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The KPop Demon Hunters soundtrack collects another double on the new-look ARIA Charts, while Australian artists John Butler and G Flip are the week’s fastest starters. Explore See latest videos, charts and news Western Australian indie artist John Butler bows at No. 3 with his solo release PRISM (via Jarrah/MGM), the third in a four-part “seasons” project — some six years in the making. PRISM follows an album of meditations (Running River) and a fully instrumental LP (Still Searching), and was crafted entirely solo, with support from producer James Ireland (POND, San Cisco). “I was channeling Kevin Parker to see if I could do it all myself,” he tells Rolling Stone AU/NZ. “That was fun. I learned a lot about honing my production skills. I was making all the beats and all the synths and all the guitars and kind of create this symphony of sound.” As band leader of the John Butler Trio, the roots rocker has nine top 50 albums, including ARIA Chart leaders with Sunrise Over Sea (2004), Grand National (2007), April Uprising (2010) and Home (2018). Just missing out on a podium finish is G Flip, whose Dream Ride (AWAL) drives in at No. 4. Dream Ride is the multi-instrumentalist’s third studio album, and the followup to their 2023 chart leader Drummer. Dream Ride is the week’s best-seller on wax, to lead the ARIA Vinyl Chart. The surprise release of Justin Bieber’s Swag II (Def Jam/Universal) refuels Swag, which bounces 20-6 on the new survey, published Friday, Sept. 12. Following its release in July, Swag debuted and peaked at No. 2. Talking Heads singer David Byrne lands a new career high as a solo act, as Who Is The Sky? (Matador/Remote Control) debuts at No. 18. That eclipses the No. 47 for My Life In The Bush Of Ghosts, his collaborative effort with Brian Eno, released back in 1981. Talking Heads had five top 20 albums in Australia, topping out No. 2 with Little Creatures in 1985 and True Stories in 1986. Meanwhile, U.S. indie rock band Big Thief bag a top 20 appearance with Double Infinity (4AD/Remote Control), new at No. 19. At the top of the leaderboard, KPop Demon Hunters (via Republic/Universal) lifts 2-1 for an eighth non-consecutive week at No. 1. The LP leapfrogs Sabrina Carpenter’s Man’s Best Friend, down 1-2. After pulling their music from Spotify, and inviting fans to download their catalog on Bandcamp at whatever price they choose, King Gizzard & The Lizard Wizard‘s strategy appears to have paid off with two entries into the top 50. Phantom Island (Virgin/Universal), released in June, returns at No. 39, and Flight b741, from 2024, reenters at No. 48. KPop Demon Hunters proves impossible to slay, as the soundtrack to the animated Netflix hit accounts for seven singles in the top 20, led by “Golden,” which now leads the ARIA Singles Chart for a seventh consecutive week. Source link

Aimer is teaming up with the blockbuster anime Demon Slayer: Kimetsu no Yaiba once again. The “Zankyosanka” songstress was tapped to perform one of the two theme songs gracing the first of the anime trilogy Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle — Part 1: Akaza Returns alongside LiSA, with Aimer singing “Taiyo ga Noboranai Sekai” (English title: “A World Where the Sun Never Rises”). Explore See latest videos, charts and news The songwriting team for the track includes Hikaru Kondo, the film’s general director, and Go Shiina, the composer of the soundtrack, both from the production team of the title’s anime series. Aimer’s vocals resonate with the story of the Infinity Castle movie, filling the song with strength, determination, and vulnerability. How did the “Asa ga kuru” vocalist approach this new song born from the movie? In this latest interview, the 35-year-old singer reflects on her connection with the Kimetsu series and opens up about the creative process and essence of her latest collaboration.  You first collaborated with the Demon Slayer: Kimetsu no Yaiba anime through “Zankyosanka” and “Asa ga kuru,” the opening and ending theme songs for the Entertainment District story arc. You’d already worked on many tie-ins for other works. What was it like working on the Kimetsu series? When I was first tapped to do it, the work was already well known and LiSA had performed all of the theme songs up to that point, so there was some pressure. Still, I was able to work on “Zankyosanka” with the same team I’d been working with since my debut, and I’d also worked with Yuki Kajiura, who wrote “Asa ga kuru,” and ufotable, the production company behind the Kimetsu anime, so I was confident that we could create something great. Being able to join the Kimetsu anime team was a huge honor. “Zankyosanka” went on to rule Billboard Japan’s 2022 year-end Japan Hot 100, and you performed it for your first appearance on the prestigious Kohaku Uta Gassen year-end music extravaganza. What does this song mean to you? It’s a song that changed my concerts. In the early days of my career, there were a lot of ballads in my repertoire and the audience was mainly seated at my shows. I focused on making songs that reflected my inner world. But as I gained more experience, I began to realize how important performing live is, and last year I went on an overseas tour. The Aimer 3 Nuits Tour 2024 that made stops in Shanghai, Taipei, and Hong Kong, your first tour outside of Japan in about five years. The local crowd sang along with almost all the songs. In particular, “Zankyosanka” has a scat-like part that everyone can sing along to, so they sang it together with great enthusiasm. Inspired by their energy, I thought maybe my audience in Japan would sing along too, so I decided to make the next domestic tour (Aimer Hall Tour 2024-25 “lune blanche”) one where I build together with my audience. “Zankyosanka” was a big turning point for me. How did you feel when you were asked to collaborate with the Kimetsu franchise again, to sing “A World Where the Sun Never Rises” for the latest movie version? When I first heard about it, I was taken completely by surprise — I felt more surprised than happy, to be honest. Various artists have performed theme songs for the Kimetsu anime series since the Entertainment District arc, and until now, I hadn’t had many opportunities to sing the theme song for the same work after some time had passed. And the fact that it was one of two theme songs with the other by LiSA was also a huge surprise, so I felt both honored and delighted. “A World Where the Sun Never Rises” was written by the three people involved in the creation of the movie. Hikaru Kondo, the movie’s general director, wrote the lyrics and the composition and arrangement were handled by the composers of the film’s soundtrack — the former by Go Shiina, the latter by Shiina and Sachiko Miyano. It’s a song made specifically for this movie. They’re all probably constantly thinking about the Kimetsu anime, and I couldn’t imagine what people like that would come up with as a theme song. When I first heard the demo, I thought it was difficult and was like, “How should I sing this?” to be honest. There were parts that sounded like opera, the synths sounded like techno, and there were elements of rock as well. I thought it was a really interesting song, but also wondered what the correct way to sing it would be. As you say, it feels like the true power of this song can’t be drawn out by simply following the melody. It’s like your vocals are so integrated with the music that the song is only complete with it. When requesting a composer to write a song for me, I let them know my vocal range in advance. Most composers will then create melodies within that range with some leeway, but Mr. Shiina used the entire range, pushing it to the absolute limit. After I recorded it, he said, “I really love your low notes, so I wanted to include them, and I also wanted to make sure your high falsetto could be heard, too, which is why I composed the melody like that.” The chorus is my highest key, so I couldn’t sing it in my natural voice and had to use falsetto, and the first verse (A-melo) is at my lowest register. I rarely use long vibrato or falsetto with a classical-tinged, intense sound, so I realized that the song turned out so awesome because he intentionally aimed to “fully utilize Aimer’s voice.” Since the song is crafted to highlight my voice, it’s easier to add dynamics. I see. Because this song makes full use of your limits, once it settles into your body, you’re able

Ed Sheeran’s career is at a crossroads. Earlier this month, he concluded his Mathematics world tour, which ran for 169 shows and spanned the releases of two albums: 2021’s = (Equals) and 2023’s – (Subtract). The Mathematics era in total has spanned his entire recording career, kicking off with 2011 debut + (Plus); 2014’s x (Multiply); 2017’s gargantuan ÷ (Divide) and totals as one of the 21st century’s most successful recording and touring musicians. His reputation and legacy as a modern great is richly deserved. But in recent years, life got in the way. In 2022, his close friend Jamal Edwards – founder of influential online channel SBTV – died of an accidental overdose. His wife Cherry suffered a health scare during the pregnancy of their second child, a topic broached on the contemplative Subtract. Two legal cases around accusations of plagiarism – Sheeran denied all claims and won in court – sapped the joy out of songwriting for him. Perhaps it comes as little surprise, then, that Sheeran has gone for a total reset with Play. It’s the start of a new era for the English pop star, and the first of his five planned symbol records — with Pause, Fast Forward, Rewind, and Stop set to follow in the coming years. His planned posthumous album Eject (seriously) is hopefully a long way off. The news that Sheeran was planning a “big pop” comeback after passion project Autumn Variations (2023) will be welcome news for his fans. When Sheeran is on form, there are few songwriters like him — and fewer still who are content to use his skills in such effective, crowd-pleasing ways. Experimental, avant-garde departures are not in the Sheeran songbook… and why should they be? Play, his eighth LP in total, is a buoyant record that traverses moods and continents. Lead single “Azizam” features Persian influence, and several songs (“Sapphire”) were inspired by his shows and travels through India. This is Ed back at his vibrant best, and the start of a bright, brilliant new era; here’s how the 13 tracks on Play shake out. “Slowly” In an album that pushes Ed’s creativity forward, the songs with his tried-and-tested sound are somewhat less impactful. True to its title, “Slowly” doesn’t really get going until the final minute, which then ends in quite sudden circumstances. It makes for one of Play’s rare forgettable moments. “In Other Words” “In Other Words” is one of the calmest songs on Play, but that doesn’t make it completely unremarkable. The track begins as a piano ballad that grows steadily across its four-minute run time as a string section softly swells in the background. It offers a much-needed breather at the LP’s halfway point following a head-spinning start. “The Vow” Backed by Our Dementia Choir, a Nottingham-based charity group of singers featuring people living with the disease, “The Vow” packs serious emotional heft. There’s a nod to blue-eyed soul in the record’s lush production that commits to the bit, just as much as Ed does to the song’s subject: “We’re stronger from joy and from pain/ Our love is the thing that remains,” he croons. “For Always” Hitmaker Amy Allen makes an appearance on “For Always” as a credited songwriter and backing singer. The pair trade lines on the reverent ballad, with Allen’s subtle vocals providing a gorgeous counterweight to Sheeran’s, as he promises to be his child’s constant throughout their life no matter the circumstance: “From your first breath/ To my last day,” he assures, “Whether I’m by your side/ Or a thousand miles away.” “Camera” Sheeran’s finest songwriting is often when he’s addressing his subject directly. “Camera” is for a lover, one that is so dazzling he has “to count to 10 and take a breath” amidst the butterflies flapping away in his stomach. He sings each line with such conviction so that, for a brief moment, it feels like he’s singing solely for you in this magical, romantic moment. Aw, shucks. “Heaven” There’s a hint of Bon Iver in the way that Sheeran stacks his vocals on Play’s closing track, utilizing its quality and dexterity as an instrument in its own right. “Heaven” is a reflection on the journey he’s been on to get back on top and traversing life’s challenges, and makes for a fitting finale as he completes the first chapter of his next adventure: “let’s pause and just take in this view” he sighs. “Old Phone” Before cloud-based storage, mobile phones were time capsules of certain moments in your life – the good, the bad and the cringe. “Old Phone” was inspired by the rediscovery of a previous device from Sheeran’s past, full of lost photos and messages to lovers and friends (estranged or otherwise). No wonder this acoustic guitar-led number is full of longing and nostalgia for the past, but this time revisited with wisdom and perspective. “Sapphire” Sheeran has described heading to India to meet with superstar Arjit Singh in his hometown as “a pilgrimage of music,” as the pair exchanged ideas, music and friendship. “Sapphire” features Singh performing in Hindi and Punjabi with Sheeran in English, although a remix of this track – not included on Play – offers a more pronounced role for Singh and is perhaps stronger for it. Either way, the universal language of music remains potent and disregards man-made borders and divisions. “Symmetry” Ed described India as a place he could “never get bored of,” and the influence from his travels in such a vibrant nation is felt keenly on “Symmetry.” The track is jam-packed with percussive instruments, such as the dhol and the ghatam — as well as stringed instruments the bouzouki, and the bansuri, a bamboo flute. The result is punchy, and Sheeran totally pulls it off. “Azizam” You can see why “Azizam” was selected to lead the Play era: that chorus. It’s the type of earworm melody that’s scattered throughout Sheeran’s career (see: “Shape of You,” “Bad Habits,” et al) and has the record’s biggest hit

 Ed Sheeran is here to play. The superstar British singer and songwriter today drops Play, his eighth studio album, which gathers the previously released singles “Camera”, “A Little More”, “Azizam”, “Sapphire,” “Old Phone” and more. Inspired, in part, by his exposure to Indian and Persian musical cultures, Play sees Sheeran enter a brand new era, after closing the chapter on his hugely successful Mathematics series. Explore See latest videos, charts and news “Play was an album that was made as a direct response to the darkest period of my life. Coming out of all of that I just wanted to create joy and technicolour, and explore cultures in the countries I was touring,” he wrote in an Instagram post earlier in the year. “It’s a real rollercoaster of emotions from start to finish, it encapsulates everything that I love about music, and the fun in it, but also where I am in life as a human, a partner, a father.” To celebrate the new release, Sheeran shares the official video for “Camera”, starring Phoebe Dynevor. With Play, Sheeran will hope to extend his perfect streak in his homeland and Australia, where all of his studio albums have topped the national charts, including his most recent effort, 2023’s Autumn Variations. In the U.S., Sheeran has two career leaders on the Billboard Hot 100, including “Shape Of You,” one of the most-streamed songs in history, and four No. 1s on the Billboard 200 chart. He’ll give the new album a push from midday today, Sept. 12, when he heads to NPR’s offices, where he’ll play a selection of new music on his loop station for the first-ever livestreamed Tiny Desk concert of this scale. The four-time Grammy Award winner closed the book on Mathematics last Sunday, Sept. 7 in Düsseldorf, Germany, with the final show on his +−=÷× Tour (Mathematics Tour), a global juggernaut that began in April 2022 and featured more than 160 shows. He’s booked to played iHeartMusicFestival in Las Vegas next Saturday, Sept. 20, then presses play on The Loop Tour this December for shows across Continental Europe and the U.K., followed by a run of stadium shows across Australia and New Zealand in the first quarter of 2026. Stream Play below. Source link

On the heels of Metro Boomin paying homage to Atlanta with his Futuristic Summa mixtape, ATL staple Jermaine Dupri takes the baton to release his Magic City docuseries soundtrack on Friday (Sept. 12). Explore See latest videos, charts and news JD’s soundtrack keeps it local to the A and he’s brought a star-studded cast with him that includes the late Rich Homie Quan, Travis Porter, Bow Wow, Quavo, Ludacris, 2 Chainz, Killer Mike, Jagged Edge, Young Dro, Lil Jon, Skooly and T.I. The 15-track effort accompanies Dupri’s Magic City: An American Fantasy docuseries, which is currently streaming on Starz and finds the So So Def CEO on board as an executive producer alongside Drake’s DreamCrew Entertainment. The five-party docuseries wraps up with a final episode on Friday as well. Drake is among the countless rappers making appearances in the series celebrating the iconic jiggle joint. “It’s one of the wonders of the world,” Drake said in the trailer. “Magic City became this place for people to flourish, Black music to flourish.” The docuseries initially picked up steam after debuting at SXSW in 2024 and was engulfed by Starz. “Magic City: An American Fantasy is a riveting behind-the-curtain look at one of the most unique places in Black culture,” Kathryn Busby, president of original programming at STARZ, said in a statement. “The docuseries’ unprecedented insider access and history unveiled from those who built its empire is a perfect complement to STARZ’s slate of adult, culture-driving shows.” Magic City played an integral role in breaking singles to the mainstream across Atlanta and served as a playground and cultural hub for entertainers and major players throughout the city. “I think it’s more magical than Disney world,” Big Boi said in the series. Stream the Magic City soundtrack below. Get weekly rundowns straight to your inbox Sign Up Source link

The pop artist’s long debut LP is purposeful, tender and bold – a declaration of intent that should resonate far beyond her fanbase. 9/12/2025 JADE Conor Cunningham Throughout her solo career, Jade Thirlwall has positioned herself as an awe-struck romantic, her songs capacious enough for both high camp and heartfelt examinations of selfhood and love. On long-awaited debut LP That’s Showbiz Baby!, the singer and Little Mix member tackles a flurry of personal contradictions: yearning and rupture, ambition and anxiety, broken promises and intimacy. She knows how to conjure a whole universe of emotion and lose herself in it. The album’s 14 tracks traverse deep psychological wounds borne from Thirlwall (known mononymously as JADE)’s early days as a returning teenage X Factor contestant, through to the rewards and rigors of her time spent in one of the best-selling U.K. girl groups of all time, in service of pure pop melodrama. The resulting music is precise and introspective, channeling the unexpected, iridescent revelations that come with rebuilding yourself from scratch.  Leaping from electroclash and synth-pop to luxurious disco and ambient electronic, That’s Showbiz Baby! channels sensuality, anger and freedom, as JADE takes sonic cues from her diva elders Diana Ross, Madonna and Janet Jackson, as well as newer visionaries like Chappell Roan and Billie Eilish. In her pursuit of pop stardom, the singer builds out a distinct, dazzlingly ornate record while honoring those who informed her musical education.   Next month, JADE will embark on her headline U.K. and Ireland tour, having enjoyed a star-cementing turn at Glastonbury Festival in June and also having appeared at Mighty Hoopla and Radio 1’s Big Weekend. To celebrate the release of That’s Showbiz Baby!, Billboard U.K. dives deep into each and every track on the record. See our ranking of its 14 songs below. “Headache” By pulling from a revolving palette of tones, the thump of the production guides “Headache” forward, offering a backdrop for JADE’s musings on her needs and wants in a relationship. Taken over a whole track, however, the track lacks continued dynamism; its twists and turns are overegged as to be almost cloying. “IT Girl” Over a tightly coiled bass riff, JADE’s snappy talk-sing on “IT Girl” feels like an intriguing left-turn for an artist famed for their belting and typically uninhibited vocal rasp. As such, her delivery here veers on becoming monotone – but the beats, squeals, sequencers, and crunches in the production save it from becoming a total dud, while the lyrics righteously eschew broad strokes empowerment in favour of slabs of bravado. “Unconditional” “Unconditional” initially gains its power from how little is happening: Its zigzagging kick drum gathers momentum the more familiar it becomes, interspersed with a storming guitar riff. When the latter kicks in, the track punches a hole through the haze to let all the feelings come gushing out. Try not to feel your heart skip a beat when JADE enters her upper register during the final chorus. “Natural at Disaster” The lyrics to “Natural At Disaster” are ready to be prodded and unpacked. Who is she singing about when she calls out a person who is “all snakes no ladders”? Social media will rush to connect the dots between this track’s pointed, concise lyrics and JADE’s fractured relationship with former bandmate Jesy Nelson, who she is no longer in touch with. Zoom out, though, and digest the ghostly production – all contemplative percussion and vocal yearning. “FUFN (F–k You For Now)” On the cutting and vulnerable “FUFN (F–k You for Now”), JADE continually reaches for moments of emotional intensity. At times, the track veers on a hammed-up pastiche of early Lady Gaga, but its stomping, high-octane production provides fertile ground for its author to sift through the hard work of industry burnout and the mental toll it leaves in its wake. “Self Saboteur” Every pained admission of desire, security, or dwindling self assurance throughout “Self Saboteur” is compounded by a ripple of keys or a swirling falsetto, allowing the song to swell into something luxurious but still light on its feet. JADE takes us through the bustling streets of her mind, slipping past rainfall and wildfire; it’s a trip that’s as intoxicating as it is confounding. Her voice is so careful here that it suggests a dam straining to hold back a flood. “Glitch” “Glitch” is a song of relief, where articulating what you need can help reclaim a confidence you once believed to be lost forever. “Get out of my head/ Get out of my f–king skin,” JADE coos, as much directed to an ex as to her own demons. Over euphoric icy, arpeggiated synths, her pleas twirl and glide in a state of determination. Her voice, too, sounds different: It’s almost inhuman, humming in a rhythmic and robotic pattern. “Lip Service” JADE doesn’t play coy about what she wants from a partner on “Lip Service,” a no-frills standout. The focus is on celebrating sexual versatility with metaphor: primarily juice, and lips that are underworked. She takes her task extremely seriously, playing around with layered harmonies and a pitch-shifted vocal flourish. Pop is a long-explored touchstone for excess and emancipation, an idea that JADE appears to have firmly signed up to. “Plastic Box” The core signifiers of a Robyn classic – tingle-inducing electronic shimmers, gently pulsating synths, a whispery vocal – are all embedded within “Plastic Box,” which, thematically, also follows the Swedish icon’s trademark mix of despair and steely determination. Written with Lauren Aquilina, also a keen student of pop’s past and present, the track shows a brilliant new shade of melancholy for JADE. “Silent Disco” On “Silent Disco” JADE sings her way through personal challenges with a delicate, bruised strength. She taps into the isolating pursuit of inner peace as the song begins to sound a yearning for release, falling deeper into the connection she shares with the person she holds closest. Towards the end, she flaunts the full extent of her range with whistle notes, highlighting an underappreciated ability to convey

Young Thug has seemingly seen the world around him crumble with every misstep and leaked jail phone call. But now, he’s looking to right his wrongs and change the narrative. Explore See latest videos, charts and news Thugger returned with the apologetic “Man I Miss My Dogs” on Thursday night (Sept. 11), which is an apology tour of sorts, as he addresses his trials and tribulations with girlfriend Mariah The Scientist, Drake, Gucci Mane, 21 Savage, Future and Lil Baby. The YSL boss kicks off the seven-minute track apologizing to Mariah The Scientist, as he hopes to win her back after the singer stuck by him throughout his two-year-plus jail stint fighting the YSL RICO case. “Baby I’m sorry, one of my biggest fears is losing you to the internet/ One of my biggest fears is waking up in our bed without you right by my neck/ Saying don’t you break a sweat, pillow talking ain’t my game,” a beaten-down Thugger melodically raps. Thug also shows love to Drake, whom he allegedly dissed in a jail call, for visiting him when he was behind bars. “Drizzy, you my brother/ You know I ain’t going against you/ I got manners/ Everything you did for the rap community can’t ban you/ Never diss you/ Came to visit me at Cobb County like my kin do/ F— the jail call, you know the other calls we had,” he raps. Next, he moves to Lil Baby, as it appears that WHAM isn’t picking up his phone calls at the moment. There’s been a clear divide in the friendship of the once powerful triumvirate of Thug, Baby and Gunna since the RICO case. “WHAM pick up the phone, yeah talk to me it’s Spider/ Taught you everything you know about this s—t we for lifers,” Thug implores. He also attempts to clear the air with 21 Savage, letting the Slaughter Gang honcho know they’re on good terms. “Savage you a real n—a/ Don’t let them tell you different,” Thug proclaims. After plenty of chatter, Thug is attempting to finally control his narrative and the reclamation of the Atlanta rapper is on. He’ll have plenty more to say, as the long-awaited UY SCUTI album is slated to arrive on Sept. 19. Watch the “Man I Miss My Dogs” video below. Source link

Ice Cube is back and he’s taking no prisoners with his latest politically-charged effort, Man Up, which serves as the companion album to his 2024 Man Down project, which arrived on Friday (Sept. 12). Explore See latest videos, charts and news The Compton native stars front and center on the 14-track album, leaning on Houston rap legend Scarface for a rare assist. “I’ve always stood on speaking truth to power and making music that reflects reality,” Cube said in a statment. “Man Up is about accountability, resilience, and reminding people where the real problems come from. Hip hop didn’t create the struggle — it gave us the language to call it out.” Other standout moments on the project find Cube flipping Patrice Rushen’s 1982 “Forget Me Nots” for “California Dreamin” and he recruits Nova Scotia’s Quake Matthews, who was the winner of his fan verse challenge, and doesn’t waste his once-in-a-lifetime opportunity on “It’s My Ego 3Mix.” Billboard caught up with Cube last year, when he teased Man Up, which he explained being inspired by America getting a little too soft for his liking. “It’s about men not accepting nonsense and speaking up and not just taking a backseat letting other people take the lead,” he said at the time. “We gotta take the lead.” Cube is getting back on the road for Four Decades of Attitude Tour, which will find the N.W.A. legend invading arenas across North America. The trek is set to kick off in Denver on Sept. 16 and make stops in Seattle, Oakland, Los Angeles, Glendale, Chicago, Toronto, Atlanta, Austin and Houston. Stream Man Up below. Get weekly rundowns straight to your inbox Sign Up Source link

Mexican star Carín León is set to make history as the first Latin artist to perform at Sphere in Las Vegas. The Sonora-born, música Mexicana hitmaker announced on Thursday (Sept. 11) a run of shows in the groundbreaking venue that will take place Sept. 11-13, 2026. Produced by AEG Presents, the three back-to-back dates will be part of Las Vegas’ annual Mexican Independence Day weekend festivities. According to a press release, fans will experience visual displays and staging “never before seen” in Spanish-language music, where León will utilize Sphere’s “next-generation” technology, including the world’s highest-resolution LED display that wraps up, over and around the audience, “creating a fully immersive visual environment.” Sphere officially opened in September 2023 and has since hosted residencies by U2, Backstreet Boys and the Eagles, to name a few. Becoming the first Latin artist to perform there is another milestone and history-making feat for León who, in March 2025, became the first Mexican artist to perform on the main stage at the RodeoHouston, while setting a historic attendance record for a Hispanic artist by drawing over 70,000 people. “I need to change the game,” León told Billboard about his global vision back in June. “I’m hungry to make history, to be the one and only. I’m so ambitious with what I want to do with the music. It’s always the music. She’s the boss.” Most recently, León, known for his signature norteño sound, fused with R&B, country and pop, released his latest cross-genre collaboration, “Lost In Translation,” with Kacey Musgraves. Presale for León’s Sphere dates will begin Sept. 23 at noon PT. Tickets go on sale to the general public Sept. 26 at noon PT at CarinLeon.com. Carín León is set to speak at the 2025 Billboard Latin Music Week, slated to run Oct. 20-24 at the Fillmore Miami Beach. The week will feature panels, live performances, workshops, and networking events, wrapping up with a special celebration concert on Oct. 24. The event aligns with the 2025 Billboard Latin Music Awards, airing live from Miami on Thursday, Oct. 23 on Telemundo and Peacock. Tickets for Latin Music Week 2025 are now available at BillboardLatinMusicWeek.com. Source link

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