SXSW London has confirmed its conference dates and unveiled the theme for 2027’s event.

Next year’s edition will take place between May 24-29 in Shoreditch, east London for the third consecutive year. SXSW London first arrived in the English capital in 2025, with its second edition taking place in June 2026. Super early bird passes are on sale from Friday (Oct. 16) and half price until Dec. 1.

SXSW London’s theme for 2027 has been billed as ‘The Power of Human Potential’ with 14 tracks across the programming track. These include returns for ‘AI & Experience’, ‘Frontier Technologies’, ‘Health & Longevity’ and ‘Society Rewired’, as well as new tracks such as ‘Future Earth’ and ‘Sports’.

Billboard has hosted THE STAGE at the London event, a continuation of its existing presence at SXSW in Austin, TX. In 2025, afrobeats star Tems headlined the event, followed by DJ AG in 2026.

At 2026’s edition, SXSW London reports that over 20,000 festivalgoers attended the event, alongside 863 speakers and 256 artists.

Previous speakers include Sir Tim Berners-Lee, Demis Hassabis, Michelle Obama, Esther Perel, the Russo brothers, Idris Elba and the late Dr. Jane Goodall.

Conference and screen submissions are open via SXSW London’s official website; conference submissions close on Nov. 12, with screen submissions closing on Jan. 31, 2027.

Katy Arnander, chief programming officer at SXSW London, said: “The 2027 theme, ‘The Power of Human Potential’, is as much a call to action as it is a programming theme. SXSW London is the global festival for the convergence of business, tech, creativity and culture. The conversations on our stages, at our parties and in our networking sessions shape what happens in the year ahead.”

She added, “In our third year, we look forward to once again welcoming artists, inventors, leaders, founders and policymakers to lead conversations, make connections, and bring curiosity and practical optimism to the future of their industries and our collective society.”

Billboard’s parent company PMC is the largest shareholder of SXSW and its brands are official media partners of SXSW.

The Great Pyramids of Giza became the backdrop for one of electronic music’s most ambitious destination festivals as EXIT and P+US, Venture Lifestyle’s electronic music platform, brought the inaugural Starlight Festival to Egypt on Oct. 9 and 10.

The sold-out event marked the first multi-day, multi-stage electronic music festival staged at Giza, bringing together more than 60 international and regional artists and attendees from 114 countries. Organizers said it was also the largest electronic music event held at the historic site, since a concert by French pioneer Jean-Michel Jarre held in 1999.

Belgian techno heavyweight Charlotte de Witte made her Egyptian debut alongside a lineup featuring Michael Bibi, Adriatique, Indira Paganotto, Enrico Sangiuliano, Vintage Culture, Pete Tong and WhoMadeWho.

Beyond the main stage, EXIT’s No Sleep stage hosted Charlie Sparks, BIIA, Layla Benitez, Paolo Ferrara and Olympe, while live performances from Satori and Giolì & Assia added another dimension to the weekend. Multimedia studio Sila Sveta designed the festival’s visual production, using elaborate lighting and optical illusions to create the impression of the pyramids floating above the stage.

Starlight also marked the final stop on EXIT’s eight-event international tour, which took the Serbian festival across Europe and into Egypt after it was forced to leave its longtime home following its public support for student-led protests in Serbia.

“In the year we could not gather at home, we found ourselves bringing people together in front of the greatest wonder of the ancient world,” said EXIT founder and CEO Dušan Kovačević.

The festival also reflected the growing importance of music tourism, with international audiences increasingly traveling for experiences that combine music, culture and destination.

“An extraordinary location should deepen the experience, rather than become a substitute for it,” Kovačević explained, emphasizing that electronic music and club culture would remain central to Starlight’s identity.

For Venture Lifestyle founder and CEO Rabih Mokbel, the partnership offered an opportunity to position Egypt as a serious contender in the international festival market. “It shows that Egypt has the potential to host world-class festivals that can compete on an international level, not just because of the artists or production, but because of the destination itself,” he said.

Mokbel also emphasised the importance of placing regional artists alongside established international performers, creating opportunities for local talent to reach wider audiences. “If we want the regional music industry to continue growing, we need to create more opportunities like this, where local talent can be part of the global conversation rather than watching it from the sidelines,” he said.

With its debut completed, organizers have already confirmed Starlight’s return on Nov. 5 & 6, 2027.

For Kovačević, the longer-term ambition extends beyond ticket sales and international recognition. The goal is to establish a recurring cultural event that creates lasting opportunities for Egypt’s artists, production professionals and wider creative economy.

“Becoming an annual gathering that people travel to Egypt specifically to experience, and that brings real value to the people hosting it, would be a success worth building on,” he said.

It should take a lot to surprise the members of Powderfinger, one of Australia’s most successful rock bands of the past 30 years. When the pre-sale opened this week for the band’s reunion tour, the Powderfinger camp was collectively gobsmacked.

“Holy s—!!! Thank you, thank you, thank you!!!,” reads a message from the Finger, whose classic lineup of Bernard Fanning (vocals), Ian Haug (guitars), Darren Middleton (guitars), John “JC” Collins (bass) and Jon Coghill (drums) are on the comeback trail.

When pre-sales began Wednesday, Oct. 14, fans “showed up for us in a way none of us saw coming,” the note continues. “You set alarms, sat in queues and cheered each other on in the comments. Some of you are planning to travel across the country, and some from the other side of the world. After all these years, that means more to us than we can put into words.”

After five consecutive ARIA No. 1 albums, 18 ARIA Awards and three APRA Awards including a brace for song of the year, Powderfinger called time on their illustrious career with The Sunsets Farewell tour, a 34-date national trek in September–November 2010.

Taking its name from the classic song from 2004’s ARIA No. 1 album Vulture Street, the Sunsets jaunt shifted more than 300,000 tickets. Few Aussie acts can command that type of box office action.

Next year’s tour promises to dwarf it.

The 18 dates announced at the start of last week has now ballooned to 26, and stretches into November 2027, with additional shows locked in for Sydney, Melbourne, Brisbane and Perth.  

“The demand blew us away,” the message continues. “It went so far beyond the presale allocation that we added six new shows across Brisbane, Perth, Sydney and Melbourne, and those tickets flew too.”

Powderfinger’s tour will feature a homegrown support cast, all of them performing under “stadium-sized big top” in central city locations across the country, including multiple dates in Cairns, far north Queensland.

The general on-sale starts from Monday, Oct. 19.

Powderfinger Australia Tour 2027:
Friday, Sept. 3 – Brisbane, Brisbane Showgrounds

Saturday, Sept. 4 – Brisbane, Brisbane Showgrounds

Monday, Sept. 6 – Brisbane, Brisbane Showgrounds

Wednesday, Sept. 8 – Brisbane Showgrounds

Friday, Sept. 10 – Brisbane, Brisbane Showgrounds

Saturday, Sept. 11 – Brisbane, Brisbane Showgrounds

Friday, Sept. 17 – Cazalys Stadium, Cairns

Saturday, Sept. 18 — Cazalys Stadium, Cairns

Friday, Sept. 24 — Wellington Square, Perth

Saturday, Sept. 25 — Wellington Square, Perth

Monday, Sept. 27 — Wellington Square, Perth

Friday, Oct. 1 — The Domain, Sydney

Saturday, Oct. 2 — The Domain, Sydney

Monday, Oct. 4 — The Domain, Sydney

Wednesday, Oct. 6 — The Domain, Sydney

Friday, Oct. 8 — The Domain, Sydney

Saturday, Oct. 9 — The Domain, Sydney

Friday, Oct. 15 — Ellis Park, Adelaide

Saturday, Oct. 16 — Ellis Park, Adelaide

Friday, Oct. 22 — Melbourne Park Oval

Saturday, Oct. 23 — Melbourne Park Oval

Monday Oct. 25 — Melbourne Park Oval

Wednesday, Oct. 27 — Melbourne Park Oval

Friday, Oct. 29 — Melbourne Park Oval

Saturday, October 30 – Melbourne Park Oval

Monday, Nov. 1 — Melbourne Park Oval

Hilltop Hoods now have their name on a piece of real estate that money can’t buy.

The City Of Adelaide today (Oct. 15) unveiled Hilltop Hoods Lane in the CBD, a permanent reminder of the trio’s status as one of Australia’s most successful and influential music acts.

Suffa, Pressure and DJ Debris were on hand for the launch ceremony at the old Clubhouse Laneway, a spot just off Hindley Street, the music hub of this City of Churches.

There, organizers pulled back the curtain on two large-scale murals by local artist Vans the Omega.

Hilltop Hoods Lane becomes the sixth addition to the City of Adelaide’s City of Music Laneways trail, joining landmarks celebrating Sia Furler, Cold Chisel, No Fixed Address, Paul Kelly and The Angels.

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Pressure remarked that Hilltop Hoods Lane was “an absolute honor” and “somewhat surreal.” He added, “we paid our dues performing in and around these streets, teenage me would have never dreamed one of them would be named after us.”

Added Suffa: “This gesture just connects us even further to the place that we call home.”

Guests at Thursday’s official unveiling included Lord Mayor Dr Jane Lomax-Smith, family members and music industry professionals.

“Once considered the Australian music industry’s underdogs, the Hoods have harnessed their talent and determination to not only top the charts but build a multi-generational fan base in their mosh pits,” Lomax-Smith stated. “Despite their global success, they have never forgotten their Adelaide roots. That’s why it’s fabulous to permanently recognize their achievements on the streets of the city – just a short walk from the venues where they started making music three decades ago.”

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The Hoods have long since shrugged off underdog status. Formed in their teenage years in the Adelaide Hills, they’ve gone on to shift over 1.1 million albums, 2 billion global streams, bag 10 ARIA Awards and six APRA Music Awards, and land the most entries into triple j’s Hottest 100, with 23.  

With 2025’s Fall From The Light, the outfit earned another No. 1 on the ARIA Albums Chart, for their seventh leader (and sixth straight) — the most by an Australian group, placing them ahead of AC/DC, Powderfinger, Cold Chisel and Silverchair.

And their 2003 single “Nosebleed Section,” from The Calling, the first Australian hip-hip album to be certified platinum, is registered with the National Film and Sound Archive of Australia.

The lads give back, too. Their 2020 fundraising single “I’m Good?” was recorded during quarantine and has helped raise over A$640,000 in much-needed aid for Support Act’s Roadies (Crew) Fund. And earlier this year, the Hoods emptied their warehouse of memorabilia, rarities and one-of-a-kind goodies for a special auction that raised more than A$95,000 for the South Australian charity, Lion Hearts Learning, an organization that supports children and their families impacted by cancer and children with low immunity due to health challenges.

Reps from Universal Music saluted the great Australian band. “As pioneers whose impact reaches well past the boundaries of Australian hip-hop, Hilltop Hoods have left a permanent footprint on our national culture,” explained Universal Music Australasia president and CEO Sean Warner. “I am deeply proud of Universal Music Australia’s partnership and to share in this historic moment.”

Warner presented the Hoods with a plaque celebrating their 14-times platinum certified single “1955” featuring Montaigne & Tom Thum, which has clocked up one million domestic sales.

The Hoods, enthuses Island Records Australia managing director Nicole Richards, “keep raising the bar.”

On their most recent lap of Australia, for the Never Coming Home Tour, Hilltop Hoods played arenas for their biggest jaunt yet. Last year, the Hoods brought their lyrics and bounce to audiences across the United Kingdom and Europe.

“Adelaide has always been a huge part of who we are and where our music comes from, so having a laneway in the heart of the city named after us is an incredible honor,” comments DJ Debris. “It’s pretty special to think our name will now be part of Adelaide’s streetscape.”

Rauw Alejandro and Camilo make it permanent with “Tattoo (Remix),” which gains entry into YouTube’s Billion Views Club.

Six years after its release, the official video for the reggaeton hit is both Alejandro and Camilo’s third to reach the one billion view milestone as a lead, featured artist or collaborator. 

Puerto Rican star Alejandro inked us back in February 2020 with “Tattoo,” produced by Los Honeyboos (Rafa Rodríguez, Daniel Rondon) and Mr. Nais Gai.

By July of the same year, the reimagined, pop-tinged version rolled out on YouTube featuring Camilo, the Colombian singer and songwriter.

“Tattoo (Remix)” (via Sony Music Entertainment US Latin LLC/Duars Entertainment, Inc) marked the very first collaboration between the rising Latin artists, powered by a visual which depicts the pair having a big day out with friends on Miami Beach.

Fans clamored to it and the song enjoyed new wings as a TikTok challenge, with the hashtag #TattooChallenge. The viral trend saw “Tattoo (Remix)” surge to the very top of the Latin Airplay and Latin Rhythm Airplay charts.

“Tattoo (Remix)” was also produced and composed by Los Honeyboos and Mr. Nais Gai and composed by Alejandro, Camilo, Elena Rose, José M. Collazo, Eric Pérez Rovira, Eliel Lind Osorio, Aneudy Maysonet and Evaluna Montaner.

Across his career, Alejandro has soaked up 13 Billboard Hot 100 hits, and an impressive 88 titles on Billboard’s Hot Latin Songs chart. “Tattoo” is one of 17 top 10 appearances on the latter tally, peaking at No. 7. Camilo has made 21 appearances on Hot Latin Songs, including two top 10s.

Alejandro’s career hasn’t slowed any. Just last month, he played multiple dates at Forest Hills Stadium in Queens, for Red Bull Chapters, a three-act performance that traced his roots and the musical influences that shaped him.

Gustavo Camacho directed the official music video for “Tattoo (Remix),” which can be seen in full below.

Ben Katovsky, who previously ran the Blackstone-backed music catalog investment firm Recognition Music Group, was appointed CEO of the advance financing platform Pipeline on Thursday (Oct. 15).

Founded and chaired by veteran music investor and former Francisco Partners private equity executive Matt Spetzler, Pipeline launched with $200 million in lending capital to independent music companies for artist finances, using the label’s digital royalties as the collateral. As more artists sign short-term distribution deals, which allow them to retain ownership and often the majority of the income their music generates, having enough cash on hand to keep rising stars is a persistent problem for indie companies.

Pipeline inked a partnership with Merlin and acquired the tech-forward music valuation firm Clarty Partners earlier this year. Now, fresh off the sale of Recognition’s portfolio of 45,000 songs, which included compositions by Neil Young, Shakira, Journey  and Red Hot Chili Peppers, Katovsky teams up with Spetzler to bring the pair’s music rights, investment and business-building experience to Pipeline’s partners.

“We started Pipeline because there is enormous value in music IP, and too many of the companies that own it haven’t had the backing to realize their ambitions,” Spetzler said in a statement. “Ben is one of very few people who has built, financed and run a world-class rights business at scale, delivering very strong outcomes for investors while caring for the music and the people behind it.”

During Katovsky’s time leading Recognition, it completed a $372 million asset-backed security issuance prior to the sale of its catalog to Sony Music Publishing in July. Before Recognition, Katovsky spent seven years at BMG, where he rose to the role of COO. Originally from South Africa, Katovsky got his start at Counterpoint Systems, developing technology solutions for managing intellectual property.

“I’ve spent my career at the intersection of music, technology and investment, working with some of the most innovative companies in our business,” Katovsky added in a statement. “Pipeline is building a different model for how companies and creators can access capital, giving songwriters, artists, labels and publishers greater flexibility and control over how they grow. Matt and the team have built something impressive and I’m excited to be joining them to empower the music and wider creative industries.”

Sienna Spiro is the first major international star announced for next month’s 2026 ARIA Awards.

The British pop artist will make her ARIAs debut when she performs on stage at Sydney’s Hordern Pavilion, just weeks after the release of her debut album Visitor. 

When she graces the stage, the singer and songwriter will add herself to the lineup of international stars who’ve performed at the Australian recording industry’s flagship awards, a list that includes Alicia Keys, Ava Max, Billie Eilish, Dua Lipa, Ed Sheeran, Halsey, Kane Brown, Khalid, Lorde, One Direction, Robbie Williams, Sam Smith, Taylor Swift and Olivia Dean, who has been a force on the ARIA Charts ever since her performance at the 2025 edition.

Aged just 21, the Londoner has already accumulated more than 33 million monthly listeners on Spotify, headline sponsor of the ARIAs, and 2 billion streams in total; bagged three simultaneous Billboard Hot 100 singles; and six entries on the ARIA Singles Chart. “Die On This Hill” is certified platinum by ARIA, while “You Stole The Show,” “MAYBE,” “Material Lover” and “The Visitor” are all certified Gold in these parts.

In her homeland, Spiro has six top 40 hits including a No. 1 with “Great Expectation,” which she performed last month at the 2026 MTV Video Music Awards in Los Angeles — earning a standing ovation in the process. She also collected the Moonman for best new artist. Visitor peaked at No. 2 on the Official U.K. Albums Chart.

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Spiro’s trip to the ARIAs will mark her second trip to Australia following an intimate fan event last year at Pleasure Club in Newtown, Sydney. She’ll return in January 2027 for her eight-date My House Tour of Australia and New Zealand, which includes two nights at the Hordern. The trek sold out in a matter of hours, according to promoter Frontier Touring.

“So excited and honored to be performing at the 2026 ARIA Awards,” Spiro says in a statement. “I love Australia and can’t wait to be back!” 

With eight nominations each, Tame Impala and Genesis Owusu head the pack for the 40^th annual ARIA Awards, while Ecca Vandal is close behind with seven chances. All told, 29 artist categories will be announced on the night.

The 2026 ARIA Awards is supported by Destination NSW, in partnership with Spotify, and will be live on Paramount+ and broadcast on 10. Performances and moments will also be available on the @ARIA.official YouTube channel.

Miranda Lambert is celebrating her husband Brendan McLoughlin’s birthday by putting a new spin on the longest-leading Billboard Hot 100 hit of all time. And who better to craft new lyrics for Ella Langley’s “Choosin’ Texas” than the woman who co-wrote them in the first place?

Lambert took to Instagram to share a series of photos and videos for McLoughlin’s 35th birthday on Wednesday (Oct. 14), alongside the caption: “Happy Birthday @brendanjmcloughlin. 35 looks good on you! Well everything looks good on you but that smile is my favorite ! I love you!”

In addition to pics of McLoughlin poolside, wearing cowboy boots on his hands, holding up Whataburger bags, fishing or riding a jet ski, Lambert also shared a few videos. There’s the one that paints a pretty clear picture of their life in rural Tennessee, showing McLoughlin driving down a country road while Lambert sits shotgun with her feet propped on the windowsill and their dog in the backseat. Then there’s one in which McLoughlin can be seen sweetly lacing Lambert’s pink low-top Jordans.

But the best video is the final one, which was shot in a hotel bathroom, with Lambert serenading her husband as he gets ready for a night out in Sin City.

“He’s in Vegas I can tell by the way he wants to leave the room,” Lambert sings in her unmistakable twang, set to the tune of the “Choosin’ Texas” chorus. “Judging by the smile that’s written on his face, he’s got a lot to lose.” (McLoughlin laughs as he admits to his wife, “That’s true!”) Lambert keeps singing to finish up the chorus: “It doesn’t take a crystal ball to see, Brendan’s gonna gamble until he’s/ Drinkin’ Jack all by himself, he’s in Vegas I can tell.”

Lambert is all too familiar with “Choosin’ Texas,” as she co-wrote and co-produced the song alongside Langley, as well as co-writers Luke Dick and JoyBeth Taylor and co-producer Ben West. The song has since rewritten the Hot 100 record book, spending 24 weeks atop the chart and surpassing the previous benchmark set by Mariah Carey’s “All I Want for Christmas Is You” with 22 weeks at No. 1.

McLoughlin and Lambert started dating in November 2018 before getting married only a few months later in January 2019 in Tennessee. In addition to her work with Langley, Lambert put out her 10th solo album Crisco on Oct. 2, which debuts at No. 4 on the Top Country Albums chart this week.

Check out all of Lambert’s photos and videos for McLoughlin’s birthday below:

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Carin León’s “Desde Que Te Tengo” earns the regional Mexican singer his third No. 1 on Billboard’s Latin Pop Airplay chart dated Oct. 17. It is the third song by a predominantly regional Mexican artist to top the chart in 2026.

“Desde Que Te Tengo” takes over Latin Pop Airplay in its 20th week, making it the fourth song this year to take as many weeks to reach the top to spend at least that long climbing to No. 1. Danny Ocean’s “Corazón” and Ricardo Montaner’s “Para Que Seas Feliz” took the longest—23 weeks each—while Karol G and Marco Antonio Solís’ “Coleccionando Heridas” matched León’s 20-week journey to the top.

“Desde Que Te Tengo” comes in first after earning 5.5 million audience impressions, up 45%, in the United States, in the week ending Oct. 8, according to Luminate. It bumps Montaner’s “Feliz” to No. 3, following its four-week reign.

León also doubles up in the top 10: his Kany García collaboration, “El Sombrero y La Camisa,” dips 6-7 in its third week in the upper tier.

With his new No. 1, León becomes the third primarily regional Mexican artist to rule Latin Pop Airplay in 2026. Solís and Karol G’s “Coleccionando Heridas” holds the year’s longest reign at 15 weeks, while Xavi’s “DOSIS” dominated for eight consecutive weeks.

On a broader scale, “Desde Que Te Tengo” earns León his 16th top 10 on the overall Latin Airplay chart, leaping 20-10 in its first week in the upper tier.

Lenin Ramírez Makes Moves With “Polvo Rosita”: Outside Latin pop, Lenin Ramírez reaches new heights with “Polvo Rosita,” which climbs 10-9 on Hot Latin Songs and crowns Regional Mexican Airplay. The track earned 6.2 million U.S. audience impressions during the tracking week, up 22%.

“Polvo Rosita” follows Ramírez’s previous Regional Mexican Airplay No. 1, “Todo Lo Fue,” which ruled for one week in May. That song marked his first chart-topper in more than five years, following “Yo Ya No Vuelvo Contigo,” featuring Grupo Firme, a one-week leader in June 2020.

YouTube Music is introducing labels for AI music on the platform, the streamer announced on Wednesday (Oct. 14).

The new labels will be applied to songs that were “created primarily using generative AI,” according to a YouTube Music blog post. That “includes using a generative model to create the composition and vocals.” The labels will also apply to music content on the main YouTube app.

On YouTube Music, the AI labels will show up directly on the player page while listening to a song in which “AI played a significant role,” the blog post states. When a user taps the label, a menu opens up sharing more information.

The blog post states that YouTube Music is “teaming up with music partners” and utilizing its own detection tools to identify tracks that are AI-generated, while “applying the same labeling principles already used across YouTube.” In 2024, YouTube unveiled a tool that would require creators to disclose when “realistic content — content a viewer could easily mistake for a real person, place, scene, or event — is made with altered or synthetic media, including generative AI.”

According to YouTube’s previously published disclosure guidelines around AI content, its “Made with AI” label indicates that a video contains content “that has been meaningfully altered or synthetically generated with Gen AI tools” — a requirement that now extends to YouTube Music. The guidelines add that the “Made with AI” label is applied to content that creators manually disclose in the YouTube Studio workflow; content that uses YouTube’s generative AI tools; and content that contains “valid Content Credentials data indicating the entire video is made with AI.” If creators don’t disclose their use of AI, YouTube has the ability to apply the “Made with AI” label to content on its own.

The use of AI labels at streamers has been growing over the last several months. In August, Spotify announced that it would be introducing a label for AI-generated artists, music from which will not be included in personalized recommendations on the service. Also in August, Apple Music said it was working on introducing AI labels on the platform for music that content providers disclosed was “materially generated using AI”; as Apple Music head Oliver Schusser previously told Billboard, the company uses a detector internally to monitor AI content. In July, a coalition of companies representing the recorded music industry, including the IFPI, RIAA and A2IM, also proposed the widespread creation of AI labels for music on streaming services.