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DOLLY Parton’s cause of death has been revealed as the country music superstar died following a “brief battle with cancer”, aged 80.

The Queen of Country passed away on Tuesday after suffering from a number of health issues in recent months.

It has now been revealed that Dolly died “surrounded by loved ones” in Nashville after a “brief battle” with cancer, reports People.

Representatives revealed the news in a statement to the outlet which did not reveal the type of cancer Dolly had been battling.

The statement read: “Our beloved Dolly Parton spent her life and career bringing joy, laughter, hope and integrity into everything she touched.

“Her unmatched generosity reached the lives of countless people whom she would never meet, yet she was always there to offer a helping hand.

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It comes as:

“Whether it be the hundreds of millions of books donated through her invaluable Imagination Library or funding research that helped create a lifesaving vaccine used around the world, Dolly’s unconditional love for all people was the guiding force for her lasting impact.

“After bravely facing a brief battle with cancer, Dolly departed her Earthly life today at the Vanderbilt-Ingram Cancer Center surrounded by loved ones.”

Dolly’s nephew Bryan Seaver announced her death in a heartbreaking statement on her official Instagram page Tuesday afternoon, shocking her fans worldwide.

Dolly had been struggling with her health for some time before her passing and was forced to bow out of numerous gigs.

She told PEOPLE on Friday: “I am dealing with some health issues that I just didn’t pay attention to when I was watching over Carl.”

Her beloved husband of 60 years, Carl Thomas Dean, died last March after being diagnosed with Alzheimer’s disease in 2019. He was 82 years old.

After cancelling a slew of shows in December, the Tennessee native admitted she needed to go through “a few procedures”.

Last October, Dolly’s sister Frieda had pleaded with her fans to pray for her sibling due to fears around her health.

It was only earlier this month that she shared an update with fans on social media saying she had a “few little health issues”.

She added that “sometimes I get a little dizzy and I get dehydrated”, saying her doctors had banned her from traveling to the opening of Dollywood’s latest ride.

But during her last public appearance, Dolly appeared upbeat at the unveiling of her new Nashville truck stop.

And just one week before her death, she shared about her excitement to open a new museum in her very last post.

Dolly has no children but leaves behind her legacy in music.

Across her illustrious career, Dolly became one of the most-honored female country performers of all time.

Dolly Parton’s Career Highlights

Dolly Parton is one of the most well-known country stars in the business, and her career has continued to flourish. Here’s a look at the highlights of the music legend’s decades-long career.

• Dolly wrote and released her first single, Puppy Love, including the B-track Girl Left Alone, on Goldband Records when she was 11 years old.
• Although her single wasn’t a big hit, she ended up performing at Nashville, Tennessee’s Grand Ole Opry for the first time at 13 years old and was introduced by Johnny Cash.
• Dolly made the Billboard country charts in January 1967 with two singles from Monument Records: Dumb Blonde and Something Fishy.
• The singer earned her first number-one hit in 1971 with her single Joshua.
• In 1974, Dolly’s arguably most well-known song, Jolene, reached number one on the country charts.
• Her music continued to succeed, and she was awarded the Female Vocalist of the Year award at the CMAs in 1975.
• Dolly’s track, Here You Come Again, achieved platinum status in 1978, and the album earned her a Grammy award for Best Female Country Vocal Performance.
• In 1980, Dolly starred in her first film, 9 to 5, alongside Lily Tomlin and Jane Fonda and released her hit song of the same name.
• The star opened her famed amusement park, Dollywood, in Pigeon Forge, Tennessee, in 1986.
• Later that year, she was inducted into the Nashville Songwriters Hall of Fame.
• At 75 years old, Dolly recreated her 1978 Playboy Cover for her husband Carl Dean’s birthday.
• In May 2022, it was announced that Dolly would officially be inducted into the Rock & Roll Hall of Fame, alongside Eminem, Lionel Richie, Carly Simon, Eurythmics, Duran Duran, and Pat Benatar.

A total of 25 of her singles or albums became Gold, Platinum or Multi-Platinum records. 

She had 26 songs reach number one on the Billboard country charts – a record for a female artist – and 42 career top 10 country albums.

As of 2012, she had written more than 3,000 songs and sold more than 100 million records.

She also boasts a whole host of awards including 11 Grammy Awards alongside 55 nominations.

Dolly is also in several halls of fame across the US including the Hollywood Walk of Fame, Country Music Hall of Fame and the Nashville Songwriters Hall of Fame.

In 2023, she was even ranked at number 27 on Rolling Stone‘s 2023 list of the 200 Greatest Singers of All Time.

Dolly Parton was the last star in music everyone in America could agree on. Her brilliant career as a carefully-sculpted backwoods icon (one with unmatched insight into the human heart) told the nation stories it craved to hear about itself — songs about resilience and dignity under poverty and labor, how to hold conflicting feelings of devotion and loss. None of the canon of extras — the charmingly ramshackle Dollywood theme park, the purehearted children’s literacy initiatives, the rhinestone cowgirl aesthetics — would be possible without one of the most emotionally attuned, beautifully performed and broadly reaching catalogs in American music.

She is one of the finest singer-songwriters this country ever produced, and it’s inconceivable to sum up her catalog in just an LP’s worth of tunes. But Parton — the songwriter, the vocalist, the instrumentalist, the collaborator — only ever wanted to invite a listener in, wherever they arrive from. Here are 10 songs to start with.

Coat of Many Colors (1971)

The foundational text of Parton’s career, this 1971 single lovingly details her mother’s make-do resilience, stitching a fall coat from scraps of cloth in the spirit of a beloved Bible story. Its storytelling economy is just as crafty, finding splendor with humble tools, and distills Parton’s whole persona into one perfect song.

Touch Your Woman (1972)

You could spend tens of thousands on couple’s therapy and never get as good advice as “We can’t always both be right, we sometimes disagree / But you’ve got the right to speak your mind and it’s the same with me / When the anger’s at an end, and you want inside my arms again / All you have to do to make it right is just / Touch your woman.”

Jolene (1974)

Try to forget how ubiquitous this song is in pop culture, even though it’s been covered by Beyoncé (who laced her own domestic strife into a version), the White Stripes and Parton’s goddaughter Miley Cyrus. Listen to how eerie the thing actually is, how the harmonies capture the desperation, panic and preemptive grief of losing a love to someone whose appeal is undeniable. Nothing that haunted can ever be overplayed.

I Will Always Love You (1974)

Any songwriter should be so lucky — to have one of your hallmark tunes be lovingly swept out from under you and become one of the definitive ballads of pop music. Whitney Houston’s powerhouse version stands alone, but Dolly’s quieter, mournful ode to her collaboration with Porter Wagoner is the artful, formative sketch to a colossal mural.

The Bargain Store (1975)

Taking the themes of “Coat” in intimate new directions, there’s a pained, darker tang to lines like “Take these old, used memories from the past / And these broken dreams and plans that didn’t last / I’ll trade them for a future, I can’t use them anymore.” A perfect distillation of Parton’s themes and craftsmanship, where melancholy and resilience fight it out in the empty spaces.

Two Doors Down (1977)

One of Parton’s first forays into purer pop, this single has the stomp and shuffle of funk and could easily be retrofitted into disco DJ sets. Soul horns and synths liven the production up, but it all underlines how far her writing and vocal performances could travel through genres.

9 to 5 (1980)

The song that made Parton a true pop crossover, a movie star with Jane Fonda and Lily Tomlin and an Oscar nominee. But don’t let the relatable career-girl pluck of the movie dilute the fact that this song is pissed off about capitalism, even as its hooks make the grind of working life more bearable.

Old Flames (Can’t Hold A Candle To You) (1980)

Dolly chose her covers carefully, but even she couldn’t have known how full-circle this would come around. A take on songwriter Pebe Sebert’s ballad that went to No. 1 on the country charts in 1980, Sebert’s daughter Kesha would eventually return the favor with a version decades later, two women who turned an act playing ditzy into resonant, affecting music.

To Know Him Is To Love Him (1987)

Parton’s pen and persona had no equals, but she was an enthusiastic collaborator as well, from her early partnership with Porter Wagoner up to her 2023 hard rock LP. She was at her best with the women of Trio, a supergroup with Linda Ronstadt and Emmylou Harris, and this regal single of nascent, unrequited commitment is as lovely as they come.

Smoky Mountain Memories (Live – 1994)

Parton was a virtuoso at staying, if not apolitical, at least a neutral zone of relatability for conservatives and leftists alike, each of whom had ways to read their lives into her storytelling. A song like “Smoky Mountain Memories,” a gut-wrenching live rework of an earlier song, lent dignity to her family’s toil and loneliness, while raging against the circumstances that created it — “It takes all I’ve got to give what life demands / Oh, you go insane if you give into it.”

Dolly Parton, the singer and songwriter from Locust Ridge, Tenn., who willed herself into being the very symbol of country music stardom, has died in Nashville.

Parton died peacefully Tuesday, her nephew Bryan Seaver announced in a press release shared with The Times. Seaver also announced her death in a video shared to the singer’s Instagram page. She was 80.

The fabled entertainer died after a series of health issues that led her to postpone several performing commitments. In September 2025, she missed the announcement of a Dollywood attraction to recover from a kidney stone. Later that month she delayed her residency at Caesars Palace — her first residency on the Las Vegas Strip in more than 30 years — due to unspecified “health challenges.”

Over the course of a flamboyant 50-plus-year career as a songwriter, recording artist, actor and businesswoman, Parton reinvented the American success story through a combination of grit and wit, faith and sex appeal, virtuosity and plainspokenness, empathy for the human condition and plastic surgery.

She seized on the roles that American culture allowed for women in the spotlight — waif, trollop, fallen woman, country girl in over her head — and played them to the hilt, achieving artistic and financial heights few female performers have ever reached. By the time of her death, she was said to be one of the few things that Americans of most every persuasion could agree on.

One of the most honored musicians in modern history, Parton earned 10 Grammy Awards, two Academy Award nominations, a Primetime Emmy, 10 Country Music Assn. awards, and in 1999 she was enshrined in the Country Music Hall of Fame.

In 2005 President George W. Bush presented Parton with the National Medal of the Arts, and a year later she was given a Kennedy Center for the Arts Award for her lifetime contribution to the arts. Parton logged some 25 gold or platinum records and 25 No. 1 songs on the country chart. Parton also won a Liseberg Applause Award, the biggest prize in the theme park industry, for her fabled tourist attraction Dollywood.

Parton’s rags-to-riches tale reads like a classic country music story-song. But before it became mythical, it was only incredibly hard.

Dolly Rebecca Parton was born in Locust Ridge, Tenn., in the Great Smoky Mountains, on Jan. 19, 1946. Her father was a tobacco sharecropper and she was the fourth of 12 children. In her autobiography, “Dolly: My Life and Other Unfinished Business,” Parton related how her parents were so poor they paid the doctor who delivered her with a sack of cornmeal.

Raised in a one-room cabin with no electricity, she listened to the Grand Ole Opry on a battery-powered radio. When she was 7 she started writing songs; a year later she picked up the guitar. At 10 she was singing on a Knoxville radio and TV program, “Cas Walker Farm & Home Hour.”

The Parton family was musical, and there were always banjos, fiddles, mandolins and guitars around the cabin. Her voice, a birdlike soprano with an animated trill, hadn’t changed much from her youth: “I sound like a little girl singing all these Lord-awful songs,” she told “Fresh Air’s” Terry Gross in 2001.

On a Friday night in 1964, Parton became the first in her family to graduate from high school. The next afternoon she was on a bus heading for Nashville, targeting a career in country music.

Bob Hope gets an adjustment to his reindeer costume as he and Dolly Parton prepare to tape a 1988 Christmas special on a cruise ship docked in Miami.

(Kathy Willens / Associated Press)

Women had little real power in Nashville at the time, and though rural women were a growing part of the country music audience, they were marginalized as artists. Parton signed to the Monument label, but felt that they wanted a pop singer more than they wanted her. An early breakthrough came when singer Bill Phillips heard a demo version of her “Put It Off Until Tomorrow”; not only did he want to record the song, but he recorded it with Parton singing harmony on it. The song went to No. 6 on the country chart in 1966.

In 1967 she recorded Curly Putman’s “Dumb Blonde,” her first charting song as a singer and a savvy choice that spoke to her as both an image and as flesh and blood, as she sang:

Just because I’m blond
Don’t think I’m dumb
‘Cause this dumb blond ain’t nobody’s fool

Nashville noticed. That year, country music star Porter Wagoner was looking for a new “girl singer” for his popular TV show, after Norma Jean left. Parton got the gig, and for weeks, legend has it, was greeted by the studio audience shouting “Norma Jean” when Parton opened her mouth. It was the kind of challenge she lived for. Carefully deferential to the star, Parton carved out a foothold for herself.

They were a complicated team. Tall, gaunt and calculating, Wagoner’s angles had angles, but somehow standing next to her, his pompadour dwarfing her considerable bouffant, it worked. At their peak, they had a weekly TV viewership of over 3.5 million, and recorded numerous hit duets, “Holding on to Nothin” (1968), “If Teardrops Were Pennies” (1973) and “Please Don’t Stop Loving Me” (1974) among them.

On her solo recordings at the time, Parton included a raft of songs about poor children in trouble. These gothic, occasionally autobiographical compositions, including “Coat of Many Colors,” “My Blue Ridge Mountain Boy,” “Evening Shade,” “Daddy Come and Get Me” and “Down From Dover,” would have been more than enough to make her, if not a star, at least a country music legend. But the kind of attention even her lesser work with Wagoner enjoyed continued to elude her own material.

Dolly Parton and Kenny Rogers laugh together backstage at an April 2010 show honoring her “Islands in the Stream” singing partner.

(Rick Diamond / Getty Images)

By 1973, Parton realized that if she was going to be her own star she would have to be on her own. Wagoner fought and threatened, and finally, Parton wrote a song as a way to help him understand both her gratitude and her need for independence, “I Will Always Love You.” He liked the song, but it didn’t convince him. Wagoner sued her for $20 million over breach of contract and settled for $1 million.

But Parton had won her freedom, and she made the most of it. Her album from that year, “My Tennessee Mountain Home,” was a reintroduction to her audience, an autobiographical cycle of songs telling the story of a singer leaving home to make it on Music Row. And in 1974, “Jolene” became her chart-topping breakthrough.

The title was the name of a red-haired, green-eyed young fan Parton met signing autographs, and the story of a woman begging a rival to leave her man alone. Parton said she made it up after discovering a bank teller had a crush on her husband. With a beveled chord progression and a haunting repetition of the name, it became perhaps her most requested song, and was covered by many, including the White Stripes, Candi Staton, Reba McEntire and Olivia Newton-John.

“I wanted to be seen, I wanted to be recognized, I wanted to be a star,” she explained. The last part was now coming into focus.

In 1976 she hosted a short-lived variety TV series, “Dolly!” Her name was her brand, and so, too, was her profile: the full bosom and tiny waist, platinum wig and baubles like sprinkles on an ice cream cone, 5 feet tall standing in five-inch heels. She was a disarming contradiction: manufactured and utterly sincere.

“A country girl’s idea of what glamour was,” she explained.

“I didn’t have any money to have stuff and I’ve often joked about it, but it’s the real truth that I patterned myself after what they considered the trash in our hometown.” She took shame and made it a flag, one big enough for all sorts of Americans to settle beneath.

Dolly Parton checks out an exhibit honoring her life and career at the Country Music Hall of Fame and Museum in May 2025.

(Jason Kempin / Getty Images)

Building on her fame, in the mid-’70s Parton decided to reinvent herself by reaching beyond the confines of country music. She signed with L.A.-based talent manager Sandy Gallin, who had made Mac Davis a country crossover star and would soon work with Cher and Michael Jackson.

Parton laid off her longtime Traveling Family Band and sought out musicians and songs that were more purely pop. Hits that followed included “Here You Come Again” (No. 20 on the pop chart, 1977), “Heartbreaker” (No. 37, 1978) and duets with Kenny Rogers like “Islands in the Stream” (No. 1, 1983).

The pop move was muttered over and seen by gatekeepers as a rejection of Southern-based authenticity. It was the era of “Urban Cowboy” and purity was being policed. “I love country music. It’s my first love,” she told the SoHo News. “But it was confining. You can only go so far in a circle.”

The movie “9 to 5” from 1980 settled her broadening stardom; acting alongside Jane Fonda and Lily Tomlin in a comedy about three office workers who get even with an abusive boss, Parton charmed viewers. It was her first acting role, and Roger Ebert called her “a natural born movie star.” She wrote and sang the movie’s theme song, which topped Billboard’s pop and country charts.

Dolly Parton and her “9 to 5” castmates Jane Fonda, left, and Lily Tomlin assemble at a 1980 news conference to promote the movie.

(Wally Fong / Associated Press)

Parton would go on to act in “The Best Little Whorehouse in Texas” (1982), “Rhinestone” (1984), “Steel Magnolias” (1989), the “Hannah Montana” TV series (she was Miley Cyrus’ godmother in real life too), and in many more films and TV shows. But her biggest cinematic moment came with a song she’d written years before; “I Will Always Love You” was sung by Whitney Houston in the 1992 film “The Bodyguard,” turning her air kiss to Porter Wagoner into a No. 1 hit for 14 weeks.

In the mid-1980s, Parton suffered a number of setbacks. She experienced depression. “I was just broken down,” she said later. In 1982, abdominal pain and bleeding forced her to cancel a tour, and in 1984 she had a partial hysterectomy. There were bouts of binge eating, and when she hit bottom she considered suicide. A series of conversations with God were instrumental in her recovery, Parton said.

Underscoring her connection to her origins while also illustrating how far she had gone, in 1986 she bought an old amusement park in Pigeon Forge, Tenn., and reinvented it as Dollywood, a booming theme park, resort and theater. Other businesses included Sandollar Productions, a film and TV company. In the 1990s Parton formed her own label, Blue Eye Records.

Success meant she could settle into being Dolly. A trio of beloved bluegrass albums, “The Grass Is Blue,” “Little Sparrow” and “Halos & Horns,” around the turn of the millennium reestablished her as a performer with extensive roots in rural America. She recorded with everyone from Linda Ronstadt and Emmylou Harris to Ladysmith Black Mambazo. Her 2019 cover of John Hiatt’s “Faith,” made with Swedish duo Galantis, topped the EDM charts.

She embraced her Christian and LGBTQ+ fans, and perhaps no American artist had more of each. Inclusivity mattered to Parton. She was an icon to the LGBTQ+ community. In 2002 at the House of Blues in Los Angeles, Parton replaced the name Jolene with “drag queen” and sang her famous song as a roster of drag performers looked on.

Dolly Parton at the 57th Academy of Country Music Awards in 2022.

(John Locher / Associated Press)

Just two years later, in 2004, the Library of Congress presented Parton with the since-retired “Living Legend Medal,” which sought to recognize those that made significant creative contributions to American life.

Singer and songwriter Brandi Carlile called Parton “an angel on my shoulder and also the devil on my other shoulder.”

“When I was 15 years old I read the back of Dolly Parton’s book when she became the first country artist ever to speak out in support of LGBTQ people. And I can tell you that as a queer kid from a small town, getting love from Dolly is second only to God.”

Parton has been honored in musical tributes by Carrie Underwood, Alison Krauss and Shania Twain. “Jolene” became the subject of the short story “Jolene: A Life,” by E.L. Doctorow. In 2019 WNYC and Jad Abumrad presented “Dolly Parton’s America,” a nine-segment podcast devoted to, and with the cooperation of, Parton; it examined her persona and impact on American life.

That same year Netflix presented “Dolly Parton’s Heartstrings,” an anthology series in which each episode presents a fictional narrative built around a Parton song; the series features appearances by Kathleen Turner, Delta Burke and Melissa Leo.

Dolly Parton and President Carter embrace as First Lady Rosalynn Carter looks on before a White House luncheon in October 1979.

(Georges / Associated Press)

Her influence was so vast she has even been proposed as a field of academic study, and scrutinized in the 2018 academic study from Leigh H. Edwards, “Dolly Parton, Gender, and Country Music.”

She was married to the same man, Carl Thomas Dean, for over 50 years. They met on the day she arrived in Nashville in 1964, as she stood outside a laundromat. Parton and Dean were rarely seen in public together, and renewed vows in 2016. Dean died at age 82 in March 2025.

“Carl and I spent many wonderful years together,” Parton said in a statement at the time. “Words can’t do justice to the love we shared for over 60 years. Thank you for your prayers and sympathy.”

Parton remained a source of interest and fascination, and though few if anyone could really claim to know her, many thought they did. As she once put it: “I look one way and am another. It makes for a good combination.”

FROM pretty colonial towns and buzzing cities to rugged coasts, sandy beaches and beautiful mountains, there is nowhere quite like New England.

And the best time to see it is in the Fall (autumn), when the leaves turn red and gold and you can do a bit of whale watching, too.

New England’s six states – Massachusetts, Maine, Vermont, New Hampshire, Connecticut and Rhode Island – are all quite different but add up to one amazing holiday experience.

It is one of the ultimate bucket list trips and doable – if you plan carefully.

We decided to cover all six states plus Boston in one mega two-week, 600-mile round trip.

It can be done – New England is small enough to fit into Texas four times over.

WAIL OF A TIME

I drove Irish Route 66 with deserted golden beaches and pirate-like islands

TEMPTED?

Tiny ‘Bali of Europe’ town with stunning beaches, €3 cocktails and £20 flights

We didn’t see eveything, obviously, but we had a damned good go!

Netherlands international Memphis Depay has defended the release of his new music video showing Corinthians’ headquarters in flames as “just art” – days after a contract row with the Brazilian club.

The former Manchester United forward agreed to take a “significant” pay cut to stay at Corinthians on Tuesday.

It came a week after the club opted against renewing his contract.

But Depay has now come under scrutiny for releasing the controversial music video for his track ‘Don’t Panic’.

It was released just 24 hours after the 32-year-old helped Corinthians reach the quarter-final of the Copa Libertadores, and appears to contain references to his recent disputes with the club, showing him watching their administrative center Parque Sao Jorge in flames.

In the song, Depay does not name who he is referring to, but mentions “rivals” and sings: “I know a vice-president who is now my enemy.”

Corinthians fans are currently protesting against the club’s ownership amid growing financial and governance issues and Depay moved to dampen any potential backlash against the video before further protests, external by saying it was filmed “months ago”.

“I hope its a peaceful protest where people can express what they think calmly. About my music, I insist it’s just art,” he said on social media, external.

Referencing to the club’s headquarters’ being in flames, the Dutchman added he was “fully against any type of violence of all kind”.

Grammy-winning singer Jill Scott brought her “To Whom This May Concern” album — her first in more than a decade — to life at Inglewood’s YouTube Theater last week. Backed by a razor-sharp 11-piece all-male band (including background singers fittingly dubbed “Freeman”), Scott moved effortlessly through a two-hour set filled with songs from the genre-expansive album along with several fan favorites like “He Loves Me (Lyzel in E Flat)” and “Gettin’ in the Way.”

Enforcing a phone-free policy at her personal request, the North Philadelphia native kept the audience intensely locked in — hanging onto her every word and every seemingly impossible note she struck with ease. Before long, it was easy to forget that we didn’t have our devices. Smiles filled the intimate room. Couples danced together. Strangers sang to each other in joyful unison, while others closed their eyes or held their hands on their chest in complete awe of witnessing a veteran artist in her element.

Jill Scott is on tour for “To Whom This May Concern,” her first album in over a decade.

(Jada Imani M)

In her only interview during the tour thus far, we caught up with Scott backstage to talk why she never performs a song the same way twice, how removing devices makes concerts better and why she thinks “To Whom This May Concern” deserves several accolades.

I’m still coming down from all of the energy from the show. How are you feeling post-show?

I am hot from the inside, and it’s gonna take me hours to calm down. [Laughs]

You’ve always described music as an intimate, two-way conversation between you and the audience. For this tour, you created a strictly phone-free space. Why did you decide to do that and how did this shift the experience for you as a performer?

In a couple of ways. One part is that it’s terrifying because there’s no buffer between me and them, so that’s actually scary, but I embrace it. The other part of it is that it’s wonderful because people initially come in kind of nervous about not having a buffer between myself and the space or themselves and space. Then I watch them gradually release, and I get a kick out of that every night. That’s my favorite part.

I’m surprised to hear that it’s scary for someone like you who’s been performing at such a high level for so many years.

Because I care. It matters to me. I really want them to have a good time. I really want them to release some things, allow themselves to be. If you want to make out, if you want to dance, if you want to cry, if you want to shout, or put up your hands in the air, or sit still, I want them to be able to do that. I think it’s important. That’s the relationship. That’s the real relationship between artist and fans of the music. It’s the connection between the music. I’m here to [be of] service. I’m here to push the ship along, but it’s really their relationship with the music and I’m a conduit. That part is probably one of my other favorites. You have to relinquish your id and allow the thing to be the thing. I think sometimes you can practice the joy and the life out of a thing. We practice a lot, but then we forget everything we practice so that it’s alive. My musicians’ freedom is mandatory. It’s a part of the job. So if they show up and play the exact same thing in the exact same way every night, they’re probably not going to be around very long. I need them to be wide open and to rediscover the music every night from their perspective. It’s their 11 perspectives on stage, and then of course there’s the lighting designer. I need him to be free. Don’t give me the same light at the same time every night. Even front-of-the-house sound engineer as well as our in-ear monitors, everybody is playing a part. “What does she need? Let’s read her. Let’s, you know, pay attention. What does she want?” It’s a lot of fun.

You could see really feel that from you and your entire band.

Tonight was a different audience. They were very attentive. Last night they danced all night long from the very beginning. I couldn’t even see the floor. Tonight they were listening. I know it’s a Wednesday night. Everybody’s got to go to work [the next morning], but they were beautiful. The listening audience is probably my favorite. They get quiet and I’m like “Oh, it’s so scary. Am I doing the right thing?” [Laughs] But that means they’re listening. Who doesn’t want to be heard?

Your son came out with you tonight. How was that experience for you?

It’s beautiful to see. He told me Tierra Whack is not traveling with us because she has a new album out, “Whack’s Museum,” so she’s a little busy. He was like, “Mom, how do you feel about me doing the second verse?” and I was like “Be at sound check tomorrow with a mic in your hand.”

He looked so comfortable on stage.

He does. It’s kind of scary. Super exciting. I don’t know what he’ll want to do, but he’s working our set, so he’s a part of the crew. So after he does his performance, he puts back on his blacks and he does his job, and I love that for him, to have that sense of responsibility. He’s exceeding anybody’s and everybody’s expectations. He’s so good at this. All the clothes you see, he steamed up.

He’s really working his way up.

Yes, you must earn your way.

Your album “To Whom This May Concern” released in February, and it feels like a love letter from your favorite auntie. There’s lessons about learning from your mistakes, honoring your ancestors and loving yourself. Now that your fans have been living with these songs for several months, I’m curious if performing them live has shifted your relationship with them at all?

No. On a great night, I like telling the stories that I’ve read. I like embodying them in front of other people. I like watching them experience them in a new way. I’m a fan of that. It just makes it more and more true. Then I see how many people are singing along and how many people are looking at me, and I’m like “Yesss.” It’s reaching the people and I know it’s going to be different because there’s a different audience every night. So I’m thrilled about the project and how it’s touching people. You hope you don’t work this hard at a thing for it to fall on deaf ears, and I know how microwavable music has been, but I believe the cream rises to the top. It’s been a beautiful 26 years. I look forward to 26 more — in my way.

Your album has been receiving a lot of praise from fans and critics. There’s still a few months before the Grammy nominations are announced, but at this point in your career, how important is that recognition to you? Is it as important as it was when you first started your career?

I think I deserve it. That’s all. [Flashes a smile]

I mean everything about this project from beginning to end is blood, sweat and tears. I stayed up many nights just to write, a hunger in my belly and a savage appetite. And I mean it. Everything is true and I love that for me. That’s the kind of thing that takes time and I think musically, it’s incredible. I think the stories are awesome and intentional, and everything about it, from the planning of it to the marketing, has been from my soul, and I think it deserves several.

A SMALL UK train station that sees thousands of festivalgoers every year has had a glow-up.

Castle Cary train station in Somerset has had a £835,000 vintage makeover.

The train station is close to Glastonbury Festival, making it the ideal stop to get to the festival.

The inside of the station has now been restored to a classic style, with the original entrance reopened.

Along the platform, travellers will find more seating, a digital departure board and a new toilet.

The ticket office boasts a wooden panelled exterior with a black and beige sign that reads ‘tickets’.

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The walls are then painted in different shades of brown.

There is a new ramp for wheelchair access as well.

Around 350,000 people use the station each year to head to Glastonbury Festival, which is around six miles away and served by a free shuttle during the festival.

From the station, there are numerous services including Great Western Railway services direct to London Paddington.

According to the BBC, Tim Hedley Jones, director of the Railway Heritage Trust, said: “I’m particularly pleased to see the reproduction of the original Great Western Railway benches so that people can appreciate the quality of furniture that was provided in stations, and also the colours that were used.

“Historic stations have character. This project, whilst also bringing back the old heritage at the station, removed the clutter and made it a much more positive experience for passengers in a modern context.”

Christian metal band Demon Hunter is suing Netflix, alleging trademark infringement associated with the streamer’s hit film “KPop Demon Hunters.”

The lawsuit was filed Tuesday by Hyde Lane, the corporate entity for Demon Hunter, against Netflix, Netflix Studios and AEG Presents, the live-entertainment division of AEG, with claims that the defendants have “created a substantial likelihood of confusion” among consumers.

The metalcore band — which was formed in 2000 out of Seattle by brothers Ryan and Don Clark — claims the success of the 2025 urban fantasy flick has “eclipse[d]” the group’s “established identity” and “commercial fate,” especially as plans for a KPop Demon Hunters global concert tour were announced in May in partnership with AEG Presents.

Hyde Lane originally trademarked “Demon Hunter” in 2014 under entertainment, namely live performances. To date, the band has released 12 studio albums and amassed more than 348,000 monthly listeners on Spotify. Several of its early music videos, including popular tracks like “Dead Flowers” and “Someone to Hate,” have garnered millions of views on YouTube.

In 2022, the company submitted other trademark protections for recorded music and merchandise.

By comparison, Netflix filed 10 applications under the U.S. Patent and Trademark Office for “KPop Demon Hunters” for merchandise purposes starting in August 2025.

Hyde Lane has “been forced to surrender control over its commercial identity simply because Defendants have greater resources and a larger marketplace footprint,” the lawsuit states.

In the suit, the plaintiffs cite instances where there has been “consumer confusion.”

On Feb. 26, 2026, someone requested a refund after purchasing $500 tickets to a Demon Hunter show in Albany, N.Y., believing it was for a KPop Demon Hunters concert, according to the suit. “If I dont get it refunded I will not be able to purchase tickets to the actual ‘K pop demon hunters show,’” the email read.

On March 16, 2026, a producer from “Inside Edition” emailed Demon Hunter manager Ryan J. Downey to request an interview with songwriter Yu Han Lee (of KPop Demon Hunters) following the Oscar win for original song, the lawsuit states.

Additionally, the plaintiffs say the Christian band has been incorrectly tagged in connection to various KPop Demon Hunters content.

“Due to Defendants’ wrongful actions, Demon Hunter’s established identity is becoming increasingly obscured within recorded music, live touring and merchandise-related channels due to overlapping use by the KPop Demon Hunters brand,” the lawsuit states.

Hyde Lane is requesting Netflix and Netflix Studios be held liable for infringement, although no specified amount was listed in the suit.

The complaint arrives a year after the 2025 animated musical “KPop Demon Hunters” — which centered on Huntrix, a music trio who hunt demons — reached unprecedented heights, becoming Netflix’s most-watched animated original movie. Earlier this year, the film’s focus track, “Golden,” became the first K-pop song to win an Oscar.

Plans for the “KPop Demon Hunters” sequel are already underway as the lawsuit makes its way through the California court system.

“Other than the needle drops, this is probably my favorite part about making ‘Beef,’” says creator Lee Sung Jin of the show’s episodic title cards, which in Season 2 marry historical paintings with abridged quotations from authors and poets. For the finale, which sees its two feuding couples (Carey Mulligan, Oscar Isaac, Cailee Spaeny and Charles Melton) swept up in a seemingly inescapable fight for survival, the paintings of Giuseppe Arcimboldo’s “The Four Seasons” matched with the title “It Will Stay This Way And You Will Obey,” a reference to a passage in Marion Woodman’s “Coming Home to Myself: Reflections for Nurturing a Woman’s Body & Soul.” “It’s almost prisonlike because these very prominent faces of literally nature have created this wall that the title is stuck in. We wanted to express the cycles and how the four seasons come for you no matter what,” Lee says, alluding to the season’s central idea that people often repeat the same destructive habits. “The final shot is homage to the Buddhist concept of samsara. It was important for us to allow the audience to take a moment after all the craziness of the season to think about their own lives, think about society at large … and depending on where you are, come to your own conclusion.”

In a nondescript black building in downtown L.A.’s Arts District, rich sounds of sax and bass filled the air for hours. Inside, surrounded by the paintings and posters of iconic musicians, albums and films, dozens of people gathered for a night designed to prove a simple point: You can’t “cancel” jazz.

On Thursday night, eight jazz artists and groups performed a pop-up show, including Okay Coleman!, the Don Brown Collective, Joy Guerilla, and Genghis Don, who also organized the event. All of these artists had one thing in common: They were billed to perform on the now-canceled inaugural L.A. Jazz Festival.

The planned 17-day event was supposed to kick off on Aug. 7 and feature dozens of performances spread throughout every City Council district. Organizers hoped the shows would draw 250,000 attendees and inaugurate the city as a home for jazz events on par with New Orleans and Montreal. The festival was to include a final show headlined by Janelle Monáe, John Legend, Charlie Wilson, Parliament Funkadelic and Raphael Saadiq at Dockweiler State Beach.

“When I got booked for it, I was really excited,” Genghis Don said. “It was one of the bigger festivals I’ve done so far in my career.”

Glen Turner of Joy Guerilla performs at the “Can’t Cancel Jazz” event Thursday.

(Brian Feinzimer / For The Times)

Then, the festival was abruptly canceled due to “last-minute public safety and municipal costs.”

But Don was determined for the show to go on. He partnered with Tída Norasingh of JIJI’s Jazz Club to host the “Can’t Cancel Jazz” pop-up show at Slow Jamz Gallery — a musical experience that was curated in less than 72 hours, according to Don.

“It all came together thanks to so many people who were involved in this,” Don said. “I really couldn’t have done any of this without them.”

The crowd, which leaned younger in part because the event allowed attendees 18 and older, trickled in around 7 p.m., and by 9 p.m., the party was in full swing. It was easy to see how audience members connected with the music by the way they cheered, danced and sang along through the night.

The pop-up show struck a balance between creating an accessible, music-forward environment for fans and providing support for the musicians who had been affected by the cancellation. The event’s entry fee was $20, while the nonalcoholic bar accepted additional donations. Some artists also had merch available for sale on site.

While “Can’t Cancel Jazz” may have been a response to the L.A. Jazz Festival being called off, it wasn’t aiming to replace it. Instead, the pop-up offered something more intimate. At times, the music overtook the gallery, completely captivating the attention of the room. At other moments, conversation and connection were happening right outside on the balcony between attendees, some of whom were meeting each other for the first time.

The result was something distinctly authentic with an underground quality that would have been hard to replicate at a sprawling, weeks-long festival.

“This was more so a test of L.A.’s community,” Don said. “They showed out, people came, the artists came together, and you know that’s the true definition of community.”

The Australian singer was the third celebrity to be named for the new series of the BBC show and has now given an update after a gruelling first day in rehearsals

Delta Goodrem says she’s already struggling with the gruelling demands of her Strictly Come Dancing schedule – after one rehearsal.

The Australian singer and actress was confirmed for the twenty-sixth series of the long running BBC show in June, shortly after representing her country in the Eurovision Song Contest with the song Eclipse.

But Delta, 41, admits she is feeling the strain after participating in her first rehearsal at a London dance studio on Friday. Reflecting on her progress with new Strictly host Emma Willis, she said: “I can’t move today… I had my very first day yesterday. Obviously, there was a lot of dancing, so it was a baptism of fire, a lot of shock for the body, so I’m slow moving today.”

Despite her pedigree as a seasoned performer, Delta insists she doesn’t have an advantage over her Strictly rivals because her music doesn’t lend itself to dance.

“I love dancing, but I don’t get to dance,” she explained during an appearance on BBC Radio 2. “It’s never been my role. My music doesn’t sit in the space where I do a lot of choreography.

“I don’t do a lot of dancing, and I don’t think people associate me with dance… I’ve never done ballroom. I didn’t even know there was a difference between Latin and ballroom until yesterday.”

Delta was the third celebrity to be confirmed for the new series following the announcements of former Love Island winner Dani Dyer and EastEnders star Lacey Turner.

The singer hinted at an appearance on the show in June, telling Good Morning Britain: ‘Every time I’ve ever been in the UK and I get immersed into it. I love music with all my heart but as I said before Eurovision, I’m always open.’

Last week, the singer admitted she was yet to be assigned a professional dance partner and was already feeling nervous about her imminent appearance on the show. “I think in a couple of weeks, so it’s still like a week or so away when we start the process,’ she told Sunday Brunch. ‘I’m excited, nervous, all those kinds of things.”

Asked if she saw herself as a potential winner, she added: “I am going to go in and give my very best that I possibly can. I have no expectations or awareness of what level of dancing.”

Strictly is back this autumn and winter for its first series since hosts Tess Daly and Claudia Winkleman quit the programme. Tess and Claudia have since been replaced by a trio of presenters – Johannes Radebe, Josh Widdecombe and Emma Willis.

Delta shot to fame when she starred as aspiring singer Nina Tucker on Neighbours and then went onto a major pop career with hits such as Innocent Eyes and Born To Try.

Along with the likes of Kylie Minogue, Jason Donovan, Holly Valance and Natalie Imbruglia, she is part of a cohort of stars who started out on the Australian soap before going onto conquer the music industry.

After signing up for Strictly Come Dancing, she said: “I’ve been incredibly honoured to perform on many different stages throughout my career – from TV, theatre, film sets, to touring my own shows around the world.

“There is, however, one stage I’ve never stepped onto and that is the ballroom floor. I’m absolutely thrilled to be joining Strictly and can’t wait to get started.”

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

The school year is beginning in the Los Angeles area, with LAUSD back this week and Pasadena Unified School District starting Monday. My 10-year-old daughter just got her new backpack and shoes and is aflutter about her return for her final year of elementary school. But she’s sad about one thing in particular: Last year her school had to choose to keep PE or art. It voted for art. She loved both, and didn’t think the choice was fair. I asked her to write about it and said I’d share her thoughts with readers.

For context, late last school year PUSD laid off more than 150 full-time-equivalent certificated positions. According to United Teachers of Pasadena President Jonathan Gardner, that number included almost 25 art, music, dance, orchestra and choir teachers. It also included librarians, coordinators for special education and counselors, and, of course, plenty of irreplaceable regular teachers. It’s a bitter pill for educators and parents to swallow, especially when the country is spending billions on an ill-advised war in Iran that was never approved by Congress and many people in the city are struggling to afford groceries and healthcare.

My daughter, Henri Boo Biller, gets into that a bit in her essay:

“Because the district couldn’t pay for certain activities and classes anymore, subjects like art, music and PE have ended. Some people have protested about these layoffs and budget cuts, but the children are especially sad.

Kids love and adore some of these teachers that have been teaching them how to draw or play a sport or musical instrument. Taking away these activities is ending certain opportunities for kids. For example, kids love to run and play just as much as they love to draw and sculpt. Taking away one of the two wouldn’t mean that the kid doesn’t still want to do it!

One of the subjects they’ve been taking away in some schools is music. This is a problem because some kids can’t afford instruments or lessons from an expensive instructor. That’s why music is so important, to let kids learn an instrument without having to pay big bucks for it. Taking away that is taking away a giant opportunity. The instruments the kids are learning, such as trumpet, trombone, flute, guitar, saxophone, cello and violin are expensive instruments that are hard to find, or at least hard to find in good condition.”

I’ll interject here. This is true. My family benefits from a school-loaned saxophone for my daughter.

In her essay, my kiddo interviewed her neighbor and best friend who lives across the street, asking her what she thought should be done about these budget cuts. Her answer broke my heart.

Q. What do you think we can do about these changes?
A. Have more fundraising events throughout the year. As well as school sales, bake sales and lemonade stands.

My daughter continues, “As [my friend] mentioned, we could hold more school sales like bake sales and lemonade stands. But we could also think about why this is happening. The money that is usually going to schools across the country is instead being used by the government to buy more weapons for the war in Iran [editor’s note: we have discussed that one thing being funded doesn’t necessarily take away from another, and that it is really a matter of what we prioritize as a society] … and because of this PUSD and other districts are having to take away certain programs. Some of these programs are even their main selling point! Programs like art, music and PE are being shut down, ending certain opportunities for children. We can try to get some of that money back, like the interview stated, or protest to show the world we mean business. Thank you for your time. Next week I will come back with an equally intriguing topic. Have a nice rest of your week! I’m Henri B. Biller, signing out.”

As her mother, I vote for protest! We do mean business, right?

I’m arts editor Jessica Gelt sending my love to the teachers of the city. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Battleship Potemkin
Sergei Eisenstein’s epic 1925 silent film screens with the world premiere of a live music score for string quartet and vocal quintet composed and conducted by George Sarah. Sarah also performs on synths/electronics, joined by soprano Jenna Hansen, mezzo soprano Anna Caplan, tenors George Sterne and Sean McDermott, Kaija Hansen on violin/viola, Katie Kim on violin and cellists Carolyn Regula and Paul Hyun.
8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

SUNDAY

Jas Ahluwalia and Kamaljeet Ahluwalia of Absolute Focus.

(Sierra Madre Playhouse; courtesy of the artist)

Absolute Focus + Chris Votek
The husband-and-wife duo of Santoor virtuoso Kamaljeet Ahluwalia and tabla master Jas Ahluwalia are joined by cellist Votek for an afternoon of traditional Hindustani raga.
4 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Pacific Chorale’s Choral Festival
The annual event brings hundreds of community members together with the voices of the Chorale for Maurice Duruflé’s “Requiem.” Robert Istad conducts the Pacific Chorale’s Festival Chorus.
5 p.m. Renée and Henry Segerstrom Concert Hall, Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificchorale.org

TUESDAY

Gershwin, Bernstein & More
Gianandrea Noseda and the National Symphony Orchestra make their Bowl debut with music from “West Side Story,” “An American in Paris” and Dvořák’s “From the New World.”
8 p.m. Hollywood Bowl, 2301 N Highland Ave., Hollywood. hollywoodbowl.com

WEDNESDAY

An Enemy of the People
Director Bart DeLorenzo has reimagined Henrik Ibsen’s classic play to highlight its contemporary resonance in a society in decline. The cast includes Lauren Campedelli, DeJuan Christopher, Dennis Dun, Clay Hollander, Jason McBeth, Cara Mitsuko and Jay Paulson.
Previews, 8 p.m. Wednesday-Aug. 21; opening night, 8 p.m. Aug. 22; 8 p.m. Fridays and Saturdays and Wed. Sept. 16; 3 p.m. Sundays through Sept. 27. Odyssey Ensemble Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

Herbie Hancock performs at the 2026 New Orleans Jazz & Heritage Festival.

(Amy Harris / Invision / AP)

Herbie Hancock Celebrates Miles Davis
The Grammy-winning keyboardist has recruited a stellar lineup including two of Miles Davis’ former bassists — Ron Carter and Marcus Miller — trumpeter and composer Terence Blanchard, former Davis saxophonist Kenny Garrett, bassist Christian McBride and conductor-arranger Vince Mendoza, to honor Davis through his music.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

THURSDAY

Presented in VistaVision
A tribute to the cinematography technique created by Paramount Pictures in 1954. Its popularity waned in the 1960s but contemporary filmmakers such as Brady Corbet, Yorgos Lanthimos and Paul Thomas Anderson have embraced the format. The series begins with John Ford’s “The Searchers” (1956) in 70mm on Thursday, and includes “North by Northwest” (1959), also in 70mm, and “One Battle After Another” (2025), the first film shot in VistaVision to win the Academy Award for best picture.
7:30 p.m. Thursday; the series continues through Aug. 31. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Gustavo Dudamel conducts his final concert in Disney Hall as L.A. Phil music director on June 7.

(Jason Armond / Los Angeles Times)

Celebrating Gustavo at the Bowl
As Gustavo Dudamel departs L.A. for New York, he goes out with a bang of four nights with four different programs: Beethoven Ninth with the L.A. Phil and YOLA on Thursday; Gustavo’s Fiesta, with Los Tigres del Norte, singer-songwriter Lila Downs, Mariachi Reyna de Los Ángeles, singer Sílvia Pérez Cruz, La Sonora Dinamita and Los Panchos, joining with the L.A. Phil for a night of Latin music on Aug. 21; Foo Fighters with the L.A. Phil and YOLA on Aug. 22; and last, but not least, “A Concert for Venezuela: A Benefit to Support Earthquake Relief” on Aug. 23.
8 p.m. Thursday-Aug. 22; 7 p.m. Aug. 23. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

— Kevin Crust

Retrospective

L.A. Times arts coverage from the past …

Lynda Benglis. “MI,” 1984. Glass, sandcast, powdered; ceramic oxides, metal inclusions 13 1/2 x 17 x 16 in. Los Angeles County Museum of Art, gift of Daniel Greenberg and Susan Steinhauser.

(Museum Associates / LACMA; Lynda Benglis / VAGA, New York)

Shattering expectations

Aug. 6, 2006

It was 1986 and Daniel Greenberg and Susan Steinhauser were 10 years into their passion for collecting glass art. Their home was lined with the kinds of works they loved.

That was when Stephanie Barron, a curator at the Los Angeles County Museum of Art, called to suggest that they look at an unusual piece at Margo Leavin Gallery in West Hollywood. Titled “MI,” it was a thick twist of sand-cast glass with a roughened texture reminiscent of glass unearthed from ancient sites. Even more unusual, the artist was Lynda Benglis, better known for avant-garde sculpture and performance and video work.

It was as if glass, as an artistic medium, had reached a critical juncture. “A whole group of artists who were not part of the glass movement but who worked in glass suddenly appeared,” Greenberg says.

He and Steinhauser viewed “MI” with puzzlement at first, then respect and finally appreciation. “This was part of our learning experience,” he said. “It expanded our horizons.” The couple helped LACMA purchase the piece. READ MORE

— Scarlett Cheng

Culture news and the SoCal scene

Anthony Hopkins at Hotel Bel-Air in Los Angeles on Aug. 1.

(Christina House / Los Angeles Times)

Anthony Hopkins’ first love was music, and, at 88, he’s returned to it. Later this month, the two-time Academy Award-winning actor will release his debut album, “Life Is a Dream,” on Decca Classics, featuring London’s Philharmonia Orchestra and conducted by Gustavo Dudamel.

Dudamel will play his final show at the Hollywood Bowl later this month as the music and artistic director of the L.A. Phil, and although the city has had years to get used to the idea of losing him, it still stings. In a tender, thoughtful column filled with insider information, Times classical music critic Mark Swed looks back at Dudamel’s arrival in L.A. more than 20 years ago to track how the Venezuelan wunderkind went from “rising star to star to savior.”

Swed also broke the news that German composer and conductor Matthias Pintscher will be Los Angeles Chamber Orchestra’s new music director, replacing Jaime Martín beginning in the 2027-28 season. “Pintscher, who is 55, says he is not ready to make any grand statements about LACO other than being eager to explore West Coast music and that he loves combining old with everything else,” Swed wrote.

Michael Shaeffer as King Aerys II Targaryen in the “Game of Thrones: The Mad King,” which opened Saturday at Royal Shakespeare Theatre.

(Johan Persson)

The wildly popular “Game of Thrones” franchise, which began in book form and spawned one of HBO’s most successful series of all time, is branching out to the stage. A 3.5-hour play, “Game of Thrones: The Mad King,” opened last weekend at the Royal Shakespeare Theatre in Stratford-upon-Avon. Author George R. R. Martin was in attendance to celebrate, and audiences seemed delighted by the expansion of the fantasy world-building effort, with many fan questions answered.

The Lucas Museum of Narrative Art this week announced its flagship restaurant: Skywalker Grill, inspired by founder George Lucas’ Skywalker Ranch in Marin County. The restaurant is located on the top floor of the museum with sweeping views of the city. It will be open for lunch, dinner and weekend brunch with hours that last long after the museum closes. Think American cuisine with California-sourced ingredients, including a signature Skywalker Ranch Wagyu burger.

Self Help Graphics & Art in Los Angeles.

(Sarahi Apaez)

Self Help Graphics & Art announced the launch of a $6-million capital campaign for the completion of its permanent home at 1300 E. 1st St. in Boyle Heights. The fund is intended for the final phase of a major renovation that will turn the space into a destination arts and culture center. The goal is to complete the project by the end of the year.

Three public art pieces by street artist Banksy have cost British taxpayers more than $200,000, as public authorities work to remove, manage and protect the art, a freedom of information record request obtained by the BBC recently found.

— Jessica Gelt

And last but not least

One of L.A.’s most beloved taco trucks now has a brick-and-mortar home in Studio City.

Hugo Lara and Manolo Cabrera — the Mexican DJ pair better known as RØZ — casually strolled through Sightglass Coffee in Hollywood, one gripping a half-melted iced coffee, the other an empty Erewhon juice bottle.

To any onlooker, they might appear as two standard Gen Z Angelenos in sardonic streetwear: 22-year-old Cabrera flaunted a hat that referenced the 2008 financial crisis while 25-year-old Lara’s faded tee read, “You don’t dream of a better version of yourself.”

But over the past year, this fresh-faced pair from Querétaro, a small state just outside Mexico City, has dominated the festival world circuit. Spinning heart-thumping electronic beats and Latin house rhythms, RØZ has taken the stage at many a popular event, such as the most recent Coachella Valley Music and Arts Festival, Lollapalooza Chicago, Hard Summer, EDC Las Vegas and Sueños.

“We’ve had huge crowds at festivals, even the workers on stage are like, ‘No way, you filled more venues than yesterday’s headliner,’” Cabrera told The Times. “We filled it up and people started leaving for the next person, which is obviously not cool. It feels awful. But you do think: good! They value Latinos and Mexicans now.”

Besides regaling ravers at their concerts — which will continue for the remainder of the calendar year, including a 20-city North American tour that kicks off in Boston on Oct. 21 — RØZ has landed another major artistic goal.

“Everyone will give [the album] a different interpretation, but I think the through line is the idea of drama, or poetic essence,” said Hugo Lara.

(Gina Ferazzi / Los Angeles Times)

Last Friday, they released their first full-length album, “Se Esta Haciendo Tarde.” It’s a 19-track, introspective debut that solidifies the duo’s standing in the EDM world as both masterful mixers and vocalists.

“We are neither fully DJs, or fully singers, but artists,” said Cabrera. “Our shows, with the album, are going to be us playing synths, at another point singing and at another point we mix some songs.”

Featuring cameos from Latin superstars like Peso Pluma, J Balvin and Ryan Castro, the LP itself is hard to define as simply house music; RØZ is known best for peppering its EDM with a heavy dose of Latino sazon. It’s a sonic recipe that the two former schoolmates have been mastering since they were under lockdown from COVID.

This era also saw the commercial rise of other Mexican artists in their generation: Natanael Cano and Latin Mafia were among the most prominent Mexican acts who maximized their creativity during the isolation period and used social media platforms like TikTok to gain traction.

“It’s like if Fred Again, Skrillex, Frank Ocean, Mora and Bad Bunny adopted a child and raised him,” said Cabrera about their own music, which they began uploading to the streaming platform Soundcloud in 2022.

At the start of their disc jockey journey, they remixed already established songs, from Bad Bunny and Bomba Estéreo’s “Ojitos Lindos” to Bellakath’s “Gatita.” By 2024, they would release their frosty original track, “Cora de Hielo” under Warner Music Mexico; this featured Natt Calma and Mau Moctezuma, artists whom they met through the local indie scene.

Their subsequent releases went viral — including the dark-synth pop “Flashes” with Yng Lvcas and atmospheric “Apaga la Luz” with a rather mellowed performance from Peso Pluma — which were released under LT:Vision Records, Queens Road Music and Atlantic Records.

“At that time, emotions were secondary [in the music],” said Cabrera when looking back on those early songs. “Perhaps we didn’t resonate with the artist’s lyrics, we might have helped with some ideas. But with this [new] project, we wanted to find more of a balance — we want to be transparent, while also releasing f— bangers.”

Inspired by the transient beauty of cherry blossoms, known in Japan as sakura — which is illustrated in their album cover, alongside a dark pegasus — much of the LP also hinges on melodrama. Glitchy beat drops in “Acelero Lento” (featuring Chitra) fade into acoustic ballads. The bouncy freestyle rhythm in “Soho” melts into feverish pop harmonies. There’s also an interlacing spiritual hymn in “Yo Gospel” (featuring Rodrii) that showcases the heavenly vocals of an American-style church choir.

“Everyone will give [the album] a different interpretation, but I think the through line is the drama, or poetic essence,” said Lara. “Perhaps in 10 years we will listen to the same song and have a different interpretation.”

The new LP is imbued with various Latin genre fusions. In “Ya es de Noche” (featuring Rodrii and Olisso) they open with neo-perreo rhythms that slowly wade in and out of a cumbia-guided trance. In “Hanami,” named after the traditional Japanese custom of observing a floral bloom, RØZ is joined by Colombian producer Sky Rompiendo, whose pulsating reggaeton beats undergo a warping process, as their lyrics harp on romantic tension.

“Cherry blossoms only last a while, so it was our way of saying that we must appreciate the moment in which beauty exists,” said Lara.

The magnetic pull of RØZ — whose stage name is pronounced like the second syllable in “arroz” — cannot be overstated. They’ve already sold out six shows in their upcoming tour, which will wrap up Feb. 27 in their home state of Querétaro. Their popularity comes at a time when electronic music was registered as the largest-growing genre in the U.S. in the first half of 2026, per Luminate’s 2026 data report, which also found that casual monthly listenership in Latin music peaked at 54% of streams in the first quarter.

The growing admiration for Latin-fused EDM by Latino listeners was most visually evident during their Coachella debut in April. One attendee uploaded a video to Instagram showing the jammed entrance to the Sonora Tent, which reached full capacity before the duo began their Sunday set: “Coachella underestimating the Latino crowds like [what do you mean] I can’t see RØZ [because] it’s at full capacity both weekends,” the subtext on the video read.

Even before their breakout year, on the night of their first U.S. performance on the rooftop of the Fonda Theatre in Los Angeles last August, the line to get inside stretched across the Hollywood Boulevard sidewalk with attendees eager to hear the pair’s early tracks.

Still, it doesn’t surprise RØZ that a Latino act like themselves might be early on the call sheet — or left to assemble a last-minute crew after their original team ran into visa processing delays ahead of the first Coachella weekend. “In this genre that we’re moving in, you’d never picture a Latino headliner. Latinos are always put down, down, down,” said Cabrera.

But some milestones have given them faith that the mainstream world is opening up to putting Latino acts at the top of the bill; including the fact that Colombian singer Karol G was the first Latina Coachella headliner this year. “And with music in Spanish, not English,” marveled Lara.

And rather than sulk about the conditions of Latino artists, RØZ is ready to put up a fight.

“Just because I’m Mexican or Latino doesn’t mean that I can’t connect with people the same way a person from the United States can,” said Cabrera. “Headlining is possible, without a doubt.”

In its latest effort to protect human creators from the flood of synthetic music, Spotify will soon require AI-generated identities to carry an “AI Persona” label while barring their tracks from users’ algorithmic mixes.

The change will take effect in mid-September. It follows Spotify’s earlier moves to help subscribers understand the difference between genuine and artificial creators. The platform announced a verification badge in April designed to highlight human artists. In a statement Tuesday, Spotify said the new AI Persona label is meant to make the streamer “the most transparent and trustworthy place to listen to music.” Music from labeled AI Personas will also be excluded from the Swedish company’s personalized recommendations by default.

“While we believe all artists have creative choice in determining how they present themselves, Spotify’s programming is focused on elevating music from authentic artists building careers in music,” the company said .

The AI persona badge will soon appear on an artist’s profile, in the search feature and in playlists.

This is a step in the right direction, said Tiffany Naiman, the director of Music Industry Programs at UCLA. But, she said, she’s more interested in how the company will be identifying AI personas.

“I want to know the process. How [will they] know the difference? Are there going to be [real] artists that get tied up in it?” Naiman said. “It feels very ‘Blade Runner,’ right? Like you’re human, you’re not human.”

Starting Tuesday, Spotify users will be able to identify themselves as AI personas, if applicable. But the company said it “won’t rely on self-disclosure alone” and will use “human review alongside AI investigative tools to apply the label.”

Artists who get labeled as AI personas by Spotify will be allowed to appeal the label. In the coming months, users will also have the ability to report artist profiles as potential AI personas.

The label is the latest feature from the streaming platform that builds on transparency between the artist and their listeners. Recently, Spotify has also introduced SongDNA, an interactive feature that shows the creative team behind the track; AI Credits, a disclaimer where artists can reveal how much AI was used in their creative process and Artist Profile Protection, which allows artists to review and approve all releases on Spotify.

Artificial intelligence is becoming an essential part of Spotify’s business. The company announced a new AI deal last week with the digital music licensing company Merlin. The partnership will enable artists across the more than 30,000 labels and distributors in Merlin’s network to participate in Spotify’s upcoming AI tool. It hasn’t launched yet, but the goal is to let fans create AI-generated remixes and covers of existing songs on the platform.

Spotify is following in the steps of other streaming platforms that have taken more aggressive approaches to the new technology. Deezer, a French streamer, was the first to detect, tag and exclude AI-generated music from algorithmic recommendations. The company recently disclosed that up to 90,000 AI tracks are being uploaded to the platform daily, representing more than 50% of its new music uploads. Tidal has banned AI-generated music from receiving royalties on its platform.

“We know the music ecosystem is evolving, and so will our approach,” said Spotify in a statement. “We’ll continue to adapt as the landscape changes and as we learn from artists, listeners, and industry partners.”

SALZBURG, Austria — With the Los Angeles Philharmonic and Gustavo Dudamel heading off on a brief tour to London and Edinburgh, the Los Angeles Chamber Orchestra steps in Tuesday night at the Hollywood Bowl with an all-Mozart program. Mozart has long been a specialty of LACO.

And it so happens that the orchestra is using the Mozartean occasion to announce that its next music director will be German composer and conductor Matthias Pintscher, who has been busy conducting in Mozart’s birthplace, Salzburg, where I caught up with him.

Pintscher, who will succeed current music director Jaime Martín beginning in 2027-28 season, augurs a new era for LACO. The orchestra will have a part-time residence when the Colburn Center opens next fall. The innovative 1,000-seat hall for concert, opera and dance looks to be Frank Gehry’s last music-meant masterpiece certain to usher in a new era for the Grand Avenue cultural district.

It also means a sort of homecoming for LACO, which gave its first concert in 1969 in the then-new Mark Taper Forum, the last of the Music Center’s initial three venues. The orchestra had been founded as an outlet to Hollywood studio musicians, and its first music director was the lively Mozartean, Neville Marriner. LACO’s first nine seasons included a Monday night series when the theater, originally meant to be a chamber music hall, was otherwise dark.

A little odd, perhaps, but the Taper remains until now the most intriguing venue of the peripatetic ensemble that has roamed through the years from Santa Monica to Pasadena, and that helped give the ensemble a distinctive image.

That is still the case. Once the Colburn Center opens, LACO will continue its series at the Wallis as well as at various chamber music programs around town.

Pintscher made his LACO debut in 2016 and already there was talk about him succeeding Jeffry Kahane, at two decades, who was the longest-running and most admired music director. Pintscher then served as its artist-in-residence, during which he oversaw a stab at the avant-garde. Not all LACO patrons were pleased.

It was out of the modernism, if not exactly avant-garde (but close), that Pintscher emerged first as a composer of colorfully complex orchestral and vocal scores that reflect a dizzying technical command and often a deep philosophical concept, sometimes taken from ancient Judaic tradition. His first big break as a conductor was as music director of France’s premiere new music Ensemble Intercontemporain that was founded by Pierre Boulez. But Pintscher also expanded in other directions. At the same time, he guest conducted orchestras in Europe and America with programs, while heavily weighed on the 20th century, that went back to Mozart and Haydn. He developed a surprising reputation as an interpreter of Rachmaninoff and other romantics disliked by modernists.

In 2008, he moved to New York, where he has remained, teaching composition at the Juilliard School and guest conducting widely (including the Los Angeles Philharmonic). Two years ago, he became the unlikely music director of the Kansas City Symphony. It was, he said over coffee at Salzburg hotel terrace, love at first rehearsal. His programming is a kind of wish-list of the new and recent with newly-buffed chestnuts, and it’s worked. His contract has been extended to 2034.

Pintscher, who is 55, says he is not ready to make any grand statements about LACO other than being eager to explore West Coast music and that he loves combining old with everything else. There is always room for Mozart and Haydn, to say nothing for his recent infatuation with Aaron Copland. He also described a mission for collaborative and theatrical projects, noting eager discussions with the Los Angeles Master Chorale (expect a Haydn “Creation” sooner rather than later) and director Peter Sellars.

When asked whether he saw himself as a composer who conducts or a conductor who composes, he simply laughed. But Pintscher did say he had no intention, at least for the present, of conducting his own works, feeling that to be a kind of self-promotion. But his mind can be changed. After two years Kansas City talked him into doing a piece, even if a small one.

Meanwhile, a new opera by Pintscher, “Das Kalte Herz” (The Cold Heart), which had its premiere in Berlin earlier this year, happened to be directed by the Long Beach Opera artistic director and chief creative officer, James Darrah Black. Watch this space.

Pintscher was enticed to the Salzburg Festival as part of this summer’s homage to the ageless Hungarian composer György Kurtág, who turned 100 this year. Pintscher conducted two programs with Vienna’s new music ensemble Klangforum Wien. In one, noting Kurtág’s affinity to Samuel Beckett, Pintscher led a transfixing performance of Morton Feldman’s “For Samuel Beckett” holding an audience prisoner for 50 minutes within a chord that won’t go away.

A mystical aura filled the heat-wave-sweaty Kollegienkirche, a voluminous central Salzburg church. Written on his deathbed in 1988, Feldman‘s piece reflects a final harmonic vision combining mismatched patterning of Turkish rugs and Hebraic chant. It remains super soft throughout and nothing seems to happen. But under the surface, little bits of notes fall precisely in and out of place in a rhythmic structure almost too hard to count.

The world’s complexity and emptiness simultaneously filled the church. Afterward, I walked past the home where Mozart was born. It was late at night. The tourists had turned in. My hotel was nearby, just across the river. But I made a lost, wrong turn.

Pintscher had put a peaceful, Feldman-esque, Twilight Zone spell on Mozart.

BRITAIN’S Got Talent boss Simon Cowell is being sued over a £75million deal said to have been written on a napkin.

The TV and music mogul is accused by former business adviser Ian Rosenblatt of being unpredictable and “very difficult to speak to” as he refuses to own a mobile phone.

Mr Rosenblatt worked for Mr Cowell from 2018.

But he is pursuing him for millions after claiming a deal, originally hashed out over dinner on a serviette, was not honoured.

The pair are said to have met for dinner in London in October 2022 to discuss a way forward following a series of rows.

Documents submitted to the High Court claim that Mr Cowell offered an attractive fee arrangement for a deal he was working on at the time.

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The documents say: “The terms of that offer were written on a napkin which Mr Cowell then signed.”

It offered up to 15 per cent of any deal of more than £75million.

The deal was later formalised at a meeting at Mr Cowell’s Cotswolds home in February 2023.

Mr Rosenblatt claims to have not been paid at all for the agreement.

Lawyers for BGT and X Factor boss Mr Cowell are yet to respond to the claims.

The Sun on Sunday has contacted him for comment.

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.

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.

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.

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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.

MADONNA has paid an emotional tribute to William Orbit following his death aged 69.

The Grammy award-winning music producer – who died on July 23 but whose death was only announced on Friday – worked with the singer on her album Ray Of Light in 1998 – known as one of her most beloved musical projects.

Featuring hits such as Frozen and Nothing Really Matters, the record marked a change in style for the Queen of Pop, moving her into an electronica sound following previous albums of dance-pop and disco.

Taking to Instagram, Madonna shared a video of her winning a Grammy for the album, which she accepted with William next to her on the stage.

In the clip she admitted the record wouldn’t have been possible without him.

A montage then showed that era in her career, working with the producer, with the title track Ray Of Light accompanying it.

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She captioned the post: “Goodbye William Orbit – I had an epiphany when I met you and started working with you.

“I realized that music did not have to fit into categories or genres – so we created our own.

“You pressed a magic button inside of me and I fell into a galaxy of unrealized dreams.

“Your music gave me a magic carpet to fly on and I visited many places: Sad and Joyful, I sang in ways I’d never sung before – I used words without caring if they made sense or not.

“In many ways you were my Ray of Light -as was my daughter Lola who was born around this time – I was starting a new chapter, I was choosing another road to walk down – and you were right by my side with your crooked teeth and your genius way of hearing music.”

She went on: “The studio was often church like and I would sit in silence, waiting for your ideas to explode out of your keyboard or your guitar and then I would run with them… I miss those days.

“Only you could inspire me to write a song like Drowned World or Swim – you were so otherworldly, so singular.

“The years passed and I moved on to make music with other people, but I have never forgotten you or the magical time we spent together.

“Goodbye Billy Bubbles – I was so lucky to have known you and fallen down the rabbit hole with you.”

William’s resume featured a plethora of musical icons – including Britney Spears, Pink, All Saints and Blur.

But Madonna was often considered the pinnacle, garnering him the most fame.

Having initially worked with her on singles Erotica and Justify My Love, Ray Of Light then followed, with the pair also collaborating on 1999 track Beautiful Stranger for the Austin Powers franchise.

Speaking previously about working with William, Madonna hailed him as a “complete madman genius”.

She told The Guardian: “I’d come to him with an idea of where I wanted to go musically, hum melodies or read lyrics, and then leave him alone in the laboratory.

“Sometimes he’d go in the direction I wanted and sometimes he’d swerve off somewhere else entirely.

“We’d end up with trance tracks that were eight minutes long and then keep adding and subtracting until we had real verses and choruses.”

The pop producer was hailed for his “friendship and kindness” in a touching statement on his social media.

It read: “It is with profound sadness that the family and friends of William Obit announce that he passed away at home on July 23. We are deeply saddened by his passing. He will be greatly missed by us and by so many whose lives he touched through his music.”

TINIE Tempah has announced his first album in 10 years as he dropped his new single.

The singer’s last album Youth was released in 2027, and included songs Girls Like featuring Zara Larsson and Not Letting Go with Jess Glynne.

A decade on and Tinie, 37, has shared the exciting news that he’s releasing his fourth studio album.

The musician shared a photo of the album’s front cover, which is titled The Night’s Not Dead.

Looking back on how much has changed over the last 10 years, Tinie wrote: “Last time I announced an album, lockdown wasn’t a thing.

“The UK was still in the EU, Supreme was selling bricks, memes were taking over the world, and 1 Bitcoin was worth £500.

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“So much has happened in the world since then.

“It’s crazy to be announcing my 4th studio album, ‘The Night’s Not Dead,’ coming 16th October 2026.”

He added: “The journey of a night out starts today with Heaven Or Hell ft. Reggie. The track to start your night with. Let’s go!”

Reggie commented: “The King! Inspired me when I was a kid and still inspiring the next generation. an absolute pleasure brother.”

This fan posted: “Oooh this is gonna go crazy,” while another wrote: “Living legend.”

Just last month, The Sun revealed that Tinie was set to release a brand new album.

He exclusively told us: “I’ve not released new music in a while, but I’m back on the grind and it feels good.

“I’ve started putting new music in my sets, but the album is coming in October.”

Tinie’s debut tune, Pass Out, hit the top spot in 2010 and he’s collaborated with massive stars including Rita Ora, Zara Larsson and Ellie Goulding.

But it was way back in 2017 that he released his last album, Youth.

In this revival, Tinie is keen to turn attention to grassroots music venues, where he started out.

Last month, he took to the stage at intimate Southampton venue The Brook alongside Rizzle Kicks to shine a light on the cause.

He said: “One of the reasons I came back was the next generation of artists who may miss out with the way things are going and things are closing. It put me down a bit to think, ‘Wow, this might be an era thing’.

“Behavioural habits have changed — clubs closing, small venues closing — it’s just concerning.

“I feel, as Brits, every ten years we have come to the forefront with a new genre, with garage or grime or dubstep, and I feel like it’s partially because of these spaces that incubate the talent.

“That was one of the motivations for coming back and I feel like it’s a really exciting space to occupy.”

William Orbit, the English musician and producer best known for his work with Madonna on her beloved 1998 album “Ray of Light,” died on July 23. He was 69.

His family announced his death Friday in an Instagram post that said he died at home but didn’t specify a cause. “He will be greatly missed by us and by so many whose lives he touched through his music, friendship and kindness,” the post reads.

Born William Wainwright in London in 1956, Orbit had already established himself in the worlds of dance music and movie soundtracks — he composed the score for the 1986 hockey movie “Youngblood,” with Rob Lowe and Patrick Swayze — when he linked up with Madonna at a moment of deep personal change for the pop superstar, who’d given birth to her first child and immersed herself in a variety of spiritual practices. Together the two developed a lush yet energetic sound that combined guitars, synths and throbbing club beats.

“Ray of Light,” which sold more than 4 million copies in the United States alone, spun off hit singles including “Frozen,” “The Power of Good-Bye” and the exuberant title track; the LP was nominated for album of the year at the Grammy Awards — Madonna’s only nod for that prestigious prize — and won the award for pop vocal album. Orbit won three Grammys in all over the course of his career.

In 2021, Orbit took pains in an interview with the Guardian to share credit for “Ray of Light” with the singer herself. Madonna, he said, is “a fabulous producer. When it says ‘produced by Madonna and William Orbit,’ people don’t always give her the credit for that. But she’s as responsible as me.”

Orbit and Madonna collaborated again for “Beautiful Stranger,” a Grammy-winning single from the soundtrack of 1999’s “Austin Powers: The Spy Who Shagged Me,” and for an electro-pop cover of Don McLean’s “American Pie” that featured in the 2000 movie “The Next Best Thing,” in which Madonna starred.

He also worked with Blur, U2, Beth Orton, Pink and All Saints, and he made music under his own name, including a 2000 LP, “Pieces in a Modern Style,” with high-tech interpretations of classical pieces by the likes of Samuel Barber and Erik Satie.

Artificial intelligence music company Suno is going retro — eventually.

The Cambridge, Mass.-based AI company has announced Suno Vinyl, a service that will press users’ generated AI tracks onto vinyl records. It has not gone live. The company has started a waiting list, with the first pressing reserved for users who sign up. A Suno spokesperson said the company is exploring ways for people to turn their music into physical artifacts.

“Press a banger, because it’s too good to live on a screen,” Suno wrote on its website.

Users will be able to build a tracklist of up to 46 minutes from their Suno library, then either upload their own album artwork or generate it on the platform for the sleeve, labels and cover. Each record will be a 12-inch pressing made from PETG, a type of plastic. Pricing is estimated about $45 plus shipping. Suno has not said who will press the records.

Vinyl records have seen a major resurgence ever since millennials brought the format back into mainstream culture in the 2010s. Over the years, it’s become customary for major musicians to release several vinyl variants to help promote their latest album. Olivia Rodrigo most recently released roughly 10 variants of her new album, “You Seem Pretty Sad for a Girl So in Love,” in June.

Last year, vinyl record purchases accounted for more than $1 billion in U.S. sales, up more than 9%, according to the Recording Industry Assn. of America’s annual report. It was the first time vinyl revenue topped $1 billion since 1983.

The format sold 46.8 million units, against 29.5 million CDs in 2025.

Suno, founded in 2022, has established itself as a leader in AI music tech and maintains an office in Venice. In February, the company said it had surpassed 2 million paid subscribers and was on pace for $300 million in annual revenue. In June, raised more than $400 million in a Series D round led by Bond Capital, more than doubling its valuation to $5.4 billion from $2.45 billion less than a year earlier.

The growth has unfolded as the company fights on several legal fronts. Suno and its competitor Udio were sued for copyright infringement in 2024 by the RIAA on behalf of the industry’s biggest labels, including Warner Music Group, Universal Music Group and Sony Music Entertainment.

WMG was the first of the three to settle with Suno, reaching a deal last November that included a licensing agreement, Suno’s first partnership with a major label, and the sale of Warner’s Songkick concert platform to Suno.

The UMG and Sony litigation is ongoing, with a fair use hearing set for Massachusetts federal court and the labels seeking to expand their complaint. Suno also lost a case brought by German collecting society GEMA last week and is defending against legal actions from Denmark’s Koda.

Separately, class action suits against Suno and Udio have drawn support from more than 1,800 independent artists who say their recordings were used without permission to train the company’s models.

Suno has not said whether users will be able to press tracks that resemble copyrighted work, what rights users hold in the records they order, or whether the company takes a cut.

As AI creeps further into the music industry, copyright remains the sticking point — now on a format that fans seek precisely because a person made it.

When CBS ended “The Late Show With Stephen Colbert” earlier this year, it also shuttered the program’s robust music offerings — a major blow for artists whose television platform was already dwindling.

Performing on late-night has historically been a unique avenue for musicians hoping to access new audiences — think of a rising Chappell Roan on “The Late Show” or even The Beatles on “The Ed Sullivan Show.” But when James Corden left CBS’ “The Late Late Show” in 2023, his program — and its coveted performance space — was never revived. NBC’s “Late Night With Seth Meyers” has cut back on live music, while ABC’s “Jimmy Kimmel Live!” reduced performances to twice a week. As it stands, only NBC’s “The Tonight Show Starring Jimmy Fallon” consistently books live performances.

Emerging artists still see incredible value in these performances — and are hopeful that nascent online programming will offer a new alternative.

Breaking through on late-night

March 3, 2014, was the day that changed everything for rock band Future Islands. The synth-pop group was a stalwart of America’s underground music scene due in no small part to charismatic frontman Samuel T. Herring and his idiosyncratic voice, somewhere between Tom Waits and Rammstein’s Till Lindemann. That day, they performed on “Late Show with David Letterman,” and the host was transfixed. “I’ll take all of that you got!” Letterman cheered, and the DIY band was cast into true virality.

“At the time that we played Letterman, we were in a transitory period for the band,” said bassist William Cashion. They’d signed to the larger indie label 4AD Records, hired management and were promised a late-night TV spot but never thought it would pan out. “Our team, they told us, ‘It’ll be good for your fans and your friends and family, but it’s not really going to move the needle. These things don’t really do what they used to,’” he recalls.

But that wasn’t the case.

“All the festivals that initially turned us down all of a sudden wanted us to come play. Everything kind of shifted after that moment,” he said. “It was definitely a huge turning point and gave the band much greater exposure.”

A dearth of late-night spots particularly affects independent acts — the kind that could really benefit from the exposure, just like Future Islands. Representatives for CBS, NBC and ABC did not return The Associated Press’ requests for comment.

Chloë Walsh, co-founder of publicity firm The Oriel, points to the music bookers behind the scenes. “Of course, they have to book all the biggest things in the world, but they also have things that they want to champion,” she says. Fewer slots means developing artists are competing with big names for dwindling opportunities.

But there are other avenues to discovery.

“We’re kind of an anomaly in the way that our song and that performance took off,” says Cashion. “But we’ve seen other bands have TikTok viral hits and stuff like that.”

There are many examples of artists cracking the code online: Singer-songwriter Gigi Perez’s career was launched with the TikTok smash “Sailor Song,” as was Malcolm Todd’s with a few viral hits, landing him a major label deal with Columbia Records. Indie band Beach Bunny saw their punky-pop go viral with “Prom Queen” just ahead of the pandemic, leading to performances on Kimmel and Fallon.

Even legacy artists are experiencing second winds of music discovery: Weezer’s 2010s power-pop track “Go Away,” featuring Best Coast’s Bethany Cosentino, recently made the rounds on TikTok and became a top song for both on Spotify.

“It seems like a lot of different aspects of the album cycle have kind of been replaced with short-form content,” Beach Bunny singer Lili Trifilio explained. “And it is a bummer because late-night is a service to musicians in such a major way. You are helping people reach new fans.”

“And I think now a lot of the responsibility of advertising is falling on the artists to be their own late-night special on TikTok or whatever,” she continued. “I don’t think that these 30-second, one-minute self-made clips hold the same value.”

Internet creators reimagine traditional formats

“The media landscape is always changing. Sometimes that’s good for music and sometimes it’s bad for music,” says Walsh. “There’s a whole breed of young creators at the moment doing really interesting stuff. … Hopefully there will be more opportunities out there and we don’t have to rely on the networks.”

She points to “Track Star(asterisk),” the online music trivia series, which has begun hosting live performances, and to Julian Shapiro-Barnum of “Recess Therapy,” who has launched a late-night YouTube show, “Outside Tonight,” that features live performances.

Shapiro-Barnum says “Outside Tonight” was born out of necessity. “We know that the entertainment industry is hard to break into. And so, what’s been so cool about digital media is that it’s circumvented that,” he says.

“How can we do late night, but different?” was his approach. The show takes place outdoors, bypassing a traditional studio. The musical bookings also lean independent. Recent performers include rapper Erick the Architect, indie rock soloist Annie DiRusso and the multi-instrumentalist and experimentalist L’Rain.

“There was no version of the show that didn’t have music,” he says. “To me, it feels like a staple.”

Beach Bunny performed during the first “Outside Tonight” episode.

“It’s so cool to see people that are like movers and makers be like, ‘Hey, this is a gap I’m seeing. Late-night is being placed on the back burner. We need to revive this; I’m gonna figure it out,’” Trifilio said. “I hope that it inspires other people to step up.”

She sees it as part of a larger YouTube renaissance, shifting away from prioritizing short-form content.

“I think that people are yearning for some longer-format stuff,” she says.

The power for live performance is exposure — not sales

In traditional late-night TV spots, artists benefit from exposure — but that doesn’t necessarily mean a jump in sales. Ideally, that will also translate to these new media spaces.

“It’s a showcase for touring. And that’s really where artists make their money,” says Walsh. “People say, ‘It doesn’t really give you a bump if you’re on a late-night TV show.’ They’re looking at the sales, they’re not looking at a promoter in Minneapolis going, ‘Oh my god, I want that,’ or a radio playlist director saying, ‘Oh that was fantastic, we should add that.’”

“Every musical guest who’s come on ‘Outside Tonight,’ everyone in the crew, everyone in the audience, has not stopped listening,” says Shapiro-Barnum. “In real time, it spreads and creates all these fans. So, I have to imagine that happens online as well.”

But for many, landing a late-night TV performance is still the north star of a press run.

“For a lot of people — especially international artists that are coming to slog it out across the U.S. in some club shows they may not even be headlining — if you could get on ‘Jimmy Kimmel,’ it’s like we’ve cracked it,” says Walsh. “The whole thing was worth it. And that’s huge.”

Sherman writes for the Associated Press.