehicle during the World Cup soared. What was once one “official” song became many, with tournament sponsors, broadcasters and individual countries commissioning original tracks.

“It used to be that there was a single song that FIFA chose and everybody used that song,” says Afo Verde, chairman/CEO of Sony Music Latin Iberia. “But after ‘Waka Waka,’ every brand, every network wanted to have a World Cup song. And while a hit is not something you simply dictate … it helps when there is a single song that’s played everywhere you go.”

But, Verde continues bluntly, “you need a real hit. And you look for a hit informed by what’s happening on the planet, what the social climate is. You need to embody the spirit of the sport, convey a message of unity, understanding it’s a competition. The song needs to reflect that each team is going to give their all.”

In 2021, FIFA launched its FIFA Sound strategy, meant to connect soccer and music fans, and partnered with Universal Music Group for a series of releases and initiatives that included the first-ever multisong FIFA World Cup official soundtrack for the 2022 event in Qatar.

From that soundtrack, “Arhbo,” performed by Ozuna with Congolese French rapper and singer–songwriter GIMS and produced by RedOne, topped Billboard’s Latin Airplay chart for three weeks in 2022.

At press time, FIFA had yet to announce an official tournament song or anthem for this year’s event, which will be jointly hosted by the United States, Canada and Mexico. But official FIFA songs already include Robbie Williams’ “Desire” (penned for the 2025 FIFA Club World Cup), while last year Telemundo premiered its own official song, “Somos Más,” performed by Carlos Vives, Xavi, Wisin and Emilia.

There have been notable World Cup songs through the years. In 2014, “We Are One” hit No. 59 on the Hot 100; as of Jan. 22, it has 146.5 million on-demand official streams, according to Luminate. And K’Naan’s “Wavin’ Flag” from 2010 was chosen by Coca-Cola as its official song for the tournament, garnering 161.6 million on-demand streams in the United States and reaching No. 82 on the Hot 100.

But none have come close to “Waka Waka” in consumption or longevity — perhaps in part because Shakira fully understood the importance of the sport in the creation of the music, a rare combination.

“A World Cup song needs to have that feeling of adrenaline that you get when you’re playing or when you’re watching an exciting game,” she says. “A suspenseful pre-chorus, a joyous, explosive chorus. You have to feel the payoff. And I think the rhythm is important, so people can celebrate not only with the words but also with dancing, with their bodies. I think music is the best vehicle for moments of extreme emotion, like a World Cup can be.”

This story appears in the Feb. 7, 2026, issue of Billboard.

Demi Lovato has adjusted her upcoming It’s Not That Deep Tour, canceling five shows and rescheduling one other in order to “protect my health,” the performer told fans in a Tuesday (Feb. 10) announcement.

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In a candid post on their Instagram Story, Lovato began by writing, “My Lovatics — I am so excited to get back on stage this year and visit you in as many cities as I can.”

“While starting to prepare for the tour, I realized that I have overextended what may be possible,” the Camp Rock alum continued. “To protect my health, and ensure I can give you my all at each show, I need to build in more time to rest and rehearse and ultimately adjust to a schedule with some more time off that will allow me to handle the entire run of the tour.”

Lovato went on to list the cities in which she’ll no longer be stopping on the trek: Nashville, Atlanta, Las Vegas, Denver and Charlotte, N.C. “I am so sad to say that I will no longer be able to see you on this tour and I am so sorry to those who planned to be there,” they wrote.

Another change in the singer’s tour schedule is her show in Orlando, Fla., which will now take place on April 13 and replace the canceled date in Charlotte as the tour’s kickoff performance. According to Lovato, refunds for the scrapped concerts will be issued automatically on Ticketmaster or AXS, while fans who used third-party resellers to purchase seats will need to contact their points of purchase for more information.

“I am so excited for this tour and am looking forward to seeing so many of your faces singing with me!” Lovato added in their post. “Thank you for your support always. I love you and I cannot wait to see you soon.”

The hitmaker first announced the tour in late October. The now-18-date trek will support her 2025 album, It’s Not That Deep, which debuted at No. 9 on the Billboard 200 and topped Billboard’s Top Dance Albums chart.

Though Tuesday’s post didn’t delve into the health facets Lovato is working to protect on the road this year, the singer has long been open about struggling with sobriety, eating disorders and mental health.

“I have been to inpatient treatment five times, and it has something that every single time I walked back into a treatment center, I felt defeated,” Lovato said in June 2024 while speaking at the Center for Youth Mental Health at NewYork-Presbyterian benefit. “And I know that experience firsthand, but I think the glimmer of hope was when I started putting in the work and I started to, whether it was work, a program, or talk to my treatment team and build relationships there.”


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If it seems like your favorite K-pop star is everywhere all the time when they have a new album or tour to promote, there’s a good reason for that. In a new chat with The Hollywood Reporter ENHYPEN member Jake broke down the rigors of the K-pop fame machine, telling the magazine that “you can’t really expect to have a normal life,” when you’re thrust into the genre’s hype cycle.

“Other K-pop artists or other K-pop seniors that have been doing this for longer than me. They know what I’ve gone through,” he said of the grueling scheduled of rehearsals, recording and promotion. “They all went through the same thing. I feel like it’s important to share what you’re feeling because if you want to ask advice for anything related to your life or my life as a K-pop artist, there’s no one that can relate to it other than the same people that are doing it. I don’t really know a lot of people, to be honest.”

Jake, 23, who slid into a producer role on the septet’s recent album, The Sin : Vanish, said stepping behind the boards “sparked something inside me that I didn’t really know that I had,” because, if he’s being honest, sometimes being a K-pop idol is “very repetitive. We wake up, we have a very tight and set schedule down to the minute. We have to wake up at this hour, this minute. We end our schedule at this [time]. I used to enjoy that.”

And while he likes that kind of regimented schedule and said he’s just naturally “wired that way,” sometimes without him realizing it the non-stop schedule can get “very tiring.” Switching things up and trying his hand at production, though, has helped Jake escape that exhausting cycle, if only for a little while. Jake said that taking the helm on the new LP’s opening narration track, “The Beginning,” and the song “Sleep Tight” was one of his personal goals for the year.

“It’s the first time I really worked on the track. I would usually just work on the melodies or the topline on a song, but it’s the first time that I really just started working on it from scratch,” he said. “It was a very new experience. I found out that I might be better at the producing of the track. A very close producer that I always worked with, he told me that I might be better at doing the track instead of the top melody. It just all came along together very smoothly, which is kind of surprising because it’s the first time for me to really work on a song on an album. I was very lucky and very surprised.”

Learning a new skill is key to staying relevant in what Jake confirmed is the rapidly evolving K-pop universe, one that is quick to react to trends and changes as the industry cranks out a steady stream of new acts, each striving to carve a unique lane to break through to global audiences. “I feel like the fact about K-pop that every K-pop artist knows but does’t want to talk about is that [the] K-pop industry is very competitive, right?,” Jake said. “We all say we don’t want it to be, or we want everyone to do their own thing… Every K-pop artist is different.”

Jake said the ever-changing, “fast-paced” series of concepts his fellow K-pop bands roll out in search of a leg up on the competition keeps the genre as up-to-date as any other. “You have to be on top of everything,” the singer said. “We would be lying if we said we didn’t feel any pressure. We are very confident in our abilities to always put out something different or a different concept. I feel like we’re confident in that way… We all try to be the first to do something and be the first to do something different, and I think we definitely did that for this album.”

Don’t get him wrong, though, Jake loves what he does and wouldn’t change it for anything. “We enjoy performing in front of our fans, and I think that’s what motivates us during the hard times, which is before we come back, before we put out an album, the few months or the half a year that we have to put in doing the music videos, recordings, making the album, that’s the hard bit,” he explained. “Just the thought of putting this album out and singing this song in front of our fans is what helps us get through the few months.”

ENHYPEN recently released the trailer for ENHYPEN [WALK THE LINE SUMMER EDITION] IN CINEMAS, a tour documentary for the film that will hit movie theaters for a limited engagement on March 5 and 7.


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