concert

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.

The much anticpated Nights Like This concert in Calgary was advertised as starting at 8pm but at 10pm the organisers were still testing the equipment and setting up the stage.

Hundreds of ticket holders were not allowed into the lower floor while the organisers were lifting heavy speakers for health and safety reasons.

Posting to TikTok an audience member said: “The Ne-Yo and Akon concert is 2 hours late and they’re still setting up the stage. It’s currently 10pm.”

Fans flocked to comment and one wrote: “10pm, the full lights on, and still setting up? Oh absolutely not.”

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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.

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.

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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.

The hereditary disorder causes nerve damage, mostly in the arms and legs, leading to muscle weakness, loss of sensation, balance problems, and difficulty walking.

While it’s not typically considered fatal, it has led to deaths – including 911: Nashville actress Isabelle Tate, who passed away from the disease in 2025. 

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.

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. 

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.

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. 

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.

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.

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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.

(Eric Thayer/Los Angeles Times)

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.

Along with McBride and Michaels, Young MC, Morris Day of Morris Day and The Time, and The Commodores were among the other artists to drop out of the event.

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.

Carman writes for Bloomberg.

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.”

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260525010007064

Ricky Martin had to stop his concert Thursday in Montenegro after someone in the audience “discharged tear gas toward the stage,” causing an “abrupt” interruption to the show as fans retreated and got any needed medical attention, the singer’s publicist said in a statement posted on Instagram.

The show did go on.

“As a precautionary measure, Ricky Martin and his entire team exited the stage while security personnel and local authorities worked to contain the situation and ensure the safety of those in attendance,” the statement said.

“We didn’t understand what was happening,” one shaken Montenegran concertgoer said on Instagram during the outdoor show. “Suddenly, people started pushing each other, and we smelled pepper spray. Many people quickly covered their mouths and left the area. I don’t know if there’s still anyone in the area right now. I didn’t see what the police did. I can hear that the concert has started again, but I left the area. I hope everyone is OK.”

Whether the substance was tear gas — which, incidentally, is a powder, not a gas — or pepper spray is unclear. Both substances have similarly irritating effects, despite different ingredients. Tear gas is typically employed by law enforcement for crowd control while pepper spray is often used by individuals for self-defense, according to hazmat and crime-scene cleanup company Bio Recovery, which operates mainly in the American south. Both substances can disperse widely in the air.

Martin, 54, decided to resume the show once authorities said everything was back under control even though “members of the artist’s team advised against continuing the performance,” the publicist’s statement explained.

The headlining performance, which was part of festivities marking the 20th anniversary of Montenegro’s restored independence following the breakup of the former Yugoslavia, came as the “Livin’ la Vida Loca” singer gets ready to embark on a European tour with dates in Italy, Switzerland, Germany, Czechia, Poland, Hungary, Istanbul and more from June into August.

Also Friday, Martin announced he would join the U.K.’s Heritage Live Festivals with a show Aug. 22 at the Royal Sandringham Estate in Norfolk with Sugababes, Olly Alexander and Sophie Castillo. It will be his only U.K. show in 2026. Other artists appearing in Heritage Live shows in July and August include UB40, Lionel Richie and Eric Clapton.

“The rise of Latin music as a global force has been phenomenal, and we’re thrilled to welcome one of the true pioneers who helped bring it to a massive international audience,” Giles Cooper of Heritage Live Festivals told the BBC. “It’s set to be an incredible party.”

Martin, who hails from Puerto Rico, joined Bad Bunny’s all-Spanish halftime show at Super Bowl LX in February with a 30-second cameo in a scene invoking the cover of the latter singer’s album “Debí Tirar Más Fotos.” Clad in all white, Martin sat in a white chair and dove into “Lo Que Le Pasó a Hawaii,” a ballad that implores Puerto Ricans, should the opportunity arise, to resist compromises that Hawaiians made when those islands became a U.S. state in 1959.

On the second weekend of May, Gustavo Dudamel gave the New York Philharmonic a salsa shock. He gleefully brought the startled players together with the Spanish Harlem Orchestra, an uptown salsa and jazz band, for concerts at Lincoln Center and Washington Heights. The city‘s classical music fans treated it as a cultural breakthrough; Dudamel is expected to transform the orchestra as a cultural institution when he returns in the fall as its music and artistic director.

A day later he was back in Los Angeles to begin rehearsals at a Walt Disney Concert Hall that had been fantastically transformed by Frank Gehry for the Los Angeles Philharmonic’s staging of “Die Walküre.” Transformation — be it cultural, orchestral, personal — has marked Dudamel’s 17 years as music (and more recently artistic) director of the L.A. Phil, which is now coming to an end with his three weeks of concerts in Disney to close the season June 7, followed by a celebratory weekend at the Hollywood Bowl in late August.

But meeting with Dudamel in his dressing room after a “Walküre” rehearsal (the opera begins Tuesday night at Disney and runs for six nights, an act a night, the full opera performed twice) , he says as he has said before, he does not think of this as a culmination, merely the beginning of a new adventure. He’s apartment shopping in New York. But he is keeping his house in Los Angeles.

He’s also departing with two very long new titles as “Die Walküre” premieres: the Diane and M. David Paul Artistic Cultural Laureate of the L.A. Phil and Jane and Michael Eisner Founding Director and Conductor Laureate of Youth Orchestra Los Angeles (YOLA).

Gustavo Dudamel conducts the Los Angeles Philharmonic in a performance of Beethoven’s Missa Solemnis at the Walt Disney Concert Hall on Feb. 22.

(David Butow / For The Times)

“We are talking about projects,” he says. “Look, I’m coming back for two weeks in December,” when he will lead Beethoven programs. He returns in the spring. The Bowl will always be a second home.

“I’m living here and I’m not living here,” he explains. “The connection will always be here.”

The energy in New York is, he continues, “super exciting.” And what excites him the most is how comfortable he feels with the very real differences between L.A. and New York.

“As a Latino from Venezuela,” he says, “I have an immediate connection with the New York that is home of salsa. When I was in the womb I was hearing salsa.” His father, Oscar Dudamel, is a trombonist and salsa musician.

But he adds that mariachi, ubiquitous in Mexico and L.A., is also an integral part of Venezuelan culture. “What I have to say is that I am blessed. I’m blessed that both cities are now part of my life.”

Bringing ‘crazy’ ideas to Los Angeles

L.A., of course, has been the major part of his adult life. At 24, an unknown, he made his dazzling U.S. debut in 2005 leading the L.A. Phil at the Hollywood Bowl. Four years later, he became the orchestra’s music director and caught the world’s attention.

There is no doubt that Dudamel’s extraordinary talents would have meant a major career wherever he landed. But, here, he inherited the world’s most culturally open major orchestra, where fresh thinking and new music thrive. Disney Hall allowed him the extraordinary freedom to dream. Being back at Disney, Dudamel admits, is very emotional, especially conducting “Walküre” with Gehry’s sets of billowy, sumptuous clouds and fanciful white papery horses.

“Frank is here with us,” Dudamel exclaims about the architect, who died in December and with whom he had become close. Conducting Wagner’s opera, in many ways, sums up Dudamel’s ambitions, the way he has connected with more sides of L.A.’s cultural landscape than possibly any other artist.

In L.A., Dudamel grew as an artist and a person, he says, through his relationship with an orchestra that is uniquely flexible and a welcoming community. This allowed Dudamel to be what he likes to call “crazy.”

“I remember the first time I came here. I didn’t have a chance to do or see anything,” he says of his Bowl debut. “So, I remember driving from the airport to Sunset Boulevard, where my hotel was, and I didn’t understand anything. But immediately it was the connection with the orchestra.”

Frank Gehry designed the sets for a Jan. 18, 2024, performance of Wagner’s opera, “Das Rheingold,” with Gustavo Dudamel leading the Los Angeles Philharmonic at Walt Disney Concert Hall.

(Allen J. Schaben / Los Angeles Times)

Flash forward 20 years from 2005 to 2025. In what seemed like a truly crazy idea, he brought the L.A. Phil to the Coachella Valley Music and Arts Festival, where he led a varied set of classical favorites and appearances with pop stars, for 150,000 people shouting “L.A. Phil! L.A Phil.” Among the highlights was “Ride of the Valkyries,” the English title of “Walküre.”

The symbolism of doing “Walküre” is, for Dudamel, unmistakable. Wagner’s four-part “Ring” cycle, of which “Die Walküre” is the second opera, strongly influenced the “Star Wars” films Dudamel grew up with. The saga’s composer John Williams is another L.A. legend who became for Dudamel like family. Williams has, in fact, written a fanfare, “Bravo Gustavo!” that Dudamel will premiere on June 4 in a concert in which he celebrates the musicians of the L.A. Phil.

The “Walküre” production, moreover, further expresses his desire to remain connected with L.A. When asked whether he still plans to complete the “Ring” cycle with the L.A. Phil, which he began two seasons ago with “Das Rheingold,” he says, “completely.”

It’s a radical notion, to say nothing of an extraordinarily expensive and time-consuming challenge for any orchestra given to a former music director, but Dudamel has never been one to take no for an answer. “At my last conversation with Frank,” he recalls, “I said I was coming to talk about ‘Siegfried’ [the next opera in the cycle], and he said, ‘You are crazy.’”

“That was Frank. He freaked out about the operas every time I talked to him about them. And then he came up with fabulous ideas.

“You know I never dreamed about coming to the L.A. Phil. I was happy in Venezuela and guest conducting elsewhere. But when I met Frank and John [Williams], I knew I had come to the right place.”

One reason Dudamel was happy in Venezuela was his position as music director of the Simón Bolívar Youth Orchestra, part of El Sistema, the country’s famed music education program. He brought a version of that to Los Angeles with YOLA, which offers free musical education to students. Bringing young people together to learn — and not just to play music but to listen to each other — has grown increasingly essential to him.

Gustavo Dudamel has fun with John Williams at the Hollywood Bowl as he conducts the L.A. Phil during “Maestro of the Movies: John Williams with the LA Phil” on July 9, 2023.

(Emil Ravelo / For The Times)

On Thursday evening, USC awarded Dudamel an honorary doctorate during its graduation ceremonies at the Coliseum, where Dudamel also gave the commencement speech.

“I will never tire of repeating this: music, art and beauty are universal rights,” he told the graduates, urging them to go out into the world listening to others, seeing others, paying attention to everything. These are the practices he has long championed as the essential need for youth orchestras.

This was, in fact, almost precisely what he said when he first arrived in L.A. “I was very young, but I grew up with these ideas,” he told me.

“You have to say to the students, ‘Stop! Let’s pause. Just listen.’”

“It’s a way to really connect with what surrounds you, but also connect with yourself. That’s the beauty of all the layers of listening we do as musicians. I now think that is our main tool. In the end it’s not listening only to sounds. It’s listening as connecting with others.”

Practicing what he preaches

As Dudamel plans for his next chapter, he indicates that the advice he gives students is what he is also saying to himself.

YOLA students perform on stage during a “Gracias Gustavo Community Block Party” at the Judith and Thomas L. Beckmen YOLA Center in Inglewood on Oct. 11, 2025.

(Etienne Laurent / For The Times)

What L.A. gave him, he concludes, is a greater depth of his own listening. There was the guidance of Deborah Borda, who, as the orchestra’s president and CEO, hired and mentored him. There were the opera productions with Peter Sellars, who made him look deeply inside himself. There were the communities to discover and with which to collaborate.

New York, he insists, will be a further continuation of this process. “There are a lot of things to do. As I did here, that will be not only conducting but spending a big amount of time doing other things. I will have to listen to the community. Every place is different.”

And every place needs to be, for Dudamel, connected. He began his last season in Disney in the fall with the world premiere of Ellen Reid’s “Earth Between Oceans,” a bicoastal co-commission between the L.A. Phil and the New York Philharmonic, sonically evoking the environmental difference between L.A. and New York. He recently repeated it with his new orchestra in David Geffen Hall in New York.

In L.A., Reid’s score felt like a vast, moving, spiritual soundscape of our fires’ fury as well as our coastal fancy. At Geffen, it became a gripping showpiece, like attempting to zoom in a Ferrari through Manhattan streets, were they ever empty — the thrill of taking it all in.

Dudamel says his favorite place in New York so far is the orchestra’s archives. Becoming absorbed in the history of America’s oldest orchestra gives him new ideas. He wants simultaneously the old, the new and the many.

He also insists on ever more connections. ”We are making, many, many projects together,” he says of the L.A. Phil and the New York Philharmonic. That includes bringing the two orchestras together in a further experiment in listening.

“That‘s very important to me, one of my dreams. And it’s not difficult,” he says. “We have plans and it’s beautiful. We have to do that.”

Cost: $21 to $27 for patio chairs. $32 to $36 for cushioned loveseat. Parking rates below the building range from $10 to $12.

Next film: “Saved!” on May 14, 8:15 p.m.

Other films: “Twilight,” “Josie and the Pussycats,” “Past Lives,” “10 Things I Hate About You.”

Food options: Outside food and drinks are not allowed. Concession stands carry popcorn, nachos, pretzels and other snacks. Full bar with cocktails, beer and wine.

Dog-friendly? Pets not allowed.

Things to note: Bring-your-own-blanket policy for cold nights. Age requirements vary; most showings are 16+, but select films are 18+ and 21+. If weather conditions become too extreme, showings may be canceled.

Movie theaters are no longer just for watching stories — they’re becoming live entertainment portals. In a pivot toward live music entertainment, AMC is launching a real-time, interactive concert experience across 300 of its locations.

Unlike the static concert films of the past, the new tech allows artists on a remote stage to see, hear, and respond to the theater audience, effectively turning your local cinema into a stadium.

Pop stars Bebe Rexha, Paris Hilton, Kim Petras and Maren Morris are the first headliners for the concert series hitting AMC screens this June. The program moves away from pre-recorded content, opting instead for live broadcasts that allow artists to perform for a national theater audience in real time.

The movie theater chain is partnering with live entertainment company, Arena One, to bring this technology to 89 markets across the country.

“This is a highly immersive, communal experience, combining the energy of a live concert with the scale, comfort, accessibility and affordability unique to AMC,” Adam Aron, the chief executive officer of AMC Entertainment said during an earnings call Tuesday afternoon.

These one-night-only live events are meant to simulate the look and feel of going to a concert in-person — without the often-pricey cost of admission. According to AMC, the prices for these tickets will range from $40 to $75, depending on the artist and the market.

“The next chapter of live shows isn’t about proximity to big venues, it’s about creating visceral, intimate, affordable live connection between artists and fans no matter where they are,” Rohit Kapoor, Arena One’s founder, said in a statement.

“Arena One gives artists a new cinema-native canvas to create live performances, while amplifying the raw energy and shared fandom that makes live shows unforgettable.”

Music has been a hot topic for movie theaters of late as the industry continues to navigate rough waters amid hopes of a durable post-pandemic recovery.

Between box office-topping biopics like “Michael,” documentaries like “EPiC: Elvis Presley in Concert” and concert films like the forthcoming Billie Eilish movie “Hit Me Hard and Soft: The Tour,” movies rooted in music are consistently drawing sizable and enthusiastic theater audiences.

Aron, AMC’s CEO, added, “We believe that this innovation can open an entirely new chapter in live entertainment while driving incremental attendance and revenue across our circuit.”

May 5 (UPI) — Colombian singer Shakira drew an estimated 2 million people to a free concert on Copacabana beach, generating an estimated $160 million economic impact, according to data from the city government and municipal agencies.

The show, held Saturday in front of the Copacabana Palace hotel, was part of the third edition of the “Todo Mundo no Rio” program, an initiative led by the Rio city government to attract tourism and economic activity during May, traditionally a low season.

According to Riotur and the Municipal Secretariat of Economic Development, the event boosted sectors such as hospitality, food services, transportation and retail. The city deployed a comprehensive operation covering security, logistics and public services, with the Operations and Resilience Center running at full capacity.

The concert opened with a show of 1,500 drones — described as one of the largest displays of its kind at a music event — forming a she-wolf in the sky, a symbol associated with the artist. Minutes later, Shakira appeared on stage dressed in the colors of Brazil.

During the show, the artist spoke in Portuguese and recalled her early years in the country.

“Brazil, I love you. It is magical to see millions of souls together, ready to sing, feel and dance,” she told the crowd.

The performance included more than two hours of hits spanning different stages of her career, along with segments dedicated to women.

“Women don’t cry anymore. Alone we may be more vulnerable, but together we are invincible,” she said.

The show also featured appearances by well-known Brazilian artists, such as Anitta, Caetano Veloso, Maria Bethania and Ivete Sangalo.

The “Todo Mundo no Rio” program aims to position Rio as a global destination for large-scale events. It was launched in 2024 with Madonna, who drew 1.6 million people, and continued in 2025 with Lady Gaga, who attracted 2.5 million.

Copacabana has also hosted some of the largest concerts in the world. Rod Stewart drew 3.5 million people in 1994, The Rolling Stones, about 1.5 million in 2006, and Stevie Wonder, some 2 million in 2012.

According to official data released by Agencia Brasil, medical services handled about 400 cases during the event, with 64 transfers to hospitals due to general discomfort, minor injuries and alcohol consumption. Cleanup crews collected about 362 tons of waste, with nearly 2,000 workers deployed.

After her stop in Brazil, Shakira will head to the North American leg of her tour, with concerts in the United States between June and July. These include dates in Inglewood, Palm Desert and San Jose, Calif., Dallas, Atlanta, Miami, Baltimore, Boston, Newark, N.J., and New York, before ending this leg in Atlantic City, N.J. on July 25.

SHAKIRA suffered major tech issues during her huge Copacabana Beach concert over the weekend.

The global superstar faced backlash as eagle-eyed viewers spotted the mishaps during the performance.

An estimated 2 million people attended the show in Rio De Janeiro, where the popstar delivered a nearly 30-song set that included guest appearances by Anitta, Maria Bethania, and Caetano Veloso.

Although she performed in style, the sound and visuals didn’t match up at times.

Clips from the gig quickly went viral on X, but while some viewers were left disappointed, others weren’t surprised, saying it’s common at large-scale shows.

Taking to X, one person said: “If ur gonna lip at least make it believable”.

SHAK SHOCK

Shakira slammed for VERY cold reaction as cameraman falls over in front of her

STAGE HORROR

Worker crushed to death while building stage for Shakira’s Rio de Janeiro show

Another added: “This is genuinely a f******* mess”.

The Colombian singer’s performance follows similar shows by Lady Gaga last year and Madonna in 2024, which were also attended by huge crowds.

“I arrived here when I was 18 years old, dreaming about singing for you,” Shakira told the crowd. “And now look at this. Life is magical.”

She sang several fan favourites during her set, including Hips Don’t Lie, La Tortura, Waka Waka, Whenever Wherever, She Wolf and La Bicicleta.

The show also featured a massive drone show, which amazed the crowd.

Despite being a free concert, Shakira’s show was expected to generate an estimated $150 million in tourism revenue to the city, according to local government.

This isn’t the first mishap the pop star has had live on stage.

In February, Shakira suffered a nasty fall during a live stage performance, with the singer twisting her ankle in the middle of her concert.

She was performing in San Salvador when she left fans worried during a mid-song tumble.

Singing her hit song Si Te Vas during the night, Shakira was walking across the stage when her right ankle suddenly twisted.

She then completely toppled to her side, falling onto her elbow as she brought her microphone stand down with her.

During the moment, Shakira stopped singing as gasps could be heard amongst the audience.

But ever the professional, she quickly got herself back up and managed to continue the song – with the star’s band continuing as her guitarist cheered her on.

WIENER NEUSTADT, Austria — A man accused of pledging allegiance to the Islamic State group and plotting to attack one of superstar singer Taylor Swift’s concerts in Vienna nearly two years ago pleaded guilty as his trial began on Tuesday, his lawyer said.

The plot was thwarted, but Austrian authorities still canceled Swift’s three performances in August 2024. The singer’s fans, known as Swifties, who had flown to Austria from across the globe to attend a performance of her record-setting Eras Tour were devastated, but rallied to turn Vienna into a citywide trading post for friendship bracelets and singalongs.

The defendant, a 21-year-old Austrian citizen known only as Beran A. in line with Austrian privacy rules, faced charges including terrorist offenses and membership in a terrorist organization. He could be sentenced to up to 20 years in prison, and has been in custody since August 2024.

The Vienna plot drew comparisons to a 2017 attack by a suicide bomber at an Ariana Grande concert in Manchester, England, that killed 22 people. The bomb detonated at the end of Grande’s concert as thousands of young fans were leaving, becoming the deadliest extremist attack in the United Kingdom in recent years.

Defendant regrets his actions

Anna Mair, his defense attorney, said her client pleaded guilty to the charges related to the concert plot.

“Of course, he deeply regrets it all,” Mair said outside the court, adding that “he says it was the biggest mistake of his life.”

Austrian media reported that he also pleaded guilty to being a member of a terrorist organization.

Beran A. is facing trial alongside Arda K., whose full name also has not been made public. They, along with a third man, planned to carry out simultaneous attacks in Saudi Arabia, Turkey and the United Arab Emirates during Ramadan in 2024 in the name of the Islamic State group. Beran A. and Arda K. never carried out their attacks.

Only Beran A. was charged in connection with the concert plot. He pleaded not guilty to the charges related to the plot for simultaneous attacks.

He allegedly planned to target onlookers gathered outside Ernst Happel Stadium — up to 30,000 each night, with another 65,000 inside the venue — with knives or homemade explosives. The suspect hoped to “kill as many people as possible,” authorities said in 2024. The U.S. provided intelligence that fed into the decision to cancel the concerts.

Beran A. also allegedly networked with other members of the Islamic State group ahead of the planned attack. Prosecutors say they discussed purchasing weapons and making bombs, and that the defendant also sought to illegally buy weapons in the days ahead of the performance. In addition, he swore allegiance to the militant group.

Authorities searched his apartment on Aug. 7, 2024, and found bomb-making materials. The concerts were scheduled to begin the next day.

“Having our Vienna shows canceled was devastating,” Swift wrote in a statement posted to Instagram two weeks later. “The reason for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”

A representative for Swift did not immediately return a request for comment Tuesday.

The trial is being held in Wiener Neustadt, about an hour south of Vienna. The proceedings are set to continue May 12.

Three attacks planned in Saudi Arabia, Turkey and UAE

Prosecutors have also filed terrorism-related charges against Arda K. in the trial in connection with the plan for simultaneous attacks in Saudi Arabia, Turkey and the United Arab Emirates.

The third man in that plot, Hasan E., allegedly stabbed a security guard with a knife at the Grand Mosque in Mecca, Saudi Arabia, on March 11, 2024. He was arrested and remains in pretrial detention in Saudi Arabia, Austrian prosecutors said.

Beran A. and Arda K. did not carry out their plans in Turkey and the UAE. Beran A. returned to Vienna and then allegedly began plotting to attack a Swift concert there.

Jenne, Schrader and Dazio write for the Associated Press. Dazio reported from Berlin. AP writer Daniel Niemann in Cologne, Germany, contributed to this report.

KANYE West’s Poland concert has been cancelled amid his tour chaos – just weeks after public outrage as he was announced as the headliner for Wireless Festival in the UK.

Over the past few years the American rapper has been mired in controversy for making a string of antisemitic, racist and pro-Nazi comments.

After his concert appeared to be cancelled by the stadium, Kanye has so far remained silent on the matter.

“We would like to inform you that the Ye (Kanye West) concert planned for June 19, 2026, at the… Slaski stadium will not take place due to formal and legal reasons,” said stadium director Adam Strzyzewski in a statement posted on Facebook.

Authorities in Poland had already signalled they would seek to ban the planned June 19 concert.

The decision by the Slaski stadium in the western city of Chorzow, first reported by Wyborcza newspaper, comes just days after he  postponed a concert in Marseille, France, “until further notice.”

KAN YE NOT

MPs urge European nations to follow UK’s lead & ban Kanye West from entering

GUT FEELING

Kanye West ‘accused Kim Kardashian of flirting with Lewis Hamilton’ years ago

Kanye, also known as Ye, said on X: “After much thought and consideration, it is my sole decision to postpone my show in Marseille, France until further notice.”

At the time, French media reported that Interior Minister Laurent Nunez was looking to ban the June 11 gig.

A source, said to be close to Nunez, told the AFP news agency that the minister was “highly determined” to axe the event.

Just weeks ago, Wireless Festival was cancelled after Kanye was blocked from entering the UK following days of backlash.

The Home Office confirmed on April 7 that West’s application to travel to the UK had been denied amid an antisemitism row over his headline slot.

Officials said the decision to refuse permission was made on the grounds that his presence would not be conducive to the public good.

West was due to headline all three nights from July 10 to July 12 at Finsbury Park, North London – playing to 150,000 people in total.

But Wireless organiser Festival Republic confirmed the popular event had been cancelled altogether following the Government’s decision.

Festival Republic said in a statement: “The Home Office has withdrawn YE’s ETA, denying him entry into the United Kingdom.

“As with every Wireless Festival, multiple stakeholders were consulted in advance of booking YE and no concerns were highlighted at the time.

“Antisemitism in all its forms is abhorrent, and we recognise the real and personal impact these issues have had.

“As YE said today, he acknowledges that words alone are not enough, and in spite of this still hopes to be given the opportunity to begin a conversation with the Jewish community in the UK.”

Back in January Ye apologised for his behaviour, which he attributed to untreated bipolar disorder, and renounced past expressions of admiration for Adolf Hitler.

In a separate statement on X, the fashion designer added: “I know it takes time to understand the sincerity of my commitment to make amends.

“I take full responsibility for what’s mine but I don’t want to put my fans in the middle of it.

“My fans are everything to me. Looking forward to the next shows.”