That Aug. 5 Los Angeles concert was supposed to be the kickoff for the band’s the Big One tour. But a spokesperson for the band says that frontman Billy Gibbons and bassist Elwood Francis will continue the tour.
Michael Monahan will substitute for Beard for the remainder of the Big One, which will conclude its U.S. run on Oct. 9 in Port Wentworth, Ga.
The band has not said that it will reschedule the L.A. show, and all tickets, including transportation and parking passes, were being automatically refunded, according to the Hollywood Bowl.
Gibbons previously posted on Instagram that there were unexplained “insurmountable obstacles” leading to the band’s sudden cancellation at the Hollywood Bowl.
The band has released no details on Beard’s condition, although this is not the first time the drummer, 77, has faced health-related issues in his long tenure with the band. Beard joined ZZ Top in 1969, soon after the band formed, replacing founding drummer Dan Mitchell.
In March 2025, the Texan trio announced via its Instagram that Beard would temporarily step away from the band’s Elevation tour to tend to a health issue, which was later revealed to be foot and ankle problems. John Douglas — a longtime tech member, percussionist and drummer — replaced Beard in the interim, having done so previously when the veteran drummer underwent an emergency appendectomy in 2002.
In ZZ Top’s early days — following the release of the 1976 album “Tejas” — Beard dealt with issues related to substance abuse that led to the band’s three-year hiatus, which he and his bandmates opened up about in the 2019 documentary “ZZ Top: That Little Ol’ Band From Texas.”
“Frank goes all out on what he does and that includes the bad things,” bandmate Dusty Hill, who died in 2021, said in the documentary. “He was sick. If you’re a very good friend, you love a guy, you don’t want to see him die. You just want to see your brother get well.”
The Grammy-nominated band, which formed in Houston, is known for its edgy blues twang in popular singles including “La Grange” and “Tush” and across 15 studio albums. In November, ZZ Top will close out the Big One tour with eight performances across Mexico and South America.
ROD Stewart has sparked concern for his health as he pulled out of a second concert in a week over a mystery medical issue.
It’s been revealed 81-year-old rocker has pulled out of his August 9 gig at the Riverbend Music Center in Cincinnati.
Rod Stewart has told fans he has no plans to fully retire from music or performing all togetherCredit: GettyFans have shared their concerns for rocker Rod Stewart’s health on social mediaCredit: Getty
The organisers of the event announced the shocking news yesterday – the day of the gig.
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They confirmed Rod was undergoing an “unforeseen but minor medical procedure.”
The venue shared a statement on social media, which said: “Due to an unforeseen but minor medical procedure that required prompt attention, Rod Stewart’s performance tonight in Cincinnati has been postponed.
Following the sad news, Rod also postponed his concerts at Red Rocks Park and Amphitheatre in Morrison, Colorado in June, citing vocal rest.
He has repeatedly told fans that while he is winding down large-scale global arena touring, he has no intention of fully retiring from music or performing altogether.
Rod Stewart, who is married to TV personality Penny Lancaster, shot to fame in 1971 following the release of his debut album, Every Picture Tells A Story.
His biggest hits include Maggie May, Sailing and Da Ya Think I’m Sexy?
Over his six-decade career, he’s sold over 250 million records worldwide, been inducted into the Rock and Roll Hall of Fame twice, and received a knighthood in 2016.
THIS was the moment thousands of disappointed music fans were left drastically booing after an iconic music act’s gig was cut short.
Fans who had descended on Milton Keynes to see The Fugees perform were left stunned when the concert was pulled after less than an hour.
Fans were left fuming and BOOED as The Fugees’ concert was cut short after less than an HOURCredit: SuppliedLauryn Hill and Wyclef Jean had been performing for less than an hour before the set abruptly came to an endCredit: Splash
Sounds of boos echoed around the Milton Keynes National Bowl from disgruntled fans who were left saddended that the performance by Lauryn Hill and co. had been sensationally axed.
The venue was forced to end the concert early due to licensing restrictions which prevented it from continuing on past 11pm.
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Lauryn Hill, 51, and Wyclef Jean, 56, took to the stage shortly after 10pm, following an introduction from comedian Dave Chappelle – leaving little time for them to complete their full performance.
Fans were left bitterly disappointed when the pair were unable to perform some of the group’s biggest hits, including their 1996 multi-platinum smash Killing Me Softly With His Song as a result of the venue curfew.
A notice was issued on the screens with the pair’s microphones switched offCredit: SuppliedFans were left gutted at how the concert came to a closeCredit: Splash
The pair, who first reunited in London ahead of the music and arts festival, attempted to address the crowd but their microphones were switched off.
Moments later, the giant on-stage screens also went black at the 65,000-capacity venue.
Fan-shot footage showed the pair complain to the crew on stage, with Lauryn pleading to finish the set as boos rang out across the crowd.
Lauryn did remain on the stage, according to eyewitnesses, thanking fans as they broke into an impromptu a cappella rendition of her hit, Ready Or Not.
Speaking following the abrupt end to the show, Wyclef Jean told us: “We’re really sad how it ended.
“We was just getting started, so we’re hoping to continue next year.”
He added: “We had so much surprises on the line up and everybody showed up and we really felt the crowd, that love and that energy, it’s something that they need, something they feel, it just reminds you of unity.
“With so much division, the diaspora calling is just to remind everybody to come together.”
Prior to the disruption, Lauryn performed a packed set featuring tracks from her landmark 1998 debut album The Miseducation of Lauryn Hill, including Doo Wop (That Thing) and Ex-Factor.
She was also joined on stage by her sons, including Zion Marley and YG Marley — but some fans were left criticising the additional performances for eating into the Fugees’ already limited set time.
For San Francisco fans of Lionel Richie and Earth, Wind & Fire, the party at Chase Center ended before it even started.
Earth, Wind & Fire abruptly called off its concert at the NorCal venue on Thursday, notifying fans in a social media statement that the cancellation was “due to a medical emergency involving a member of our band.” A spokesperson for the San Francisco Fire Department confirmed to The Times that personnel were dispatched at 5:30 p.m. to respond to a medical emergency at Chase Center. One person was transported to a hospital via private ambulance, but the individual’s identity was not disclosed. TMZ reported that the Fire Department responded to a “cardiac incident.”
A representative for Earth, Wind & Fire did not provide additional details. The band said in its post that it has rescheduled Thursday’s show for a later date to be announced soon and that tickets will be valid for the new date. “We sincerely apologize for the unexpected change and appreciate everyone’s understanding,” the band said.
Live Nation announced Richie and Earth, Wind & Fire’s joint Sing a Song All Night Long tour in January. The tour kicked off in June but quickly hit a snag when Richie also suffered an unspecified health issue while on the road. Richie, 77, postponed a stop at Chicago’s United Center and another show at the Schottenstein Center in Columbus, Ohio, after he brought his first tour stop to an abrupt end.
The Grammy-winning hitmaker of “Hello” and “Say You, Say Me” unexpectedly stopped the concert at the Grand Casino Arena in St. Paul, Minn., after taking a seat on stage multiple times during his performance of “Dancing on the Ceiling” and telling his audience he felt “dizzy,” according to videos shared on social media.
“When you are feeling dizzy, sit your a— down,” he joked, according to video a fan posted to TikTok. “When you are feeling strange about yourself, sit your a— down.”
TMZ reported at the time that the singer-songwriter was hospitalized after the health scare. Paramedics reportedly met the artist backstage and transported him to a nearby hospital out of precaution. In a statement following the incident, Richie thanked fans for their support and informed them, “I’m doing well, and I’m grateful for all of you.”
The Sing a Song All Night Long tour is slated to continue Saturday at Acrisure Arena in Palm Desert. Richie and Earth, Wind & Fire are scheduled to play the Intuit Dome in Inglewood on Sunday. The tour ends Aug. 14 at the Moody Center in Austin, Texas.
When I pulled into the parking lot near Long Beach’s F&M Bank Amphitheater with just 30 minutes until the opening of the show on a recent Friday, my heart raced.
“Do you think we’ll make it in time?” I asked my boyfriend, worried.
We were heading to Ice Cube and Mike Epps’ “Everyday’s Friday” concert and comedy show — a celebration of the cult classic “Friday” movie franchise — so a huge turnout was guaranteed. And ever since F&M Bank Amphitheater opened earlier this summer, my social media feeds have been flooded with complaints about Long Beach’s new temporary waterfront venue. Concertgoers have cited uncomfortable seating, sky-high parking rates and long shuttle wait times.
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Those comments swirled in my head as I hustled toward the shuttle pickup line near the Pike Outlets. But to my surprise and relief, a bus arrived within a few minutes. After a roughly 15-minute drive through mild traffic, we made it to the venue just in time to see Epps tease a few audience members during his opening comedy segment.
The 11,000-seat F&M Bank Amphitheater has gotten a lot of buzz in the two months it’s been open, with conversations surrounding its funding, noise concerns in the neighborhood and the purpose of the venue for the city of Long Beach. My mission was simply to see what it’s like to experience a show. The verdict? If you’re not expecting luxury and you arrive with a healthy dose of patience, it’s a treat.
Here’s a rundown, starting with getting to the amphitheater. Because the venue doesn’t have its own parking lot, the options are rideshare, the bus, e-scooters, bikes (with storage available at the venue), taking a water taxi ($5 per way) or paying $55 for reserved spaces, then taking the free shuttle.
Walking inside felt less like entering a temporary venue and more like stepping into a mini music festival. The pathway toward the security checkpoint was adorned with a bright abstract mural, hanging lights and swaying palm trees. A display of lowriders greeted us alongside a massive mural of iconic scenes from the film “Friday,” including Cube and Chris Tucker’s legendary “Dammnnnn” moment. Deeper into the grounds, fans delighted in interactive art installations — from a replica of Pinky’s Records & Discs to Craig’s front porch. Nearby were even more classic lowriders that drivers made bounce and dance for the crowd. The layout made the space feel more expansive and interactive than just watching a performance.
The spacious F&M Bank Amphitheater felt like a mini music festival with food trucks, art installations and more.
(Daniel Rojas)
Food trucks and bars were scattered throughout, serving up tacos, burgers, hot dogs and other hand-held bites. I ordered a smashburger with fries — which was decent though the line moved slowly — and paired it with a cocktail, which was moderately priced by L.A. standards ($19 for premium liquor). Grab-and-go beers and seltzers were easily accessible although I didn’t spot any refillable water stations around the venue.
And a major thing to note is the venue’s only restrooms are Porta Potties. I was instantly grateful that I’d brought hand sanitizer as there weren’t any hand-washing stations near the entrance. Fortunately, a second portable toilet area deeper inside the venue had working sinks and held up well throughout the show.
Thousands of fans attended the “Everyday’s Friday” event, which celebrated the “Friday” movie franchise.
(Daniel Rojas)
Much like shows at the Hollywood Bowl, the concert kicked off a few minutes after 7 p.m. With our burgers and margaritas in hand, my boyfriend and I nestled into our seats in the center 300 section, which gave us a clear, unobstructed view of the stage. Thanks to the tiered bleacher-style seating, almost every seat in the house offers a great vantage point. The actual seats were hard and mildly uncomfortable, but we didn’t mind this because we stood up for most of the show. Some attendees opted to hang out at one of the many picnic tables sprinkled around the venue.
By the time Houston rap legend Scarface — who’s known for his use of heavy bass — hit the stage I realized just how crisp the sound quality was. Even when we left our seats for a quick bathroom break, I could still hear the music clearly. The sound combined with lasers and immersive backdrop visuals of scenes from the films elevated the show experience.
Thanks to the tiered bleacher-style seating, almost every seat in the venue offers a great vantage point of the stage.
(Eric Thayer / Los Angeles Times)
It’s difficult to ignore the picturesque views of the harbor and famed Queen Mary, particularly at sunset. (On certain concert days, the Queen Mary offers free admission.) It felt like the perfect setting for a show that celebrated the beloved film, its soundtrack and most importantly West Coast hip-hop culture.
About two-thirds into Ice Cube’s set, I noticed small groups of people sneaking toward the exit. Mindful of the online horror stories about post-show delays, my boyfriend and I decided to duck out early to beat the rush. By the time we made it outside, people were already power-walking toward an expanding line. Security seemed scrambled, first directing a large crowd of us to the far side of the pickup zone, which sparked confusion and frustration, then waving us back. Unlike the Hollywood Bowl, which has fleets of shuttles ready to go, F&M Bank Amphitheater’s shuttle operation felt a bit leaner. Still, a bus arrived within 10 minutes, and despite initially driving to the wrong drop-off spot, the driver quickly course-corrected and got us back on track.
V.I.P Records, a store that helped launch the careers of artists like Snoop Dogg and Warren G, had a booth at the event.
(Daniel Rojas)
As an avid concertgoer, I enjoyed the overall experience at the F&M Amphitheater. It delivered on all the key elements I look for in a show: pristine sound, engaging visuals and a seamless entry. While the venue still has some post-show shuttle kinks to smooth out — an expected growing pain for a new space — it successfully turns a temporary layout into a lively entertainment venue that could soon evolve into a permanent “Long Beach Bowl.” For music lovers and promoters alike, that’s worth celebrating.
ARIANA Grande stopped her concert in Chicago last night to address her fans following the news she’ll take a step back from public life after her current tour.
The 33-year-old is halfway through her Eternal Sunshine world tour and her reps confirmed this week a “much-deserved” break when it wraps in September.
Ariana stopped her concert last night to address the news she’ll take a step back from public life after her tourCredit: XIt comes amid speculation and comments over her appearance, with one online activist claiming the singer was ‘possibly dying right in front of us’Credit: REUTERS
During her show last night, Ariana read out a statement from her phone and said: “The announcement that was made yesterday was not a reactive or impulsive thing.
“It is something that I had decided. It’s a plan that I had quietly made a long time ago, and it’s a decision that was made from a thoughtful and empowered place, and I want you to know that many, many things can be true at the same time.
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“I want to share this because I heard that my fans were worried that negativity was ruining things for me.”
Ariana continued: “This is not what that is and I just want to make that very, very clear. Nothing can be ruined.
“Multiple things can be true at the same time. Boundaries can need to be set. Human beings can need a break sometimes.
“And also, this can be and will continue to be the greatest experience of my professional and creative life.”
Yesterday her reps said: “Ariana will be taking a step back from visibility after she completes the Eternal Sunshine Tour.
“She looks forward to finishing the tour and ending it on a high note, both healthily and happily, and then taking a much-deserved break from public-facing work and appearances, which has led to endless, ongoing public scrutiny.
“This tour has been a beautiful experience for her. She loves her fans and has loved every minute of this tour so much.”
And she will not appear on the red carpet with Robert De Niro and her other co-stars to promote their new movie Focker-in-Law.
The three-time Grammy winner’s decision to step back comes amid speculation and comments over her appearance, with one online activist claiming the singer was “possibly dying right in front of us”.
Ariana Grande delivered a four-minute speech to more than 20,000 of her fans in Chicago on Monday night amid reports that she’s stepping away from the public eye due to online scrutiny.
During the first of three sold-out shows at Chicago’s United Center, the “Break Free” singer stopped the concert to address the widespread speculation surrounding her weekend announcement that she’d be stepping away from the public eye when her Eternal Sunshine tour concludes on Sept. 1.
Grande read the prepared statement from her phone, telling the audience that she didn’t want to get nervous and forget.
“Sometimes when a story comes out that’s not directly from me, things can get a little blown out of proportion,” she said. “So I just wanted to speak to my fans directly tonight because I love you so much.
“So basically, the announcement that was made yesterday was not a reactive or impulsive thing. It is something that I had decided. It’s a plan that I had quietly made a long time ago, and it’s a decision that was made from a thoughtful and empowered place, and I want you to know that many, many things can be true at the same time. I want to share this because I heard that my fans were worried that negativity was ruining things for me, but I just have to say, that could not be more the f— opposite.
“This is not what that is and I just want to make that very, very clear. Nothing can be ruined. Multiple things can be true at the same time. Boundaries can need to be set. Human beings can need a break sometimes. And also, this can be and will continue to be the greatest experience of my professional and creative life.
“I have one more thing to say,” she continued. “No matter what noises exist out there, nothing will ever be able to distort my reality or be more real to me, or louder to to me, than this love that we share, or than how it feels to make art with the people that I love and respect. Absolutely nothing will change that or distort that for me. And I want you to know that. I love you, and this is what I will always take with me and carry with me because the rest of that s— is not mine to carry, so I don’t carry it. I needed to get up here and differentiate that from my truth for you all, because I love you, and this tour has been the most healing, beautiful, corrective, magnificent, special experience and so has putting out [the album] “Petal.” It’s been extraordinary.
“I wish that words were enough to articulate just how much I love you all.”
A representative for Grande on Sunday announced her upcoming hiatus in a statement shared with multipleoutlets.
The announcement coincided with news that the Grammy-winning and Oscar-nominated star would be dropping out of Stephen Sondheim’s West End revival of “Sunday in the Park With George,” in which she was set to star next summer opposite Jonathan Bailey.
Grande “looks forward to finishing [her current] tour and ending it on a high note, both healthily and happily,” the statement said.
Grande will then take “a much-deserved break from public-facing work and appearances, which has led to endless, ongoing public scrutiny.”
The announcement followed the Friday release of Grande’s eighth studio album, “Petal,” and the accompanying music video for the title track in which the pop star takes out a panel of her critics with a chainsaw. In response to the video, fans and foes alike flooded the comments section with remarks about Grande’s appearance and apparent weight loss.
The Times’ pop music critic Mikael Wood wrote of the album, “[T]he pop superstar opens the spigot on what she’s described as an ‘unfiltered rage’ to blast any number of feckless exes, a prying public obsessed with her body and her personal life — and not least herself for allowing anyone the power to hurt her in the first place.”
The anthemic thesis of “La La Land” — the Ryan Gosling/Emma Stone movie musical celebrating its 10th anniversary — became a moment of musical reality in May when a 21-year-old student in Sydney, Australia, was plucked from the crowd at a live concert of the film during intermission. Sterling Nasa proceeded to stun composer-conductor Justin Hurwitz and the 2,000-person audience with his flawless, impromptu performance.
“Jumping into that concert in Sydney, and having an earpiece and seeing all this, was a little bit crazy,” says Nasa with well-mannered modesty, “but we somehow got through it.”
Conductor Justin Hurwitz with pianist Sterling Nasa performing the soundtrack of “La La Land” at the Greek Theatre.
(Ariana Drehsler / For The Times)
Nasa is sitting backstage at the Greek Theatre between rehearsals, preparing to make his Los Angeles debut. After that remarkable incident, an international feel-good news story, Hurwitz invited Nasa to fly out and play the entire concert at the anniversary screening here, in Griffith Park, where many of the film’s iconic scenes were shot.
“He’s playing better than most of the professional pianists I’ve worked with,” says Hurwitz, who regularly conducts “La La Land in Concert.”
“He’s nailing it,” Hurwitz explains during a break. “Those Sebastian solos, the ones that Ryan Gosling plays in the movie, he’s playing those as perfectly and cleanly as I’ve heard them in a very long time. Very few of the pianists I work with around the world — and they’re all great professionals — but very few of them play it this well in sync with the picture.”
Saturday’s rehearsals took place under a scorching sun. Half of the assembled musicians played on the film’s original soundtrack; star trumpet soloist Bijon Watson can even be seen wailing in the Lighthouse jazz scenes. Sitting in the midst of these veteran L.A. sessions players, Nasa looked focused but confident, his youthful face belying his easy, fleet-fingered playing.
Pianist Sterling Nasa heads to the stage Saturday after intermission during the 10th anniversary show featuring a full orchestra and jazz band performing the “La La Land” soundtrack at the Greek Theatre.
(Ariana Drehsler / For The Times)
He flew in from Sydney on Thursday, leaving a rainy Australian winter for a California heat wave. The initial jet leg was rough, he says, but he had mostly adjusted by Saturday. Hurwitz took some one-on-one practice time with him before the orchestra arrived, and Nasa had also been practicing his part for six weeks.
Nasa (an Anglicized Lebanese name) has been playing piano since he was 3. His parents encouraged his musical education, and he’s performed enough in bands and local musical theater not to suffer from stage fright. He also plays the bagpipes, and has played with 300 bagpipers for 10,000 people at the Royal Edinburgh Military Tattoo at Edinburgh Castle.
“I’ve always had a bit of an inkling that I’d love to be a musician,” Nasa says, “or if I can find some opportunity in the artistic world, or in musical theater or in music, that I would love too. But I did sort of get the ‘real’ degree.”
He was finishing his studies in international relations at the University of Sydney when the cosmic moment happened in May. His friend Scarlett was the one who enthusiastically pushed Nasa’s hand up when Hurwitz, panicking, asked if anyone in the audience was an “amazing sight reader.”
“I owe so much of this to her,” Nasa says. “I really probably would not have done it.”
The 10th anniversary show of “La La Land” featured a full orchestra and jazz band.
(Ariana Drehsler / For The Times)
He played the entire second half of the concert that night. (The hired pianist fell ill and had to leave.) Nasa says he thinks Australians were inclined to root for an underdog — “the audience that night really just wanted it to work” — but for this big L.A. moment, “I think now there’s obviously a bit more of an expectation.”
As the twilight concert began, Hurwitz addressed the sold-out Greek Theatre — a lively crowd filled with yellow dresses — and surprised them by announcing that the “kid from Sydney” was here to play the entire show. Nasa absorbed his ovation, then took his bench in the middle of the orchestra with a little monitor displaying the movie on his piano.
He played the melancholy strains of “Mia and Sebastian’s Theme,” a solo piano motif that Gosling’s character plays throughout the film; he accompanied their flirty “City of Stars” duet, and he performed all of Sebastian’s acrobatic jazz solos — many of them meticulously synced to corresponding shots of fingers on a keyboard.
“La La Land” plays on the screen at the Greek Theatre while an orchestra and jazz band accompany the film.
(Ariana Drehsler / For The Times)
The film itself was projected over the stage, but monitors on either side showed Nasa and the other live musicians. A young woman in front of me watched his hands, perfectly aligned with Gosling’s, with her jaw dropped. Nasa never missed a note, and he received another outsized ovation after the rousing end credits.
“I’ve thought a lot about opportunity, and how there’s so much talent in the world,” says Hurwitz, reflecting on the moment in Sydney. “And there’s also so much lost talent in the world, talent that just isn’t realized. And I just love that there was this talented guy, who’s a great musician, but he was in school studying something else — because he didn’t know if he could or should go into music. And then there was this opportunity, and he took it, and he showed everybody — and he showed himself — that he can do it.”
Nasa says he’s not sure what he’ll do now that he’s graduated, but one thing he’s interested in is composing for musical theater — or possibly scoring films.
Country music’s emo cowgirl Megan Moroney canceled her Denver show just a few songs into her set on Tuesday.
The 28-year-old singer was barely able to get through her hits “Stupid,” “Medicine” and “Bless Your Heart” before she broke down in front of the Ball Arena audience and said she would need to nix the gig for health reasons.
A video on TikTok captured the moment Moroney broke the news to concertgoers. “I am obviously extremely sick, and I thought I did everything to make myself better, and obviously, two songs in, I just can’t play this show tonight,” Moroney said. “I will make it up to you guys. I absolutely promise I’ll be back. You’ll be able to come. But I want to give you guys the show you deserve. I’m probably gonna go cry in my dressing room now.”
Fans in the audience could be heard yelling, “No, you got this!”
In a since-expired Instagram story, Moroney apologized again and told Denver fans that the show had been rescheduled for Aug. 27, and that if they weren’t able to make the new date, their tickets would be refunded.
“I never ever will give you guys a show that is not 100% and by song 3 I knew that I was not capable of giving that to you tonight,” she wrote. “I’m typing this as I’m quite literally bawling my eyes out in my dressing room & it hurts me so much to disappoint you all.”
The country hitmaker said she had never had to cancel a show before.
In February, she released her third album in less than three years, “Cloud 9,” which features chart-topper “6 Months Later,” and duets with Kacey Musgraves and Ed Sheeran. The same month, as she geared up for her “Cloud 9 Tour” — which kicked off May 29 in Columbus, Ohio, and concludes Oct. 1 in Belfast — she told The Times that she copies Kenny Chesney when training for the run of back-to-back performances and life on the road.
“Lots of cardio,” she said. “Treadmill while singing. Lagree three to four times a week.”
If you’re unfamiliar with Lagree, Moroney said it’s “like Pilates but harder.”
“There’s a place in L.A. that killed me — I couldn’t walk properly after. If you do Lagree and an ice bath in the morning, then the worst part of your day is already over. That’s how I look at it: Anything that comes my way today will not suck as much as this sucks right now,” she said. “There’s also a diet of some sort — low sugar, no carbs, just meat and vegetables. I’m kind of copying Kenny and his routine because he gets in crazy shape. He does a freaking 31-day juice cleanse. I tried to do a juice cleanse in college, and by Day 2 I wanted to die. I’m not that committed.”
Moroney is slated to hit the stage again on Saturday at the Moda Center in Portland, Ore., before she travels to Seattle, Sacramento and Los Angeles over the next two weeks. She is scheduled to play Crypto.com Arena in downtown L.A. on Aug. 8.
HILARY Duff’s Los Angeles concert took an unexpected turn when two fans were caught on camera launching into a shocking fight in the middle of the crowd.
The dramatic altercation unfolded as the actress and singer performed on stage, leaving fellow concertgoers stunned as the footage quickly spread across social media.
Hilary Duff performs live onstage in Los Angeles, CaliforniaCredit: GettyTwo fans shove and throw punches at each other as secruity are forced to step inCredit: @supjoshie via Storyful
The viral video showed the two fans shoving and throwing punches at each other as the band carried on performing behind them.
One fan, dressed in a shining, shimmering crop top, appeared to have their hair yanked by another concertgoer dressed in black as security rushed in and attempted to pull the pair apart.
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Other concertgoers looked on in shock, with many pulling out their phones to capture the dramatic moment.
Dressed head-to-toe in sparkling sequins, the pair appeared to be devoted Hilary Duff fans before the shocking altercation unfolded.
It’s unclear exactly when the altercation broke out, as Hilary Duff is not visible in the footage.
However, members of her band can be seen on stage, suggesting the fight erupted during a transition between songs.
Hilary recently wrapped up two sold-out shows at The Forum on Wednesday and Thursday, with a host of famous faces spotted in the crowd.
Among those in attendance were Mandy Moore, Meghan Trainor and Demi Lovato, who all turned out to support the singer’s long-awaited return to the stage.
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The singer is currently on the road for her first tour in nearly two decades, and fans couldn’t be happier to see her back on stage.
Hilary began her career playing the titular character on the Disney Channel series Lizzie McGuire before transitioning into music.
She took an extended break from singing to focus on acting, writing, and raising her family.
Hilary sang both her older classics and new tracks from her sixth studio album, luck… or something, released in February.
At the beginning of her concert, the passionately packed crowd sang along to her hit tracks, including Wake Up and So Yesterday, from her debut album Metamorphosis, which she released in August 2003.
She also belted out the slightly raunchier lyrics to her new single, Roommates, while rolling around on the stage.
The singer put on an impressive showing at the famed Los Angeles venue, stopping the show at several times to express her gratitude to the 20,000 screaming fans.
At one point, the former child star even teared up when discussing how much it meant to her to have people in the crowd who have followed her life for decades.
Also in the crowd was her family, including husband Matthew Koma – whom she created her latest album with.
Hilary has spoken about the lyrics of her newer songs reflecting her vulnerability and personal challenges during her 18-year hiatus from singing.
Lionel Richie appears to be on the mend from the unspecified health issue that prompted him to cancel a pair of concerts in June.
The 77-year-old Grammy-winning “Hello” and “All Night Long” singer on Sunday thanked fans for “every message, every kind word and for all your love” on Instagram, sharing photos from recent concerts. He also seemingly addressed his health, writing, “I’m doing well, and I’m grateful for all of you.”
In late June, Richie unexpectedly hit pause on his concert at the Grand Casino Arena in St. Paul, Minn., after taking a seat on stage multiple times while performing “Dancing on the Ceiling.” According to videos shared on social media, the singer told his audience that he felt “dizzy.” Later in the evening saxophonist Dino Soldo told concert attendees that Richie was “not feeling well” and would not continue the show.
TMZ reported at the time that the singer-songwriter was hospitalized after the health scare. Paramedics reportedly met the artist backstage and transported him to a nearby hospital out of precaution. Richie then postponed his following concerts at Chicago’s United Center and the Schottenstein Center in Columbus, Ohio. He returned to the stage June 30 for his show in Pittsburgh.
“Pittsburgh and Detroit were an absolute joy,” Richie said Sunday of his recent concerts. “The energy, the dancing, the faces in the crowd … we made real memories together.” The singer also performed in Toronto on Saturday and in Montreal on Sunday. He is next set to perform in Boston on Wednesday.
Live Nation unveiled Richie and Earth, Wind & Fire’s joint tour in January, revealing a 26-city lineup with concerts in Chicago, Orlando, Fla., San Francisco and Los Angeles. Richie and the group are scheduled to play Inglewood’s Intuit Dome on Aug. 9. The tour ends Aug. 14 with a show at the Moody Center in Austin, Texas.
Gustavo Dudamel’s farewell to Los Angeles will also function as a benefit for his homeland of Venezuela, which suffered catastrophic losses from twin earthquakes in late June.
Dudamel and the Los Angeles Philharmonic announced Monday that the beloved composer’s final Hollywood Bowl performance as the orchestra’s music and artistic director, originally programmed as “Celebrating Gustavo at the Bowl: A Musical Legacy,” will instead be called “A Concert for Venezuela.” Still scheduled for Aug. 23, the show will raise funds for communities affected by the earthquakes.
“Venezuela will always be my home, and every moment, my thoughts are with the families whose lives have been forever changed by this tragedy,” Dudamel said in a statement. “The suffering is immense, but so is the strength and resilience of our people. This concert at the Hollywood Bowl is an invitation to stand together and transform our compassion into action.”
A full program and special guests will be announced later. Dudamel and the musicians will contribute their time and services free of charge.
Donations will benefit Dudamel’s Earthquake Recovery to Support Venezuelan Communities fund, in partnership with the United Nations Development Programme and the Development Bank of Latin America and the Caribbean fund. The L.A. Phil will contribute $50,000 to the fund, announced President and Chief Executive Kim Noltemy.
“In moments of profound need, our responsibility as an institution extends beyond the stage,” she said. “We are grateful for the opportunity to provide direct financial support to relief efforts for communities in Venezuela with a $50,000 charitable donation and to stand alongside Gustavo in bringing this concert to life at the Bowl.”
Twin earthquakes on June 24 devastated Venezuela, with more than 3,300 deaths and more than 30,000 people reported missing. As international rescue teams depart and locals are left to search through rubble, Venezuelans abroad, including L.A. restaurants, have looked for ways to send support.
Dudamel, who was born and raised in Barquisimeto, Venezuela, wrote in a 2015 op-ed for The Times that he is a “product” of El Sistema, the country’s government-funded youth music program. He has been the music director of the Simón Bolívar Symphony Orchestra since 1999.
NE-YO and Akon fans have been left feeling furious after their concert started two hours late – and the stage was still being built as they arrived.
The Grammy award-winning hitmakers are undertaking their global tour but some fans said it was past their bedtime before one of their gigs even began.
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Ne-Yo and Akon fans have been left feeling furious after their concert started two hours late – and the stage was still being built as they arrivedCredit: GettyThe Grammy award-winning hitmakers are currently undertaking their global tour but some fans said it was past their bedtime before one of their gigs even startedCredit: TikTok/@vanessa.francone
The much anticpated Nights Like This concert was advertised as starting at 8pm but at 10pm the organisers were still testing the equipment and setting up the stageCredit: GettyHundreds of ticket holders were not allowed into the lower floor while the organisers were lifting heavy speakers for health and safety reasonsCredit: GettyFans explained it was past their bedtime and they wanted to go homeCredit: GettyThe show eventually started at 10:45 and ended at 12:45 in the morningCredit: Getty
Another added: “And their audience is definitely 30-45, we are going to bed.”
A third said: “Right it’s past my bedtime already. Lol.”
A fourth wrote: “I’d be going home.”
A fifth explained: “I’d ask for a refund!”
While a sixth exclaimed: “How disrespectful. You pay for a show to be at a specific time. I’d want a refund!”
A seventh wrote: “Ye-No I’m leaving.”
However, another fan posted an update shortly afterwards and explained that the show eventually started at 10:45 and ended at 12:45.
She said: “People were on the floors. 100s were not allowed to sit until the stage was completely set up (safety).”
A fan replied: “My best friend had surgery 2 weeks ago and was so sore from having to stand for so long.”
Another said: “Oh heck no, I would have raged having to wait that long to be let in! Would have left honestly.”
While a third said: “Yeah i was kind of p***ed cause i wasn’t allowed to my floor seat until 10:45!!! It was a good show.”
TAYLOR Swift is used to being greeted by deafening cheers from thousands of adoring fans.
So the pop superstar was in for a surprise when she was met with a chorus of boos during a recent appearance.
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Taylor Swift’s tribute drew a mixed reaction from the crowdCredit: GettyThe superstar thanked Alan Jackson for his decades of musicCredit: Getty
The 36-year-old appeared on the big screen with a pre-recorded video message paying tribute to country music legend Alan Jackson at his farewell concert in Nashville.
But while many in the crowd cheered, others loudly booed as Taylor thanked the singer for his decades-long career.
In the message, she said: “Hey Alan, it’s Taylor. I just want to say thank you for your decades of unbelievable songwriting and your performances, and the ways that you’ve given so much to us, the fans.”
The mixed reaction was clearly audible as her message played.
Alan Jackson took to the stage for his emotional farewell showCredit: APTaylor’s appearance came amid reports she’s preparing to marry Travis.Credit: AP
Alan, who has sold more than 75 million records worldwide, is best known for hits including Chattahoochee, Livin’ on Love, Where Were You (When the World Stopped Turning), It’s Five O’Clock Somewhere and Remember When.
Stars including Luke Bryan, Carrie Underwood, Lainey Wilson and Lee Ann Womack performed during the emotional farewell show.
Video tributes also poured in from Keith Urban, Zac Brown, Kenny Chesney and NASCAR legends Jeff Gordon and Dale Earnhardt Jr.
Alan is retiring after a 15-year battle with Charcot-Marie-Tooth disease, a hereditary neurological condition that damages the nerves connecting the brain and spinal cord to the rest of the body.
Taylor’s appearance came as rumours continued to swirl over her wedding to fiancé Travis Kelce, with the superstar believed to be tying the knot in New York on July 3.
Reports have claimed guests were asked to sign non-disclosure agreements when they received their save-the-date invitations, with the ceremony expected to take place at a huge venue such as an arena or museum.
COUNTRY legend Alan Jackson is preparing to take the stage one final time – but behind his emotional farewell has been a grueling 15-year battle with a degenerative nerve disease that has changed his life.
The music icon was diagnosed with Charcot–Marie–Tooth disease in 2011, but kept it private for a decade before publicly revealing the condition in 2021.
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Alan Jackson first opened up about his health and Charcot-Marie-Tooth disease diagnosis when he revealed his diagnosis on the TODAY show in 2021Credit: NBCAlan Jackson performs at Shoreline Amphitheater on July 21, 1991 in Mountain View, CaliforniaCredit: Getty
The hereditary disorder causes nerve damage, mostly in the arms and legs, leading to muscle weakness, loss of sensation, balance problems, and difficulty walking.
Behind Alan’s final curtain call is a brutal health battle that has quietly followed him for more than 15 years.
“It’s been affecting me for years,” he said in 2021 while first revealing the diagnosis on the Today Show.
“And it’s getting more and more obvious. I know I’m not going to be able to tour like I have.”
Alan, 67, also revealed the diagnosis runs in his family, explaining: “I have this neuropathy and neurological disease. It’s genetic that I inherited from my daddy.”
The disease affects balance, coordination, and muscle control – making even simple movement more difficult as it progresses.
For a performer known for commanding massive stages and playing live instruments, the condition has made touring especially challenging.
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Alan has opened up about his struggles, saying: “I know I’m stumbling around on stage. And now I’m having a little trouble balancing, even in front of the microphone.”
Over the years, Alan has continued performing despite worsening symptoms, though he acknowledged the disease has forced him to adjust.
“I don’t feel comfortable,” he said of performing while navigating the disorder. “It’s going to disable me eventually.”
While Charcot-Marie-Tooth does not always directly impact life expectancy, there is no cure, according to the Mayo Clinic.
What is Charcot–Marie–Tooth Disease?
Charcot–Marie–Tooth disease (often shortened to CMT) is a group of inherited disorders that damage the peripheral nerves, which are the nerves outside the brain and spinal cord that control movement and sensation. The condition causes the nerves to send weaker signals to muscles, which can lead to muscle weakness, shrinking of muscles, and loss of feeling, especially in the feet, legs, hands, and arms.
Early warning signs can include:
Frequent tripping or clumsiness
Difficulty balancing
Foot deformities such as high arches or hammertoes
Weakness in the legs or hands
Numbness or tingling
A diagnosis usually comes after a neurological exam, family history review, nerve conduction studies, genetic testing, and sometimes electromyography (EMG).
There is no cure for CMT, and the condition is progressive – meaning symptoms can worsen over time. Treatment focuses on managing symptoms and maintaining mobility through physical therapy, occupational therapy, braces, orthopedic devices, pain management, and in some cases surgery.
The disease is not typically fatal and most people live a normal lifespan, but it can significantly impact mobility, independence, and quality of life as it advances. Because it is genetic, family members may also carry or develop the condition, which is how Alan Jackson said he inherited it from his father.
CMT is one of the most common inherited neurological disorders, affecting about 1 in 2,500 people worldwide.
Symptoms often begin in adolescence or early adulthood, but some people, like Alan Jackson, may not be diagnosed until later in life when symptoms become more noticeable.
Treatment typically focuses on managing symptoms through physical therapy, braces, pain management, and mobility support.
Still, Alan said he has refused to let the diagnosis define him, pushing through multiple tours and live shows while accepting that the end of his road on stage would come in the nearer future.
Now, the singer is set for his final full-length concert, Last Call: One More for the Road – The Finale, on June 27 at Nissan Stadium.
The massive send-off will bring Alan back to Nashville – the city where his career first took off – and feature an all-star lineup including Luke Bryan, Eric Church, Luke Combs, Miranda Lambert, George Strait, Carrie Underwood, Lainey Wilson, Little Big Town, Thomas Rhett, Jake Owen, Jon Pardi, and Lee Ann Womack.
Alan Jackson’s final concert ever will include a superstar lineup of his friends for Last Call: One More For The RoadCredit: Instagram / officialalanjacksonAlan Jackson performs onstage at The 56th Annual CMA Awards at Bridgestone Arena on November 09, 2022 in Nashville, TennesseeCredit: Getty
The sold-out show will begin in the early evening and rock on all night, with more than 50,000 fans expected in attendance.
And for those who can’t make it in person, the historic farewell will be filmed for an NBC primetime special titled Alan Jackson: The Last Show, before streaming the following day on Peacock.
For the country crooner, it’s a full-circle moment – and the closing chapter of one of music’s most enduring careers.
The Georgia native has sold more than 75 million records worldwide, with a staggering 35 Number 1 hits and 50 Top 10 singles to his name.
Alan Jackson performs live on stage during the 2015 Country Music Awards festivalCredit: AlamyAlan poses with his wife, Denise, and their daughtersCredit: Facebook / Alan Jackson
He’s won two Grammy Awards, 16 CMA Awards, 17 ACM Awards, and was inducted into the Country Music Hall of Fame in 2017.
The singer is also a member of the Grand Ole Opry and has long been praised for helping preserve traditional country music through hits like Chattahoochee, Livin’ on Love, Remember When, and Where Were You (When the World Stopped Turning).
Alan has long credited his family as the backbone of his decades-long career.
He has been married to his high school sweetheart, Denise Jackson, since 1979 after the pair met as teenagers in their hometown of Newnan, Georgia.
Denise famously helped launch his music career after running into country legend Glen Campbell on a flight and passing along Alan’s demo – a moment that helped change their lives forever.
Together, Alan and Denise share three daughters: Mattie Jackson Smith, Alexandra Jane Bradshaw, and Dani Grace Jackson.
Lionel Richie brought the first stop on his summer tour with Earth, Wind & Fire to an abrupt stop Wednesday evening, citing his health.
The 77-year-old Grammy winner, hitmaker of “Hello” and “Say You, Say Me,” unexpectedly hit pause on the concert at the Grand Casino Arena in St. Paul, Minn., after taking a seat on stage multiple times during his performance of “Dancing on the Ceiling” and telling his audience he felt “dizzy,” according to videos shared on social media.
“What I have learned about my years of being in the business, when you are feeling dizzy, sit your a— down,” he joked, according to a TikTok posted Wednesday evening by user ynaffitmocha. “When you are feeling strange about yourself, sit your a— down.”
Moments later, saxophonist Dino Soldo informed the audience that the singer was “not feeling well” and would not continue the concert. A representative for the singer did not respond to a request for comment, but TMZ reported on Thursday the singer-songwriter was hospitalized after the health scare. Paramedics reportedly met the artist backstage and transported him to a nearby hospital out of precaution.
A spokesperson for the Saint Paul Fire Department did not immediately respond to a request for confirmation on Thursday.
Live Nation announced “American Idol” judge Richie and Earth, Wind & Fire’s joint tour in January, unveiling a 26-city circuit that includes stops in Chicago, Orlando, San Francisco and Los Angeles. Richie and the “September” group are next set to perform at the United Center in Chicago on Friday and again at Schottenstein Center in Columbus, Ohio. It is currently unclear whether Richie will resume performing for those concerts.
Richie and Earth, Wind & Fire are scheduled to play Inglewood’s Intuit Dome on Aug. 9. The tour ends Aug. 14 with a show at the Moody Center in Austin.
LIONEL Richie has been reportedly taken to hospital after he took a funny turn on stage and was forced to end the concert.
The 77-year-old was performing at the Grand Casino Arena in Minnesota when his ill spell happened and had to take a moment to sit down.
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Lionel is touring his Sing A Song All Night Long show throughout the summer (pictured in May)Credit: GettyThe Commodores frontman was performing in Minnesota when he had to cut the gig early due to a dizzy spell (pictured back in April)Credit: Getty
TMZ reports that the star halted his gig and was attended to paramedics backstage where he was subsequently sent packing to hospital.
Sources told the publication that the hospital trip was part of a precautionary measure.
The Sun has contacted representatives for Richie for comment.
In a video from the gig shared online, the music icon is seen attempting to finish performing his hit Dancing On The Ceiling while sat on the steps leading up to the live band.
Lionel had to sit down while singing hit song Dancing on the CeilingCredit: GettyThe 77-year-old was subsequently taken to hospital in an ambulance after the funny turnCredit: Getty
While he got back to his feet to carry on, he was forced to sit down again amid a second dizzy spell.
He is seen in the footage catching his breath, perched on the edge of the stage, while trying to continue with the song.
As explained in the post shared to X, Lionel managed to perform one more song, sat at the piano.
After departing the stage, Lionel’s saxophonist Dino Soldo told the crowd that the hitmaker wasn’t feeling well and wouldn’t be returning to the stage, ending the show.
Lionel was appearing with Earth, Wind & Fire as part of their joint tour hitting 26 venues across the States.
The Easy musician is next expected to appear for a gig in Chicago on Friday night.
NEW YORK — A 51-year-old man fell to his death from an upper deck of Madison Square Garden during a rock concert Saturday night, police said.
Officers responding to a 911 call around 9:51 p.m. found the man unconscious and unresponsive with injuries indicating a fall from an “elevated position,” New York City police said. Police did not say how far the man fell, but said he was in Section 300. They declined to release his name.
The man was with his wife, according to police. He was taken to a hospital, where he was pronounced dead.
The rock band Goose was performing. In a statement on Facebook, the band said it was “deeply saddened and heartbroken to learn of the tragic event that occurred.”
A waterfront amphitheater roughly twice the size of the Greek Theatre and two-thirds the size of the Hollywood Bowl is set to open this week in Long Beach — and there’s a lot riding on its success.
City leaders hope F&M Bank Amphitheater of Long Beach, located next to the famed Queen Mary, will supplant declining revenues from oil extraction and lead to an uptick in tourism. Concert promoters, meanwhile, see it as filling an important gap in Southern California’s music venue market.
The temporary amphitheater, which has a maximum capacity of 11,000, is meant to be a precursor to a permanent “Long Beach Bowl,” which is being pitched as the largest waterfront venue on the West Coast. The site opens June 6 with a performance by native son Snoop Dogg, and is expected to last for up to 10 years.
The new amphitheater represents a years-long dream of Mayor Rex Richardson, who began championing an outdoor performance venue on the waterfront in 2023. Soon after the closure of Irvine’s FivePoint Amphitheatre in October of that year, he accelerated those plans by proposing this facility. The general feeling was that Irvine’s loss could be Long Beach’s gain.
“This will be a place where memories are made, where music brings people together and where our city shows up on the big stage,” he said during a January groundbreaking. “The amphitheater represents direction to invest in our city’s future, to embrace our creative economy [and] to shape how people experience Long Beach for generations to come.”
Good vibes by the water is the driving energy behind the temporary venue.
(Eric Thayer / Los Angeles Times)
While Los Angeles and Orange County have no shortage of cavernous indoor arenas, the region has recently lacked a proper “summer shed” capable of hosting many national amphitheater tours, said Nick Storch, head of global artist development for booking agency Independent Artist Group. Those tours typically play venues larger than the Greek, Irvine’s Great Park Live or Costa Mesa’s fairgrounds-adjacent Pacific Amphitheatre, but smaller than the Hollywood Bowl.
Such tours, Storch said, are of “massive” importance to the concert industry. “With amphitheaters, it’s not just the music — it’s the experience of being outside and watching a concert, getting a bite to eat with your friends and all those kinds of things,” said Storch, whose agency’s clients Motley Crue and Five Finger Death Punch will perform at the F&M Bank Amphitheater in September.
“FivePoint was a great venue to help artists that are in that in-between stage, and not fully ready for arenas,” he said. “Long Beach having an amphitheater is going to grow the market again.”
Amphitheaters are also crucial to veteran artists with established fan bases. The long-running hard rock band Tesla — who also will perform at the F&M Bank Amphitheater in September — has not played a show in Los Angeles or Orange counties since the closure of FivePoint, which hosted the group twice.
Brian Wheat, the band’s bassist and manager, said he’s excited the new venue will help change that. “Sheds are great in the summertime, and outdoor summer gigs always create a great atmosphere for both bands and fans,” he said.
Much like the F&M Bank Amphitheater, FivePoint Amphitheatre was designed to serve as a temporary venue following the closure of Irvine Meadows Amphitheatre, which operated from 1981 to 2016. (From 2000 to 2014, it was known as Verizon Wireless Amphitheater.)
At 11,000 seats, the amphitheater is roughly two-thirds the size of the Hollywood Bowl. Its permanent replacement will be “architecturally iconic,” said Mayor Rex Richardson, while this temporary version is likened to a “summer shed.”
(Eric Thayer / Los Angeles Times)
From its opening in October 2017 until its closure, FivePoint hosted nearly 500 concerts, including artists such as KISS, Dave Matthews Band, Charlie Puth, Morgan Wallen and Luke Combs.
Venue operator Live Nation — which manages more than 300 facilities across the country — initially hoped to build a permanent amphitheater nearby, but scrapped those plans in 2023 after the Irvine City Council ended negotiations. Soon after, Live Nation announced the venue would shutter.
After learning of Live Nation’s fallout with Irvine, Richardson and members of his economic development team attended the final FivePoint concert, a performance by the Zac Brown Band, to “explore the feasibility if we were to do the same thing.”
Three months later, Richardson announced plans to build a temporary amphitheater in Long Beach to bridge the gap until a permanent facility — which he envisions as an “architecturally iconic and significant” waterfront venue akin to San Diego’s Rady Shell at Jacobs Park — can be permitted, financed and constructed.
The site’s location is central to its appeal, said Dan Hoffend, executive vice president of North American venues for Legends Global, the operator for F&M Bank Amphitheater. “If you sit in the very top row — what you would consider the worst seat in the house — it’s a spectacular view,” he said. “The Queen Mary is sitting there in all its glory. You’re looking across the harbor. What would be perceived as the worst seat is actually the best seat because you see it all.”
Long Beach Mayor Rex Richardson, left, and amphitheater general manager Tra Jones sit in the stands. Even from the nosebleeds, you still have a view of the waterfront at the F&M Bank Amphitheater.
(Eric Thayer / Los Angeles Times)
Tra Jones, general manager of the new amphitheater and a Long Beach native, said he’s striving to make it feel less stopgap and utilitarian than FivePoint.
“It doesn’t have a temporary feel at all,” he said. “We looked at all our surroundings and said, ‘What does this look like from a stylistic point of view?’ We leaned into the port/SteelCraft vibe — a very cool industrial look. When you walk in, you’re experiencing a vibe. That’s what we want to resonate with concertgoers coming here.”
The word “vibe” also pops up frequently in conversation with Richardson. Under his watch, Long Beach recently started branding itself as “Vibe City,” which he said is an attempt to encapsulate the charm of L.A. County’s second-largest city, and the state’s seventh-largest.
“Long Beach is special, but it’s hard to explain why if you haven’t been here,” he said. “Because you have to experience it for yourself, the best way to describe it is that it’s a vibe.”
Still, Richardson is aware that vibes can only go so far. During an April meeting with residents of downtown Long Beach, attendees were more interested in discussing homelessness and a recent uptick in traffic fatalities than how a new concert venue might add to the city’s cultural cachet. Some downtown residents have circulated a petition regarding noise-related concerns.
“The job of the mayor is to meet the needs of your residents today — keeping a roof over your head, making sure it’s safe to walk down the street, making sure you have access to amenities and services in your community — but also to think about the future,” he said.
That means finding a way to offset revenues from oil extraction, which currently finance many municipal services, and are projected to drop from more than $50 million annually to around $21 million by 2035. According to Richardson, the new amphitheater — managed by Legends Global, but owned by the city — will help cover that shortfall. The venue is projected to be profitable within five years and generate nearly $29 million in revenue by 2036.
Oil revenues, which pay for city services, are projected to drop by more than half. The amphitheater is being pitched as a budget gap solution.
(Eric Thayer / Los Angeles Times)
“We were fortunate that revenue from oil provided a lot of our services and built our beautiful waterfront, but as California moves away from oil production, we have to plan a more sustainable future by investing in what we know will be here in the long haul,” Richardson said. “In order to do that, we have to invest in arts and culture and tourism.”
Richardson is betting on music at a time when other cities — including Los Angeles — are doubling down on sports, warehousing or data centers. The amphitheater is also meant to remind the world of the city’s impact on pop culture.
From War to Warren G and Sublime to Snoop, Long Beach has a rich musical history. The city hosted the first concerts by the Beach Boys and No Doubt, while Rock & Roll Hall of Famers Elvis Presley, the Eagles and Iron Maiden all graced the stage of the Long Beach Arena.
While that venue currently holds more conventions than concerts, Long Beach has hosted notable outdoor music festivals in recent years, including Warped Tour, Day Trip and Dreamstate. Richardson believes the success of those events helped prove the city’s viability as a concert destination.
“This is the first step toward a legacy of leaving our city in a more economically resilient position,” Richardson said. “At every big turn in our city’s economy, we’ve leaned on arts as a way forward, and this is no different.”
Even the bleacher seats represent Long Beach pride at F&M Amphitheater.
May 30 (UPI) — President Donald Trump announced on Truth Social Saturday that he may take the stage for a rally at the “Freedom 250” event series set for June 25 to July 10 at the National Mall in Washington, D.C.
Trump posted at noon Saturday that “Artists are getting ‘the yips’ having to do with their performance[s]” so he may step in.
“I am thinking about bringing the Number One Attraction anywhere in the World, the man who gets much larger audiences than Elvis in his prime, and he does so without a guitar, the man who loves our Country more than anyone else, and the man who some say is the Greatest President in History (THE GOAT!), DONALD J. TRUMP, to take the place of these highly paid, Third Rate “Artists,” and give a major speech, rallying the Country forward like I have done ever since being President!”
He went on to say he would do an “America is Back” rally on “Wednesday,” though he didn’t clarify which day. It appears he means June 25, which is when Martina McBride was scheduled to perform, though she and Brett Michaels both backed out on Friday.
“Two years ago, the United States was DEAD. Now we have the ‘HOTTEST’ Country anywhere in the World. I don’t want so-called ‘Artists’ that get paid far too much money, who aren’t happy. I only want to be surrounded by Happy People, Smart People, Successful People, and People that know how to WIN. So, by copy of this TRUTH, I am ordering my Representatives to look at the feasibility of doing an AMERICA IS BACK Rally on Wednesday, Washington, D.C., same time, same location. Only Great Patriots invited — It will be a Wild and Beautiful Celebration of America! President DONALD J. TRUMP”
The concerts were scheduled for each Thursday, Friday and Saturday night of the 16-day festival, also billed as “The Great American State Fair.”
As of now, only two artists appear to still be on the bill: Vanilla Ice and Flo Rida.
Spotify Technology SA announced several new initiatives — from concert ticket perks to a major AI-generated music licensing deal — that the Swedish audio streaming company said will help fuel growth over the next four years.
At the first investor day led by new co-chief executives Gustav Söderström and Alex Norström, Spotify outlined a vision revolving around features that will allow people to personalize their listening experience, whether with music, podcasts, audiobooks or working out. Investors liked what they heard, pushing Spotify shares up as much as 18% over the course of the presentation.
Spotify addressed one of Wall Street’s biggest concerns about artificial intelligence by announcing a major new licensing deal with Universal Music Group NV. The agreement will let Spotify launch a tool to let fans create covers and remixes of their favorite songs from artists and songwriters who opt in. Powered by generative AI, the tool will be available as a paid add-on for Spotify Premium users. It will open up additional revenue streams for Spotify and create a new source of income for artists and songwriters on top of what they already earn on the platform, according to the companies.
Spotify has been working with the music industry on ways to harness the power and consumer interest in AI without violating artists’ rights. Last October, the company announced an agreement with the biggest record labels to use AI in a “responsible way,” but didn’t specify at the time what those tools would look like.
“This era of generation doesn’t need to threaten the future of music,” said Charlie Hellman, Spotify’s head of music. “Because we built the system legal, trusted and aligned, we can make sure that the value flows back to the people who created it.”
In another big announcement, the company laid out plans to work with Live Nation Entertainment Inc. to offer Spotify subscribers the option to purchase two tickets to their favorite star’s concert before they go on sale to the general public. The move could help resolve some of the issues fans have had in beating ticket resellers to face-value tickets, while encouraging customers to stay on as subscribers even as Spotify raises monthly fees.
Fans have long complained about the ticketing process for live performances, which often pit people against bots and scalpers, leading to high prices and sold-out shows.
“It’s frustrating for fans,” said Rene Volker, head of live events. “It’s frustrating for artists too, who look out at a crowd and wonder, are the fans who built my career actually here?” The new “Reserved” perk is designed to relieve some of that tension. “No racing bots, no chasing around online for presale codes. Just two tickets held for you,” she said.
The presentations Thursday were designed to comfort investors and prove that Spotify can still innovate. Wall Street has been skeptical that the company can rein in costs while staying ahead of competitors, particularly as it relates to AI. Those concerns have weighed on shares this year, sending them down 25% through Wednesday’s close. While the company makes most of its money through subscriptions, the executives sought to reinforce the idea that they have other levers to pull in order to generate sales beyond monthly fees and that people are willing to spend more for certain features.
The company outlined its growth targets through 2030, including a compound annual growth rate in the mid teens, a gross margin of 35% to 40% and an operating margin above 20%. Spotify remains committed to its long-term goal of 1 billion subscribers, $100 billion in revenue and over 40% in gross margin, the executives said.
Spotify sees its podcast and audiobook features as complementary to music and said the combination of the multiple verticals has helped broaden its community and convert users from free listeners to paid subscribers. Today, more than 500 million people have streamed a video podcast on Spotify, up nearly 50% from a year ago. And in just a few years, Spotify has captured about 20% of the audiobooks market in the US, executives said. People who use all three verticals — music, podcasts and audiobooks — are engaging with Spotify almost every day of the month, according to the company.
Giving people the tools to personalize their listening experience helps keep them in Spotify’s universe — creating what executives described as the “all day user.”
Personal Podcasts, for example, lets people write a prompt in the Spotify app and AI will create a unique podcast in response.
“We see this much more as a daily brief and a recommendation engine than something that would replace you listening to one of your favorite podcasts,” Söderström said in an interview. He noted that 60% of users in mature markets for Spotify don’t yet listen to podcasts, so features like Personal Podcasts could get them to dive into the medium.
The company said its podcast business has been profitable for two years.
Spotify’s Audiobook+ tier gives listeners more than their allotted 15 hours of audiobook listening per month for an additional fee. It has 1 million subscribers and is on track to generate $100 million in annualized revenue, the company said. To capitalize on the demand, Spotify will start selling even more audiobook hours to super users. Additionally, it will allow podcasters to offer memberships, so subscribers can access special episodes and other content. Spotify will take an undisclosed slice of revenue from the memberships.
The Jogye Gate at Beomeosa Temple in Busan. The temple is known for its foreign visitor temple stay program and was previously visited by actor Chris Hemsworth during a documentary shoot. Photo by Asia Today
May 25 (Asia Today) — Buddhist temples in South Korea’s southeastern region are opening temple stay facilities to help accommodate foreign fans traveling to Busan for upcoming concerts by K-pop group BTS amid severe lodging shortages and complaints over soaring hotel prices.
The Korean Buddhism Culture Corps said Sunday that temple stay-operating temples in Busan and South Gyeongsang Province will provide lodging support for tourists visiting Busan for the “BTS World Tour Arirang in Busan” concerts scheduled for June 12-13.
Public concern has grown over accommodation costs ahead of the concerts as demand from domestic and overseas fans surged.
According to a February survey conducted by South Korea’s Fair Trade Commission and the Korea Consumer Agency covering 135 hotels and lodging facilities in Busan, average room rates during the concert weekend rose about 2.4 times compared with the weekends before and after the event.
The Busan city government has also been conducting inspections since May 13 targeting unfair business practices, including excessive room charges and possible violations of public sanitation and lodging regulations.
Alongside government measures, Buddhist groups said private-sector support was also urgently needed.
The Buddhist cultural organization and participating temples plan to use temple lodging rooms and available indoor spaces to provide safe and stable accommodations for visitors traveling to Busan.
Temples currently participating in the program include Beomeosa, Naewonjeongsa, Hongbeopsa and Seonamsa in Busan, along with Seongjusa and Daegwangsa in Changwon, Tongdosa in Yangsan and Pyochungsa in Miryang.
A representative from the Buddhist cultural organization said the effort was intended not only to provide lodging but also to allow foreign visitors to experience traditional Korean and Buddhist culture in a peaceful temple environment.
Temple stay programs have become increasingly popular among foreign tourists seeking cultural experiences in South Korea. Last year, temple stays attracted 349,236 visitors, including 55,515 foreign tourists.
Participants using temple stays during the BTS concerts will be offered accommodations, temple meals and simple cultural programs depending on conditions at each temple.
Organizers said visitors will also be required to follow temple rules, including check-in and check-out schedules and shared living guidelines, since temples remain active religious and monastic spaces.
The Buddhist organization and participating temples said they are also reviewing interpretation support and visitor guidance measures to help overseas guests stay comfortably.
“We hope to share the spirit of hospitality and generosity embodied by Buddhist temples with fans facing accommodation difficulties,” a representative said. “We want visitors to leave Busan with safe and warm memories.”
