Calle 24 has canceled the remaining dates of his Eterno Tour in the U.S. after his U.S. work visa was unexpectedly revoked. The Mexican singer, whose real name is Diego Millán, announced the news Tuesday (Aug. 18) in a statement posted on Instagram.

“Due to unforeseen circumstances beyond my control related to the unexpected revocation of my U.S. work visa, we have made the difficult decision to cancel our upcoming scheduled performances in the United States,” he wrote. “This decision is being made out of the utmost respect for the laws, regulations, and processes established by the U.S. authorities.”

The seven affected performances are the Aug. 15 show at Payne Arena in Hidalgo, Texas; Aug. 21 at The Underground in Charlotte, N.C.; Aug. 22 at the Tabernacle in Atlanta; Aug. 23 at House of Blues in Buena Vista, Fla.; Sept. 12 at The Aztec Theatre in San Antonio; Sept. 13 at 713 Music Hall in Houston; and Sept. 18 at the Riviera Theatre in Chicago.

The artist performed the tour’s first seven dates — from July 30 in San Jose, Calif., through Aug. 14 in Irving, Texas — after Billboard Español exclusively announced the trek in May.

“Our team is actively working to resolve this matter and completing the necessary steps, with the hope of returning to U.S. stages very soon and reuniting with our amazing fans,” he continued. “It is important to note that this situation affects only the performances scheduled in the United States. All other commitments and appearances outside the U.S. will continue as planned.”

As of press time, the exact circumstances that led to the revocation of his work visa remain unclear. Billboard Español reached out to Live Nation and Street Mob Records for comment on the cancellation. The label shared with a reel posted by Calle 24, in which the artist spoke directly to his fans about the situation.

“I’m very, very sad to tell you that the Eterno Tour in the United States is canceled until further notice because my visa was revoked,” he said in Spanish. “And I truly ask for your forgiveness. I wanted to fulfill all of those dates and all of those commitments […] I’m sorry. It’s out of my hands.”

Calle 24 was named one of Billboard’s Latin Artists on the Rise in 2023, the same year his breakthrough hit “Qué Onda,” with Fuerza Regida and Chino Pacas, debuted at No. 61 on the coveted Billboard Hot 100 and reached No. 5 on Hot Latin Songs. More recently, the Chihuahua, Mexico-born artist earned his first Billboard No. 1 when his Fuerza Regida collaboration “Noche Perfecta” topped both Latin Airplay and Regional Mexican Airplay in August. The song also marked his second top 10 on Hot Regional Mexican Songs.

Read the full statement below, second slide for English.

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And watch the reel below:

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Angélique Kidjo has officially made history.

On Tuesday (Aug. 18), the five-time Grammy-winning singer-songwriter, actress and activist became both the first African musician and the first Black African to be immortalized with a star on the Hollywood Walk of Fame.

Variety’s Angelique Jackson hosted the ceremony, which took place on a breezy California afternoon and drew a list of A-list creatives — including four-time Academy Award-nominated actor Willem Dafoe and Recording Academy CEO Harvey Mason jr. — who gathered to celebrate Kidjo, 64, and her impressive four-decade career. Additional attendees included Academy Award-nominated, Benin-born actor Djimon Hounsou and Nigerian music star Adekunle Gold.

“We Africans don’t know what we’ve given to the world, what we continue giving to the world; without us there’s no music possible [on] this planet,” Kidjo said in her speech, which also included her breaking into song before joyously dancing over her brand new star. Just before revealing the star, Ron Frierson, president and CEO of the Hollywood Chamber of Commerce, proclaimed Aug. 18 as Angélique Kidjo Day in Hollywood.

Hailing from Benin, Kidjo is one of the most important global figures in African music. In addition to her five Grammys, she’s also won the Polar Music Prize, performed at the 2020 Summer Olympics opening ceremony in Tokyo, and sent 14 titles to the top 10 of World Albums. In 2021, TIME named her one of the 100 most influential people in the world, and in 2022, she performed the 1,000th NPR Tiny Desk concert.

Throughout her storied career, Kidjo has collaborated with a plethora of artists across genres, including Alicia Keys, Burna Boy, Yo-Yo Ma, Bono, Peter Gabriel and John Lennon. She is also the most Grammy-awarded artist in the best global music album category, with four of her five wins coming in the last decade. Her latest album, April’s Hope!!, features appearances by Pharrell Williams, Quavo, Davido, Charlie Wilson, PJ Morton, Ayra Starr and more.

“This star is a permanent symbol; it’s not going anywhere, and it’s a symbol of your achievements,” said Mason jr. “But your legacy, it lives in the people that you’ve touched, that you’ve inspired, the barriers that you’ve broken, the connections you’ve created all around the world… I spent much of my career among artists, and every once in a while, you experience someone whose impact extends beyond the stage… someone who isn’t just an artist, but there’s purpose behind the art. Angélique is absolutely one of those rare artists.”

“The first time I saw Angélique perform live, I thought her music, her dancing, her commitment were incredible,” Dafoe, a friend of Kidjo’s since 2002, said. “She is, without a doubt, the hardest-working woman in show business.” He also praised her years-long humanitarian work through her Batonga Foundation, which aims to empower girls and young women in Africa. “This is not a token celebrity involvement; it is an extension of what she does with her music. She stirs us, lifts us up, and reminds us that we’re all connected, and that love and understanding is the way.”

Check out a montage of Angélique Kidjo’s journey to her 2026 Hollywood Walk of Fame ceremony below.

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Throughout her career, Karol G has typically taken a couple of years between her albums. So, when she announced her sixth studio set would arrive just over one year after her last album, 2025’s Tropicoqueta, it was a bit of a surprise. Especially considering she announced the new album just one week before its Aug. 7 release. 

No Me Arrepiento de Sentir Tanto debuts at No. 8 on the all-genre Billboard 200 — her fourth top 10 debut. The album opens with 50,000 equivalent album units earned in the United States in the tracking week of Aug. 7-13, according to Luminate. Meanwhile, the set debuts at No. 1 on Top Latin Albums, her fifth straight debut at the chart’s summit.

Album standouts include the Drake collaboration, “Ahí,” which debuts atop Hot Latin Songs, and the Bruno Mars-assisted “Still,” which earns this album its highest-charting Hot 100 entry, as it enters at No. 41.

Both the album and “Ahí” dethrone Bad Bunny on Top Latin Albums (ending his 77-nonconsecutive-week reign) and on Hot Latin Songs (ending his 72-nonconsecutive-week-reign).

So, how do those No Me Arrepiento de Sentir Tanto stats compare with our expectations? And will the album’s “Ahí” become a lasting chart hit? Billboard staffers discuss these questions and more below.

1. Karol G’s No Me Arrepiento de Sentir Tanto enters the Billboard 200 at No. 8 with 50,000 first-week units. Is that performance better, worse, or about what you expected from it?

Cata Balzano: I’m not surprised it didn’t debut in the top five, given how the announcement unfolded. It felt organic and aligned with the growing trend of artists using the opportunity to address thousands of fans and reveal that new music is on the way, often keeping the next project under wraps.

There were only nine days between the announcement on July 29 and the album’s release on Aug. 7. Given how sentimental, personal and introspective the album is, that may have been part of the strategy: releasing it when it felt right, rather than waiting until enough promotion had been done to ensure everyone knew about it and tuned in.

Even so, it still debuted in the top 10 — a testament to Carolina’s status as one of the biggest Latin superstars of the moment. At this point, Carolina does what Carolina wants.

Lyndsey Havens: A bit below! I think of Karol as such a hitmaker, and I thought given the momentum of a headlining Coachella set into her last album Tropicoqueta (which only dropped last summer) into a stadium tour would have warranted a bigger debut week – especially when you consider that she only announced this album a week before its release. But, such a brief rollout runway can equally present opportunities and challenges, and it seems that it was perhaps more of a challenge this time around. That said, she still secured a top 10 debut despite any challenges, which is still cause for celebration.

Isabela Raygoza: Personally, it landed slightly below my expectations — and that’s not to say it’s a bad album! I just think audiences were more accustomed to Karol G’s celebratory, high-energy Latin-driven sound. Opening in the Top 10 of the Billboard 200 with 50,000 units is still a solid result and speaks to the strength of her fan base. But compared with the massive success of Mañana Será Bonito (No. 1) and Tropicoqueta (No. 3), it feels a bit like a soft landing than the blockbuster opening we might have expected.

Sigal Ratner-Arias: Slightly worse. Given the track record of Karol’s last albums and her current stadium tour, I was expecting another top 5 — especially with collaborators as big as Drake and Bruno Mars. 

Jessica Roiz: Following her past three albums, Mañana Será Bonito (2023) which debuted No. 1, and both Mañana Será Bonito (Bichota Season) (2023) and Tropicoqueta (2025) at No. 3, I expected No Me Arrepiento de Sentir Tanto to debut in the Top 5 at least. However, a Top 10 debut is not too shabby — and it’s still a remarkable achievement for a primarily all-Spanish-language album.    

2. Her last two full-length albums (2025’s Tropicoqueta and 2023’s Mañana Será Bonito) debuted at Nos. 3 and 1, respectively. What do you think is the biggest reason for the shift in this album’s first-week performance?

Cata Balzano: I believe it came down to the marketing. Both Tropicoqueta and Mañana Será Bonito appeared to have larger marketing and promotional campaigns, with months of support across various platforms, including her social media accounts. By contrast, this album arrived on the heels of a major promotional campaign for the Viajando Por El Mundo Tropicoqueta Tour, which became the top marketing priority from the moment La Bichota announced it.

I also believe Tropicoqueta and No Me Arrepiento de Sentir Tanto evoke two completely opposite moods. I’m not sure listeners were ready to move from such a high-energy salsa, merengue and tropical vibe to a low-key, moody “sad girl summer.” That may have also contributed to the shift we saw.

Lyndsey Havens: I always love when an album comes at you fast — and a one-week rollout is surely speedy. But, I think it’s also really difficult to properly set up a project in that amount of time — especially when the artist is amidst a massive tour and perhaps limited in the kind of promotional appearances they can do that would otherwise accompany an album rollout. But I think we also have to take into account the overall inspiration and theme of this album, which boasts a title that translates to “I don’t regret feeling so much.” It is indeed an album of big feels, and as such the tempo is a bit slower and softer than what we’ve come to know from La Bichota. So I think while this album didn’t have as high a debut as her previous two, I’d bet that it may have accomplished more for her emotionally – and that seems to have been the point.

Isabela Raygoza: I think the biggest factor was the rollout strategy. Karol G built anticipation for both Mañana Será Bonito and Tropicoqueta with well-timed teases that aligned with each album’s cultural moment. By contrast, No Me Arrepiento de Sentir Tanto arrived as a sharper left turn: a personal heartbreak record released amid the celebratory, tropical spectacle of her Viajando Por El Mundo Tropitour, complete with fruit-inspired visuals and colorful feathered costumes and headpieces. This latest album is more of a headphone listen than a stadium soundtrack. 

Sigal Ratner-Arias: I think the timing for this album wasn’t 100% right. Although I did enjoy it quite a bit, with a much more mellow tone than her previous works No Me Arrepiento doesn’t really feel like a summer album. 

Jessica Roiz: She announced this album one week in advance, and truthfully, I feel like nobody was expecting it. She also announced it first to about 50,000 people at a stadium show in Canada, as opposed to making a wider announcement on her social media, where she amasses millions of fans from all over the world.

Meanwhile, for both Mañana Será Bonito and Tropicoqueta, she had an entire promo plan that began at least a month before their releases, creating that expectation and an actual countdown. Also, fans were really eager to find out what she would sing about in both albums: the former spotlighted her healing process following a very public breakup from Puerto Rican rapper Anuel AA, and the latter was created during the time she dated Colombian singer Feid. NMADST shows a now healed, single, and confident Karol embracing her emotions and living in the present. 

3. Album track “Ahí,” which features Drake, debuts atop the Hot Latin Songs chart, dethroning Bad Bunny’s “DtMF” after a record 72 weeks at No. 1. Why do you think this is the song to bump him?

Cata Balzano: Not only do we have Drake — who made Billboard chart history this year by becoming the first artist to simultaneously claim the top three spots on the Billboard 200 with a synchronized triple-album release, proving he’s still got it — but he’s also singing in Spanish and putting his own spin on the song by weaving his “New Bestie” verse into the track. It’s the perfect blend of Karol’s romantic reggaetón and Drake’s flirtatious Champagne Papi charisma. For those who understand the lyrics, the song is also deeply relatable: having a love interest while being emotionally unavailable and asking that person to hang in there as you move through the stages of healing after a breakup is the perfect theme for an album that explores heartbreak so profoundly.

Lyndsey Havens: Of course, we have to account for Drake’s clout here. At the very least, I think seeing his name on the tracklist warranted some curiosity listens — especially once word spread he was singing in Spanish, too. But it’s also a genuinely catchy song with a great beat that contrasts some slower moments like the two songs that immediately follow: “Still” and “Final feliz.” I’m pleasantly surprised by this collab, and just as surprised that it was the one to bump Bad Bunny — kudos to you, Karol.

Isabela Raygoza: Drake’s fan base is a huge part of it, but the song also had the novelty of being their first official collaboration with Karol G. “Ahí” is easy to replay, with a flirtatious back-and-forth that makes it earwormy than just another album cut. After 72 weeks of “DtMF” at No. 1, listeners were probably ready for a fresh song with that kind of star power and crossover appeal.

Sigal Ratner-Arias: I attribute this, in large part, to the Drake factor. Drake not only has a huge following in his native tongue, but also among Hispanics. Over the years, he’s been catering to them too with strategic collaborations, including with Bad Bunny (“Mía”, “Gently”), Romeo Santos (“Odio”) and Chino Pacas & Fuerza Regida (“Modo Capone”), among others. Furthermore, it is one of the most upbeat songs on the album, and both artists’ voices complement each other really well.

Jessica Roiz: I mean, it’s Drake…singing in Spanish. Though it’s not his first rodeo singing in Spanish (he previously did so with Bad Bunny on “Mía”), I think his massive star power will always speak volumes…in any language, in any chart.

4. “Still” features the album’s other major collaboration, with Bruno Mars. The song scores the highest Hot 100 debut from the set, entering at No. 41. Does it seem like a growing hit, or will it fade following its debut?

Cata Balzano: I understand why it had its highest Hot 100 debut, because another major global artist is featured on it, but I don’t consider it will become a growing hit. The song, which has Bruno’s DNA in the rhythms and style, shows Karol’s versatility and abiloty to adapt to another artist’s blueprint style, but it doesn’t feel like a hit song that I’d want to have on repeat in my playlist. At least not right now — maybe in the winter, when cozy seasonal blues kick in, I’ll change my mind. 

Lyndsey Havens: Bruno Mars has a magic sauce when it comes to collaborations, including more downtempo tracks like this one – look no further than his duet with Lady Gaga, “Die With a Smile,” for proof. While “Still” isn’t an obvious hit to me, especially if I’m comparing it to something a bit more uptempo like “Ahí,” I can totally see it being a slow grower. And I think with time, the lyrics (especially the chorus, on which she sings “’cause I’d still love you/ Even with a broken heart”) will hit even harder. All this song needs is one epic live performance to push it up the chart. Fortunately, they are both pros when it comes to delivering just that.

Isabela Raygoza: I could see “Still” growing, especially with Bruno Mars’ mesmerizing voice and the song’s nostalgic, ’80s-inspired power-ballad sheen. The emotional hook — “I still love you even with a broken heart” — is immediate, and Karol has previously said the song expressed exactly what she was feeling. That said, her English delivery may feel less natural to some English-language-dominant listeners, which could limit its crossover potential; Bruno’s sections are the undeniable standout.

Sigal Ratner-Arias: It’s hard to say. Although this is not Karol’s first song primarily in English — in 2021 she recorded the more upbeat hit “Don’t Be Shy” with Tiësto — I think this song would have worked more on her favor in Spanish. Vocally, I also feel like Bruno Mars really stands out here. But Karol does show a new side of her and new colors of her voice which are sweet to the ear.

Jessica Roiz: I’m not sure how I feel about “Still” quite yet. I was expecting something completely different in terms of rhythm, perhaps a sly funk blended with a provocative reggaetón, but the ‘80s power ballad approach really took me off guard. It gave me “Wedding Singer” vibes at first. The lyrics, I love, the harmonies, I love, and at the end of the day, they are singing about a very relatable topic; however, I’m not sure what its future holds. Instead, I see Kaorl’s “BbY WOW” with Judeline and Rusowksy becoming a growing hit — it’s currently the fan favorite on social media. A bop.

5. Karol joins artists including Taylor Swift and Ariana Grande who have recently released albums amidst a tour. Why or why don’t you think more artists may attempt this as well?

Cata Balzano: It’s such an effective way to deliver the news directly to the target audience. The people attending the tour are the ones spending money and signing up for presale waiting lists to hear the music live, and they’re likely to be the same fans streaming the album and buying its various physical editions, including vinyl. So it makes sense that artists would want to do something special for their fans and give them the news first.

Lyndsey Havens: While fun for fans – especially if the artist incorporates new songs into the set list — I imagine that it’s incredibly difficult for the artist to pull off. At the least, it requires extra time and attention that already seems limited while on a major tour — and at the most, it requires the artist to fluctuate mentalities between more lived in material and music that likely feels much more raw. Depending on the artist, I’d guess that it benefits the tour, by way of generating new buzz, more than the album itself… But of course, artists who are guaranteed a No. 1 debut like Taylor and Ariana can reap the benefits on both ends. I’m really fascinated, and even proud, that Karol went there as well, and do think it could prove to an even wider pool of artists that it can be done.

Isabela Raygoza: I think more artists may try it because touring gives them a built-in audience and a direct way to introduce new music. But it’s also a risky move: the album has to fit the tour’s existing energy, and fans may need time to connect with it. In Karol’s case, releasing a more intimate project during such a colorful, joyous tour makes the contrast especially interesting.

Sigal Ratner-Arias: It may be a good strategy to introduce new songs to the mix while you have your audience’s attention, and people who’ve already seen the show may try to see it again if there’s a real big hit added to the setlist. But most artists may not have the time, the energy or the bandwidth to record and tour the globe simultaneously, so I don’t expect this to be a trend that many will be able to or interested in following. 

Jessica Roiz: It’s definitely a trend and I don’t doubt it’s a great strategy, but personally, I don’t think I’ve seen this happening much in the Latin music space. I feel that many artists would rather keep a traditional touring format, such as Romeo Santos and Prince Royce who are touring to promote their joint album and not truly surprising fans with more new music. I’m still curious as to why Karol took this approach for this new album, as opposed to announcing at the end of her trek, but hey, at least she’s spicing up the set list! 

“It’s like making a music video,” Andrew Bundas says. “There’s no one way to do it.”

He’s speaking about an unusual but increasingly popular visual medium for musicians to promote their new music: planetarium shows. As planetarium educator for the Liberty Science Center in Jersey City, N.J., Bundas has worked on two of the most high-profile examples in recent years: Lil Yachty’s album release events for his Let’s Start Here in 2023, and, last week, listening experiences celebrating Phoebe Bridgers’ Lost Weekend release. 

From Aug. 10-14, fans around the world packed into 44 planetariums — in such far-flung locales as Bozeman, Mont., Vancouver, Glasgow and Auckland — to listen to Lost Weekend while watching one of two different visual experiences Bridgers offered in partnership with Spotify: a planetarium dome show, with original photography by National Geographic’s Babak Tafreshi, or a laser show. But on Aug. 13, the night before the Lost Weekend album release, Bridgers herself showed up to the Liberty Science Center’s Jennifer Chalsty Planetarium, speaking to the audience of fans and performing three tracks in the planetarium space. 

“That she came out the night of the release of the album to physically be in the planetarium, I think says a lot about how much she cared,” says Bundas. “It was really cool.”

Opened six years ago, the Liberty Science Center’s planetarium — which the center’s president and CEO Paul Hoffman notes is “the largest and most technologically advanced planetarium not just in the country but the whole Western Hemisphere” — offers particularly great visual potential to musicians. As Hoffman says, “in terms of resolution, it’s like watching the best HD TV, but on a screen more than 90 feet across.”

Artists of all sorts can take advantage of the capabilities of a planetarium — Hoffman and Bundas have worked with many cover bands, not just well-known stars like Bridgers and Yachty. But a show like Bridgers’, with custom astrophotography, or Yachty’s, with custom animation, can take “months and months and months of time” (astrophotography, for one thing, is very weather-dependent).

Following Bridgers’ Jersey City shows, Hoffman and Bundas spoke to Billboard about what they took to put on — and why more artists should see their local planetariums as an ideal music venue.

How did your planetarium get into working with musicians? 

Paul Hoffman: Our day job is getting astronomy and space science across [to visitors] at a time when discoveries and public interest are peaking. The kinds of images we’re getting from both ground and space-based telescopes are incredible. But we have one of the most sophisticated technological systems, really immersive for the visitor. We all know the Sphere in Las Vegas, but the Sphere is not intimate; this is an intimate setting, it’s 400 people. So we thought it would be wonderful to work with artists — visual artists, musicians — because what they do could be expressed on this incredible canvas. 

Andrew Bundas: A lot of people, when they think of what a planetarium is, it’s kind of an older style one where all we can do is look at the sky. But in the last five to ten years there’s been a huge increase in [sophistication of] the technology that’s in planetariums. We’re able to project 88 million pixels on the dome, 8K resolution powered by incredibly powerful graphics-generating computers — which really opens us up to working with artists and musicians and using the software we have to create amazing custom visuals.

Before Phoebe, what experience did you have working with musicians in the planetarium? 

Hoffman: We worked with Lil Yachty and his team, dropping his album. We’ve worked with cover bands — a Grateful Dead cover band, Strangers Stopping Strangers, used trippy space images and was fantastic. 

Bundas: I think they’ve played in the planetarium three times, and we made a lot of custom very cool slow-moving visuals to go along with their music.

Hoffman: Planetariums can also do laser shows, and they’ve had a real comeback. It’s fun for the right kind of musicians – you’re [playing music to] images that are totally surrounding the audience, so it can add a freshness to an artist’s practice to do a full-dome experience like ours. 

What approach do artists take typically? Do they arrive with a finished product or look to you to help them realize the dome show?

Bundas: Both, really. You can take almost any image and put it through the software that makes the dome experience. The best experience is to think about how you work with the fact that you’re surrounding your audience, and how can you take advantage of that?

Hoffman: The way we work with people is all based on what they want to do. You can use existing images and work with them to create a show, or you can shoot original content. In Phoebe Bridgers’ case, she had [already] worked with a National Geographic photographer [Babak Tafreshi] and it’s absolutely incredible. She and her team had a conception and that’s what they realized on the dome — we didn’t create the images, but we’re completely capable of doing that. 

Bundas: Whenever we work with someone not really familiar, we really encourage them to make use of the entire space… helping the artist just figure out how they can use the space to draw someone’s eye around the front of the room, to the back and sides of them. They’re always very excited to have, in our case, a massive amount of real estate to work with on the screen.

To your minds, is a planetarium particularly well-suited to a specific kind of music or artist? 

Hoffman: Look, they started back with Pink Floyd, classical orchestras have done stuff in planetariums — it’s just a different media. Is there music that’s suited to video? No. But it’s not a trivial exercise. You really want to create an experience that works in an intimate dome space, [so] you or your team or we need to invest time and energy in doing that. 

Bundas: We’ve seen a lot of different kinds of music in the planetarium, and it really is just crafting the visuals to fit the feeling of the music. Historically things like laser shows have skewed more toward psychedelic rock but we’ve run a huge range of laser shows from metal to pop, all over the place. It’s really just crafting the visuals to fit whatever the vibe or intention of the music is.

Since Phoebe came in with her own visuals made, can you tell me what your work with her and her team was like?

Hoffman: Where we worked a lot with her team was on the physical look of our whole space. It’s “sad girl blue.” We were able to light our tower, so the whole place was lit up, there were smoke machines. She did all the images, totally original photography, and it was beautiful nature and astro photography — brilliant. 

Bundas: The planetarium show was very, very carefully crafted to match the feeling of the album.   

Hoffman: It wasn’t just a backdrop to [the music].

How different an experience was it from the one with Lil Yachty? 

Hoffman: It’s obviously a different audience. Drake dropped by [Yachty’s show] unexpectedly. So when you have one of the most famous people in the world drop in, that’s a whole different thing. [Laughs.] 

Bundas: I think the two shows show the two sides of what I think works really well in a planetarium. Phoebe Bridgers was a lot more slowly moving night skies, aurora, and Lil Yachty’s show, there was some of that style of visuals as well but it was a lot more fast paced, more movement — one thing you can do really well here is give the feeling you’re moving in a space, flying forward, and Lil Yachty’s show leaned more into that. But as far as the experiences working with the artists and their teams, it was clear from the beginning with both that they cared deeply about making it an experience well-crafted for the planetarium.

What advice would you give an artist who’s interested in exploring doing a planetarium show?
 
Bundas: Reach out to a planetarium that is local to you — all the planetariums I talk to in the community love working with as many people as possible who want to show their work or create new work. For us, certainly for anyone on the east coast really, we’d love to work with them to bring their creative vision to life. In some cases that’s us recommending some animators who are well versed in the field and can create really amazing 3D digital art; sometimes It’s us connecting them with photographers or videographers with some familiarity in the space.

Just come to some regular planetarium shows too, to see what it feels like to be in that space. We saw some reactions from guests who went to Phoebe Bridgers’ parties this week — their minds are blown as soon as they walk in. 

What did you two think of Lost Weekend itself? 

Hoffman: I liked how emotional it is. I found it quite stirring. I’m not the intended demographic for it obviously, but it was just a beautiful experience to be there among 400 people, most of whom were her most hardcore fans. It had a gentleness to it. 

Bundas: It’s hard for me to separate the album from listening to it in the planetarium, but it’s this almost meditative experience. As an astronomer primarily, the album gives me a very similar feeling to when I’m camping, looking out at the sky on a really clear night. It makes you think.
 
Hearing the feedback from fans after shows, they were mentioning, “How are we gonna go back to life now after experiencing that?” It was so transcendent.

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It’s been a great year in live music with a number of hot tours and music festivals in the books. However, there’s still plenty of time this year to go out and take in great live music performances and experiences, and there’s no place hotter than Las Vegas.

Some of music’s biggest stars, such as Backstreet Boys, have extended their Las Vegas Sphere residencies with new dates, as well as other hot recording artists, including BLACKPINK’S Lisa, Carín León, Metallica, Marc Anthony and others heading to “Sin City” in 2026. In fact, even The Eagles are back for one last run again.

Tickets to Las Vegas residencies first went on sale through Ticketmaster, while the retailer’s Face Value Exchange program is an option for fans to resell tickets — if they’re unable to attend.

However, residency dates have either sold out, or are very close to selling out, so one of the best ways to find tickets online is through third-party retailers, such as StubHub, SeatGeek, Vivid Seats, TicketNetwork, Gametime, Event Tickets Center and others. All retailers guarantee authentic tickets delivered in time before concerts start. Prices may also be above or below face value at times.

Where to Find 2026-27 Las Vegas Residencies Tickets Online

StubHub has Las Vegas residency tickets available. StubHub ensures that all tickets are valid and authentic, but for whatever reason, if they’re not, you’ll get your money back. In addition, if concerts are canceled and not rescheduled, you’ll receive 120% in StubHub credit or be given the option of a full refund without the extra credit.

One of the lowest prices for Las Vegas residency tickets is at SeatGeek. Tickets are delivered digitally via email, so they’re available on your phone before you go through security. And prices are surprisingly reasonable, even for the hottest tickets.

You can find Las Vegas residency tickets online at Vivid Seats, which lets you search by price, location and “Super Sellers,” which denotes reputable sellers with the best deals on tickets. You can even get 10% off your first purchase when you sign up for the company’s newsletter.

TicketNetwork has tickets to the Las Vegas residencies with all-in pricing that lets you see exactly what you’ll pay up front (fees included). You can use our promo codes to get lower prices on concerts.

Las Vegas Residencies 2026-2027

August 2026

September 2026

October 2026

November 2026

December 2026

January 2027

February 2027

March 2027