An all-star group of artists will take the stage at Los Angeles’ Troubadour on Nov. 11 to pay tribute to the “Grievous Angel,” late country rock icon Gram Parsons. The event, “A Song for Gram Parsons: Rock & Roll Hall of Fame Induction Celebration,” will take place three days before Parsons — who died in Sept. 1973 at age 26 of an accidental overdose — is inducted into the Rock Hall in the early influence category.

Emmylou Harris, one of Parsons’ key musical collaborators during his short lifetime, will top the bill, along with Elvis Costello, who covered a pair of Parsons songs on his 1981 country covers album Almost Blue and contributed to the 1999 tribute album Return of the Grievous Angel: A Tribute to Gram Parsons.

The jam-packed lineup will also feature sets from the Black Crowes, Margo Price, Grace Potter, Jesse Welles, the Head and the Heart, Madison Cunningham, Jim Lauderdale, Harper Simon and Grahame Lesh. The house band for the night will be L.A.’s Parsons-influenced country rock band Beachwood Sparks, who, according to the poster, will provide “cosmic accompaniment.” Tickets for the show will go on sale on Thursday (Oct. 22) at 10 a.m. PT here.

The event is being co-produced by Parson’s daughter, Polly Parsons, along with Vector Management and Rolling Stone editor-in-chief Shirley Halperin, along with the Parsons estate and the Rock & Roll Hall of Fame. The show will benefit the L.A. sober living house for women Friendly House Foundation and Backline, which provides mental health and wellness resources for music industry professionals and their families.

During his brief, hugely influential career, Parsons (born Ingram Cecil Conner III) performed with the Bryds, the Flying Burrito Brothers and the International Submarine Band and released two beloved solo albums, honing a unique sound that drew from country, R&B and folk and is widely credited with laying the groundwork for the alt-country and country rock genres.

Parsons will be inducted into the Rock Hall at this year’s ceremony at the Peacock Theater in Los Angeles on Nov. 14, alongside fellow inductees Phil Collins, Billy Idol, Iron Maiden, Joy Division/New Order, Oasis, Sade, Luther Vandross and Wu-Tang Clan. Among the other early influence artists joining Parsons on this year’s list are queen of salsa Celia Cruz, Afrobeat architect Fela Kuti and hip-hop icons Queen Latifah and MC Lyte. This year’s induction will air on ABC and Disney+ in December.

Check out the poster for the show below.

LISA gets her game on with PlayStation, for a new spot that unlocks an extended preview of “Tarantino.”

In the 50 second clip, the BLACKPINK star enters a lift and goes straight to floor 5 — LISA’s penthouse. Before she reaches her destination, the K-pop star chooses a different quest as she grabs a limited-edition DualSense wireless controller and enters the worlds that are in the building, from Marvel Wolverine to Kena: Scars of Kosmora, God of War: Laufey, and Marvel Tōkon: Fighting Souls.

The soundbed is a preview of “Tarantino,” a track from her upcoming EP Press Play, due out Friday, Oct. 23.

“Got my nails really long like the barrel of my gun and my lipstick all over your face,” she sings, over the top of a rolling beat. “I’m a boss, I’m a don when I’m driving to the sun. It’s a movie, baby, come and press play.”

The campaign is an extension to the Thai rapper and singer’s global PS5 tie-in which kicked off last year, and includes the all-new DualSense hardware, which arrives Oct. 30 in limited quantities, is available for preorder at PlayStation and was designed with LISA’s help.

As previously reported, the partnership will splash out with official merchandise — including apparel, tote bags, hats, and more — available at LISA’s official Amazon store and PlayStation’s online store.

LISA’s just getting started. A documentary about her first solo year apart from BLACKPINK, titled Always Lalisa, arrived in cinemas early this month, ahead of a Las Vegas residency due to get underway Nov. 12 at The Colosseum at Caesars Palace.

LISA’s Press Play EP features the lead single “SaWaDiKa,” which debuted at No. 69 on the Billboard Hot 100 and at No. 23 on the Billboard Global 200 in September. LISA dropped her debut solo album, Alter Ego, in 2025, peaking at No. 7 on the all-genres Billboard 200.

Watch LISA’s new PlayStation promo below.

Sam Fender is going big in 2027, announcing a nine-date U.K. and Ireland stadium tour that will see him headline London’s Wembley Stadium twice.

The run, titled the Proper Massive Stadium Tour, kicks off June 3 with the first of two shows at Newcastle’s St. James’ Park, before heading to Cardiff’s Principality Stadium on June 10. Fender will play Wembley on June 18 and 20, followed by a July 1 show at Dublin’s Marlay Park. He is also confirmed to top the bill at Belgium’s Rock Werchter festival on July 3, marking his first European festival headlining slot.

The tour will return to the U.K. for a July 8 performance at Edinburgh’s Scottish Gas Murrayfield Stadium, before wrapping with two nights at Manchester’s Etihad Stadium on July 15 and 17. British alt-rockers Wunderhorse will support on all dates, with the exception of the Dublin show.

Tickets for all shows will be available through a presale for fans who preorder the indie songwriter’s yet-to-be-announced fourth album via his online store before 9 a.m. GMT on Oct. 26, with the presale opening on Oct. 28. General sale will commence at 9:30 a.m. GMT on Oct. 30; further ticketing information can be found at Fender’s official website.

The announcement was teased in an Instagram video posted Oct. 19, featuring Fender and his bandmates dressed as characters from The Lord of the Rings at the aforementioned St. James’ Park. The clip also included drone footage of other venues on the tour itinerary, alongside a return to Low Lights Tavern in North Shields, the pub where Fender first cut his teeth as a performer as a teenager.

The news follows a hugely successful campaign for Fender’s third LP, People Watching, which arrived in February 2025 via Polydor. After hitting No. 1 on the U.K.’s Official Albums Chart upon release, the album won the 2025 Mercury Prize and landed Fender a prestigious Ivor Novello Award for songwriter of the year.

People Watching also spawned the 32-year-old’s biggest hit to date in the form of “Rein Me In.” In August, its Olivia Dean remix became the longest-running U.K. No. 1 single of all time after spending 23 non-consecutive weeks at the summit, breaking a 73-year-old record previously held by Frankie Laine’s “I Believe” (18 weeks in 1953). The track also earned the publicly voted 2026 BRIT Award for song of the year, while in the States, it peaked at No. 50 on the Billboard Hot 100, Fender’s highest entry on the chart yet.

Here are Sam Fender’s 2027 tour dates:

Thai artist Jeff Satur is the latest signing to Universal Music Southeast Asia, a division of Universal Music Group.

The singer, songwriter, producer and actor partners-up with UM SEA ahead of the anticipated release next year of his sophomore studio album, which will be followed by his first solo stadium concert in Bangkok, and a world tour in late 2027 through 2028.

With an audience spanning southeast Asia, into South America and the United States, Satur joins the UM SEA roster with two billion-plus streams under his belt, including such hits as “Fade,” “Dum Dum,” “Hide,” “Ghost” and “Black Tie.”

“Jeff Satur is an exceptional artist whose creativity and international appeal reflect the enormous potential of Thai music today,” comments Adam Granite, CEO, Universal Music Group, Africa, Middle East and Asia. “This partnership reinforces our commitment to investing in high-potential Thai artists and helping them reach audiences around the world.

Adds Calvin Wong, CEO of Universal Music South East Asia & Korea & SVP, Asia: “Jeff Satur is one of Thailand’s most exciting and distinctive artists, with an impressive career and a passionate international fanbase. We see tremendous potential to take his journey even further with the strength of UMG’s global network behind him.”

Now with the support of UMG’s global network, reads a statement, he will have greater opportunities to introduce global audiences to his music and live performances.

Through the new alliance, UM SEA will support the artists in his endeavors to become T-Pop’s first global superstar, from music development and artistic direction, to marketing and communications strategies, audience growth, world tour support, business opportunities, and collaborations with world-class producers and artists. 

He’s on the right track. This year, he became the first Thai artist to participate in a conversation and performance at Global Spin Live at the Grammy Museum in Los Angeles, and to perform live on Good Day New York on WNYW FOX 5.

That’s coming off his 2025 Red Giant Tour, during which Satur performed in Singapore, Indonesia, the Philippines, Japan, Hong Kong, Taiwan, Brazil, Chile, Mexico, and Peru, and nailed two sold-out performances at IMPACT Arena in Bangkok, the biggest indoor arena in his homeland.

“At this point in my career, it was important for me to find a partner that truly understands my vision,” Satur remarks, “one that can help me bring my ideas to life without losing what makes them mine. I’m excited for Saturn to meet the Universe and begin the next chapter of creating without borders, because at its heart, music has always been my universal language.”

UM SEA has tentatively scheduled a Q2 2027 release date for Satur’s next album, his first through the major music company. Read Billboard Philippines’ interview with Satur here.

SYDNEY, Australia — Concerts are still a huge drawcard in Australia, but the wider live events industry isn’t a picture of rude health.

According to newly-published data from Live Performance Australia, concert fans bought more than 13.7 million tickets last year, down 2.4% from the prior year, generating revenue of A$1.8 billion ($1.25 billion), slipping 0.9% from the all-time mark set in 2024.

The result would’ve been worse had it not been for an exceptional run of stadium shows and high-profile international tours from the likes of Lady Gaga, Oasis, AC/DC, Luke Combs, Drake, Tyler The Creator, Billie Eilish, Metallica and Kendrick Lamar.

The business for contemporary music concerts was, by some distance, the leader in both share of revenue (53.5%) and attendance (44.8%) last year. The average ticket price for contemporary concerts lifted by 2.0% year-on-year to A$138.15 ($96) in 2025, which partially offset the decline in revenue.

Despite a string of high-profile brands collapsing or pressing pause, Australia’s network of contemporary music festivals shifted 2.1 million tickets in 2025, by 4.9% from the previous year, and reported total revenue at a tick under A$400 million ($280 million), up by 20.7% year-on-year.

Together, the business of concerts and festivals was the strong suit for Australia’s live performance industry, accounting for more than 65% of total revenue and upwards of 51% of total attendance.

“These results were attributable to a strong array of major international tours and festival line ups, attracting higher average ticket prices,” explains the report’s editors.

Overall, the live performance industry was down slightly to A$3.4 billion ($2.37 billion) in ticket revenue. Ticketed attendance dipped by 2.4% to 30.7 million, as seven of the 12 categories posted year-on-year erosion, as promoters grappled with challenging business conditions, while punters counted their dollars, resulting in changing ticket-buying behavior.

During the reporting period, average ticket prices lifted by 14.1% per cent to A$206.17 ($144), which contributed to the growth in revenue and reflected increased costs for organizers, reads a statement from LPA.

“While this is the highest-ever recorded for the industry, it only partially offset rising costs experienced across the economy, given that Australia’s headline inflation rate in 2025 was 3.8%,” reads the LPA’s 2025 Live Performance Attendance and Revenue Report.

Still, the headline results are the second-highest results since the annual report was first published in 2004.

“Australians love their live performance experiences but are under more intense cost-of-living pressures and being more selective in their ticket buying choices which led to a softening in overall demand in 2025,” Live Performance Australia CEO Eric Lassen remarks.

“At the same time, our producers and presenters are grappling with rising costs of production and touring which is reducing operating margins and increasing financial risk, particularly in the theatrical sector.”

The largest, and most worrying decline was seen in Musical Theatre, which diminished by more than 16% for both revenue and attendance during the reporting period. With revenue of A$442.3 million ($309 million), Musical Theatre is the second biggest category behind Contemporary Concerts.

Lassen, who succeeded longtime former LPA CEO Evelyn Richardson in January 2025, adds: “There will always be some variability in the overall revenue and attendance figures depending on touring and production cycles, particularly for big international acts, but we also need to address the longer-term structural challenges for the industry if it’s to have a sustainable future.”

Download the LPA’s latest Ticket Attendance and Revenue Report here.

Sacha Baron Cohen can go to the deepest well of characters, both comedic and dramatic. Think Ali G, Borat, Brüno, and… cellist.

On Tuesday night (Oct. 20), the British funnyman showed us another side, as he slipped into Beck’s strings ensemble for a performance on NBC’s The Tonight Show Starring Jimmy Fallon.

For a change, Cohen didn’t play for laughs. Or play anyone, for that matter. The Dictator actor flexed his musician muscles for a surprise back seat spot on the cello, supporting Beck on “In the Night.”

“In the Night” appears on Beck’s Ride Lonesome, a sweeping and delicate album that captures the sonic textures of his 2015 Grammy Award-winning album of the Year Morning Phase and its spiritual companion, Sea Change from 2002.

Ride Lonesome (via Capitol Records) dropped last month and is Beck’s first collection of all-new material since 2019’s Hyperspace. Watch his late night performance below, with a little help from Sasha Baron Cohen.

Earlier, Beck and Cohen sat for separate chats with Fallon. Beck spoke with the host on the inspiration behind his latest LP, the “austere” design of his tour in support of it, and recounted how Luke Wilson’s Hansel character in Zoolander was (maybe) based on him.

Beck confirmed that he was asked to be in Zoolander, but he “stupidly said no.” Instead, the producers got David Bowie.

Reflecting on Ride Lonesome, Beck reckons: “It’s a moody kinda stuff. It’s the mood of like when you’re in your house, it’s almost dark but you haven’t turned the lights on. It’s kinda like blue hour.”

Cohen, meanwhile, sat with Fallon for some insights into his mockumentary Ali G: Who Iz I?, for which he revives his breakthrough character Ali G. Cohen makes his feature directorial debut in Who Iz I?, which Amazon MGM Studios releases this Friday (Oct. 23) in cinemas for just one week, ahead of its streaming rollout on Prime Video.

A new Sasha Baron Cohen film is never without controversy. Who Iz I?, however, has been slammed by some activists as a racism hiding in plain sight. Cohen has responded with a cover essay for Time magazine, in which he writes, “The fact that Ali G is outdated and problematic is the very reason I resurrected him.” The world Ali G has “returned to is, in many ways, worse than the one he left 20 years ago. All the prejudices my characters are designed to expose haven’t just lingered—they’ve metastasized. They’re fueled by the greatest propaganda machine in history—social media—and now by its monstrous child, AI.”

Watch Fallon’s interviews below.

SYDNEY, Australia — APRA AMCOS Group has posted all-time-high revenue of A$857.4 million ($599 million), up 8.8% from the previous financial year thanks to strong digital, international and public performance licensing.

At the same time, group net distributable revenue (NDR) ballooned to A$755.7 million ($528 million), up 10.6% year-on-year.

As APRA celebrates its 100^th anniversary, the PRO’s international revenue lifts to a record-high of A$103.2 million ($72 million) — crossing the $100 million milestone for the first time — powered by strong touring from the likes of Ninajirachi, and screen growth globally, led by animated kids show Bluey, reads a statement.

The engine room for APRA AMCOS is the “Digital” category, which represents more than 53% overall share, and up 12.5% from the same period last time, while OneMusic’s public performance revenue lifted 10.9% on strong gains from concerts and events, fitness and restaurants.

“Audiences continue to spend their entertainment dollars on large-scale, high-priced events like AC/DC, Ed Sheeran and Oasis,” reads a statement, “leading to softer sales and greater price sensitivity for mid-tier tours and smaller festivals.”

Published this week, it’s “another year of strong results for our members, with more money out the door to them than ever before,” explains Dean Ormston, CEO of APRA AMCOS.

Broken down, APRA generated A$557.2 million ($389 million) in revenue for the year, up 6.9%, while AMCOS posted A$300.2 million ($209 million), up 12.6%. Group expense-to-revenue ratio was 11.86%, down from 13.26%.

If there’s one clanger in APRA AMCOS’ 2026 Year In Review, for the period July 1, 2025 to June 30, 2026, it’s raw proof that Australians and New Zealanders are tuning out of homegrown music. More than 91% of the music Australians streamed in FY26 was imported. It’s a worse situation across ditch, as 96% of music consumed in NZ was created by internationals.

“If the current trend continues, Australian members’ share of streaming is on track to fall to close to 5% within the next five years,” adds Ormston. “It’s a devastating statistic.”

APRA AMCOS serves more than 135,000 songwriter, composer and music publisher members. Despite the strong overall picture, Ormston assures the organization is focused on the challenges that lie ahead.

“We continue to work closely with governments, platforms and international partners to ensure members are askedpermission and receive payment when their works are used to train or generate AI content,” he explains.

In June, APRA AMCOS took that message to the CISAC General Assembly in Paris, where the Australasian body and its international partners set out the Paris Commitment to protect, recognize and fairly remunerate human creators. Then, its leadership assembled in the nation’s capital, Canberra, to call on the Australian Government to hold firm on the Copyright Act, in the face of lobbying from big tech for a TDM. “ We will continue making that case, clearly and consistently, for as long as it takes.”

And as AI technology advances, he adds, “so too does the need to defend the simple principle at the heart of copyright: creators must retain the right to control the use of their work and be paid when that work is used. Our position remains clear and simple: permission and payment.”

Read APRA AMCOS’ 2026 Year In Review here.