Tina Knowles shared an unreleased excerpt from the upcoming re-release of her memoir Matriarch: A Memoir during a recent Kurt Geiger London event.

On Friday (April 17), Beyoncé and Solange’s mother, 72, attended an intimate luncheon at Avra in Beverly Hills to celebrate the British fashion and accessories brand’s 2026 Mother’s Day campaign.

During the event — which centered on themes of motherhood, self-expression and family — Knowles previewed a new excerpt from the upcoming paperback edition of Matriarch, scheduled for release on April 28.

“I’m so grateful for the team at Kurt Geiger for such a special pre-Mother’s Day celebration not just for myself but for all of my friends some who are also great mothers,” Knowles said. “This was an incredible way to bring our special campaign to life, sharing space with some of the most beautiful people.”

Originally published in April 2025, Matriarch shares Knowles’ reflections on raising Beyoncé and Solange from childhood into adulthood as two of music’s biggest stars. She also details her recent breast cancer journey, from receiving a diagnosis last year to undergoing surgery, during which doctors successfully removed the entire tumor.

In early April, Knowles partnered with Kurt Geiger London to star in the brand’s Mother’s Day collection, which features five exclusive pink handbag styles. The design is intended to capture Knowles as she prepares for Mother’s Day tea with her grandchildren.

Notable attendees at Friday’s luncheon included Terry Ellis of En Vogue; actress Lela Rochon (Waiting to Exhale); stylist Ty Hunter; actress/director/producer LaTanya Richardson Jackson; and actress/director/ and producer Vivica A. Fox. Yvette Noel-Schure, head of publicity at Parkwood Entertainment, was also in attendance.

“What an incredible afternoon celebrating our beautiful campaign with Ms Tina,” said Rebecca Farrar-Hockley, chief creative officer of Kurt Geiger London. “Being in a room filled with such inspiring people, all recognizing the power of family and the relationships that shape us — whether mother, grandmother, auntie, daughter, or son — was nothing short of magical.”

Ella Langley achieves her first No. 1 on the Billboard 200 albums chart as her sophomore studio set Dandelion debuts atop the list dated April 25. The effort launches with 169,000 equivalent album units earned in the United States in the week ending April 16, according to Luminate. That marks the largest week for a country album by a woman in two years, and the biggest week of 2026 for any woman.

Dandelion was preceded by the smash crossover hit “Choosin’ Texas,” which has spent 20 weeks at No. 1 on Hot Country Songs, six weeks atop the all-genre Billboard Hot 100 and three weeks at No. 1 on Country Airplay.

With Dandelion’s No. 1 Billboard 200 debut following the No. 1 bow of Megan Moroney’s Cloud 9 on the March 7-dated chart, there have been two No. 1 country albums by two different solo women in a calendar year for the first time in more than a decade. It last happened in 2012, when Taylor Swift’s Red and Carrie Underwood’s Blown Away both reigned. (Honorable mention to 2021, which saw two country No. 1s, but by the same artist, with Swift’s Fearless [Taylor’s Version] and Red [Taylor’s Version].)

Also notable, Dandelion and Cloud 9 are both the first No. 1s for Langley and Moroney. The chart last saw a pair of first No. 1s that were country albums by solo women in the same year nearly 20 years ago. In 2007, Reba McEntire and Carrie Underwood both got their first No. 1s, with Reba Duets and Carnival Ride, respectively.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new April 25, 2026-dated chart will be posted in full on Billboard‘s website on April 21. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of Dandelion’s 169,000 equivalent album units earned in the latest tracking week, SEA units comprise 128,000 (equaling 130.46 million on-demand official streams of the set’s tracks, Langley’s best streaming week; it debuts at No. 1 on Top Streaming Albums), album sales comprise 39,000 (her best sales week; it debuts at No. 1 on Top Album Sales) and TEA units comprise the remaining sum.

Dandelion claims the largest week for a country album by a woman in two years, and the biggest week of 2026 for any woman. The set also scores the largest streaming week for an album by a woman in 2026, and the biggest streaming week for a country album by a woman in two years. Among country albums by women, Beyoncé’s Cowboy Carter tallied the last larger week by units (407,000 in its debut week; April 13, 2024, chart) and streams (136.08 million in its second week; April 20, 2024, chart).

Country albums are defined as those that are eligible for, or have charted on, Billboard’s Top Country Albums chart.

Dandelion is Langley’s first top 10 on the Billboard 200, and her second chart entry, following her Hungover debut. That set arrived on the chart in August 2024 but didn’t hit the top 40 until this January and peaked at No. 20 a week ago (April 18 chart), in its 80th week on the list.

Dandelion was issued as a standard album at streaming services and at retail as a digital download, CD and vinyl (in two variants, one signed).

Morgan Wallen’s former No. 1 I’m the Problem holds at No. 2 on the latest Billboard 200, with 83,000 equivalent album units earned (up 4%). In turn, country albums are Nos. 1 and 2 for the second time in 2026, following the Jan. 24-dated list, when Zach Bryan’s With Heaven on Top debuted at No. 1 and I’m the Problem fell 1-2. Before that, it last happened on the Feb. 17, 2024-dated chart, when Toby Keith’s 35 Biggest Hits re-entered the chart at No. 1 following his death and Wallen’s One Thing at a Time fell to No. 2.

Back on the latest Billboard 200, BTS’ ARIRANG slips 1-3 in its fourth week on the list, earning 78,000 equivalent album units (down 37%). The set spent it first three weeks atop the chart. Don Toliver’s chart-topping OCTANE is a non-mover at No. 4 (48,000, down 15%), Olivia Dean’s The Art of Loving is steady at No. 5 (nearly 48,000, down 5%), and Bad Bunny’s former leader DeBÍ TiRAR MáS FOToS rises 7-6 (44,000, down 3%).

Justin Bieber’s SWAG zooms 55-7 following his headlining performance during the first weekend of the Coachella Valley Music and Arts Festival. The set surges with 43,000 equivalent album units earned, a gain of 160% compared to the previous week. The increase was largely owed to streaming activity, as SWAG’s songs generated 42,000 SEA units (up 158%), equaling 41.48 million on-demand official streams of the set’s songs — across both its SWAG and deluxe SWAG II reissue that contained additional songs. (All versions of the album are combined for tracking and charting.)

Bieber headlined the second night of both weekends of the festival, taking the stage on April 11 and 18, which was also livestreamed on Coachella’s YouTube channel.

Luke Combs’ The Way I Am falls 6-8 on the Billboard 200 with 42,000 equivalent album units earned (down 9%) and Wallen’s One Thing at a Time rises 9-8 with 40,000 units (up 5%).

Sabrina Carpenter’s former No. 1 Man’s Best Friend jumps back into the top 10, climbing 18-10, following her headlining turn at Coachella. She reigned over the first night of both weekends, on April 10 and 17. Man’s Best Friend flies up the list with 40,000 equivalent album units earned, up 44%. Like SWAG, Man’s Best Friend mostly gained from streaming increases — it earned 34,000 SEA units (up 60%), equaling 34.39 million on-demand official streams of the album’s songs. Carpenter’s set was also streamed live on Coachella’s YouTube channel.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Ella Langley achieves her first No. 1 on the Billboard 200 albums chart as her sophomore studio set Dandelion debuts atop the list dated April 25. The effort launches with 169,000 equivalent album units earned in the United States in the week ending April 16, according to Luminate. That marks the largest week for a country album by a woman in two years, and the biggest week of 2026 for any woman.

Dandelion was preceded by the smash crossover hit “Choosin’ Texas,” which has spent 20 weeks at No. 1 on Hot Country Songs, six weeks atop the all-genre Billboard Hot 100 and three weeks at No. 1 on Country Airplay.

With Dandelion’s No. 1 Billboard 200 debut following the No. 1 bow of Megan Moroney’s Cloud 9 on the March 7-dated chart, there have been two No. 1 country albums by two different solo women in a calendar year for the first time in more than a decade. It last happened in 2012, when Taylor Swift’s Red and Carrie Underwood’s Blown Away both reigned. (Honorable mention to 2021, which saw two country No. 1s, but by the same artist, with Swift’s Fearless [Taylor’s Version] and Red [Taylor’s Version].)

Also notable, Dandelion and Cloud 9 are both the first No. 1s for Langley and Moroney. The chart last saw a pair of first No. 1s that were country albums by solo women in the same year nearly 20 years ago. In 2007, Reba McEntire and Carrie Underwood both got their first No. 1s, with Reba Duets and Carnival Ride, respectively.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new April 25, 2026-dated chart will be posted in full on Billboard‘s website on April 21. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of Dandelion’s 169,000 equivalent album units earned in the latest tracking week, SEA units comprise 128,000 (equaling 130.46 million on-demand official streams of the set’s tracks, Langley’s best streaming week; it debuts at No. 1 on Top Streaming Albums), album sales comprise 39,000 (her best sales week; it debuts at No. 1 on Top Album Sales) and TEA units comprise the remaining sum.

Dandelion claims the largest week for a country album by a woman in two years, and the biggest week of 2026 for any woman. The set also scores the largest streaming week for an album by a woman in 2026, and the biggest streaming week for a country album by a woman in two years. Among country albums by women, Beyoncé’s Cowboy Carter tallied the last larger week by units (407,000 in its debut week; April 13, 2024, chart) and streams (136.08 million in its second week; April 20, 2024, chart).

Country albums are defined as those that are eligible for, or have charted on, Billboard’s Top Country Albums chart.

Dandelion is Langley’s first top 10 on the Billboard 200, and her second chart entry, following her Hungover debut. That set arrived on the chart in August 2024 but didn’t hit the top 40 until this January and peaked at No. 20 a week ago (April 18 chart), in its 80th week on the list.

Dandelion was issued as a standard album at streaming services and at retail as a digital download, CD and vinyl (in two variants, one signed).

Morgan Wallen’s former No. 1 I’m the Problem holds at No. 2 on the latest Billboard 200, with 83,000 equivalent album units earned (up 4%). In turn, country albums are Nos. 1 and 2 for the second time in 2026, following the Jan. 24-dated list, when Zach Bryan’s With Heaven on Top debuted at No. 1 and I’m the Problem fell 1-2. Before that, it last happened on the Feb. 17, 2024-dated chart, when Toby Keith’s 35 Biggest Hits re-entered the chart at No. 1 following his death and Wallen’s One Thing at a Time fell to No. 2.

Back on the latest Billboard 200, BTS’ ARIRANG slips 1-3 in its fourth week on the list, earning 78,000 equivalent album units (down 37%). The set spent it first three weeks atop the chart. Don Toliver’s chart-topping OCTANE is a non-mover at No. 4 (48,000, down 15%), Olivia Dean’s The Art of Loving is steady at No. 5 (nearly 48,000, down 5%), and Bad Bunny’s former leader DeBÍ TiRAR MáS FOToS rises 7-6 (44,000, down 3%).

Justin Bieber’s SWAG zooms 55-7 following his headlining performance during the first weekend of the Coachella Valley Music and Arts Festival. The set surges with 43,000 equivalent album units earned, a gain of 160% compared to the previous week. The increase was largely owed to streaming activity, as SWAG’s songs generated 42,000 SEA units (up 158%), equaling 41.48 million on-demand official streams of the set’s songs — across both its SWAG and deluxe SWAG II reissue that contained additional songs. (All versions of the album are combined for tracking and charting.)

Bieber headlined the second night of both weekends of the festival, taking the stage on April 11 and 18, which was also livestreamed on Coachella’s YouTube channel.

Luke Combs’ The Way I Am falls 6-8 on the Billboard 200 with 42,000 equivalent album units earned (down 9%) and Wallen’s One Thing at a Time rises 9-8 with 40,000 units (up 5%).

Sabrina Carpenter’s former No. 1 Man’s Best Friend jumps back into the top 10, climbing 18-10, following her headlining turn at Coachella. She reigned over the first night of both weekends, on April 10 and 17. Man’s Best Friend flies up the list with 40,000 equivalent album units earned, up 44%. Like SWAG, Man’s Best Friend mostly gained from streaming increases — it earned 34,000 SEA units (up 60%), equaling 34.39 million on-demand official streams of the album’s songs. Carpenter’s set was also streamed live on Coachella’s YouTube channel.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Guy Oseary is celebrating Madonna and Sabrina Carpenter’s show-stopping collaboration at Coachella 2026.

On Saturday (April 18), the Queen of Pop’s longtime manager took to social media to reflect on Madonna’s full-circle Coachella moment — 20 years after her first performance at the festival in 2006 —and to show love to Carpenter.

“20 years since @madonna first performance at @coachella, a beautiful full-circle celebration,” Oseary began his Instagram post, alongside a video of Madonna and Carpenter sharing the stage during Carpenter’s headlining set on Friday (April 17).

“On behalf of @saramariezam and I at @maverick, thank you to the very kind and talented @volaramgmt team. And most of all, @sabrinacarpenter.”

Madonna and Carpenter made headlines over the weekend after Madonna’s surprise appearance during the evening set, where the pair teased a new song from Madonna’s upcoming Confessions II album, along with memorable duets of “Vogue” and “Like a Prayer.”

In his post, the veteran music executive also recalled the first time he met Carpenter at the SNL 50 party in February 2025.

“I first met Sabrina at the SNL 50 party, where we bumped into each other walking thru the party,” Oseary wrote. “She told me how much she loved Madonna. Minutes later, she was asked to join the house band at that party to sing an impromptu song: the song she chose: ‘Like A Virgin.’”

He closed his post, writing, “She has always shown love for the Queen, repeatedly… and last night the mutual love was shown and shared with the world.”

Carpenter showed her appreciation for the shout-out by commenting with three pink revolving heart emojis.

Hours later, the “Please Please Please” singer also took to Instagram after her Coachella weekend two headlining set to reflect on the experience.

“Coachella weekend 2 might take the damn cake,” Carpenter captioned a photo gallery of images from the night, which included backstage shots with Madonna.

“Madonna …..I’ve got something i wanna talk about! thank you for coming out, bringing your love, and gracing the audience with everything you are + astrology knowledge + the greatest songs of all time. Last night was straight out of a dream. spending so much time laughing with you and then above all sharing the stage with you is a privilege I’ll never forget.”

Cardi B nearly canceled her Atlanta concert over claims that venue staff disrespected her team.

In the hours leading up to her second Little Miss Drama Tour show at Atlanta’s State Farm Arena on Saturday (April 18), the 33-year-old rap star went live on Instagram, showing a heated argument with what appeared to be venue staff over their alleged treatment of members of her team.

“Your f—king employees are being disrespectful … I’m not performing today,” Cardi is heard yelling in the clip, demanding to speak with management.

“We got in here, your employees are being f—king rude for no reason, being rude for no reason,” she continued. “I feel a certain type of way, because you being disrespectful. I did 35 shows, and I never had a problem, and we’ve been kind to everybody.”

Despite the confrontation, Cardi ultimately performed at State Farm Arena for the final night of her Little Miss Drama Tour, which marked her first headlining arena run.

In a follow-up post on X after Saturday’s concert, Cardi wrote, “When you hold power and authority, use it with kindness and respect. Never abuse it… because not everyone will endure your arrogance in silence. Treat others exactly like you demand to be treated. Atlanta… I’ll see you soon.”

Billboard has reached out to State Farm Arena and Cardi’s representatives for further comment.

The Grammy-winning rapper’s 30-plus-date tour supported her long-awaited sophomore album, Am I the Drama?, which topped the Billboard 200 in September 2025.

The Little Miss Drama Tour launched in Palm Desert, California, on Feb. 11 and has featured a range of special guests, including Meek Mill, Megan Thee Stallion, Tyla, Kehlani, Lil’ Kim, Fetty Wap, GloRilla and A Boogie Wit Da Hoodie.

Italian tenor Andrea Bocelli transformed Mexico City’s Zócalo into a monumental theater on Saturday (April 18), where his iconic song “Vivo Por Ella,” one of his greatest hits, took an unexpected turn by fusing with cumbia thanks to the unmistakable rhythm of Mexican group Los Ángeles Azules. The free show drew more than 130,000 people, according to figures from the city government.

In addition to Los Ángeles Azules, singer-songwriter Ximena Sariñana and the Orquesta Sinfónica de Minería joined Bocelli for a romantic and emotional evening that merged classical music with contemporary sounds. The event, held in the country’s main public square, was sponsored by the Mexico City Government and Banco Plata.

“Thank you all, this is a wonderful night,” Bocelli said, visibly emotional, in Spanish. The repertoire opened with works by Giuseppe Verdi, such as “Di quella pira” from Il Trovatore and “La donna è mobile” from Rigoletto, setting the tone for an emotional evening that seamlessly transitioned between opera and popular music, deeply connecting with the audience and moving many to tears.

His Zócalo performance was also part of the celebration for the 30th anniversary of his acclaimed album Romanza (1997), which led Billboard’s World Albums chart for an impressive 51 weeks and reached No. 5 on the Classical Albums ranking. On the all-genre Billboard 200 chart, the album peaked at No. 35. (Bocelli has had 29 entries on this chart, including nine top 10s and one No. 1 album, in 2018, with Si).

The Orquesta Sinfónica de Minería, conducted by Carlo Bernini, and a selection of guest artists contributed to the musical experience. Puerto Rican soprano Larisa Martínez performed “Les filles de Cadix” and participated in emotional duets from La Traviata and La Rondine, while baritone Juan Carlos Heredia brought “Toreador” from Carmen to life. Together, they also performed excerpts from Georges Bizet’s The Pearl Fishers, delivering performances that shone with dramatic strength.

The festive mood heightened when Los Ángeles Azules, accompanied by Sariñana, took the stage to perform a new version of their famous song “Mis Sentimientos,” turning the Plaza de la Constitución (the Zócalo’s official name) into a massive dance floor. Later, they joined Bocelli to perform Louis Armstrong’s iconic jazz anthem “What a Wonderful World” and the aforementioned “Vivo Por Ella,” originally recorded in Spanish by the Italian tenor alongside Spanish singer Marta Sánchez in 1996.

Large screens were set up on streets surrounding the Zócalo, allowing more people to enjoy the concert. Some foreign tourists passing through the area also stopped to experience the music.

The evening concluded with a standing ovation and a fireworks display that lit up the sky over the Historic Center of the city as the strains of “Nessun dorma” from Turandot echoed, closing a memorable night with a flourish.

Bocelli thus joined a growing list of international acts who have performed in the iconic plaza, which has previously hosted stars such as Paul McCartney, Roger Waters and Justin Bieber. On March 1, Colombian superstar Shakira set a new record as the artist who has drawn the largest audience to a free concert at the Zócalo, with 400,000 attendees. The previous mark was held by Argentine band Los Fabulosos Cadillacs, who drew 300,000 people on June 3, 2023, followed by Grupo Firme, who gathered 280,000 fans a year earlier.

Italian tenor Andrea Bocelli transformed Mexico City’s Zócalo into a monumental theater on Saturday (April 18), where his iconic song “Vivo Por Ella,” one of his greatest hits, took an unexpected turn by fusing with cumbia thanks to the unmistakable rhythm of Mexican group Los Ángeles Azules. The free show drew more than 130,000 people, according to figures from the city government.

In addition to Los Ángeles Azules, singer-songwriter Ximena Sariñana and the Orquesta Sinfónica de Minería joined Bocelli for a romantic and emotional evening that merged classical music with contemporary sounds. The event, held in the country’s main public square, was sponsored by the Mexico City Government and Banco Plata.

“Thank you all, this is a wonderful night,” Bocelli said, visibly emotional, in Spanish. The repertoire opened with works by Giuseppe Verdi, such as “Di quella pira” from Il Trovatore and “La donna è mobile” from Rigoletto, setting the tone for an emotional evening that seamlessly transitioned between opera and popular music, deeply connecting with the audience and moving many to tears.

His Zócalo performance was also part of the celebration for the 30th anniversary of his acclaimed album Romanza (1997), which led Billboard’s World Albums chart for an impressive 51 weeks and reached No. 5 on the Classical Albums ranking. On the all-genre Billboard 200 chart, the album peaked at No. 35. (Bocelli has had 29 entries on this chart, including nine top 10s and one No. 1 album, in 2018, with Si).

The Orquesta Sinfónica de Minería, conducted by Carlo Bernini, and a selection of guest artists contributed to the musical experience. Puerto Rican soprano Larisa Martínez performed “Les filles de Cadix” and participated in emotional duets from La Traviata and La Rondine, while baritone Juan Carlos Heredia brought “Toreador” from Carmen to life. Together, they also performed excerpts from Georges Bizet’s The Pearl Fishers, delivering performances that shone with dramatic strength.

The festive mood heightened when Los Ángeles Azules, accompanied by Sariñana, took the stage to perform a new version of their famous song “Mis Sentimientos,” turning the Plaza de la Constitución (the Zócalo’s official name) into a massive dance floor. Later, they joined Bocelli to perform Louis Armstrong’s iconic jazz anthem “What a Wonderful World” and the aforementioned “Vivo Por Ella,” originally recorded in Spanish by the Italian tenor alongside Spanish singer Marta Sánchez in 1996.

Large screens were set up on streets surrounding the Zócalo, allowing more people to enjoy the concert. Some foreign tourists passing through the area also stopped to experience the music.

The evening concluded with a standing ovation and a fireworks display that lit up the sky over the Historic Center of the city as the strains of “Nessun dorma” from Turandot echoed, closing a memorable night with a flourish.

Bocelli thus joined a growing list of international acts who have performed in the iconic plaza, which has previously hosted stars such as Paul McCartney, Roger Waters and Justin Bieber. On March 1, Colombian superstar Shakira set a new record as the artist who has drawn the largest audience to a free concert at the Zócalo, with 400,000 attendees. The previous mark was held by Argentine band Los Fabulosos Cadillacs, who drew 300,000 people on June 3, 2023, followed by Grupo Firme, who gathered 280,000 fans a year earlier.

Italian tenor Andrea Bocelli transformed Mexico City’s Zócalo into a monumental theater on Saturday (April 18), where his iconic song “Vivo Por Ella,” one of his greatest hits, took an unexpected turn by fusing with cumbia thanks to the unmistakable rhythm of Mexican group Los Ángeles Azules. The free show drew more than 130,000 people, according to figures from the city government.

In addition to Los Ángeles Azules, singer-songwriter Ximena Sariñana and the Orquesta Sinfónica de Minería joined Bocelli for a romantic and emotional evening that merged classical music with contemporary sounds. The event, held in the country’s main public square, was sponsored by the Mexico City Government and Banco Plata.

“Thank you all, this is a wonderful night,” Bocelli said, visibly emotional, in Spanish. The repertoire opened with works by Giuseppe Verdi, such as “Di quella pira” from Il Trovatore and “La donna è mobile” from Rigoletto, setting the tone for an emotional evening that seamlessly transitioned between opera and popular music, deeply connecting with the audience and moving many to tears.

His Zócalo performance was also part of the celebration for the 30th anniversary of his acclaimed album Romanza (1997), which led Billboard’s World Albums chart for an impressive 51 weeks and reached No. 5 on the Classical Albums ranking. On the all-genre Billboard 200 chart, the album peaked at No. 35. (Bocelli has had 29 entries on this chart, including nine top 10s and one No. 1 album, in 2018, with Si).

The Orquesta Sinfónica de Minería, conducted by Carlo Bernini, and a selection of guest artists contributed to the musical experience. Puerto Rican soprano Larisa Martínez performed “Les filles de Cadix” and participated in emotional duets from La Traviata and La Rondine, while baritone Juan Carlos Heredia brought “Toreador” from Carmen to life. Together, they also performed excerpts from Georges Bizet’s The Pearl Fishers, delivering performances that shone with dramatic strength.

The festive mood heightened when Los Ángeles Azules, accompanied by Sariñana, took the stage to perform a new version of their famous song “Mis Sentimientos,” turning the Plaza de la Constitución (the Zócalo’s official name) into a massive dance floor. Later, they joined Bocelli to perform Louis Armstrong’s iconic jazz anthem “What a Wonderful World” and the aforementioned “Vivo Por Ella,” originally recorded in Spanish by the Italian tenor alongside Spanish singer Marta Sánchez in 1996.

Large screens were set up on streets surrounding the Zócalo, allowing more people to enjoy the concert. Some foreign tourists passing through the area also stopped to experience the music.

The evening concluded with a standing ovation and a fireworks display that lit up the sky over the Historic Center of the city as the strains of “Nessun dorma” from Turandot echoed, closing a memorable night with a flourish.

Bocelli thus joined a growing list of international acts who have performed in the iconic plaza, which has previously hosted stars such as Paul McCartney, Roger Waters and Justin Bieber. On March 1, Colombian superstar Shakira set a new record as the artist who has drawn the largest audience to a free concert at the Zócalo, with 400,000 attendees. The previous mark was held by Argentine band Los Fabulosos Cadillacs, who drew 300,000 people on June 3, 2023, followed by Grupo Firme, who gathered 280,000 fans a year earlier.

Justin Bieber brought out a host of special guests during his Coachella weekend two set — including one superfan: Billie Eilish.

The 32-year-old pop superstar took the stage in Indio, California, for his second headlining performance on Saturday (April 18), where he welcomed self-proclaimed diehard Eilish for a rendition of his 2009 track “One Less Lonely Girl.”

During the serenade, the two artists laughed and embraced as Bieber sat Eilish on a stool during a segment of the set that revisited his early YouTube-era videos.

Eilish has previously spoken about her friendship with Bieber, noting that he offered her support early in her career.

“He’s a good friend of mine,” she told SiriusXM Hits 1’s Morning Mash Up in 2020. “He, you know, has been so helpful for me, in terms of just, like, dealing with fame. And he’ll call me sometimes and just say stuff that makes me just feel heard, and like there’s somebody else that goes through the same stuff. So it’s really nice to have him.”

Later in the Coachella set, Bieber welcomed SZA for an acoustic duet of her 2022 track “Snooze,” as well as Sexyy Red for “Sweet Spot.” The pop star also brought out Big Sean for performances of “As Long As You Love Me” and “No Pressure.”

Bieber logged his biggest streaming day of 2026 on Sunday (April 12), following his widely discussed opening weekend Coachella headlining set, where he primarily performed songs from his 2025 Swag album alongside a mid-set segment revisiting and performing over his early YouTube-era hits. He earned 24.6 million streams that day, marking his highest total since July 2025, according to Luminate.

PinkPantheress turned her weekend two Coachella set into a guest-filled celebration — complete with surprise appearances, live collaborations and an onstage birthday moment.

Performing at the Mojave tent during the second weekend of the Coachella Valley Music and Arts Festival, the British pop artist elevated her already buzzy set with a rotating lineup of guests, building on her weekend one performance with a more expansive, star-driven show.

Among the night’s biggest moments was the appearance of Zara Larsson, who joined the festivities after fans spotted her on festival grounds earlier in the weekend.

While she didn’t appear for the opening performance of “Stateside” — the track she features on — Larsson took the stage solo to perform the title track from her album Midnight Sun, before teasing that PinkPantheress could feature on an upcoming deluxe edition of the project.

PinkPantheress’ “Stateside,” with Zara Larsson, recently hit No. 1 on both the Billboard Global 200 and the Billboard Global Excl. U.S. charts last month. The song has grown in prominence since Alysa Liu skated to it in her exhibition performance at the Milano Cortina Winter Olympics Feb. 21, two days after she became the women’s figure skating champion, winning the first gold medal in the event for the United States in 24 years.

Janelle Monáe also made a brief but notable appearance during the festivities, joining PinkPantheress on guitar during the set. The performance continued to unfold with appearances from Australian DJ Ninajirachi, alongside actor Tyriq Withers, Chase Infiniti, Slayyyter, and Manon, giving the set a party-like, cameo-heavy feel.

PinkPantheress ran through a string of fan-favorite tracks, including “Stateside,” “Romeo,” “Boy’s a liar Pt. 2” and “Illegal,” maintaining her signature mix of fast-paced, club-ready production and understated vocals.

The set’s most personal moment came during “Illegal,” when Withers returned to the stage to mark the singer’s birthday.

“I really had something important to say… a birdie told me that it is your birthday,” he told the crowd, before presenting her with a rose as dancers held up a “Happy Birthday” sign. The crowd erupted as the two embraced before exiting the stage together.

PinkPantheress’ performance was one of several guest-driven highlights from Coachella’s second weekend. Elsewhere, Olivia Rodrigo joined Addison Rae onstage, while Sabrina Carpenter brought out Madonna during her headlining set on Friday night.

PinkPantheress turned her weekend two Coachella set into a guest-filled celebration — complete with surprise appearances, live collaborations and an onstage birthday moment.

Performing at the Mojave tent during the second weekend of the Coachella Valley Music and Arts Festival, the British pop artist elevated her already buzzy set with a rotating lineup of guests, building on her weekend one performance with a more expansive, star-driven show.

Among the night’s biggest moments was the appearance of Zara Larsson, who joined the festivities after fans spotted her on festival grounds earlier in the weekend.

While she didn’t appear for the opening performance of “Stateside” — the track she features on — Larsson took the stage solo to perform the title track from her album Midnight Sun, before teasing that PinkPantheress could feature on an upcoming deluxe edition of the project.

PinkPantheress’ “Stateside,” with Zara Larsson, recently hit No. 1 on both the Billboard Global 200 and the Billboard Global Excl. U.S. charts last month. The song has grown in prominence since Alysa Liu skated to it in her exhibition performance at the Milano Cortina Winter Olympics Feb. 21, two days after she became the women’s figure skating champion, winning the first gold medal in the event for the United States in 24 years.

Janelle Monáe also made a brief but notable appearance during the festivities, joining PinkPantheress on guitar during the set. The performance continued to unfold with appearances from Australian DJ Ninajirachi, alongside actor Tyriq Withers, Chase Infiniti, Slayyyter, and Manon, giving the set a party-like, cameo-heavy feel.

PinkPantheress ran through a string of fan-favorite tracks, including “Stateside,” “Romeo,” “Boy’s a liar Pt. 2” and “Illegal,” maintaining her signature mix of fast-paced, club-ready production and understated vocals.

The set’s most personal moment came during “Illegal,” when Withers returned to the stage to mark the singer’s birthday.

“I really had something important to say… a birdie told me that it is your birthday,” he told the crowd, before presenting her with a rose as dancers held up a “Happy Birthday” sign. The crowd erupted as the two embraced before exiting the stage together.

PinkPantheress’ performance was one of several guest-driven highlights from Coachella’s second weekend. Elsewhere, Olivia Rodrigo joined Addison Rae onstage, while Sabrina Carpenter brought out Madonna during her headlining set on Friday night.

Ella Langley joined Morgan Wallen for the third show of his Still the Problem tour in Tuscaloosa, Alabama Saturday (April 18) night and the pair had big news for fans: they’ve recorded a duet that will drop Friday (April 24).

“Ella wrote this song and sent it me about a month ago and I loved it,” Wallen said from stage. Langley than added that it was coming out on Friday before the two debuted “I Can’t Love You Anymore.”

The two circled each other as they premiered the passionate mid-tempo heartbreaker trading verses before coming together for the chorus.

Music Mayhem Magazine captured a good portion of the song. Hear other snippets here and here.

Though this was the first time fans heard the duet and the news that it was coming out, it looks like Langley may have been teasing it as far back as two weeks ago with the release of the official “Choosin’ Texas” video.  Eagle-eyed observers had been trying to figure out what, if anything, Langley was hinting at the end of the video when the white van that Miranda Lambert and Langley escape in features a license plate that reads “ICLYA.”  Now we know.

Another hint that the two might be partnering up came last week when Langley joined Wallen at his April 7 show at Nashville’s The Pinnacle to duet on “Sand in My Boots.”

The song is not on Langley’s new album, Dandelion, that dropped April 10, so the question remains is it a stand-alone or will it be on the inevitable deluxe version of Dandelion or on a new Wallen project.

Arguably the two hottest artists in country right now are no strangers to extremely successful co-ed duets. Langley, of course, had a massive hit with “You Look Like You Love Me” with Riley Green, taking home the ACM Award for single of the year last year.

Wallen and Tate McRae took their duet, “What I Want,” (which Langley is singing with Wallen on tour) to No. 1 on both the Billboard Hot 100 and Hot Country Songs charts.

Langley will join Wallen for several more shows on his stadium tour, including May 9 in Indianapolis, May 16 in Gainesville, Florida; May 30 in Denver, June 6 in Pittsburgh, June 20 in Chicago, June 27 in Clemson, S.C, July 18 in Baltimore, and Aug. 1 in Philadelphia.

Ella Langley joined Morgan Wallen for the third show of his Still the Problem tour in Tuscaloosa, Alabama Saturday (April 18) night and the pair had big news for fans: they’ve recorded a duet that will drop Friday (April 24).

“Ella wrote this song and sent it me about a month ago and I loved it,” Wallen said from stage. Langley than added that it was coming out on Friday before the two debuted “I Can’t Love You Anymore.”

The two circled each other as they premiered the passionate mid-tempo heartbreaker trading verses before coming together for the chorus.

Music Mayhem Magazine captured a good portion of the song. Hear other snippets here and here.

Though this was the first time fans heard the duet and the news that it was coming out, it looks like Langley may have been teasing it as far back as two weeks ago with the release of the official “Choosin’ Texas” video.  Eagle-eyed observers had been trying to figure out what, if anything, Langley was hinting at the end of the video when the white van that Miranda Lambert and Langley escape in features a license plate that reads “ICLYA.”  Now we know.

Another hint that the two might be partnering up came last week when Langley joined Wallen at his April 7 show at Nashville’s The Pinnacle to duet on “Sand in My Boots.”

The song is not on Langley’s new album, Dandelion, that dropped April 10, so the question remains is it a stand-alone or will it be on the inevitable deluxe version of Dandelion or on a new Wallen project.

Arguably the two hottest artists in country right now are no strangers to extremely successful co-ed duets. Langley, of course, had a massive hit with “You Look Like You Love Me” with Riley Green, taking home the ACM Award for single of the year last year.

Wallen and Tate McRae took their duet, “What I Want,” (which Langley is singing with Wallen on tour) to No. 1 on both the Billboard Hot 100 and Hot Country Songs charts.

Langley will join Wallen for several more shows on his stadium tour, including May 9 in Indianapolis, May 16 in Gainesville, Florida; May 30 in Denver, June 6 in Pittsburgh, June 20 in Chicago, June 27 in Clemson, S.C, July 18 in Baltimore, and Aug. 1 in Philadelphia.

Zayn has hinted at a potential return to Australia and New Zealand, telling fans “you might be seeing me soon” as he looks ahead to future touring plans.

The singer-songwriter made the comment during a recent appearance on KIIS FM’s The Smallzy Show, where he discussed his newly released album KONNAKOL and reflected on his history performing in the region.

“I’ve got plans to come to Australia – you might be seeing me soon,” Zayn said when asked about touring, pointing to Australia and New Zealand as priorities for a future visit.

Zayn elaborated on his connection to the region, referencing his earlier visits as part of One Direction. “Australia and New Zealand are two of the big places in my mind,” he said. “I remember performing there in the band… what the crowds were like, what the people were like… I feel like I want to go back there.”

While no official dates have been confirmed, the comments mark one of the clearest indications yet that the artist is considering a return to the market as a solo act. Zayn has not toured Australia independently since launching his solo career, with his last visit to the country dating back to February 2015 during One Direction’s tour — shortly before his departure from the group.

The remarks arrive as Zayn begins a major international touring cycle elsewhere. The artist is set to embark on a 31-date run across North America, South America, Mexico and the U.K., spanning from May through November. Any potential Australia and New Zealand shows would likely follow that schedule, placing them in a later touring window.

The timing also aligns with the release of KONNAKOL, Zayn’s latest studio album, which arrived April 17. The project marks his return with new material and signals a renewed phase of activity following a quieter period in his career.

During the interview, Zayn also spoke about his artistic growth and reflected on aspects of his earlier career, including moments he described as inauthentic during his time in One Direction.

Since leaving the group in 2015, Zayn has carved out a distinct solo identity, scoring a Billboard Hot 100 No. 1 with “Pillowtalk” and releasing multiple studio albums that blend R&B, pop and alternative influences. However, live touring has remained relatively limited compared to his peers, making the prospect of new international dates — particularly in Australia — notable for fans.

For now, Zayn’s comments remain exploratory rather than confirmatory. But for audiences in Australia and New Zealand, the suggestion of a return marks a potential full-circle moment for an artist who has not performed in the region in over a decade.

Olivia Rodrigo performed her brand-new single “Drop Dead” live for the first time at Coachella Saturday night (April 18) as a surprise guest during Addison Rae‘s set.

Rodrigo surprised the audience at the festival’s main stage when she joined Rae to sing “Headphones On,” from Rae’s Addison album. Her appearance was previously unannounced.

As The Hollywood Reporter recaps, Addison sang her “Headphones On” lyric “I compare myself to the new It Girl,” and out came Olivia to applause from the Indio, Calif., crowd — whose excitement would grow even more when the pair launched into Rodrigo’s “Drop Dead” for its official live debut.

Rae traded lines with Rodrigo on the song’s verses, while both pop stars jumped around the stage to hype the crowd up for the song.

“Drop Dead” is the first single to be released from Rodrigo’s upcoming third full-length album, You Seem Pretty Sad for a Girl So in Love. It arrived on Friday alongside a Petra Collins-directed music video filmed at the Palace of Versailles.

“I realized all my favorite romantic love songs were beautiful because they had a tinge of fear or yearning in them,” Rodrigo said of the album’s concept in an interview with British Vogue, to which she also revealed the collection is full of “sad love songs.”

You Seem Pretty Sad for a Girl So in Love is set for a June 12 release via Geffen. Before then, Rodrigo will be both host and musical guest on Saturday Night Live on May 2.

Andrew Lloyd Webber spoke with The Times about his addiction to alcohol, saying in a profile published Saturday (April 18) that he started a current journey to sobriety more than a year ago. The 78-year-old composer, who’s an EGOT (Emmy, Grammy, Oscar and Tony winner), says checking into a rehab clinic “didn’t work,” but joining AA meetings is something he’s “adored.”

“I am a recovering alcoholic,” he told publication. “Sixteen months ago I decided that I needed help and it’s the best thing that ever happened to me.”

Though he’d previously talked about quitting drinking in 2015 and 2016, while producing School of Rock on Broadway, Lloyd Webber says he’d started to drink again.

“I was doing what they call ‘white-knuckling’, without any backup, and I started to worry that I wasn’t being creative. And I thought, ‘But I’ve said to everybody that I’m not drinking.’ So I started to drink secretly,” he told The Times.

Lloyd Webber, whose Cats: The Jellicle Ball is presently on Broadway, says he began “getting into a downhill spiral and about 18 months ago the family were in a desperate state, and added, “My wife was feeling she couldn’t go on.”

“When you’re a wine drinker, you don’t think of yourself as… well, alcoholics drink spirits,” he added in the interview. “That was the shocking thing for me, when I realized that I was drinking vodka to hide it.”

“I’m lucky that nothing did go very wrong. I haven’t had some frightful accident. But then you begin to think of the near misses,” he admitted.

“I thought that I was getting away with it,” said Lloyd Webber. “The thing is, I am deeply sorry and I can only apologize to people if I made a mess.”

On attending AA meetings, which he now attends daily, he shared, “People had always said, ‘Oh no, you wouldn’t like that.’ And you get this thought that it’s a load of meth drinkers coming in off the streets. Not at all. What I love about it is you go into a room and everybody’s equal. I’ve made friends that I wouldn’t have thought possible.” 

When asked whether he’d written any of his musicals while drinking, he said, “Probably not a lot, but I can think of a couple of songs that have been hits where I’d definitely had a glass of wine and thought, that was all right.”

Lloyd Weber is currently working on two new musicals, according to The Times — one that’s based on the 2006 film The Illusionist and the other based on the theft of the Mona Lisa in 1911.

In Coachella’s humid Mojave tent, TAEMIN emerges for his Saturday (April 11) evening performance from a fleshy, spherical cage. It’s more than just aesthetic set dressing — speaking later with Billboard, the singer explains that the prop represents a poignant line from Herman Hesse’s Demian about a bird that cracks free from its egg: before you can really live, you first have to deconstruct the only world you’ve ever known. 

The 32-year-old knows a little something about that kind of leap of faith. Introduced in 2008 as part of K-pop five-piece SHINee, TAEMIN’s (then still developing) voice barely appeared on their debut single, “Replay,” yet through a potent combination of unrivaled dance skills and trailblazing creative vision, he grew to become one of K-pop’s most sought-after soloists. After 16 years operating under the tutelage of legacy management company SM Entertainment, the singer opted not to renew his solo contract in 2024, instead signing with smaller label BPM Entertainment. (He moved again to Galaxy Corporation, home to fellow K-pop veteran and 2026 Coachella performer G-Dragon, just one month ago.)

Given the recency of that label shift, it seems like a miracle TAEMIN’s festival set came together at all, let alone nearly as well as it did. As always, the perfectionist has a few notes ahead of weekend two. But from an outside perspective, the show convincingly asserted his status as an artist among idols, from the elaborate staging and lighting cues to how he throws himself into every move with full-bodied commitment to the craft.

In addition to old favorites “WANT,” “Advice,” “IDEA” and “MOVE” — the choreographed restraint for which was so innovative that it unleashed a rash of imitators upon release in 2017 — TAEMIN debuted six tracks from an upcoming project: “Permission,” “Parasite,” “Frankenstein,” “Let Me Be the One,” “Sober” and “1004.”

Even within a stifling industry, TAEMIN has long defined himself and his trajectory on his own terms. Now, following his historic stint as the first Korean male K-pop soloist to perform at Coachella — and first K-pop soloist with a dedicated display at the Grammy Museum — the “idol’s idol” is ready to take the next step.

“Although I’m not caught up in results, I want my team and I to accomplish something tangible together,” he tells Billboard, pointing to future tours and awards as his more immediate goals. But there’s one lofty aspiration the singer has set his sights on for further down the line: “I want to be someone who’s mentioned when people think about art.”

He breaks down the creative behind his 50-minute Coachella set — and what it meant to be one of two second-generation K-pop acts performing over the weekend — below.

Billboard: How are you feeling after your Coachella debut? 

Taemin: I was very nervous, but now that weekend one is done and the videos people took are showing up on my feed, I’m less anxious. For this second weekend, I think I will have more fun and hopefully make up for my shortcomings.

What was the preparation process like? When did you start making the setlist? 

I started planning the setlist last year, but the details were filled in around January, mostly February. Truthfully, I was set to perform at Coachella early on. So, any time I was running or exercising since then, I would listen to my music and envision a good way to perform each song. 

Tell me the story of the set design, especially the beginning, where you emerge from that egg-like structure.

There’s a verse in Demian: “The bird fights its way out of the egg. The egg is the world. Who would be born must first destroy a world.” I was really inspired by that, so I made it part of the concept for the performance and for my album. Something about always pushing and breaking the mold, despite it being an unknown world, resonated with me.

The staging for “Parasite” was also really amazing. What inspired that?

I feel like when I was younger, I was more at peace. But now, there’s a lot of pressure and there are more times when I am facing hatred and negativity. I wanted to portray this artistically through my music. I’m pained that there is so much hate in the world. It makes me sad, and I made this song to portray my genuine feelings. I took a lot of time to think about this, so it’s nice to hear that the song is being enjoyed.

One of the biggest reactions from the crowd was for “MOVE.” How do you feel about the response to that song, now that it’s been almost a decade since its release?

Honestly, it’s an iconic song and one that people think of when they think of me. So I thought I should definitely perform it — but since it’s an older song, I’ve performed it a lot. [This time], I was thinking I should redevelop it in some way. There’s this sexiness that comes from the restraint in the motions, so I hoped to upgrade the song while preserving that vibe.

The live arrangement of “IDEA” is also a fan favorite. Would you ever consider recording that version?

I never thought about it. I’ve always heard people say that if the music is too much, it’s tiring for the ears. Personally, I like being a bit more extreme. So the tempered version is the one that gets recorded, while the performance is more reflective of the style I want.

But hearing you say this, if the opportunity arises, I think it’d be a good idea to record the live version of this song and some of the other ones.

What made you want to play the piano during this set?

I performed a lot of new tracks this time. The recorded version will be calmer — again, I wanted to go all out for the live performance.

Going from “Frankenstein” to “Advice” to “Idea”… I am someone who thinks that developing an emotional journey is really important — not just across the entire performance but within each section. I wondered how to show something people hadn’t seen before, which is how the piano came to be. I wanted to start in a smaller moment, so as the show went on, things would escalate and then explode at the finale. 

Tell me about “1004,” the set’s closer.

As a date, it’s October 4th [the feast day of Saint Francis of Assisi]. In Korean, 1,004 also sounds like angel.

I am Catholic, and my baptismal name is Francesco, so there’s a personal element to this. I wanted to imagine fans seeing me, how they see me from their perspective, and that’s where the song came from. 

I thought it was a nice note to end on — there’s some choreography, but it puts more emphasis on your vocals and how much you’ve grown as a singer.

I actually just wanted to start the overall performance really strong. It wasn’t necessarily so that I could feature more vocals at the end.

At the beginning of the performance, I thought that everyone — including the audience — might be a bit anxious. So with the beginning of the set, I wanted to release that tension and change it to a more enjoyable mood.

But it’s nice to hear you say that about my vocals. [Laughs]

How did you feel the performance went? I saw you rated yourself a 5/10.

I wasn’t able to fully rehearse because I didn’t have time. There were some technical defects with the lighting — with “Parasite,” for example, it wasn’t the performance I had pictured, so I felt regretful.

That’s why I gave it a 5, and I want to try to get as close to a 10 as possible. Since I’m less nervous this weekend, I think I will do better. 

What would you change about “Parasite” for next weekend?

The performance features projections of philosophical words and quotes that I felt inspired by. But because the audience couldn’t see them, I wasn’t able to get the full message across.

The words come down while there is also thunder, lightning and rain effects. I wanted the words to portray hatred coming down and lifting back up at the end of the song, but I am sad that people weren’t able to see that.

Who were the quotes from?

I don’t know the names very well. [To his team] Can I check my phone?

It doesn’t say who the speaker is, but there are things like “capitalism makes people into props” and “we are in jail performing freedom.” “The moment we stop thinking, evil slowly begins to grow,” and “people are born free, but wherever we go, we are still in shackles.”

Why is that a message you wanted to convey? 

It’s different depending on the culture, but in Korea, it’s hard for singers and idols to speak their truth. Everything needs to be packaged and delivered carefully — that’s how to avoid misunderstandings and misinterpretations. I thought that using these quotes would be a more approachable way to portray my thoughts. So I borrowed the words.

I saw you watched Justin Bieber’s headlining set, which, to me, seemed like a reflection on growing up in the spotlight and having all these online artifacts to look back on. Since you’re the same age as him, and similarly became famous in your early teens, did that resonate with you?

As I watched [the performance], I felt like I would be reacting to it differently than anyone else. I really saw myself reflected. Of course, the language and the country are different, but I also look back at my younger self through videos. I can’t say anything, but I watch on the sidelines.

I think Justin Bieber likely felt those similar emotions and portrayed them on stage. I just really want to root for him. I thought that it must’ve been so hard. All that attention, as grateful as you are for it, was probably really difficult for one person to shoulder. And despite this, through good music, he has continued to inspire. I want to thank him for that. 

BIGBANG also performed over the weekend. How did it feel to see second-generation K-pop so well represented at Coachella?

It feels good. There’s so much that we can relate to each other about. There aren’t many people — even around me — who can really understand and sympathize with this experience and those times. We survived, and steadily, we made it here.

Back in 2008, the American market felt so distant. We’re the generation of dreams coming true. I’m grateful that we can celebrate these joys and successes together. 

After your set, I saw people make comparisons between your performance style and Michael Jackson’s. And, coincidentally, your Grammy Museum exhibit is right next to his.

I dreamed of becoming a musician like him. I was very influenced by him — you follow what you like, and it becomes part of you. There are times when I [deliberately] pay homage to Michael Jackson, but even at times when I don’t intend to, there are similarities because he’s a part of me.

As a fan, it’s really touching to hear people say that I’m like him or to even be in such close proximity at the museum exhibit. What fan is as successful as me? To have our stage outfits be displayed together feels like a dream.

The exhibit is called “TAEMIN: Performer. Artist. Icon.” What do each of those titles mean to you?

It feels like one thing. Music is expression. I try to convey my emotions through music and, visually, through performance. It’s one of the fundamentals that I strive to achieve, and a characteristic of the artists that I admire.

What are you trying to express now?

I’ve done a lot of abstract and ambiguous concepts, using my music to build them out and share them as a story or fiction. Now, I am trying to convey who I am and what I feel more tangibly through my music. 

What do you hope your legacy as an artist will be?

Whether it’s an artist like David Bowie or with fashion, art is something you experience with all five senses. I want to be someone who’s mentioned when people think about art. Even when they taste something, I want people to think about me — to say this, this feeling, is like Taemin. I want to be that kind of sensational and iconic artist while I’m alive.

Additional translation provided by Gene Kim.

Ice Spice is speaking out about a viral video showing her in an altercation at McDonald’s.

The 26-year-old “Deli” rapper took to social media on Friday (April 17) to poke fun at the incident, which took place earlier in the week at the fast food chain in Hollywood, California.

“This wouldn’t happen at Wendy’s,” Ice captioned a repost of the security footage on X.

The Bronx native also appeared to tease an unreleased song, which can be heard playing over the clip.

Spice was reportedly in Los Angeles to shoot a commercial for Wendy’s, according to TMZ. The artist also lists “@wendys princes” in the bio section of her X and Instagram accounts.

In 2023, the Grammy-nominated rapper collaborated with Dunkin’ and appeared alongside Ben Affleck in an advertisement for the coffee and donut chain.

On Wednesday (April 15), Ice Spice was involved in an altercation at a McDonald’s, with footage later surfacing online. She was seated with a friend when another woman approached and tried to strike up a conversation. After Ice declined, tensions escalated and the woman reportedly slapped her, sparking a brief scuffle that spilled across nearby tables and briefly outside before bystanders stepped in to separate them.

Spice’s attorney, Bradford Cohen, said in a statement to Billboard that they will be exploring all avenues to “hold the perpetrators responsible for their actions.”

“The unprovoked attack on my client has been reported to the LAPD and we will be pursuing any and all criminal and civil avenues to hold the perpetrators responsible for their actions,” Cohen said. “We are also exploring holding the location responsible for their apparent lack of appropriate security.”

The attorney continued, “Not to mention that the individuals involved obviously did not realize that we would get the video from inside the McDonald’s where the unprovoked attack occurred. They then turned their cameras on after the initial attack as if to set our client up, and as they say on the video to ‘go viral.’ The only thing that will be going viral for them is their mugshots.”

Check out Ice Spice’s post on X here.

Tory Lanez has sued the California prison system, saying he never should have been housed with a fellow inmate who stabbed him 16 times last year.

Lanez, 33, whose legal name is Daystar Peterson, filed the federal lawsuit seeking $100 million in damages on Tuesday (April 14) against the California Department of Corrections and Rehabilitation and the warden and guards at the prison in Tehachapi where he was being held.

The suit says he was stabbed 16 times in the back, torso, head and face in an “unprovoked life-threatening attack” by inmate Santino Casio, who used a homemade “shank.” Lanez had a collapsed lung and had to be airlifted to a hospital, it says.

Lanez is serving a 10-year sentence for shooting Megan Thee Stallion in the feet after a dramatic and high-profile 2022 trial in Los Angeles.

Prison officials say he was attacked May 12, 2025, by Casio, who is serving a life sentence for second-degree murder and first-degree attempted murder. Casio had another 2008 conviction for assault by a prisoner with a deadly weapon and another in 2018 for manufacturing a deadly weapon.

“The choice to house Casio with Peterson was known or should have been a known danger,” the lawsuit says. It alleges that correctional officers’ response was slow, and no special measures like flash grenades or smoke bombs were used to stop Casio. It says the institution housed the men together despite the rapper’s “high-profile celebrity status,” which made him a target.

There is no record of Casio being charged in the assault. An attorney who represented him previously did not respond to messages seeking comment at the time.

Lanez was transferred to another prison, the California Men’s Colony, in San Luis Obispo County.

The lawsuit also says the defendants unlawfully seized his songbooks with unpublished lyrics that are of great future commercial value and refused to return them.

In response to a request for comment, Department of Corrections spokesperson Ike Dodson said the agency does not comment on pending litigation.

The lawsuit was first reported by TMZ.

Lanez was convicted of three felonies in December 2022: assault with a semiautomatic firearm; having a loaded, unregistered firearm in a vehicle; and discharging a firearm with gross negligence.

A California court rejected his appeal in November.

Megan, whose legal name is Megan Pete, testified at trial that in July 2020, after they left a party at Kylie Jenner’s Hollywood Hills home, Lanez fired the gun at the back of her feet and shouted for her to dance as she walked away from an SUV in which they had been riding.

She had bullet fragments surgically removed from both feet. It was not until months after the incident that she publicly identified Lanez as the person who fired the gun.

The 32-year-old Canadian Lanez began releasing mixtapes in 2009 and saw a steady rise in popularity, moving on to major label albums, two of which reached the top 10 on Billboard’s charts.

Lil Wayne is speaking out about being regularly left out of major music events.

On Saturday (April 18), the 43-year-old rap legend took to social media to express frustration about being “uninvited & uninvolved” in annual events like the Coachella Valley Music & Arts Festival and the Grammy Awards.

“It’s truly a humbling experience when events like Coachella & the Grammys come around & like clockwork,I’m uninvited & uninvolved,” Weezy wrote on X. “I appreciate my position or space I hold in ya heart & mind if so bc you’re the humbling experience that’s timeless & 4dat I thk u. Iaintshitwithoutu.”

Limp Bizkit’s Fred Durst jumped into the comments to offer his support. “Let’s start our own experience gathering and our own acknowledgment event to welcome all of the uninvited – i’ve got a couple ideas i’ve been working on for quite some while now – happy to elaborate if ever interested – sending good vibes,” Durst wrote.

Wayne’s post comes about a year after the Tha Carter VI rapper was passed over to headline the 2025 Super Bowl halftime show in his hometown of New Orleans. Kendrick Lamar was ultimately selected to perform at the Caesars Superdome following the momentum of his Billboard Hot 100-topping hit “Not Like Us.”

In September 2024, Lil Tunechi opened up about how painful it was to miss out on the Super Bowl halftime performance in his own city.

“That hurt. It hurt a lot. You know what I’m talking about. It hurt a whole lot,” the rapper said at the time. “I blame myself for not being mentally prepared for a letdown. And for automatically mentally putting myself in that position like somebody told me that was my position. So I blame myself for that. But I thought that was nothing better than that spot and that stage and that platform in my city, so it hurt. It hurt a whole lot.”

Months later, he told a crowd at Lil WeezyAna Fest in New Orleans, “I told myself I wanted to be on that stage in front of my mom, and I worked my ass off for that position. It was ripped away from me, but this moment right here… they can’t take this away from me.”

While Lil Wayne has never performed a solo set at Coachella, he did make a surprise appearance during G-Eazy’s set at the Indio, California, festival in 2016.

As for the Grammys, Weezy has received 28 nominations over the course of his career and has won five awards, including best rap album for Tha Carter III at the 51st Annual Grammy Awards in 2009. That same year, he made his Grammy stage debut performing “Swagga Like Us” alongside M.I.A., T.I., Jay-Z, and Kanye West (now Ye).

See Lil Wayne’s post on X below.