Rosalia Makes History at Latin GRAMMYs

The 27th annual Latin GRAMMYs took place last night at the MGM Grand Garden Arena in Las Vegas. Rosalia made history, becoming the first woman to win the Album of the Year award three times. And it happens to be for three back-to-back albums.

As she accepted the coveted prize for her impeccable album Lux, she said, “This is the third time I’ve won this award and just as El Mal Querer felt like a dream or Motomami was a gamble, Lux has been, for me, a leap into the void. I believe it’s very important to speak your own truth and for others to be able to speak theirs; this album is my truth."

She also took home five other awards, including Song of the Year for “La Perla” which features Yahritza Y Su Esencia, whom she invited on stage to celebrate. The song also won Best Pop Song.

If that wasn’t enough, she also opened the show with a spectacular medley of songs from Lux.

Janet Jackson made a surprise appearance to present Daddy Yankee with the Person of the Year award (#JusticeForMadeForNow). The Puerto Rican legend was also honored the night before with a full ceremony that included tribute performances by J Balvin, Feid, Nathy Peluso, and others.

After retiring in 2022, Daddy Yankee returned to music in 2025 with a Christian album, saying that he wasn’t going to perform his old music anymore. Thankfully, that seems to be over, as he performed an incredible medley of his biggest hits, including “Gasolina,” “Lo Que Pasó, Pasó,” and “Ella Me Levantó,” with a star-studded lineup of guests, including Bizarrap, Bad Gyal, Feid, LL Cool J, and others.

» ICYMI: Daddy Yankee is performing at Coachella next year.

More awards…

Milo J, the Argentinian urban artist that has taken the world of Latin music by storm, was the second biggest winner of the night. One of his big wins was Record of the Year for his song “Niño.” His latest album, La Vida Era Mas Corta, also took home Best Folk Album.

It was also a big night for Colombian artists. Aria Vega won Best New Artist, Karol G and Feid picked up Best Reggaeton Performance for “Verano Rosa,” and Juanes won his 27th Latin GRAMMY (at the 27th Latin GRAMMYs) with Juanesteban for Best Pop/Rock Album.

One of the coolest moments of the night was seeing Bobby Pulido win Best Tejano Album. During his acceptance speech, he talked about how he is retiring from music as he was recently elected to Congress in Texas.

See the full list of winners of the Latin GRAMMYs here.

Usher and Chris Brown cancel more shows

On Wednesday’s edition of The Banger Brief, I shared TMZ’s report that Usher and Chris Brown had canceled an upcoming show at SoFi Stadium in Los Angeles following a backstage argument in Atlanta last week.

Well, it got worse.

A second show, this one at Miami’s Hard Rock Stadium on Dec. 6, has also been canceled without explanation.

A new exclusive from People alleges that they “can’t stand each other,” and that it is something that was a thing even before their co-headlining tour started.

Usher apparently doesn’t like Chris Brown at all.

So why did he agree to tour with him? 🙄

FWIW, I still think the cancellations are due to ticket sales and not their ongoing issues though.

Shawn Mendes puts out support for Palestine

Shawn Mendes put up a statement on his socials showing support for the people of Palestine.

“There is a genocide happening before our eyes,” he wrote. “The senseless killing in Gaza must stop. The children and families in Palestine have suffered for far too long, and they need our help.”

He even encouraged his fellow artists to speak up too while acknowledging that it was a “scary” thing to do.

This has been an ongoing topic with artists as of late. Macklemore famously got the boot from Ed Sheeran’s tour in September and is now struggling to book arenas in the U.S. for his Free Palestine benefit shows, Metallica’s frontman James Hetfield denounced artists for preaching politics on stage, and P!nk faced backlash from pro-Palestine groups following the announcement of her upcoming residency at the Sphere in Las Vegas.

This week, Israel struck a hospital in Gaza that left six people dead and many injured.

Beyoncé covers i-D, praises UK pop stars

Beyoncé is on the cover of i-D magazine. In the interview, she had nice things to say about UK’s rising stars Sienna Spiro, RAYE, and Olivia Dean. She even added that they give her “goosebumps” and she feels a lot of “pride” when it comes to them. Love it!

» Speaking of Sienna, she announced today that she will not perform at The ARIA Awards in Australia next week saying, “this tour has taken its toll on me and my voice.” Hope she gets well soon!

» Aaaand speaking of awards, The Hollywood Reporter is honoring Taylor Swift with the Sherry Lansing Leadership Award.

Everyone is concerned with KATSEYE

Bro, wtf is going on with KATSEYE?!

First, watch my TikTok on their recent performance in Austin where Megan was sitting on a chair the entire time with sunglasses as she continues to recover from her concussion. It’s funny, but kinda sad too.

These poor girls need a break ASAP.

The group started 2026 on top of the world as a six-piece until Manon announced she was taking a break from the group in February. Sophia would then announce her own hiatus in August for “personal health” issues.

It was already weird enough to see them as a quartet when their Wildworld Tour resumed in September, but seeing three of them performing on Tuesday with the fourth one sitting on a chair on stage was kinda insane.

Kesha gave her two cents writing: “This doesn’t feel right to me.”

From the web:

• What’s Going On With KATSEYE? - Rolling Stone

• One of Pop’s Hottest Groups Has Become a Dangerous Mess. Fans Need to Pull The Plug. - Slate Magazine

On The Road

A lot of people were happy yesterday when Phoebe Bridgers announced a second North American leg of The Lost Tour for 2027. See the dates here.

» This week, it was also announced that Bridgers will headline Hinterland Music Fest in Iowa next summer. Other artists include Slayyyter, Remi Wolf, Ashe, Malcolm Todd, and Caroline Polachek.

In other festival news, Blink-182, Evanescence, and 5 Seconds Of Summer are among the acts performing at Download Festival in the UK next year.

Tame Impala added dates in Oklahoma and Mexico for the Deadbeat Tour which lead up to the recently announced headlining set at Coachella.

‼️ The Queen of Pop, Madonna, who is also performing at Coachella next year, is rumored to have booked some arena shows for next year as part of a potential Confessions II tour, according to an editor from The Sun. Take it with a grain of salt.

Duran Duran’s Drummer (love alliteration) Retires

In some sad news, Duran Duran’s drummer Roger Taylor has been forced to retire after his tinnitus got worse.

“This is one of the hardest decisions I’ve ever had to make. Playing drums in this band has been the joy of my life, and I’ll never be able to properly thank the fans for the love they’ve shown us over the years,” he said in a statement. “But the truth is that my tinnitus has been getting steadily worse, and I’ve reached the point where I must now listen to my body and my doctors.”

Man, that sucks.

The Weeknd releases video for ‘Hong Kong’

The Weeknd finally put out the video for “Hong Kong” featuring Faye Wong. It first premiered during one of his shows in Hong Kong back in October, but it is now available for everyone else to watch.

The song is a major hit in China. Not a bad way to wrap up his record-breaking, $1.3 billion-grossing After Hours Til Dawn Tour.

New Music Friday

It is Friday and you know what that means: new music!

Dolly Parton’s last recorded song is out today. It is a collab with U2 called “Torn” featured on the band’s new album Carnaval De Luz (out today too).

Here are some of this week’s releases. As always, I’ve put a 🤩 next to the ones I’m most excited about (not necessarily my favorite ones because I may have not listened to them yet, ha!).

Albums + EPs

• Carnaval De Luz - U2 🤩 (Apple Music) (Spotify)

• Cruel World…So It Ends - Holly Humberstone 🤩 (Apple Music) (Spotify)

• - THE VOID - Ari Abdul 🤩 (Apple Music) (Spotify)

• Rebecca - Becky Hill (Apple Music) (Spotify)

• The Pursuit Of Pleasure - Cherry Bomb 🤩 (Apple Music) (Spotify)

• A Chlöe Christmas - Chlöe (Apple Music) (Spotify)

• The Hunger Games: Sunrise On The Reaping - Various Artists (Apple Music) (Spotify)

• I Swear I’m Almost Alright - Imani Graham (Apple Music) (Spotify)

• Fly 1111 - Emma Ogier (Apple Music) (Spotify)

• Devotion - David Kushner (Apple Music) (Spotify)

• Say what you see - Say Now 🤩 (Apple Music) (Spotify)

• (I Should Probably Let You Go) - salem ilese (Apple Music) (Spotify)

• To Know My Name - Jeena (Apple Music) (Spotify)

• Skeleton Of A Butterfly - Lara Buchanan (Apple Music) (Spotify)

• East Houston Tapes - Mark Ambor (Apple Music) (Spotify)

Songs

• “Torn” - U2 and Dolly Parton 🤩 (Apple Music) (Spotify)

• “Middle Of The Night” - Jessie Ware 🤩 (Apple Music) (Spotify)

• “Aces” - Fall Out Boy (Apple Music) (Spotify)

• “Take What You Need” - The Chainsmokers (Apple Music) (Spotify)

• “Leave You (Never)” - FLO 🤩 (Apple Music) (Spotify)

• “Gone” - Paloma Faith 🤩 (Apple Music) (Spotify)

• “Trophy” - Leon Thomas (Apple Music) (Spotify)

• “Blood In Your Eyes” - Tove Lo (Apple Music) (Spotify)

• “Wash” - Tori Kelly ft. Hillari (Apple Music) (Spotify)

• “Fairytale of New York” - Hozier and Jessie Buckley (Apple Music) (Spotify)

• “Dancing On The Wall (Romy In A Lesbian Trance Remix)” - MUNA 🤩 (Apple Music) (Spotify)

• “Without My Strings” - Alec Benjamin (Apple Music) (Spotify)

• “Guts” - LAUV (Apple Music) (Spotify)

• “Telescope” - Delta Goodrem 🤩 (Apple Music) (Spotify)

• “young & dumb” - GIRLSET (Apple Music) (Spotify)

• “Forever” - Quiet Light (Apple Music) (Spotify)

• “Hypocrite” - Mercer Henderson (Apple Music) (Spotify)

• “Tell Him” - Romy Mars (Apple Music) (Spotify)

• “She Looks Like Chicago” - Henry Verus (Apple Music) (Spotify)

• “How Did I Get It So Wrong” - Rockie Rode (Apple Music) (Spotify)

• “Santa, Can I Borrow Your Sleigh?” - Arthur Hill (Apple Music) (Spotify)

Comment your favorite ones and also let me know of any I may have missed!

Bop of the Day

For today’s Bop of the Day, I give you another release from this week. John Summit did a remix of Karol G’s massive hit “BbY WOW.” I’m not a big fan of remixes, but it’s quite good.

If you want to share any songs for the Bop of the Day, send the my way to peter@bopsandbangers.com or leave them in the comments!

Must Watch

Robyn stopped by NPR’s Tiny Desk and it was fantastic. She is definitely one of pop’s most underrated artists.

She performed “Ever Again,” her 1997 gem “Show Me Love,” and “Light Up” and “Sucker For Love” from her latest album Sexistential.

P.S.

First, I want to thank everyone that has subscribed to Bops and Bangers this week. There was a decent increase in subscriptions this week after I brought back The Banger Brief. It honestly makes it all worth it. Thank you, seriously. I love putting this together even if I’m up until 2:30am (like I am rn as I’m typing thissss). In other words, forgive any typos and grammar errors hehe.

Also, it’s the weekend!

Like I mentioned on Wednesday’s newsletter, I’m going to see Daughtry tonight here in San Antonio. I can’t wait! I’m also going to check out Mexican pop star DANNA’s limited-run Bedroom Sessions Tour in Austin tomorrow. Nothing better than a weekend of live music, amirite?

Independent music journalism is worth supporting.

Bops and Bangers has been independently operated since 2018, bringing readers the latest in music news, new releases, concert reviews, artist interviews, and more. We’re committed to keeping our coverage free and accessible to everyone while continuing to grow as an independent publication.

If you enjoy our coverage and believe in what we’re building, consider supporting us with an optional paid subscription for $5 a month. There are no paywalls or exclusive benefits required to enjoy our content. Everything we publish, including The Banger Brief newsletter and episodes of The Soundbite podcast, remains free for everyone.

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Every contribution makes a difference, and we’re incredibly grateful to everyone who reads, shares, and supports our work.

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Happy Wednesday. Welcome to The Banger Brief, your roundup of what you need to know to stay in the loop on pop music. Today… P!nk is headed to Las Vegas and the Free Palestine crowd is not happy, Olivia Dean and RAYE already have some end-of-year honors, the Gallagher brothers have no interest in attending the RRHOF ceremony, and more. But first, let’s confess something at the desert..

MADONNA IS BRINGING CONFESSIONS TO COACHELLA, AGAIN

Late last night, Coachella unveiled its lineup for 2027. Right away, the thing that caught my attention faster than a ray of light was that Madonna will be returning to the festival to perform at the dance tent like she did 21 years ago in 2006.

Back then Madonna performed a surprise set to promote her new album at the time, Confessions On A Dancefloor, in what was a before and after for the festival. All these years later, after releasing the excellent Confessions II this past summer, she is gearing up to make Coachella history again.

The rumors were true… Dua Lipa, Tame Impala, and SZA are the three headliners taking over Indio, California, next spring. SZA kept revealing it a little too much which apparently prompted an anticipated announcement by Goldenvoice, the fest organizers.

The rest of the lineup is also STACKED. Notable acts taking the stage at Coachella include: Zara Larsson, Robyn, Becky G, Kehlani, Role Model, ADELA, The Neighborhood, Remi Wolf, Tove Lo, Victoria Monet, Caroline Polachek, MUNA, and many more.

Plus, a special performance by Daddy Yankee!

Passes go on sale this Friday, Nov. 13!

P!NK SET FOR VEGAS SPHERE, BACKLASH ENSUES

This week, it was announced that P!nk will headline a residency at the Sphere in Las Vegas. Currently, there are nine shows scheduled in September and October 2027. Pre-sale for tickets starts Nov. 18.

Following the announcement, many online began showing disdain against the singer citing her recent controversy around the Israel-Palestine conflict.

In September, P!nk reposted a post from the organization AntiSemitism which criticized Macklemore’s political comments while opening for Ed Sheeran. The pro-Palestinian crowd took this as her picking a side. She then released a lengthy statement explaining herself which included denouncing Hamas and wanting peace for both Palestine and Israel. But that, of course, is not enough for the masses radicalized online.

All her online posts since then are inundated with comments calling her everything from a Zionist to a Nazi… make it make sense. Many are calling for people to boycott her shows at the Sphere. Others are promising that they will protest outside the venue. But I hear demand is high for P!nk at the Sphere, and the pre-sale numbers are great to say the least. Nothing to worry about.

I’ve seen P!nk live in concert five times and she’s one of the greatest performers of our time. Go see her.

ICYMI: P!nk was also recently nominated to the Songwriters Hall of Fame for its 2027 class.

» Speaking of Macklemore… he recently revealed that arenas around the US denied him the chance to book his Free Palestine Tour benefit shows. Madison Square Garden released a shady statement against him! 👀

USHER AND CHRIS BROWN CANCEL L.A. SHOW

Usher and Chris Brown canceled one of their two upcoming shows at SoFi Stadium in Los Angeles as part of The R&B Tour - the one scheduled for next Monday, Nov. 16.

Last week, the two stars got into an argument backstage in Atlanta which prompted their show to have a three-hour delay. Their friction was even clear on stage as concertgoers noted they seemed distant on stage and did not perform songs they normally would together. However, things seemed back to normal for their third of five shows in ATL.

I’ve always said that co-headlining tours are tricky. More often than not things happen and artists end up not getting along. It’s nothing new. You’d just think they’d remain professional about it and go on with it.

Nothing has been confirmed though. The reason for the cancelation is unknown.

APPLE MUSIC NAMES OLIVIA DEAN BEST OF 2026

Olivia Dean is Apple Music’s Artist of the Year.

Apple Music cites the success of her 2025 album, The Art of Loving, which gained even more prominence this year, as one of the main reasons for its decision. Her hit song “Man I Need” has appeared on Apple Music’s Top 100 chart every single week since its release. Not to mention her big Best New Artist win at the Grammys and her slew of BRIT Awards, too.

Deserved.

» In a similar note: Variety named RAYE as hitmaker of the year.

OASIS ARE NOT SHOWING UP TO THEIR ROCK AND ROLL HALL OF FAME INDUCTION

Noel and Liam Gallagher are not showing up to the Rock and Roll Hall of Fame ceremony as Oasis is inducted according to Rolling Stone. We know they’ve always felt a certain way about it despite clearly showing signs that they do like that they are getting honored.

Liam says it’s too far and it’s Christmas… ha!

They are not the only ones missing the ceremony this Saturday. Sade also revealed they are not going to be attending, but are very much appreciative of the recognition saying: “Sorry we can’t be there in person to celebrate with the other artists. Please know that our absence takes nothing away from how much this recognition means to us.”

Welp.

ON THE ROAD…

Many artists announced tours this week.

Stray Kids is doing stadiums and ballparks next summer in North America and Europe. Fall Out Boy is bringing The Offspring, Good Charlotte, The Story So Far, A Day to Remember and Neck Deep on their massive Twilight of the Punks Tour. Shakira’s never-ending Las Mujeres Ya No Lloran World Tour is returning to Latin America next year, including her first show in Venezuela in over 16 years!

And speaking of Latin artists, both Marc Anthony and Maluma announced their respective world tours.

CHART UPDATES

Some quick chart notes!

» YouTube streams will be counted on Billboard charts again in 2027. YouTube’s Global Head of Music Lyor Cohen made the announcement on a blog post saying: “We are returning to the Billboard charts starting in 2027. Billboard’s new methodology better reflects how fans engage with music today across both subscription and ad-supported services.”

» Tee-hee! Michael Jackson’s Thriller made a cool return to the charts after enjoying a nice boost from Halloween plays. It even landed on the top spot of the R&B/Hip-Hop albums chart.

Here are the charts dated Nov. 14, 2026.

Billboard 200 Chart

1. You Seem Pretty Sad For A Girl So In Love - Olivia Rodrigo

2. Thriller - Michael Jackson

3. I’m The Problem - Morgan Wallen

4. Dandelion - Ella Langley

5. The Great Divide - Noah Kahan

6. Break Even - ILLIT

7. Better Over Time - BigXthaPlug

8. Stick Season - Noah Kahan

9. The Life Of A Showgirl - Taylor Swift

10. Perfecth - Queens Of The Stone Age

Billboard 100 Chart

1. “Choosin’ Texas” - Ella Langley

2. “Thriller” - Michael Jackson

3. “Dracula” - Tame Impala & JENNIE

4. “Housewife” - Tate McRae

5. “Boston” - Stella Lefty

6. “Been By Now” - Morgan Wallen

7. “Nicole Kidman” - Adéla

8. “BBY WOW” - Karol G with Judeline & rusowsky

9. “Hate That I Made You Love Me” - Ariana Grande

10. “Stupid Song” - Olivia Rodrigo

BOP OF THE DAY

Okay, so this one is interesting. I was just going through new music on Apple Music (#notsponsored) and landed on this song called “American” by an artist that I have no idea who they are called Eila.

It’s synth-heavy with interesting vocal progression effects - reminiscent of something Charli XCX would put out. I don’t know, I enjoyed it. Hope you do too.

If you want to share any songs for the Bop of the Day, send my way to peter@bopsandbangers.com.

MUST WATCH

Tinashe stopped by The Tonight Show last night to perform her songs “Popstar” and “Melatonin.” She’s just so good. I loved it.

P.S.

Hope you guys are doing well mid-week. It’s getting a little chilly down here in Central Texas (finally), and I’m going to enjoy it as much as I can because I know it could change at any time. Also, I’m going to see Daughtry this weekend on their unplugged tour. I’ve always been a big fan since Chris’s time on American Idol. Haven’t seen him and the band live since 2012! I’ll make sure to share a review on here. Anyone have any concert plans coming up? Let me know!

Independent music journalism is worth supporting.

Bops and Bangers has been independently operated since 2018, bringing readers the latest in music news, new releases, concert reviews, artist interviews, and more. We’re committed to keeping our coverage free and accessible to everyone while continuing to grow as an independent publication.

If you enjoy our coverage and believe in what we’re building, consider supporting us with an optional paid subscription for $5 a month. There are no paywalls or exclusive benefits required to enjoy our content. Everything we publish, including The Banger Brief newsletter and episodes of The Soundbite podcast, remains free for everyone.

Subscribe now

Your support directly helps us continue doing what we love, invest in more original reporting, interviews, and coverage, and grow Bops and Bangers as an independent music publication.

Every contribution makes a difference, and we’re incredibly grateful to everyone who reads, shares, and supports our work.

Young Miko is quickly becoming one of the most exciting names in Latin music, and her Late Checkout Tour show Thursday night (Oct. 22) at the Freeman Coliseum in San Antonio made it easy to understand why.

I’ll admit that before yesterday, I wasn’t particularly familiar with Young Miko beyond a handful of songs and her growing popularity. I knew she had a huge following, especially among young queer women, but I hadn’t really spent much time listening to her music.

That changed after last night.

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Before the show, a few people jokingly told me I was going to fall in love with her. I laughed it off, but after nearly two hours of watching her perform, I understood what they meant. Young Miko has an incredible amount of charisma, and there’s something about the way she carries herself onstage that’s genuinely captivating - and dare I say seductive. I’ll just say that women like Young Miko are the reason why I’m bisexual and not just gay. Ha!

Miko, an export from Puerto Rico, is currently on her first headlining arena tour, supporting her sophomore album, Do Not Disturb. While last night’s show wasn’t sold out, it certainly didn’t feel like an artist testing the waters of bigger venues. This was a proper arena production, and she looked completely comfortable leading it.

The stage itself was relatively minimalist, but the production was anything but. A massive screen transformed into different backdrops throughout the night, while creative camera work, props, and intricate choreographies made the show feel big.

Miko has spoken about growing up with a wide range of musical influences, from reggaeton and hip-hop to rock and pop, citing artists including Tupac, Lauryn Hill, Ivy Queen, Ricky Martin and Shakira. While those influences are clearly reflected in her music, I couldn’t help but keep thinking of Billie Eilish and Justin Bieber as she performed.

She previously opened for Eilish on her Hit Me Hard and Soft Tour, and there were moments when her movements and the way she carried herself onstage felt reminiscent of the pop star. Some of the choreography, particularly the dance breaks, had a distinctly Bieber-like quality.

There was an even more obvious comparison with Bieber. During her song “Sin Pausa,” Miko invited a female fan onstage to sit on a stool and flirtatiously performed directly for her. The interaction was very reminiscent of Bieber’s famous “One Less Lonely Girl” concert bits. And the audience loved it just as much.

I’ve attended plenty of concerts over the years, but Thursday’s audience was easily among the loudest I’ve experienced. The screaming was practically nonstop, bras and panties were thrown onstage throughout the night, and the crowd remained on its feet the entire show.

Miko fed off that enthusiasm - her confidence and playful personality were a huge part of what made the show so entertaining.

Musically, there were plenty of highlights. “Like Likely,” “Esa Nena,” and “BIAF <3” were particularly strong, while “BnB” was arguably the best performance of the night. “MADRE” was also especially fun with its dance synths mixing well with her rapping.

The only song that fell flat was “Plug (Type Shit),” which was placed towards the end of the set around more familiar, high-energy songs that fans knew. The song didn’t connect with fans quite as much as the others and briefly brought down the energy before the end of the show. Otherwise, the full two-hour show was very consistent.

“WASSUP” made for an excellent finale. The song gained additional mainstream attention after being featured in Gap’s viral spring 2026 campaign, and its popularity was apparent from the crowd’s reaction. It was a fitting way to close the show.

Young Miko wasn’t the only Latin artist performing in the area last night. Reggaeton veteran Don Omar was playing the larger Frost Bank Center next door, creating an unusual scene as two generations of Latin music fans gathered in the same area. The difference between the audiences was noticeable, with Miko drawing a predominantly Gen Z crowd while Don Omar attracted an older demographic.

Seeing both audiences leaving both shows at the same time was a pretty cool reminder of how much Latin music has grown and how different generations continue to connect with it.

Miko easily delivered one of the most entertaining shows I’ve seen recently. It just felt very complete. The production, choreography, pacing, and audience interaction were all there, but it was Miko’s personality and indisputable talent that brought everything together.

There’s also something to be said about how much seeing an artist live can change your opinion of them. Going into the concert, I knew Miko’s music only on a surface level. By the end of the night, I was a fan.

The Late Checkout Tour continues with shows in Houston, Miami, Orlando, Atlanta, Charlotte, Philadelphia, and Brooklyn.

Independent music journalism is worth supporting.

Bops and Bangers has been independently operated since 2018, and we’re committed to keeping our music coverage free and accessible to everyone. From breaking news and new releases to concert reviews, artist interviews, and our newsletter The Banger Brief, everything we publish is available to all readers.

If you enjoy our coverage and believe in what we’re building, consider becoming a paid subscriber for $5 a month. Your support helps us continue doing what we love, invest in more original content and grow Bops and Bangers as an independent music publication. Every subscription makes a difference, and we’re grateful to everyone who helps keep us going.

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María José and Moenia kicked off their eight-city co-headlining tour Wednesday night (Oct. 21) at San Antonio’s Aztec Theatre, bringing together two acts that have been part of Mexican pop music for decades.

The two have collaborated before, but this is their first time touring together. The nearly three-hour show was divided into three parts: Moenia opened with an hourlong set, both acts performed a handful of songs together, and María José closed the night with her own set.

It was a fun pairing, especially for an audience made up largely of fans in their 40s and 50s who grew up listening to this music. There’s a certain nostalgia that comes with seeing Mexican artists perform in the United States for those of us on this side of the border, particularly when their songs have been around for so long.

Moenia got things started with their electronic synth-pop sound, which has always reminded me a little of the Pet Shop Boys - but in Spanish ha! The band brought plenty of energy, with “Déjame Entrar,” “No Puedo Estar Sin Ti” and “Manto Estelar” being some of the highlights. “Ni Tú Ni Nadie” also made for a great singalong.

Vocally, however, the performance was a little inconsistent. There were moments when the vocals didn’t sound particularly good, and I initially thought it might have been an issue with the venue’s sound. That seemed less likely once María José came out later in the evening.

What Moenia lacked at times vocally, they made up for with their stage presence. Frontman Alfonso Pichardo was charismatic and seemed genuinely happy to be back in San Antonio, mentioning that it had been a long time since the band last played here. He even remembered a fan in the front row who had brought him a cherry pie to his hotel the last time they were in town.

Pichardo also talked about enjoying smaller venues because the band can actually see and feel the audience. He had a point. The Aztec Theatre’s size made it easy for the crowd to connect with the performers, and that energy carried throughout the show. They could see everyone in the audience from the top of the balcony down to the floor.

After a few songs with Moenia, María José took over for the final portion of the night, and this is where the vocals really stood out.

La Josa revealed that she was sick and taking medication, joking that there would be no alcohol for her that night. Despite that, she sounded great for much of her set, particularly during the ballads.

“Me Equivoqué” and “Adelante Corazón” were two of the night’s highlights, but my favorite part of her performance was the medley of canciones de despecho, or heartbreak songs, that included “Evidencias,” “Simplemente Amigos” and “Él Me Mintió.”

“Nada de migajeros hoy! Puro despecho!” she told the crowd, essentially declaring that there would be no settling for crumbs of affection that night, just full-on heartbreak. A roar from the crowd ensued and the singalongs were passionate to say the least.

Interestingly, some of her biggest hits didn’t land quite as well. During “No Soy Una Señora” and “Prefiero Ser Su Amante,” she relied more heavily on backing tracks, her backing vocalists and the audience to carry the songs. Given that she was sick, it seemed like she was trying to preserve her voice. She also didn’t appear quite as engaged during those numbers as she had during the ballads.

Overall, it was a fun opening night for a tour that will also visit cities in California and Nevada. Moenia brought the energy and some great synth-pop, while María José delivered the stronger vocal performance, even while under the weather. But both acts put on an entertaining show, and the smaller setting of the Aztec Theatre made the experience that much better.

Here are the rest of the dates on the tour:

• Oct. 22 - Toyota Music Factory, Irving, Texas

• Oct. 23 - Bayou Music Center, Houston, Texas

• Oct. 25 - Abraham Chavez Theatre, El Paso, Texas

• Oct. 29 - YouTube Theater, Los Angeles, California

• Oct. 30 - San Jose Civic, San Jose, California

• Oct. 31 - The Magnolia, El Cajon, California

• Nov. 1 - Pearl Concert Theater, Las Vegas, Nevada

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Foster the People touched down in Texas for The Good Mourning Sunshine Tour right as a cold front hit the Lone Star State. It was slightly chilly at 60 degrees for an outdoor show, yet Austin showed up for the indie pop band at Moody Amphitheater on Friday (Oct. 16) night.

After a lively opening set from Goth Babe, who was awesome to see after the series of unfortunate events he has dealt with in recent years, Foster the People emerged onstage around 9:15 p.m. They quickly went into “Life on the Nickel” and “Helena Beat,” songs from their debut album Torches — which is still clearly the fan favorite, if the show was any indication. They performed more songs from that first album than from any of their other albums.

It is interesting that they are touring again right now, as they really haven’t released anything recently. They toured last year for their album Paradise State of Mind, but I wouldn’t call this current U.S. outing more promo for that project since the show only features two songs from it: “Lost in Space” (which got a great reaction from the audience) and “A Diamond to Be Born.”

At a recent show in Phoenix, Foster did reveal that they are working on their fifth studio album. Maybe this current trek around the US and Canada is for inspiration more than anything.

The set somewhat resembled a half-constructed house, with stacked platforms, exposed structural elements and angular panels suspended overhead. Its asymmetrical design gave the structure a distorted, almost collapsing appearance. The production was spot on, with very good use of the screens — including a few moments in which Mark used a camera with a fisheye lens onstage for cool effects. Speaking of distortion, there was a lot of that both visually and sonically — especially during interludes — which made for an interesting flow.

Mark is not known to be a very talkative frontman. He spoke for only about a minute of the 90-minute show and left the rest to the music.

“I was thinking about it tonight and this is the first city outside of Los Angeles that we ever played back in 2010,” frontman Mark Foster said referencing the band’s appearance at SXSW. “So you have a very special place in our heart.”

Some of the highlights of the night included “Houdini,” “Call It What You Want,” the sensory-overload (positive) performance of “Pseudologia Fantastica” and their breezy pop gem “Sit Next to Me.” They balanced the show well, keeping the audience engaged throughout the entire night. The only part of the show when they lost the crowd was during the slower-tempo ballad “Goats in Trees,” which prompted side conversations and trips to the restrooms, but it was otherwise a pretty high-energy show from start to finish.

They closed the night with their hit single “Pumped Up Kicks,” which activated the inevitable communal singalong and sent people home happy. While it feels like they will never escape the success of their breakthrough hit, there is absolutely a lot of substance in the rest of their discography that makes for a good night out at their live shows.

The Good Mourning Sunshine Tour has two dates left in San Diego and Los Angeles later this week.

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If you enjoy our coverage and believe in what we’re building, consider becoming a paid subscriber for $5 a month. Your support helps us continue doing what we love, invest in more original content and grow Bops and Bangers as an independent music publication. Every subscription makes a difference, and we’re grateful to everyone who helps keep us going.

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Olivia Rodrigo and Chappell Roan have finally teamed up for a remix of “expectations,” and the music video is so much fun!

Directed by Bardia Zeinali, the video takes inspiration from classic TV game shows of the ’80s and ’90s, with the two pop stars competing in “The Big Expectations Show.” Talking Heads frontman David Byrne plays the host, Johnny Johnson, while producer Dan Nigro also makes a cameo.

Chappell’s new verse is a standout, bringing a queer perspective to the song that wasn’t present in the original. It’s a fun addition that gives the track a different dimension without losing what made it work in the first place. The remix also marks Chappell’s first-ever feature on another artist’s song.

The collaboration has been years in the making. The two have been friends for years, with Chappell opening for Olivia on both her SOUR Tour and GUTS World Tour. Most recently, Chappell performed at Olivia’s inaugural Daisy Chain Fields, a women-led music festival held in Irvine, California, in August. The event raised $20 million for 10 nonprofit organizations supporting women and girls.

Watch the video below!

Zara Larsson is having the best year of her career. The Swedish singer is not ready to wrap up the Midnight Sun era just yet. She just put out the music video for fan-favorite “Blue Moon,” which is now officially the fourth single from the album.

She first announced the video during the Q&A portion of her soundcheck at one of her shows in LA last month. She described this video as the start of “an era within an era,” adding that Midnight Sun has a sunny aesthetic with pink and yellow colors while “Blue Moon” has a more ocean-like theme. I think it’s very appropriate that it was released right after the summer. The vibes are all there.

The video is directed by Charlotte Rutherford, who also directed Larsson’s videos for the “Stateside” remix with PinkPantheress and “Midnight Sun.”

You can watch the video for “Blue Moon” below.

Lorde closed out the second day of weekend two of the Austin City Limits Music Festival with an extraordinary performance filled with joy, vulnerability, and a sense of connection that can be difficult to find at a massive festival.

It was easily the best performance I witnessed throughout the weekend and one of the most memorable sets I’ve experienced in my 10 years of attending ACL.

The occasion carried special significance. Saturday marked the 95th and final show of Lorde’s Ultrasound World Tour, which began in Austin in September 2025. After traveling around the world in support of her fourth studio album, Virgin, she had returned to the city where it all started to bring it all to a close.

It was also her first appearance at ACL since 2013, when she was still a teenager introducing the world to Pure Heroine. Thirteen years later, the artist standing onstage was almost unrecognizable from that young girl, not because she had abandoned who she was, but because of how fully she had grown into herself.

And for 90 minutes, we got to witness that growth.

Lorde opened with a brief rendition of “Royals,” the breakthrough hit that introduced her to the world. The song received an enthusiastic response, but she didn’t linger in nostalgia. After giving the crowd just enough of the familiar anthem, she moved into “What Was That,” the lead single from Virgin, immediately establishing that this was about where she is today, not simply where she came from.

Throughout the night, Lorde moved effortlessly between the different chapters of her discography. “Shapeshifter,” “Hard Feelings,” and “Supercut” were among the evening’s many highlights, while “Team” offered a particularly meaningful return to her earliest work.

There’s something about Lorde’s music, particularly the songs from Pure Heroine, that captures the complicated beauty of being young. Friendship, belonging, uncertainty, and the feeling that the people around you are your entire world. Those themes take on a different meaning when you’re no longer the teenager who first heard them.

Hearing “Team” more than a decade later felt like revisiting an old friend. The song hasn’t changed, but the people singing along certainly have.

That sense of shared history was present throughout the evening.

Interestingly, Lorde was performing opposite Rüfüs Du Sol, whose headlining set on the other side of Zilker Park was loud enough to occasionally bleed into hers. Lorde briefly acknowledged the competing sound, but even that couldn’t distract from the brilliant performance she put on at the T-Mobile Stage.

The energy was relentless, in the best possible way.

Having watched Charli XCX headline the previous evening, the contrast was striking. Charli delivered an impressive, visually compelling performance, but something about the crowd’s connection to the music felt incomplete. Lorde’s audience, by comparison, seemed completely immersed from beginning to end. There was more singing, more dancing, and a palpable feeling that everyone was experiencing something together.

That difference was especially apparent during “Girl, So Confusing,” Lorde’s collaboration with Charli. As exciting as the song was during Charli’s set, hearing it Saturday somehow felt even better.

And then there was “Green Light.”

Hearing this song live at ACL was something else. Thousands of people were singing and dancing along, with green lights lighting up the crowd. It was easily one of the most exciting moments of the night, and a reminder of just how incredible Melodrama is nearly a decade later.

There was so much joy in that moment. Looking around and seeing everyone completely lose themselves in the music made it even better. It’s the kind of experience that makes seeing a song live so much more special than just listening to it.

But for all the dancing and excitement, the night’s most powerful moments came when Lorde allowed herself to be vulnerable.

Earlier in the evening, she warned the crowd that she might become emotional, acknowledging that this was the final night of a tour that had profoundly changed her.

Before performing “Liability,” she reflected on freedom, personal growth, and the woman she had always hoped to become. She also spoke about recently becoming an independent artist, describing the freedom that comes with taking ownership of her next chapter.

She thanked the people who helped make the tour possible, including her band, dancers, crew, and fans. It was a deeply personal moment, one that made it clear just how much these 95 shows had meant to her.

And when she began singing “Liability,” it was clear just how emotional she was.

Lorde struggled to get through parts of the song, with the crowd singing along to help her finish. It was a beautiful moment, especially knowing how much this tour meant to her and how personal the song is.

Watching her get emotional made me emotional, too. There was something really special about seeing an artist who has grown so much over the years take in everything she had accomplished. I don’t know Lorde personally, obviously, but I couldn’t help feeling proud of her. And judging by the crowd’s reaction, I don’t think I was alone.

Perhaps that’s what makes Lorde such a compelling performer. She doesn’t simply sing about vulnerability; she allows herself to experience it in front of thousands of people. There’s no sense that she’s trying to manufacture an emotional moment. The connection feels genuine because, at least on Saturday night, it was.

That authenticity extended to her stage presence. Compared with the more restrained performances of her early career, Lorde now moves with a freedom that feels entirely her own. She dances without inhibition, embraces the physicality of her music, and radiates an unmistakable joy in being onstage.

The evolution from Solar Power to Virgin alone is remarkable. But witnessing her perform songs spanning her entire career made the transformation even more apparent.

Lorde has always understood how to articulate the emotions that accompany growing up. Now, she seems to have found a new freedom in living through those changes rather than simply observing them.

And nowhere was that more evident than during the night’s final song.

For “Ribs,” Lorde made her way to B-stage - placing herself in the middle of the thousands of people who had gathered to see her.

What happened next was nothing short of extraordinary.

People jumped. They danced. They cried. Friends wrapped their arms around one another.

For a few minutes, nothing else seemed to matter.

“Ribs” has always been about the fear of growing older and wanting to hold on to your youth for as long as possible. It’s a song about friendship, those carefree moments when you’re young, and the realization that life won’t always be that way.

But hearing Lorde perform it at 29, on the final night of a tour that meant so much to her, made the song feel different. The teenager who once sang about being afraid of growing up was now standing in front of thousands of people, having become the woman she always hoped she would be.

And in many ways, the fans who grew up listening to her music had gone through that same journey.

As the song came to an end, fireworks erupted over Zilker Park. It was the perfect ending to an already incredible night, with thousands of people celebrating together.

What made it so special wasn’t just the nostalgia of hearing a song many of us have loved for over a decade. It was thinking about everything that’s happened since we first heard it. The friendships, heartbreaks, changes, and all the experiences that come with growing up. And somehow, all those years later, we were there together, singing that same song in the middle of Austin.

For an artist whose music has so often explored the passage of time, there could hardly have been a more fitting ending.

Lorde began the Ultrasound World Tour in Austin searching for freedom and ended it in the same city seemingly having found it.

And for 90 minutes at Zilker Park, she shared a little of that freedom with the rest of us.

Some concerts remind you why you love live music.

Others remind you why you love being alive.

Saturday night was both.

Charli XCX is effortlessly cool. That’s never been in question. But following the cultural phenomenon that was Brat, even one of pop music’s most exciting artists faces the difficult task of following up an era that felt impossible to escape.

Taking the American Express Stage at 8:35pm Friday for weekend two, Charli brought her Music, Fashion, Film Tour to a crowd eager to experience the next chapter of her career. The result was a fun, visually compelling show that, despite its highlights, never quite reached the heights of her previous tour.

Having seen Charli on the Brat Tour at Austin’s Moody Center last year, the difference was noticeable. That arena performance felt electric, with an energy that carried through the entire night. At ACL, something was missing.

The crowd seemed somewhat disconnected at times, coming alive most noticeably whenever Charli revisited material from Brat. It’s understandable. The album defined a moment in pop culture, and its songs remain among the most exhilarating in her catalog. While Music, Fashion, Film has plenty to offer, much of its material doesn’t quite deliver the same immediate impact in a live setting. “Rock Music” and “SS26,” however, proved to be notable exceptions.

That’s not to say the production wasn’t impressive. Charli was joined by a large ensemble of dancers who elevated several moments throughout the night, adding another layer of excitement to songs like “Track 10” and “Von Dutch.” The choreography and staging were among the show’s biggest strengths, making even familiar songs feel fresh. Meanwhile, “Sympathy Is a Knife” needed no dancers or elaborate choreography to deliver one of the night’s most euphoric moments. And “party 4 u” once again proved why it’s such a beloved fan favorite, earning its place as a song that should remain a permanent fixture in Charli’s setlists moving forward.

Then came the much-anticipated surprise.

Earlier in the week, Charli had teased a special guest for ACL’s second weekend. During the festival’s first weekend, she welcomed Troye Sivan, who performed material from his new album, She’s The Best. Naturally, speculation ran wild about who might appear this time, with Madonna and Billie Eilish among the names circulating online.

Instead, Charli introduced Tinashe.

The timing made the reveal particularly interesting. Charli brought out her guest just before the point in the show typically reserved for “Guess,” her collaboration with Billie Eilish. For a brief moment, anticipation reached a fever pitch, and the possibility of Billie appearing seemed very real.

When Tinashe emerged, there was a palpable sense of surprise, and perhaps a little disappointment among those expecting a different guest. But that shouldn’t take anything away from Tinashe, who delivered a genuinely entertaining performance featuring songs from her latest (might I add critically acclaimed) album, Popstar: “Melatonin” and “Nobody Wanna Dance Anymore.”

“ACL, uplift her,” Charli told the audience while introducing her.

It was a fitting sentiment. Tinashe is enjoying a well-deserved moment of recognition, and seeing Charli use her platform to spotlight another artist was very cool.

Still, the evening’s most memorable moment came at the very end.

As “No One Lasts Forever” brought the show to a close, Charli and her dancers stood posed onstage, holding their positions for what felt like minutes. The words “they are dead. they are gone. no one lasts forever” repeated over and over, creating an unexpectedly haunting atmosphere.

The song features a spoken monologue from filmmaker David Cronenberg exploring art, immortality, and the freedom that comes with recognizing that nothing, and no one, lasts forever.

It was a stunning conclusion, made even more poignant by the circumstances surrounding Charli’s career.

After the overwhelming success of Brat, any follow-up was bound to face extraordinary expectations. The reception to Music, Fashion, Film has been different, and Friday’s performance reflected some of that disconnect. The audience still loves Charli, but the cultural electricity of the Brat era isn’t something that can simply be recreated on demand.

Perhaps that’s exactly the point.

There was something moving about watching an artist who helped define an entire cultural moment close her performance with a meditation on impermanence. Trends fade. Eras end. Even the biggest moments in pop culture eventually become memories.

Charli XCX may never have another Brat summer. And maybe she doesn’t need one.

For all its uneven moments, her ACL performance ended with a reminder that there’s freedom in moving forward, even when the world isn’t quite ready to let go of what came before.

Nearly 20 years after the release of The Black Parade, My Chemical Romance is still finding new ways to bring its most celebrated album to life.

On Sept. 12, the band closed its 2026 U.S. stadium run at San Antonio’s Alamodome, where nearly 50,000 fans were expected for a nearly three-hour performance that was part rock concert, part dystopian theater and, at times, something that was difficult to explain even after witnessing it.

And that seemed to be exactly the point.

Rather than simply performing The Black Parade in its entirety and relying on nostalgia, Gerard Way and company built an elaborate fictional world around the album. The production takes place in Draag, an authoritarian nation complete with its own government, propaganda, characters and language.

Throughout the tour, the storyline has evolved from city to city, giving each performance its own place in a larger narrative. In San Antonio, the audience voted to execute Draag’s Dictator, with Way ultimately taking his place.

It was theatrical, bizarre, occasionally confusing and incredibly My Chemical Romance.

Even during the band’s rise in the 2000s, MCR was never content with simply being another rock group. Its music came with characters, concepts, distinctive visual identities and ambitious storytelling. The Black Parade, in particular, explored death and mortality through the story of a dying character known as the Patient, turning its songs into a larger narrative.

The 2026 production takes that ambition even further.

What could have easily become a straightforward anniversary tour instead felt like an entirely new interpretation of the album. There was always something happening onstage, and the audience remained invested in both the music and the increasingly strange story unfolding around it.

And importantly, the band appeared to be having a great time.

Way was playful throughout the evening, fully embracing the absurdity of the production while commanding the massive Alamodome crowd. His bandmates matched that energy, making the show feel less like a group revisiting its glory days and more like musicians genuinely enjoying the opportunity to bring their creative ideas to life.

The night’s most unexpected moment came during “Mama,” when Texas resident and heavy metal legend King Diamond joined the band alongside opera singer Lucy Joy Altus.

The collaboration was already an unusual combination, but things became even stranger when King Diamond ceremonially knighted the band onstage.

For all the elaborate storytelling, though, the music was just as impressive as the production.

Hearing The Black Parade performed in its entirety nearly two decades after its release was a highlight in itself. The album has aged remarkably well, and its theatrical nature made it a perfect fit for the massive production MCR had built around it.

“The Sharpest Lives” and “Famous Last Words” were particular standouts, while “Welcome to the Black Parade” and “Teenagers” delivered the kind of crowd reactions you’d expect from two of the band’s biggest hits.

The audience was fully engaged throughout the album, singing along while also participating in the fictional world the band had created. It was an impressive balance between an elaborate stage production and a collection of songs that clearly still mean a great deal to fans.

But as entertaining as The Black Parade portion was, the second half of the concert offered something different.

Moving to the B-stage, MCR traded the elaborate production and fictional world of Draag for a more intimate experience. The smaller stage brought the band closer to the audience, while Way’s interactions with fans made the performance feel more spontaneous and personal.

It was a welcome change of pace after the theatrical spectacle of the first half, and the crowd seemed even more connected to the band.

“Helena” was a particular highlight, receiving an incredible response from the Alamodome audience. The second set also included songs such as “Boy Division,” “Na Na Na (Na Na Na Na Na Na Na Na Na),” “I’m Not Okay (I Promise)” and “The Foundations of Decay,” giving fans a chance to hear material from across the band’s career.

That balance was one of the show’s greatest strengths. The first half demonstrated MCR’s creativity as storytellers, while the second was a reminder of why its music has maintained such a devoted following.

The band managed to deliver an ambitious theatrical production without losing the connection with its fans. And after nearly three hours, the energy never seemed to fade.

Still, the biggest talking point of the evening may have had nothing to do with the performance itself.

Toward the end of the show, Way addressed the possibility of new music.

“We’ve kind of really always wanted to make another record,” he told the crowd.

He later added, “You guys deserve another record.”

For a band whose last studio album, Danger Days: The True Lives of the Fabulous Killjoys, arrived in 2010, those words carried considerable weight.

To be clear, this was not an album announcement. Way offered no release date or confirmation that a fifth My Chemical Romance album was in production.

But the comments were among the clearest indications yet that the band remains interested in recording another full-length project.

And after watching the elaborate production unfold at the Alamodome, it’s difficult not to wonder what that might look or sound like.

My Chemical Romance has spent much of its career creating fictional worlds to explore real emotions. The Draag storyline suggests that Way’s interest in that kind of storytelling hasn’t diminished, even after more than a decade without a new studio album.

Whether that creativity eventually translates into new music remains to be seen.

For now, the band has additional performances scheduled, including shows at the Hollywood Bowl in October and an Asian leg in November. And with the Draag storyline continuing to evolve, there are still questions about where the narrative goes next.

San Antonio’s performance offered no definitive answers about the band’s future. But it did make one thing clear: My Chemical Romance still has plenty of ideas, and the enthusiasm to bring them to life.

After nearly three hours of elaborate storytelling, unexpected guests and some of the most enduring songs of its career, the band had delivered much more than a celebration of The Black Parade.

It was a reminder of what makes My Chemical Romance such a compelling live act, even 25 years after its formation.

And perhaps the most exciting part of the evening wasn’t revisiting an album that helped define a generation of rock music.

It was the possibility that My Chemical Romance might still have another chapter to write.

Photo credit: Bryce Hall

You read that right. Madonna, who just celebrated her 68th birthday and has been active in her career for nearly 48 years, is the most nominated artist for this year’s MTV Video Music Awards.

The queen of pop’s latest album, Confessions II, received 11 nominations. The album’s short film, Confessions II - The Film, is up for major awards including Video of the Year. “Bring Your Love,” Madonna’s collab with Sabrina Carpenter, is also nominated multiple times including Song of the Year.

Madonna is a household name for the VMAs. This marks the first time since 1998 that Madonna leads the nominations. That year, she won Video of the Year for “Ray Of Light.” She also had the most nods in 1990 for “Vogue.” In 1984, she delivered her iconic performance of “Like a Virgin” — which remains one of the most talked-about moments of her career.

Taylor Swift’s The Life Of A Showgirl singles “The Fate of Ophelia” and “Opalite” earned the newlywed nine nominations. “The Fate of Ophelia” is up for the coveted Video of the Year award.

Ariana Grande and Sabrina Carpenter trail Swift and Madonna with seven nominations each. All of Grande’s nominations come from her petal single “Hate That I Made You Love Me” while Carpenter snatched nominations of her own, aside from her Madonna collab, with the videos for “House Party” and “Tears.”

The 2026 MTV Video Music Awards will take place Sunday, Sept. 27 at the Peacock Theatre in Los Angeles. You can watch them on CBS, MTV, and Paramount+.

Voting is now open at vote.mtv.com until Sept. 25.

Check out the full list of nominees below.

Video of the Year

“Hate That I Made You Love Me” - Ariana Grande
”I Just Might” - Bruno Mars
”Storm” - Gener8ion featuring Yung Lean
Confessions II - The Film - Madonna
”Tears” - Sabrina Carpenter
”The Fate Of Ophelia” - Taylor Swift

Artist of the Year

Ariana Grande
Bruno Mars
Madonna
Morgan Wallen
Sabrina Carpenter
Taylor Swift

Song of the Year

”Swim” - BTS
”Choosin’ Texas” - Ella Langley
”Golden” - Huntrix
”Bring Your Love” - Madonna and Sabrina Carpenter
”Man I Need” - Olivia Dean
”Stateside” - PinkPantheress and Zara Larsson
”Where Is My Husband!” - RAYE

Best New Artist

Bella Kay
Cortis
Magnus Ferrell
Malcolm Todd
Myles Smith
Sienna Spiro
Stella Lefty

Best Collaboration

”Chains & Whips” - Clipse, Kendrick Lamar, Pusha T, and Malice
”Ever Since U Left Me” - French Montana and Max B
”Bring Your Love” - Madonna and Sabrina Carpenter
”Stateside” - PinkPantheress and Zara Larsson
”Dai Dai” - Shakira and Burna Boy
”Hard Part” - Teyana Taylor and Lucky Daye

Best Pop

”Hate That I Made You Love Me” - Ariana Grande
”SS26” - Charli XCX
”Dream” - Lisa featuring Kentaro Sakaguchi
”Drop Dead” - Olivia Rodrigo
”House Tour” - Sabrina Carpenter
”Nobody’s Girl” - Tate McRae
”The Fate of Ophelia” - Taylor Swift

Best Hip Hop

”Safe” - Cardi B featuring Kehlani
”E85” - Don Toliver
”Janice STFU” - Drake
”Lover Girl” - Megan Thee Stallion
”Dumbo” - Travis Scott
”Sugar on My Tongue” - Tyler, The Creator

Best R&B

”I Just Might” - Bruno Mars
”It Depends / Obvious” - Chris Brown
”Raindance” - Dave and Tems
”Yukon” - Justin Bieber
”Folded” - Kehlani
”Is It a Crime” - Mariah The Scientist and Kali Uchis

Best Alternative

“Taxes” - Geese
”Fix Ur Face” - MGK and Fred Durst
”The Great Divide” - Noah Kahan
”The Cure” - Olivia Rodrigo
”Homewrecker” - Sombr
”Dracula” - Tame Impala
”Drag Path” - Twenty One Pilots

Best Latin

”Choka Choka” - Anitta and Shakira
”Nuevayol” - Bad Bunny
”Tu Sancho” - Fuerza Regida
”Papasito” - Karol G
”La Perla” - Rosalia featuring Yahritza y su Esencia
”La Villa” - Ryan Castro, Kapo, and Gangsta
”Dai Dai” - Shakira and Burna Boy

Best K-Pop

“Jump” - Blackpink
”Swim” - BTS
”RedRed” - Cortis
”Spaghetti” - Le Sserafim featuring J-Hope
”Dream” - Lisa featuring Kentaro Sakaguchi

Best Dance

“New Religion” - Bebe Rexha and Faithless
”Aperture” - Harry Styles
”Runway” - Lady Gaga and Doechii
Confessions II - The Film - Madonna
”Stateside” - PinkPantheress and Zara Larsson
”Dance…” - Slayyyter
”Nobody’s Girl” - Tate McRae

Best Country

“Choosin’ Texas” - Ella Langley
”Dry Spell” - Kacey Musgraves
”Somewhere Over Laredo” - Lainey Wilson
”Back in the Saddle” - Luke Combs
”Cowgirl” - Shaboozey
”Boston” - Stella Lefty
”Brunette” - Tucker Wetmore

Best Direction

“Hate That I Made You Love Me” - Ariana Grande
”I Just Might” - Bruno Mars
”Storm” - Gener8ion featuring Yung Lean
Confessions II - The Film - Madonna
”House Tour” - Sabrina Carpenter
”Opalite” - Taylor Swift

Best Art Direction

“SS26” - Charli XCX
”Runway” - Lady Gaga and Doechii
Confessions II - The Film - Madonna
”Stateside” - PinkPantheress and Zara Larsson
”My Body Isn’t Ready” - Sombr
”The Fate of Ophelia” - Taylor Swift

Best Cinematography

“Punk Rocky” - A$AP Rocky
”Hate That I Made You Love Me” - Ariana Grande
”Dream” - Lisa featuring Kentaro Sakaguchi
Confessions II - The Film - Madonnna
”Cowgirl” - Shaboozey
”The Fate of Ophelia” - Taylor Swift

Best Editing

”Hate That I Made You Love Me” - Ariana Grande
”I Just Might” - Bruno Mars
”Dream” - Lisa featuring Kentaro Sakaguchi
Confessions II - The Film - Madonnna
”House Tour” - Sabrina Carpenter
”The Fate of Ophelia” - Taylor Swift

Best Choreography

”Storm” - Gener8ion featuring Yung Lean
”Dance No More” - Harry Styles
”Pinky Up” - Katseye
Confessions II - The Film - Madonnna
”Nobody’s Girl” - Tate McRae
”The Fate of Ophelia” - Taylor Swift

Best Visual Effects

”Hate That I Made You Love Me” - Ariana Grande
”Eyes Closed” - Jisoo and Zayn
Confessions II - The Film - Madonnna
”Stateside” - PinkPantheress and Zara Larsson
”Click Clack Symphony” - RAYE featuring Hans Zimmer
”The Fate of Ophelia” - Taylor Swift

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Unlike Coachella or Lollapalooza, which have evolved into more defined, genre-focused events, the Austin City Limits Music Festival still feels like a true mix of everything. Whether you came for pop, rock, or country, there’s always something at ACL to catch your ear. Weekend One of the festival’s 2025 edition proved that range, with headliners spanning from pop star Sabrina Carpenter to indie-rock band The Strokes, country heavyweight Luke Combs, and EDM powerhouse John Summit. I made sure to check out most of the pop acts — plus a handful of other sets that caught my eye.

Sabrina Carpenter brought out Shania Twain, arrested Djo

Sabrina Carpenter, arguably one of the biggest pop stars in the world right now, headlined ACL for the first time on Saturday night. Fresh off her new album Man’s Best Friend, she stuck to the pretty much the same condensed Short ’N Sweet Tour setlist she’s had for over a year, only adding “Manchild” and “Tears” from the new record — and it worked. The crowd got a full, hit-filled show with “Taste,” “Please Please Please,” and “Espresso.” Rumors of a Taylor Swift cameo had fans on edge after their recent collab “The Life of a Showgirl,” so when Carpenter teased, “I’m in a gift-giving mood,” the screams were deafening - but the surprise turned out to be Shania Twain, joining her for “That Don’t Impress Me Much.” I'm still unsure how well that hit with Sabrina's Gen Z fan base. Later, Djo made a quick cameo as part of a recurring bit from her “Juno” performance in which he got 'arrested', wrapping up a set that was full of personality and pop star power. I'd say I was expecting a bit more from Sabrina's set, but it was still a good pop show. It just didn't hit the way Dua Lipa's show did last year at the fest.

The Killers proved to be a good replacement for Doja Cat

Just a few weeks ago, The Killers were announced as the replacements for Doja Cat, who canceled her Sunday night headlining appearance due to a packed promotional schedule for her new album Vie. The veteran rock band from Las Vegas came in ready to do their thing. After a quick nod to Texas with a cover of Willie Nelson’s “Whiskey River,” Brandon Flowers and company wasted no time kicking off a high-energy set with a one-two punch of “Somebody Told Me” and “When You Were Young.” At one point, Flowers likened ACL to The Killers, noting that both started in 2002 and adding, “Everybody knows you need a little bit of time to cook before you reach your full potential.” Their career-spanning set proved that point, featuring hits like “Human,” “Runaways,” and “All These Things That I’ve Done.” They closed with a spectacular two-song encore of “Spaceman” and “Mr. Brightside,” sending festivalgoers home happy.

Hozier mixed his artistry with activism

Hozier returned to ACL after just two years, this time with a well-deserved headlining slot on Friday night. The Irish singer brought his many talents to Zilker Park for a set that not only showcased his remarkable artistry but also raised awareness about the injustices of the world today. Using his music as a backdrop, the visuals on the big screen often took center stage to drive his message home. Whether he was criticizing global military spending during his song "Eat Your Young," delivering a fiery speech condemning human rights abuses and calling for peace in the Middle East, or leading the crowd in a powerful singalong of his LGBTQ+ anthem “Take Me to Church,” Hozier made his worldview clear — and the audience listened.

Marina did not like heat, but ACL loved her

Marina made her ACL debut this year, remaining grateful throughout her set while admitting she wasn’t moving as much as usual because of the heat. “I think this is the hottest show I’ve ever done,” she declared. And while that might be literally true, it also felt figuratively hot too. Despite the sweltering weather, the audience was right there with her every step of the way. New songs like “Cuntissimo” and “Butterfly” sounded great live, but it was even more thrilling to hear favorites from her Electra Heart era, including “Bubblegum Bitch,” “Primadonna,” and “How to Be a Heartbreaker.”

Role Model brought charisma and Hillary Duff to ACL

Role Model is having an insane year. Just this week alone, he performed at ACL Fest — taking home the moment of the fest with surprise guest Hilary Duff as Sally, taped his ACL TV performance, flew all the way to Toronto for All Things Go, will return to ACL for weekend two this Friday, and then head to New York City as the musical guest on Saturday Night Live. I’m exhausted just writing this, but thrilled for him at the same time.

At ACL, he delivered a superb set that mixed his raspy, smooth vocals with plenty of jokes and crowd flirting — after all, he’s oddly attractive. Between songs, he cracked lines like, “My name is Ed Sheeran, thank you very much,” and, “We are Maroon 5, so happy to be back at Austin Butler Limits.” Highlights included “Superglue,” “Old Recliners,” and “Some Protector,” along with a sexy cover of The 1975’s “Somebody Else,” after which he promptly joked, “We are The 1965, thank you.”

Olivia Dean brought all the good vibes to ACL

British singer Olivia Dean, who is slowly exploding on this side of the pond, brought a masterclass in soulful pop to the American Express stage on Saturday afternoon. She didn’t let the heat stop her from delivering smooth vocals — and dance moves. Her charismatic stage presence charmed both fans and casual festivalgoers, and her songs had everyone up in spirits. Highlights included “Carmen,” the song she made about her grandmother with a pro-immigration message, and “Man I Need” from her new album The Art of Loving, which has been gaining a lot of traction since its release just two weeks ago. She closed with “Dive” from her debut album Messy, bowing out as one of the best performances of the weekend without a doubt.

Midnight Generation is here to stay

Mexican band Midnight Generation made their ACL debut on Sunday at the Tito’s Stage, bringing their irresistible blend of electro-pop and disco to life. When they first took the stage, a decent-sized crowd filled the small tent, but by the end of their set, fans had spilled far beyond it — a clear sign of one of the weekend’s standout performances. The energy never let up for a second; it felt impossible to catch your breath, but no one wanted to. The five-piece fused slick synths with live instrumentation for a one-of-a-kind sound that felt like Daft Punk meets Nile Rodgers — and the crowd couldn’t get enough.

The Favors made their festival debut

The Favors, the collaborative project by Finneas and Ashe, made their festival debut at ACL on Friday afternoon. Their debut album The Dream only dropped last month, but it already translates beautifully to a festival setting — so much so that Finneas admitted he imagined playing “Moonshine,” a standout on their set, at a festival while making it. This was not only their first festival appearance but only their third show together, yet their onstage chemistry was flawless, filled with witty banter between songs. “How do you feel, Ashe?” Finneas asked, to which she replied, giggling, “I feel so angry,” before diving into her song “Angry Woman.” Finneas’s “Let’s Fall in Love for the Night” also sounded amazing live, and they closed their set with The Dream’s “Home Sweet Home” before getting a big crowd reaction for Ashe’s “Till Forever Falls Apart.”

Along with Olivia Dean and Midnight Generation, this was one of the standout sets of the weekend for me.

Dua Lipa's first breakout single, 'Be The One,' turns 10 this month — a milestone she remembered on stage last night in Dallas, telling the crowd she'll probably perform it for the rest of her career. All these years later, the 30-year-old singer has turned into a global pop superstar. On the Radical Optimism Tour, she showcased her star power without second-guessing herself at any point. Her confidence and stage presence show exactly how far she’s come since 'Be The One' first hit — from teenage breakout to arena-level pop force.

The show takes a few minutes to kick in after the house lights go out, with a majestic, almost meditative video of a giant wave crashing across the big screens, heightening the crowd’s anticipation. As the waves split, there she was, rising up the massive stage in a stunning golden Jean Paul Gaultier corset bodysuit. Her vocals open the show with the first verse of 'Training Season' — “Are you someone that I can give my heart to?” — before the music crescendos, the full band kicking in, and the arena erupts as she hits the chorus. That opening moment perfectly foreshadows the rest of the show: a blend of intimate, vocal-driven moments intertwined in a euphoric dance-pop spectacle.

The pace of the show was excellent. Lipa is an artist you go to see to have a good time — and to dance a lot. Early highlights like 'Break Your Heart,' 'One Kiss,' and 'Levitating' had the crowd on their feet from the start. She sprinkled in songs from Radical Optimism between her better-known hits, with songs like 'End of an Era' and the quietly excellent 'These Walls' landing perfectly in the early part of the set.

One of the refreshing things about Lipa’s show is how she maintains a feeling of a straightforward pop concert, even amid a flood of production. Confetti cannons went off again and again, but it never felt excessive. Pyro, strobe lights, lasers, feathers, and a rising platform at the center of the catwalk all added spectacle, yet each moment felt purposeful, enhancing the performance rather than overshadowing it.

For those of us attending the second of two nights in Dallas, there were several treats. Every night, Lipa performs a surprise song, usually a cover by a local artist — on night one, she nailed Kelly Clarkson's 'Since U Been Gone.' Occasionally, fans are lucky enough to get a guest join her for the number. Last night, Texas's own Leon Bridges appeared to perform his song 'Beyond' alongside Lipa, who admitted she was a little jittery about sharing the stage. She said she listens to Bridges when she wants to take a breather and forget about the rest of the world.

Later, she was joined by the Dallas Cowboys cheerleaders for arguably her best song, 'Physical.' The arena went into a frenzy as America's Sweethearts took over the stage, executing the choreography alongside Lipa in one of the night's many highlights.

Two other standout moments came with her performance of 'Love Again,' in which she was surrounded by fire and joined by Loop Rawlins, a former Cirque du Soleil and America's Got Talent performer, who executed jaw-dropping tricks with a fire-laden lasso. Her encore was equally spectacular, delivering a brilliant dance-club trifecta that included 'New Rules,' 'Don't Start Now,' and 'Houdini.'

Radical Optimism may not have been received as warmly as Future Nostalgia — expectations were high, after all — but it is objectively a strong pop record. Lipa didn’t let mixed reviews stop her from putting together a show that gave the album the recognition it deserves — and her fans an unforgettable concert experience. If you’ve never seen Dua Lipa live, you owe it to yourself to do so. The only downside? The night flies by because you’re having such a great time. The Radical Optimism Tour is equal parts spectacle and star power, cementing Lipa as one of today’s most exciting dance-pop performers.

"It's beautiful to be here for a second night," Maná’s frontman Fher Olvera told a sold-out Frost Bank Center in San Antonio on Saturday (Sept. 6) night. Kicking off their world tour with two shows in a city he called the band’s longtime good-luck charm, Olvera promised fans: “We’re going to give you everything tonight.” With that, he set the tone for a career-spanning performance that celebrated nearly four decades of Latin pop-rock anthems.

For Maná, starting their world tour not only in San Antonio but in the United States was no accident. The band has long acknowledged their deep ties to Mexican communities on this side of the border — fans whose nostalgia, resilience, and hard work mirror the themes in Maná’s music. It’s one reason their U.S. tours consistently thrive.

All of that history and devotion came alive the moment Maná took the stage.

The band opened with "Angel De Amor," immediately sending the crowd to its feet. True to Olvera’s promise, the night became a trip through their biggest hits - and they came quickly. "Manda Una Señal" and "Eres Mi Religion" followed.

Some songs really stood out. "Vivir Sin Aire" felt almost magical, with a huge tree backdrop on the LED screen and hanging plant projections that made the stage feel alive. "Clavado En Un Bar" was pure energy — the crowd was completely into it, singing along and bouncing with the band. And "En El Muelle De San Blas" reminded everyone why it’s a must on any Maná setlist — timeless and emotional.

The production added just the right touches. The stage was simple, but it worked. Alex González’s drum solo on the raised platform was insane — several minutes long, and the crowd gave him a well-deserved standing ovation. During "No Ha Parado De Llover," rain fell from above, adding a fun dramatic flair. The B-Stage moments made the arena feel more intimate, like when Olvera serenaded a fan with "Hechicera," which was super sweet.

Olvera, now 65, still brought incredible energy, pacing and dancing across the stage while effortlessly keeping up with his vocals. Though the show was impressive, it was clear the band was still settling into the tour rhythm: Olvera frequently checked the setlist, signaled the lighting crew for adjustments, and even paused briefly to reposition certain props. These small moments only underscored that this was night two of a long, ambitious run.

Maná also gave a nod to their roots with a cover of Vicente Fernández’s "El Rey," which the crowd loved — everyone singing along like it was a piece of home. They closed out the night with "Labios Compartidos" and "Oye Mi Amor," high-energy hits that had the arena roaring and sent everyone home happy. Maná was at their absolute best, four decades in and never sounding or feeling bigger. From the first note to the final one, this was a tour to remember, at the top of their game on their best tour yet.

This marked Maná’s 11th concert in San Antonio. The band was here just two years ago, and demand has only grown since - especially here in the States. In fact, they’re on the verge of breaking a record in Los Angeles: with a run of Kia Forum shows in November, Maná will surpass Bruce Springsteen’s long-standing mark of 42 performances in the area, setting a new high at 45.

Staying true to the goodwill they bring to every show, Maná is donating part of ticket sales to their Latinas Luchonas program, in partnership with the Hispanic Heritage Foundation, which helps empower Latina entrepreneurs. Back in July, the band also announced that proceeds from these San Antonio shows would aid those affected by the summer floods.

Maná’s Vivir Sin Aire tour continues through December with stops in Chicago, Toronto, Dallas, Los Angeles, and San Jose, before returning in February to cities including Detroit, Philadelphia, Brooklyn, and Miami. During Saturday’s show, Olvera also teased plans to take the tour to Latin America and Europe. For a full list of announced dates, fans can visit the band’s official website.

Set List

1. Angel De Amor

2. Manda Una Señal

3. De Pies a Cabeza

4. Dejame Entrar

5. Eres Mi Religion

6. Bendita Tu Luz

7. Vivir Sin Aire

8. Rayando El Sol

9. Mariposa Traicionera

10. Corazon Espinado

11. Me Vale

12. Clavado En Un Bar

13. El Rey

14. Cachito

15. Te Llore Un Rio

16. El Reloj Cucu

17. Hechicera

18. Si No Te Hubieras Ido

19. No Ha Parado De Llover

20. En El Muelle De San Blas

21. Labios Compartidos

22. Oye Mi Amor

“Ni de aquí, ni de allá,” Becky G told her fans last night during her concert in San Antonio—a phrase that resonated deeply, as it means “neither from here nor there.” She was alluding to the dual nationality shared by many of her fans, who, like her, embrace a Mexican-American heritage.

That is what her Casa Gomez: Otro Capítulo Tour is all about. While it is largely a recycled show from last year’s Mi Casa, Tu Casa Tour, which also stopped in San Antonio—with the same stage setup and only a somewhat refreshed setlist featuring new songs—it still drew a decent crowd of fans of all ages to see the 27-year-old on a Thursday night.

Becky G showcased her impressive versatility as an artist. From her bubbly pop beginnings with “Shower,” which remains a standout in her catalog and closed the show, to her culturally rich Regional Mexican tracks from her new album Encuentros, such as “Otro Capítulo” and “Por Lo Contrario,” she captivated the audience. The performance also highlighted her dab into reggaeton, featuring her massive Bad Bunny-assisted hit “Mayores” and the Karol G collaboration “MAMIII.”

One thing Becky G has always done is pay tribute to the artists who have influenced her, especially Selena Quintanilla. Last night, she performed a fun, lively cover of “Bidi Bidi Bom Bom,” which unsurprisingly thrilled the San Antonio crowd. The audience lit up, singing along and celebrating her nod to the Tejano legend, making it one of the night’s most memorable moments.

In a 2018 interview with Entertainment Tonight, Becky G shared how deeply she identifies with Selena, saying, “She was the epitome of everything that I needed growing up. That Spanglish life, a little bit of English, a little bit of Spanish. You don’t have to choose. I always say, I’m the 200 percent: 100 percent Latina just as much as I am 100 percent American. I shouldn’t have to divide myself to live in both worlds.”

Becky G’s Casa Gomez: Otro Capítulo Tour feels like a celebration of her journey, from honoring her roots to embracing her evolution as an artist. Her ability to weave her Mexican-American identity throughout her performance resonates deeply with fans who see their own experiences reflected in her music and words - ultimately existing for them as that same influence as Selena was for her.

The Casa Gomez: Otro Capitulo Tour continues with shows in Texas, Oklahoma, Arizona, Florida, and California. See all the dates here.

It was a night of radical optimism as Dua Lipa brought full-on club vibes headlining Saturday at the Austin City Limits Music Festival. Accompanied by an ensemble of dancers and an exceptional band, Lipa danced her way through an epic 90-minute set that easily stands amongst one of the best headlining performances the fest has ever seen. (Yes, even the Reddit bros on the ACL subreddit are praising it despite being a "pop" singer.)

She kicked things off into high gear with "Training Season," and didn't look back as she delivered hit-after-hit. Her Calvin Harris collab "One Kiss" further turned Zilker Park into a dance party. One of the highlights of the night came soon after as she belted "Illusion" from her latest album.

Dua Lipa last performed in Austin in 2016 at South By Southwest, which she mentioned last night. She talked about how it was like then going to different bars as an up-and-coming singer to now headlining both weekends of the biggest music festival in Texas.

"Sometimes I forget to just be in the moment and really enjoy every single second and right now I really want to do that with you guys because this feels really special, it feels like a real full-circle moment," she told the thousands in attendance. "So thank you for being here, thank you for your love, thank you for your support. Thank you for giving me the opportunity to do what I love every single day."

She proceeded to perform her debut single "Be The One" - "a song I will probably perform for the rest of my life" - this time in front of a massive crowd and not a few hundred at a bar in downtown ATX. What a moment.

Earlier this year, the 29 year-old pop star released her album Radical Optimism. However, last night, her setlist focused more on the hits like "Levitating," "New Rules," and "Cold Heart." The only exceptions were "Happy For You" and the brilliant, yet melancholic "These Walls." While fans didn't get more of a deep dive into her latest release, they can expect more when she tours the new album next year. 

Fans braved the hot Texas sun and camped out near the American Express stage since gates opened - some waiting for over eight hours. Security guards passed around free water and splashed festival-goers with misters; some people did not make it as about 10 were taken out from behind the barricades due to heat exhaustion. A group near the front of the stage even traveled from countries like Mexico and Brazil just to see their fave up close. It was all worth it in the end.

"Physical," arguably her best song, kicked off a lively three-song encore, followed by the smash hit "Don’t Start Now" and the groovy "Houdini." The only critique here would be switching the placement of the last two as the former feels more like a concert closer. Just saying. Regardless, ACL gave Dua an incredible ovation as fireworks lit up the sky to wrap up one of the most entertaining shows in the festival's history.

Dua Lipa returns for another headlining set next Saturday on weekend two of the Austin City Limits Music Festival.

Set List

1. Training Season

2. One Kiss

3. Illlusion

4. Break My Heart

5. Levitating

6. These Walls

7. Be The One

8. Love Again

9. Pretty Please

10. Hallucinate

11. New Rules

12. Electricity

13. Cold Heart

14. Happy For You

15. Physical

16. Don't Start Now

17. Houdini

In recent years, nostalgic tours by Latin artists in the US have become common, and pop star Fey is the latest to bring such a show north of the border.

The acclaimed Mexican 90s sensation graced the stage of San Antonio's iconic Aztec Theater on Sunday, March 17th. While billed as a theater tour, the performance transcended expectations, delivering all the quintessential elements of a top-tier pop spectacle: three towering screens, a dynamic ensemble of dancers, a diverse array of interludes, fog cannons, and a numerous outfit changes.

At 50, Fey proves that she is still at the top of her game singing live for the entirety of the show - and keeping up with her dancers in the many dance breaks throughout her hour-long set. She kicked things off with the upbeat 'Muevelo' that had the audience on their feet.

"Good evening San Antonio!" she said as she emerged sporting a mirrored catsuit. "We're going to dance tonight and bring on good vibes."

And she certainly did.

The majority of her performance was filled with vibrant, high-energy songs. Early in the set, 'Frío,' 'Me Enamoro De Ti,' and 'Barco A Venus' captivated the audience. Notably, her electrifying rendition of 'Barco A Venus,' originally by the iconic 80s pop group Mecano, was a highlight of the night.

After a fun mashup of samples of ABBA's 'Gimme Gimme' and Madonna's 'Holiday,' mixed with Fey's own hits like 'Bombón' and 'Fiebre Del Sábado,' she performed 'Media Naranja.' The song that marked the beginning of her career and got everyone in the crowd singing along.

Despite offering fans a glimpse of her extensive discography, Fey opted for shortened versions of most songs, condensed into four lengthy medleys. However, notable omissions like her chart-topping single 'Ni Tú Ni Nadie' left something to be desired. The real disappointment of the evening came when her forgettable new single 'Veneno' took the spotlight instead.

Regardless, Fey sent fans home happy. She wrapped the show with the very fun 'Diselo Con Flores' and her biggest hit 'Azucar Amargo.'

Her US tour continues with dates in Dallas, Houston, Las Vegas, and Phoenix this week before returning in the fall for three shows in California.

In 2015, Shania Twain announced her first tour in eleven years (Rock This Country Tour) and billed it as her farewell tour. A change of heart, two tours, and eight years later, the Canadian country-pop icon is still on the road. Last night, she kicked off the second North American leg of her current outing, the Queen Of Me Tour, at the Frost Bank Center in San Antonio.

This marked Twain’s long-awaited return to the Alamo city; she last performed here on her 2003 Up! Tour. She showed up for San Antonio last night, and they showed up for her too. The nearly sold out arena joined in on the very fun show: one that has good production but mainly puts the music front and center.

Clocking in at just over two hours, the singing never stopped. The only true break for Twain was between the main set and the encore, which allowed for the only costume change of the night. For most of the night she sported a pink-and-purple leotard covered in a long silky wrap with very noticeable, sparkly purple tennis shoes. Comfort is a pop star’s best friend decades into a career. But for the final two songs, she brought out a fan-favorite look. She put on the original leopard-print catsuit from the ‘That Don’t Impress Me Much’ music video, which had been sitting at the Country Music Hall of Fame Museum since 1997. 

“I’ve only worn it once,” she said, referring to before the tour during the making of that music video. “So might as well put it on again.” 

Hits like ‘That Don’t Impress Much’ make up most of the setlist for this latest trek and that’s a good thing. Other than singles ‘Waking Up Dreaming,’ in which Twain emerged from a box in the middle of the crowd to open her show, and the lively country-pop track ‘Giddy Up!,’ the songs from her latest album fell flat. The disco-friendly ‘Number One,’ which meant to bring up the energy again after a handful of ballads, left much to be desired. Likewise, ‘Pretty Liar,’ which featured a Parental Advisory Explicit Content warning as a backdrop, failed to really connect with the audience.

But the crowd did not seem to mind as she made sure to take them down memory lane with songs like ‘Any Man Of Mine,’ ‘Whose Bed Have Your Boots Been Under?’ and ‘Don’t Be Stupid (You Know I Love You).’ For the latter, she jumped on a cool platinum motorcycle. The giant screen that served as the backdrop for Twain complemented her well. Neon signs, dark deserted roads, and even aliens invading country bars were just some of the graphics that gave her songs a fresh feel.

Ballads like ‘You’re Still The One’ and ‘From This Moment On’ made the show feel intimate, but the highlight of the night was ‘Man! I Feel Like A Woman!’ Her anthemy biggest hit sent the crowd home happy; the lyric-switch to ‘Let’s go, San Antonio!’ was the cherry on top.

It was hard to decipher whether Twain was truly enjoying herself or not. At times, it seemed like she was just going through the motions. Her first few addresses to her fans felt a bit empty. But as the night went on, there seemed to be a change. It was Twain doing what she did best, feeling very comfortable on stage, and bringing everyone along for the ride.

Shania Twain’s Queen Of Me Tour continues with shows in the US and Canada through November. She then returns to Las Vegas for her new greatest hits residency at Planet Hollywood in May 2024.

Rising country singer Lily Rose opened up the show which was well-received by Shania’s fans. She did a few country favorites in a medley of covers and closed things out with her breakout single ‘Villain.’

There was no better way for San Antonio to close out a month of celebration for Mexico than with Alejandro Fernandez. The Mexican crooner made a stop on his Amor Y Patria Tour at the newly-renamed Frost Bank Center on Saturday, Sept. 30.

It was a family affair as his son, Alex Fernandez, joined him as special guest: serving as opening act and later singing alongside his father. In one of the most emotive moments of the night, he serenaded his father with ‘El Tiempo No Perdona.’ Alejandro started getting teary-eyed as his son sang lines such as “De niño, yo le dije a Dios que quería ser grande pa' ser como tú.”

The father-son duo also took on ‘Mujeres Divinas’ by the legendary Vicente Fernandez - the father of Alejandro and grandfather of Alex - who passed away two years ago. Alejandro would later also do a three-song homage to his father with ‘De Que Manera Te Olvido,’ ‘El Rey,’ and ‘Volver, Volver.’

“San Antonio is a very special city for me,” Alejandro said. “My family and I had to move out of the country [Mexico] when we were going through some things and this city was the one. We lived here for four years. And in a way, I started my artistic career here. I sang for the first time when I was five years old on Raul Velasco’s show here in San Antonio.”

In 1976, Fernandez appeared on Siempre En Domingo which was hosted by Velasco. It was a special episode that was being filmed in San Antonio. Alejandro made his singing debut performing ‘Alejandra,’ but forgot the lyrics due to nerves. Vicente stepped in to help him finish off the song.

Since then, Alejandro has cultivated a legendary career of his own, which was on full display on Saturday night. Everything from his love ballads like ‘Abrazame’ to his more pop-fused songs like ‘Canta Corazon’ had the audience in awe. The passion in his voice, which rebounded with the audience singing along, was palpable to the ear. 

And there’s something to be said about Latin shows. Audiences are simply not the same. They lend their voices to the entire live experience as much as the artist, which in turn creates spine-tingling moments. That was the case when Alejandro belted out ‘Como Quien Pierde Una Estrella,’ with the music being lowered at the start of each chorus to let the thousands in attendance shine. 

Alejandro has been performing for nearly 30 years now. He has found ways to reinvent while still staying true to his roots. He performed his version of Natanael Cano’s ‘Amor Tumbado,’ which fuses his mariachi stylings with a corrido-meets-hip-hop sound. It’s a very interesting but fresh offering. He also did his Grupo Firme collab ‘Felicidades’ which sees him push aside the mariachi and embrace the banda genre. Another way he kept things new and exciting was by giving some of his own songs a twist: for instance, ‘Tantita Pena’ had a hint of cumbia.

Not to stray too far from what makes him El Potrillo, Fernandez took fans down memory lane with nostalgic hits such as ‘Matalas’ and ‘Nube Viajera.’ He also paid tribute to the pioneer of ranchera music, Jose Alfredo Jimenez, with a medley of songs he composed like ‘Ella,’ ‘Si Nos Dejan,’ and 'Serenata Huasteca.’ His 30+ song setlist also included covers of Joan Sebastian’s ‘Estuve’ and ‘Eso Y Mas.’

The Amor Y Patria Tour is truly a love letter to not only mariachi, but all regional Mexican music. And at the same time, it celebrates the career of one of the greatest Mexican vocalists to ever do it.

Alejandro Fernandez continues his Live Nation-produced tour with dates in Houston, Chicago, Toronto, New York, Los Angeles, and many more. See the full list at AlejandroFernandez.com.

Sam Smith is finally free. On Gloria: The Tour, they are admirably fully themselves. Long gone are the days of a dapper, clean-cut Sam in a suit singing soulful ballads about heartbreak. Now, the songs remain, but the look is much more fabulous, fun, and most importantly, liberating.

Last night, at the Moody Center in Austin, Texas, Smith somewhat made that last transition clear. ‘Stay With Me,’ ‘I’m Not The Only One,’ ‘Like I Can,’ and ‘Too Good At Goodbyes’ kicked things off in what felt like a way to put them aside for the more dance-like feel that some of their newer singles (‘How Do You Sleep,’ ‘Dancing With A Stranger’) provide. When first addressing the crowd, Smith declared the night a party.

“I hope you had a good, long weekend,” Smith said. “If you are hungover, wake up! This is a party!” 

It has been nearly four years since Smith’s last world tour. On the last trek, The Thrill Of It All Tour, Smith would sport more neutral-colored blazers and elegantly paced around a very minimalistic stage. The show for Gloria is quite a turn. Smith mentioned in the past that they had full creative control over this one compared to past album cycles - and it shows.

Despite what the internet might have you believe, Smith’s show is not just them dressed scantily with devil horns on their head. That takes place for the encore of just two songs - a slowed-down, haunting cover of Madonna’s ‘Human Nature’ and Smith’s Grammy award-winning collab with Kim Petras, ‘Unholy.’ It’s more of a playful, sexually-charged ode to expression than a demonic-like ritual. It is the tip of the iceberg of what Smith’s show really is. 

Instead, the concert centers around love and acceptance in a very positive way. It is both classy and vulgar (no pun intended), joyous and sorrowful, bright and dark. It has you tearing up one second and then dancing the night away the next. There’s no room for shame when you combine all these things.

The stage set up is a massive golden sculpture of Aphrodite - goddess of love, beauty, and sex. Those three ideals used as the three different acts in the show. Several outfit changes accompanied each segment of the show. An interesting quinceañera-like, purple dress was worn for a stunning cover of Des’ree’s ‘I’m Kissing You,’ while a black ensemble with a cowboy hat showed more fierceness for ‘Gimme.’ It then became a full on gay party for ‘I’m Not Here To Make Friends’ as Sam dazzled in pink ruffles. 

Two of the highlights of the night came from Smith’s songs with electronic music artists like Disclosure and Calvin Harris. Their ability to turn the room from a church-like gospel sing-along with songs like ‘Lay Me Down’ and ‘Love Goes’ to a full on dance festival atmosphere with bangers like ‘Latch’ and ‘Promises’ so quickly was fascinating to watch. Despite the clear contrast, both showcased Smith’s flawless vocals. 

Smith’s charisma radiated throughout the entire night. They give off a very friendly vibe - making the audience feel more like friends than fans. They shared each moment like a host at a party more than a high-selling hitmaker. (Granted - a very talented host). This adds another dimension to the show’s message of freedom. You could tell Smith’s fans felt safe … they felt free.

Gloria: The Tour will stop in Forth Worth and Houston this week before heading to Mexico for four shows next week. It will then wrap up later this year with many performances in Asia and Australia. 

SETLIST

1. Stay With Me

2. I'm Not The Only One

3. Like I Can

4. Too Good At Goodbyes

5. Perfect

6. Diamonds

7. How Do You Sleep?

8. Dancing With A Stranger

9. I'm Kissing You

10. Lay Me Down

11. Love Goes

12. Gimme

13. Lose You

14. Promises

15. I'm Not Here To Make Friends

16. Latch

17. I Feel Love

18. Gloria

19. Human Nature

20. Unholy