John Summit has added a Los Angles date to his upcoming CTRL ESCAPE tour, and it’s a big one. The producer will play the Los Angeles Memorial Coliseum, which has a capacity of roughly 77,500, on Dec. 12.

A press release about the show advises that this will be Summit’s biggest headline show to date. It will also be the final show of the 20-date arena run, which begins Oct. 1 in Champaign, Ill., the city where Summit studied accounting at the University of Illinois Urbana-Champaign. Organizers report that tour stops in Boston, Fort Worth and Brooklyn are sold out. See the complete tour schedule below.

“Over the years LA has made some of the most special moments of my career,” Summit wrote in his post announcing the show, referencing the pipeline of local venues he’s risen through. “From the Palladium to the Shrine, then BMI Stadium to Kia Forum.. we knew we had to end the album tour on the highest note in Los Angeles.”

Summit recently closed his 2026 Ibiza residency at [UNVRS] and headlined Lollapalooza on July 30.

CTRL ESCAPE Tour Dates

October 1 – Champaign, IL – State Farm Center
October 23 – Montreal, QC – Centre Bell
October 24 – Hamilton, ON – TD Coliseum
October 25 – Toronto, ON – Scotiabank Arena
October 29 – Boston, MA – TD Garden (SOLD-OUT)
October 30 – State College, PA – Bryce Jordan Center
October 31 – Washington, D.C. – Capital One Arena
November 5 – Houston, TX – Toyota Center
November 6 – Austin, TX – Moody Center
November 7 – Fort Worth, TX – Dickies Arena (SOLD OUT)
November 8 – Fort Worth, TX – Dickies Arena
November 13 – Columbus, OH – Schottenstein Center
November 14 – Charlotte, NC – Spectrum Center
November 15 – Atlanta, GA – State Farm Arena
November 20 – Miami, FL – Kaseya Center
November 21 – Miami, FL – Kaseya Center
November 24 – Chicago, IL – United Center
November 25 – Chicago, IL – United Center
November 27 – Philadelphia, PA – Liacouras Center
November 28 – Brooklyn, NY – Barclays Center (SOLD-OUT)
December 4 – Oakland, CA – Oakland Arena
December 5 – Oakland, CA – Oakland Arena
December 12 – Los Angeles, CA – Los Angeles Memorial Coliseum

Even with all her fame and riches, Cardi B is still loyal to shopping at Old Navy. She became the face of Old Navy’s fall 2026 denim campaign, and the Grammy-winning rapper called the partnership a “full-circle” moment while recalling the days of shoplifting at the store as a kid.

“Thank you Old Navy for holding me down. In high school, I used to steal from you guys all the time. So it’s just a full-circle moment that I’m an ambassador for Old Navy,” she said during an Instagram Live on Wednesday (Aug. 12). “I used to steal all the time and I never got caught. If it wasn’t for you guys, I probably wasn’t the freshest bi–h in school.”

Cardi complimented Old Navy’s fit and denim cut, as the shape of the company’s jeans is BBL-friendly, unlike many denim brands she’s tried over the years.

“BBL bi–hes, it is so hard for us to find jeans. Chanel and the stuff like that, we can’t wear those types of jeans. The only big brand that kind of fit our bodies are Acme Studios,” Cardi explained. “This is the type of body I have, I’m 5’3″ and I’m skinny, I got no waist, but my ass and hips is the size of Uganda. They don’t make jeans for a bi–h like me.”

As the face of the fall campaign, Cardi starred in a Western-themed The Most Wanted ad alongside Wisdom Kaye and Quen Blackwell, which arrived Aug. 4. The high-waisted cuffed jeans Cardi’s sporting in the campaign are available in seven colorways onOld Navy’s website for $49.99.

“When you have a BBL it’s hard to find jeans… but Old Navy got everything for everybody,” she wrote on X in support of becoming an Old Navy ambassador.

Cardi returned to release her first single of 2026 with “Ah Ha,” which debuted at No. 25 on the Billboard Hot 100. The 33-year-old Bronx native earned her fourth diamond song after the RIAA certified the Billboard Hot 100-topping “WAP” earlier in August.

Losing a child in a jam-packed music festival will strike fear in any parent, and director Jeremy Garelick brings that fear to life with the movie Rolling Loud.

Based on the Rolling Loud hip-hop festival, the upcoming comedy released a trailer for the flick on Thursday (Aug. 13) starring Travis Scott, Owen Wilson, Sexyy Red, Matt Rife, Christine Ko, Ski Mask the Slump God, Ty Dolla $ign and more.

The festival-themed movie, helmed by Rolling Loud and Live Nation, is set to hit U.S. theaters on Oct. 2. The trailer kicks off with Wilson’s 13-year-old son, played by Christian Convery, pleading with Wilson to take him to Rolling Loud.

In an attempt to play the “cool dad,” the Wedding Crashers actor gives in, and the chaos begins when Wilson loses his son in a sea of 60,000 sweaty rap fans on a bathroom trip at the Miami festival. All hell breaks loose in the search party, and Wilson ends up backstage explaining the situation to Sexyy Red and La Flame.

Amid the panic, Wilson ends up onstage during Scott’s headlining set (this scene was taped during Scott’s set at Rolling Loud Miami in December 2024) while he’s performing his rambunctious “FE!N” anthem.

“You’re the guy on the big screen that all the security’s looking for,” Sexyy says. “You jumped off a Ferris wheel, right?” To which Wilson clarifies, “No, I threw someone off a Ferris wheel.”

Garelick’s idea for the film was loosely based on true events when he briefly lost track of his son at a Rolling Loud festival in the past.

“The fact that we had this experience together, it bonded us and it really brought us together,” the film’s director told People. “It gave us those inside jokes, those secrets that we can’t tell anybody. And then to put it into a movie that’s coming out all over the world, it’s just incredible. I think parents should take their kids and enjoy it.”

Rolling Loud’s only 2026 U.S. festival took place in Orlando in May, which was headlined by Don Toliver, Ken Carson and Playboi Carti.

Watch the Rolling Loud trailer below.

Lionel Richie had something to say to the next generation of R&B stars during a recent show: They may think they’re breaking new ground, but the legends were doing it first. Moreover, according to Richie, they managed to stay out of jail while doing it.

During a stop on his Sing a Song All Night Long Tour with Earth, Wind & Fire, Richie brought up Usher and Chris Brown’s massive 2026 co-headlining stadium tour while speaking to the crowd. In a clip circulating online, the “All Night Long” singer jokingly compared the pair’s tour to his own partnership.

“Usher and Chris Brown… See, they try to do something new,” Richie said. “The Commodores with Earth, Wind & Fire, we were doing that back 40 years ago! Only difference is, between then and now, we didn’t go to jail.”

Richie laughed after delivering the punchline and continued to acknowledge the severity of the joke.

Brown clearly took the joke in stride, commenting on an Instagram clip of the concert with four laugh-cry emojis: “damn unk. We love ya paw paw.”

Brown and Usher are in the midst of The R&B Tour, a 2026 co-headlining stadium trek that began in June and is scheduled to continue through December. The run includes multiple stadium dates in major cities, including upcoming shows at Levi’s Stadium in Santa Clara, Calif., and SoFi Stadium in Los Angeles.

Richie’s joke was clearly aimed at Brown’s well-documented legal history, including his 2009 guilty plea to felony assault following his attack on then-girlfriend Rihanna. More recently, Brown pleaded guilty in July stemming from a 2023 altercation at a London nightclub. He is scheduled to be sentenced in the U.K. on Oct. 26.

This unexpected dispute between the artists comes as Richie and Earth, Wind & Fire are on their own high-profile tour together. Their Sing a Song All Night Long Tour pairs Richie’s decades-spanning pop and R&B catalog with Earth, Wind & Fire’s funk and soul classics, a combination Richie himself invoked while making the comparison. The tour’s North American leg is scheduled to wrap Friday in Austin, Texas.

Watch the clip below.

LOS40 Primavera Pop, one of Spain’s longest-running multi-artist pop events, will expand into Latin America for the first time with an Oct. 28 edition at Buenos Aires’ Teatro Gran Rex.

The Argentine debut follows a three-year partnership between Spanish radio brand LOS40 and EB Producciones, led by promoter Eduardo Basagaña. The agreement makes Argentina the festival’s first destination outside Spain, where Primavera Pop has become a fixture of the live music calendar. The event marked its 60th anniversary this year with showcases at Madrid’s Movistar Arena and Barcelona’s Olímpic Arena.

The Buenos Aires lineup will feature Luis Fonsi, whose Billboard Hot 100 No. 1 hit “Despacito” starring Daddy Yankee helped make Fonsi one of Latin music’s most recognizable international stars. Argentine artists Abel Pintos, Luck Ra, Ángela Torres, Emanero and Coti are also set to perform, alongside emerging acts Olivia Wald, Roze, TULI and Juli Obregon.

The festival’s arrival is significant for both LOS40 and Argentina’s live entertainment market. For LOS40, the partnership represents the brand’s first international expansion of Primavera Pop beyond Spain, creating a new platform for its pop-focused concert model in one of Latin America’s most established music markets. For EB Producciones, the deal strengthens its position as an independent regional promoter with ambitions beyond its Argentine base. The company launched operations in Costa Rica and Guatemala in 2023.

Basagaña has also confirmed in a press release that the 2027 edition will move to Buenos Aires’ Movistar Arena, a venue with a capacity of approximately 14,000 people. The larger site signals plans to scale the event beyond its inaugural Teatro Gran Rex presentation and establish Primavera Pop as a recurring fixture in Argentina.

Latin superstar Romeo Santos is suing his longtime accounting and business management firm, claiming its “gross negligence” left him with unpaid tax bills and ultimately cost him millions of dollars in damages.

In a lawsuit obtained and first reported by Billboard, Santos (Anthony Santos) claims that BDO USA botched his financial affairs so badly that it amounted to professional malpractice — and that the company has since “rebuffed every overture” to find an “amicable solution” to the problem.

“For nearly seven years, Santos  … entrusted his financial affairs to an accounting and business-management practice that sold itself as a dedicated entertainment-industry specialist,” writes his attorney, James Sammataro of the firm Pryor Cashman. “What [BDO] delivered instead was gross negligence, year after year.”

Santos isn’t the first music star to complain about BDO. Back in 2022, Fat Joe filed a lawsuit claiming the firm and two of its employees stole millions of dollars in “brazen” fraud that has the “hallmarks of a Ponzi scheme.” The case later settled in 2024 on confidential terms.

Santos broke out in the early 2000s as the lead singer of Aventura, a bachata group that’s put 13 songs in the top 10 of Billboard’s Hot Latin Songs chart. After launching a solo career in 2011, Santos has released seven hits that have topped the Hot Latin Songs chart, including 2014’s “Odio” collab with Drake and 2011’s “Promise” featuring Usher.

According to Wednesday’s (Aug. 12) lawsuit, Santos initially hired the firm Morrison Brown Argiz & Farra LLP in 2016; the company was later acquired by BDO in 2021. He says he did so because the firm sold itself as an “entertainment-industry specialist” that could effectively manage the business affairs of “a global touring and recording artist and the multistate and international tax exposure that comes with it.”

But he says BDO’s subsequent failures “spanned nearly every function it was retained to perform,” including basic functions like properly paying his taxes and filing returns. He also says the firm botched his New York state taxes, filing an “incoherent” return that sparked a costly audit, and also failed to file for credits on foreign taxes already withheld from his royalties.

“The withholding was no secret: it appeared on the face of the royalty statements in BDO’s files,” his lawyers write. “Yet year after year, the credits went unclaimed.”

When he finally fired the company in 2023, Santos says BDO quickly withdrew money from his own account without authorization to pay its own fees. “The episode is a fitting coda to the engagement: the firm that could not manage to remit Santos’ taxes on time remitted its own fee without delay — after it was fired from his account, without asking,” the suit reads. “To this day, BDO has not returned the money.”

All told, the lawsuit claims that Santos is owed at least $2.3 million in damages, stemming from tax penalties and interest, the unapproved withdrawal, the cost of hiring new accountants to fix the problems and “lost value” from other professional missteps.

“Two years of demands, documentation, and patience had produced BDO’s acknowledgment of ‘specific errors,’ its silence on the core failures, and nothing else — leaving plaintiffs with no choice but to initiate legal action,” Santos’ attorneys write.

A spokesperson for BDO did not immediately return a request for comment on Thursday (Aug. 13).

Dance music download store Beatport has added an AI detection tool to ensure that fully AI-generated music does not appear in the platform’s catalog.

Music fraud detection tool Beatdapp will now be employed for AI-generated music identification across the Beatport catalogue. Music identified as being fully made by AI will be withheld at ingestion to the site, with rights holders notified directly, the company says.

The implementation of the tool expands on the company’s AI policy announced in January 2025, which states that fully AI-generated music is not permitted in its catalog, while AI-assisted tracks that remain majority human-created are tagged as such.

The AI detection tool expands on a previously existing Beatport partnership with Beatdapp that uses another offering from the company to address fraudulent streaming activity.

“Beatport exists to serve DJs and empower artists & labels,” the company’s CEO Matt Gralen said in a statement. “This means partnering with our community and providing confidence in what our platform offers. While new production techniques have driven electronic music forward since the beginning, there is a difference between a tool that assists human creation and a system that replaces it entirely. Beatport is built on the former.”

Beatport reports that a recent survey the company conducted found that 60% of Beatport users would not play AI-generated tracks in their sets, with 77% citing a strong preference for playing music made fully by humans. The survey also found that just 8% of Beatport users are currently open to playing AI music, with 13% saying they’d consider it if associated artists and labels are fairly compensated.

“The music industry has always embraced new technology,” said Beatdapp co-founder and CEO Andrew Batey. “What’s needed now is the infrastructure to bring transparency to the age of generative AI. By combining AI Music Detection with our existing fraud detection capabilities, we’re helping Beatport strengthen the integrity of its platform while protecting human creativity and giving artists, labels, DJs, and fans confidence in the music they discover and support.”

“Beatport’s approach aligns with AFEM’s AI Principles by keeping human creativity at the centre while recognizing that not all uses of AI are the same,” added Jay Ahern, chief strategy officer at the Association for Electronic Music. “Human intent and creative control must sit alongside consent, licensing, transparency, attribution and remuneration.”

The lineup for Damian Lazarus’ annual turn-of-the-year party in Tulum, Day Zero, was announced Thursday (Aug. 13).

The bill features scene mainstays including Tiga, Victor Calderone, Vintage Culture, LP Giobbi, Chloé Caillet and Mita Gami, along with a flurry of buzzy rising artists like Brunello and Midnight Generation in addition to Lazarus himself. Organizers also promise one “very special guest” whose identity is yet to be announced. See the complete lineup below.

Lazarus, who’s been putting on Day Zero in the jungle near Tulum since 2012, posted the lineup to his Instagram with a caption noting that “Another chapter of cosmic celebration is upon us for a night under the stars where mysticism and music converge. The curation is uncompromising. 30 artists spanning the full spectrum of underground electronic sound across 3 stages. Boundary-pushing performances from the most visionary minds carefully selected for this singular gathering. And one very special guest still emerging from the shadows. If you felt the magic last year, this edition raises it further.”

Day Zero Tulum 2027 happens in the Mexican resort town on January 9 and is the thirteenth edition of the party, which embraces the traditions of the local Mayan culture and goes from sunset until Lazarus’ traditional sunrise set. Tickets go on sale Aug. 25.

Day Zero hosted its debut Bali edition this past April, with the first edition in Brazil taking place this past January. An Israel edition of Day Zero happened near the Dead Sea in 2019.

For YEONJUN, breaking free from expectations has become more than a theme. It’s the core of his latest solo albums.

The K-pop star brought that spirit to an exclusive Billboard Live event at West Hollywood’s Troubadour, where he sat down for an intimate Q&A with Billboard News’ Tetris Kelly before taking the stage for an electrifying performance featuring songs from his solo work. Amidst the conversation, YEONJUN shared the creative process behind NO LABELS Pt. 1 and NO LABELS Pt. 2, the pressure he’s learned to let go of, and how he continues to discover new sides of himself as an artist.

“NO LABELS is all about showing the different sides of me,” YEONJUN explained during the conversation, describing the second project as more “natural and unfiltered” than its predecessor. While NO LABELS Pt. 1 introduced fans to a new dimension of YEONJUN outside of TOMORROW X TOGETHER, he said the two albums represent different sounds and visuals while remaining equally true to who he is.

This meant challenging his perfectionism, however. YEONJUN admitted that he puts pressure on himself to do everything perfectly, but is now trying to approach his music with a lighter mind-set, which is a perspective that carried into the making of NO LABELS Pt. 2. The shift seems to be paying off: After the first album’s top 10 debut on the Billboard 200, Yeonjun said he actually felt more comfortable preparing his follow-up because he had learned to enjoy the creative process.

The event also offered a select group of fans the chance to experience YEONJUN’s solo work in an intimate setting. Chosen through a lottery to attend the exclusive Billboard gathering, fans filled the room with cheers throughout the Q&A, showing their support as YEONJUN talked about everything from his music and fashion to his creative transformation. Their energy only amplified once he took the stage, turning the room into a celebration of his solo achievements.

During the Q&A, YEONJUN also discussed the inspiration behind “Ice Cream,” the deeply personal “Long Way Long Ride,” his work with fellow creative Petra Collins for Vogue, and his TXT groupmates’ reactions to his solo album. He also hinted that the NO LABELS journey may not be fully over just yet, telling the ecstatic crowd that he was “excited for what’s ahead” while keeping details about a potential next installment under wraps.

He brought the conversation’s themes of self-expression to the stage, performing “Vanilla,” “Ice Cream,” “Baby Wassup?,” “Long Way Long Ride,” “Fxxking Star” and “GGUM.”

Scroll through the gallery to relive highlights from YEONJUN’s Billboard-exclusive event, from the fan-filled room to his special performance.