Great news for the Philadelphia 76ers and Flyers has turned out to be not so great for Bruce Springsteen fans. After the Sixers advanced to the second round of the NBA finals by beating the Boston Celtics in a playoff series for the first time in 44 years — besting their rivals 109-100 in game 7 of their Eastern Conference quarterfinals series on Saturday (May 2) and becoming just the 14th team in league history to come back from a 3-1 deficit — The Boss and the E Street Band have reshuffled their Land of Hope & Dreams North American tour.
“Due to the NBA and NHL playoff schedule, the Bruce Springsteen and the E Street Band concert at Xfinity Mobile Arena has been rescheduled for May 30,” the band wrote on Instagram over the weekend. Tickets for the original date, May 8, will be honored on the new date.
The announcement came as both the Sixers and the city’s NHL team, the Flyers, have advanced in the 2026 playoffs. The Sixers will be back at Xfinity on May 8 to play the New York Knicks in game three of their series, followed by the Flyers, who will face the Carolina Hurricanes at home on May 7 and May 9.
The original E Street Band date was squeezed in between a run of New York shows, including a show on Tuesday (May 5) in Elmont, N.Y. bookended by the first of two shows at Madison Square Garden on May 11 (with a second one on May 16) and a stop at the Barclays Center in Brooklyn on May 14. The Philly show will now come after what was supposed to be the E Street Band’s May 27 finale at Nationals Park in Washington, D.C.
The latter date was a pointed booking, as it would have wrapped the tour on the doorstep of Springsteen’s frequent target during the tour’s run: President Donald J. Trump. The Boss launched the tour in Minneapolis on March 31, the site of the killing of two American citizens by Trump’s immigration enforcement agency during a surge in the city earlier this year. The routing was a clear rejoinder to Trump’s actions in the Twin Cities, which Springsteen also reacted to with the flash-release of the searing protest song, “Streets of Minneapolis,” which the Boss debuted at a show by fellow Rock & Roll Hall of Famer Tom Morello at the legendary First Avenue club in the city on Jan. 30, less than a week after the track was written and recorded.
Donald Trump is claiming that his dance moves to the Village People’s “Y.M.C.A.” helped drive a resurgence of the song on the Billboard charts.
During a speaking engagement at The Villages retirement community in Florida on Friday (May 1), the U.S. president took credit for the 1970s smash hit topping Billboard’s Top Dance/Electronic Digital Song Sales chart in late 2024, more than four decades after its original release.
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“That song was No. 5 32 years ago, and it went to No. 1 32 years later,” Trump incorrectly stated during his speech. “It went to No. 1 for months during the last months of the campaign.”
The ubiquitous disco-era track — described by Trump as the “gay national anthem” — was frequently used during his 2024 presidential campaign and spent two weeks at No. 1 on the Top Dance/Electronic Digital Song Sales chart that November. Following its original release in late 1978, “Y.M.C.A.” peaked at No. 2 on the Billboard Hot 100.
In December 2024, Village People founder Victor Willis spoke out about why he allowed Trump to use “Y.M.C.A.” at rallies and events leading up to his election win. The musician originally asked Trump to stop using the song in 2020 but later reconsidered after realizing that the politician seemed to “genuinely like” it and was “having a lot of fun” with “Y.M.C.A.,” he wrote in a lengthy Facebook post in late 2024. Willis also noted that the dance tune has only “benefited greatly” in terms of chart placements and sales since Trump incorporated it into his campaign.
“Therefore, I’m glad I allowed the President Elect’s continued use of Y.M.C.A.,” Willis wrote. “And I thank him for choosing to use my song.”
During his speech on Friday, Trump also noted that his wife, Melania Trump, isn’t a fan of his onstage reaction to “Y.M.C.A.” “She hates when I dance to what is sometimes referred to as the gay national anthem,” the president said. “She hates it.”
He added, “We love that song. But [Melania] goes, ‘Darling, please.’ You know, she’s a very elegant woman. She goes, ‘Darling, please don’t dance. It’s not presidential.’ I said, ‘It may not be presidential, but I’m leading by 20 points in the polls or something.’ ”
Trump ended his speech by showcasing his signature dance — featuring fist pumps and hip shakes — as “Y.M.C.A.” played at the close of his address at the Florida retirement community.
Back when Olivia Dean’s The Art of Loving global tour was announced last summer, a month before the album’s release itself, you’d be forgiven for thinking some of the venue choices were punchy. Prior to this run, Dean’s biggest show in the capital had been at London’s 3,500 capacity Eventim Apollo, and debut album Messy topped out at No. 4. Now it’s six sold-out nights at the O2 Arena to a combined 120,000 fans. Now? It feels like she could have done six more, judging by the clamor for tickets at this U.K. run before the tour goes global.
The Art of Loving looks set to be one of the U.K.’s defining albums this century. Since its release it has scarcely left the top five of the U.K.’s Official Albums Chart and has earned eight weeks at the summit. The LP has collected the best album prize at the BRITs — and Dean herself won best new artist at the Grammys, a rare feat for a British artist. Expect it to pick up an album of the year nod at next year’s ceremony and be a favorite to win.
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Beyond the commercial heft, Dean’s The Art of Loving was built for broad appeal. The LP deftly glides between pop smashes (“Man I Need”), soul-infused groovers (“Baby Steps”) and intimate R&B (“A Couple Minutes”). The album’s visual aesthetics — and Dean herself — are leading its own inimitable style; the amount of polka dot skirts and floating dresses, Dean’s signature style, worn by fans give viral math-rock duo Angine de Poitrine a run for their money.
Now she’s bringing all of those sounds and visual references to life with a powerhouse show, one that’ll be one of 2026’s most sought-after tickets. These were the best moments from Dean’s Saturday night (May 2) showcase at London’s O2 Arena.
The Michael Jackson film Michael has grossed $424.8 million worldwide in its first 10 days of release, according to boxofficemojo.com. That already places it at No. 2 on Billboard’s list of music biopics with the highest worldwide grosses. Jackson has a long history of ranking No. 1 on lists, dating back to The Jackson 5 landing their first No. 1 hit on the Billboard Hot 100 with “I Want You Back” in 1970, but that will be a tough assignment in this case. The all-time top-grossing music biopic, Bohemian Rhapsody, grossed $910.8 million worldwide.
According to boxoffice mojo figures, international ticket sales account for nearly two-thirds of Michael‘s boxoffice total to date. International is responsible for 66.1% of the boxoffice tally, with the other 33.9% coming from the U.S. and Canada.
Michael has already outperformed the 2009 concert film/documentary hybrid Michael Jackson’s This Is It, which grossed $268 million worldwide.
Of note: Graham King, who co-produced Michael with longtime Jackson associates John Branca and John McClain, also co-produced Bohemian Rhapsody and a third music biopic on this list, Jersey Boys, the story of the Four Seasons.
Here are the highest-grossing biopics of musicians in terms of worldwide box office. We didn’t include a few high-grossing films about real-life music personalities because the subjects are not well-known music stars in their own right. These include The Sound of Music (which tells the story of Maria von Trapp and the Trapp Family Singers); Green Book (which deals with a road trip taken by pianist and composer Don Shirley); Florence Foster Jenkins (about an heiress and hopelessly untalented soprano by that name); and Music of the Heart (about violinist and music educator Roberta Guaspari). Meryl Streep starred in the latter two films.
Here are the 25 biopics of music stars with the highest worldwide grosses.
Olivia Rodrigo playfully reflected on some of her career highlights during her Saturday Night Live monologue.
The 23-year-old pop star pulled double duty on May 2, serving as both host and musical guest on the late-night sketch comedy show.
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In her opening monologue, Rodrigo said it had always been her dream to host SNL before poking fun at her age.
“I grew up watching the show, and they say your favorite SNL cast is the one you watched as a teenager,” the singer said, rattling off several current cast members. “Mine is Mikey Day, Sarah Sherman, Kenan Thompson and Chloe Fineman. And they all came back this week just to cheer me on. How sweet is that?”
She then plugged her upcoming album, joking about its unusually long title.
“My last two albums were called Sour and Guts, and this new one is called You Seem Pretty Sad for a Girl So in Love,” Rodrigo said. “I’ve learned more words, guys. Yay!”
You Seem Pretty Sad for a Girl So in Love, her third studio album, is scheduled for release on June 12.
The “Drop Dead” hitmaker also revisited her early acting days on the Disney Channel series Bizaardvark, where she starred alongside her former co-star Jake Paul.
“When I was 13, I was on a Disney show called Bizaardvark, and we had an incredible cast, which included acting legend Jake Paul,” Rodrigo said. “And we’d always talk about our futures, me and Jake. I’d say, ‘I really wanna create music that explores the complexities of girls my age,’ and he’d say, ‘Well, one day I really wanna beat up old guys on Netflix.’”
The joke references Paul’s 2024 boxing match against Mike Tyson, which streamed on Netflix. “And we both did it, hooray!” she added.
Rodrigo closed her monologue with a parody of her 2021 breakout hit “Drivers License,” which spent eight weeks at No. 1 on the Billboard Hot 100. The updated version found Rodrigo singing about getting her real ID instead of a driver’s license.
“You know, a lot has changed for me since my first single ‘Drivers License,’ which was about the biggest event in my life when I was a teenager. And now that I’m older, I decided to write a new song about the most recent big event in my adult life, and I really hope it speaks to you,” she said before launching into the parody.
“I got my real ID last week, showed up at the DMV. I sat there waiting 14 hours, with 9 forms to prove it’s me,” Rodrigo sang while seated behind a piano.
Elsewhere in the episode, Rodrigo performed her previously released track “Drop Dead,” which has already become her fourth No. 1 on the Hot 100, and debuted the new song “Begged.”
Watch Rodrigo’s SNL monologue below.
Twenty years after the original, the sequel to The Devil Wears Prada made a splash in its first weekend in theaters. Driven largely by women, The Devil Wears Prada 2 earned $77 million in the U.S. and Canada, and $156.6 million internationally, according to studio estimates Sunday (May 3). It easily topped the box office and bumped Michael to second place, though the musical biopic held well in its second weekend, falling only 44%.
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The Walt Disney Co.’s 20th Century Studios opened The Devil Wears Prada 2 in 4,150 locations in North America. Women made up about 76% of the ticket buyers, according to PostTrak exit polls; 74% said they would “definitely recommend” the movie to friends. Critics were a bit mixed on the sequel, which finds Anne Hathaway’s Andy Sachs working once more for Meryl Streep’s Miranda Priestly at the fictional Runway magazine in a much-depleted media landscape.
The movie cost a reported $100 million to produce — a significant boost from the first movie’s $35 million production budget. But as filmmaker David Frankel told The Associated Press recently, “As it turns out, you know, by the time you finish paying all the biggest movie stars in the world, you still end up with basically the same budget for making the movie as we did the first one.”
Stars Streep, Hathaway, Emily Blunt and Stanley Tucci have been on a fashion-forward global publicity blitz for weeks, with glamorous stops in Tokyo, London and New York. Even Anna Wintour, the inspiration for the Prada-clad devil, has been involved this time, appearing with Hathaway on the Oscars stage and with Streep on the cover of Vogue.
The first movie opened in June 2006 and would go on to earn over $326 million worldwide, not adjusted for inflation. And perhaps more importantly, it firmly became part of the culture thanks in part to its ever-quotable likes (“gird your loins,” “groundbreaking,” “that’s all”). Legacy sequels are never a sure thing, but this time anticipation was high: According to Nielsen, streaming viewership for The Devil Wears Prada was up 428% from March 2026 to April 2026.
Second place went to Lionsgate’s Michael Jackson biopic Michael, which made $54 million in its second weekend in North America, where it’s playing on 3,955 screens. Its running worldwide total is already $423.9 million. Universal Pictures is handling the international release.
“This is on the great end of what we had speculated might happen, but we were very confident that we were going to have a great hold even with the assumption that Prada would do a lot of business,” said Lionsgate Motion Picture Group chairman Adam Fogelson. “The conventional wisdom that a new giant movie can knock out a movie that has planted itself is constantly proven inaccurate.”
This weekend marks the start of Hollywood’s summer movie season, a crucial 18-week corridor that runs through Labor Day and often accounts for around 40% of the annual box office. There are often Marvel blockbusters programmed as the season’s kickoff, but the combined power of The Devil Wears Prada 2 and Michael wasn’t a shabby substitute.
“This is a really solid weekend,” said Paul Dergarabedian, the head of marketplace trends for Comscore. “It’s this irresistible combination that more than makes up for the fact that there’s not a Marvel movie to kick off the summer movie season.”
Prada alone actually did better business than last year’s summer kickoff Marvel movie, Thunderbolts. There were several other new films in theaters this weekend as well, including the Adam Scott-led horror movie Hokum, Andy Serkis’s animated adaptation of Animal Farm and the Aaron Eckhart- and Ben Kingsley-led survival movie Deep Water.
They all opened behind The Super Mario Galaxy Movie, which made $12.1 million in its fifth weekend, and Project Hail Mary, which made $8.6 million in its seventh weekend. Neon’s Hokum led the newcomers with $6.4 million, rounding out the top five, followed by the very poorly reviewed Animal Farm with $3.4 million. Deep Water opened to $2.2 million.
In the top four movies, Dergarabedian has noticed a trend: “Over the past couple of months, moviegoers have really embraced pure, escapist entertainment,” he said.
The annual box office is currently running about 14% up from last year, with about $2.8 billion in domestic ticket sales to date.
Noah Kahan achieves his first No. 1 album on the Billboard 200 chart as The Great Divide debuts atop the list dated May 9. The set, Kahan’s fourth full-length studio project, earned 389,000 equivalent album units in the United States in the week ending April 30, according to Luminate.
That marks Kahan’s biggest week by units, the largest week for a rock album by units since the chart began measuring by units at the end of 2014 and the third-biggest week of 2026 among all albums.
Further, The Great Divide lands 2026’s largest streaming week of any album. It also claims the biggest vinyl sales week for a rock album in the modern era (since Luminate began electronically tracking sales in 1991). (Rock albums are defined as those that are eligible for, or have charted on, Billboard’s Top Rock Albums chart.)
The Great Divide is Kahan’s fifth charted effort on the Billboard 200 and his second top 10. He previously topped out at No. 2 with Stick Season, in 2024. That set returns to the top 10, rising 11-10 in its 179th week on the chart.
Also in the top 10 of the latest Billboard 200, Kehlani captures her fourth top 10 with the No. 4 debut of her self-titled effort, while Michael Jackson’s chart-topping Thriller re-enters the chart at No. 7 following the debut of the Michael biopic in movie theaters.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new May 9, 2026-dated chart will be posted in full on Billboard‘s website on May 5. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.
Of The Great Divide’s 389,000 equivalent album units earned in the latest tracking week, SEA units comprise 212,000 (equaling 215.37 million on-demand official streams of the set’s tracks, Kahan’s best streaming week and the biggest streaming week of 2026; it debuts at No. 1 on Top Streaming Albums), album sales comprise 175,000 (his best sales week; it debuts at No. 1 on Top Album Sales) and TEA units comprise 2,000.
With 389,000 equivalent album units earned, The Great Divide scores the biggest week for a rock album since the Billboard 200 began measuring by units in December 2014. It surpasses the previous high by a rock set in that span, by the No. 1 debut of Dave Matthews Band’s Come Tomorrow, with 292,000 units (June 23, 2018). Plus, with 175,000 copies sold in pure album sales, the set notches the largest sales week for a rock album in nearly seven years, since Tool’s Fear Inoculum bowed at No. 1 with 248,000 (Sept. 14, 2019).
Vinyl purchases comprise 118,000 of The Great Divide’s first week, which is both Kahan’s best week ever on vinyl and the best sales week on vinyl for a rock album in the modern era.
The Great Divide was announced on Jan. 28, and the album’s release on April 24 was preceded by its title track, which spends an 11th week at No. 1 on the Adult Alternative Airplay chart this week (the most weeks atop the chart this decade). The track debuted and peaked at No. 6 on the all-genre multi-metric Billboard Hot 100 songs chart (Feb. 14-dated list), marking Kahan’s highest-charting hit ever.
The album’s first week got a boost from its availability across nine vinyl variants (including a signed edition and a Target-exclusive set with two bonus live tracks), three CD editions (including a signed edition and a Target-exclusive with two bonus live tracks) and a deluxe digital download and streaming version that added four bonus studio songs (dubbed The Great Divide: The Last of the Bugs).
Kahan will launch his The Great Divide Tour on June 11 in Orlando, Florida.
A pair of former No. 1s follows Kahan on the latest Billboard 200, as Ella Langley’s Dandelion drops a spot to No. 2 (112,000 equivalent album units, up 6%) and Morgan Wallen’s I’m the Problem dips 2-3 (81,000, down 3%).
Kehlani captures her fourth top 10-charted album on the Billboard 200 as her self-titled set debuts at No. 4 with 69,000 equivalent album units earned — the biggest debut for an R&B album by a woman in 2026. Of that sum, SEA units comprise 45,000 (equaling 45.37 million on-demand official streams of the set’s songs; it debuts at No. 5 on Top Streaming Albums), album sales comprise 24,000 (it debuts at No. 2 on Top Album Sales) and TEA units comprise a negligible sum.
The new album was preceded by a trio of top 10s on the Hot R&B Songs chart, including the five-week No. 1 “Folded,” also her first top 10 on the all-genre Hot 100, reaching No. 6 in January. Kehlani was released on five vinyl variants (including a signed edition), six CD variants (including multiple signed editions), and via a standard digital and streaming edition and a deluxe “Uncut” digital download edition with 10 additional tracks.
BTS’ former No. 1 ARIRANG falls 4-5 on the latest Billboard 200 (56,000 equivalent album units, down 8%), while Justin Bieber’s SWAG slips 5-6 (47,000, down 22%).
Michael Jackson’s Thriller re-enters the Billboard 200 at No. 7 with 45,000 equivalent album units earned (up 425%), following the April 24 release of the Michael biopic in movie theaters and its blockbuster opening weekend at the U.S. and Canada box office. Thriller, which spent 37 weeks at No. 1 in 1983-84 — the most weeks at No. 1 for an album by a singular artist — was last in the top 10 on the Dec. 3, 2022-dated chart, when it jumped 115-7 after its 40th anniversary reissue.
Olivia Dean’s The Art of Loving falls 6-8 on the latest Billboard 200 (43,000 equivalent album units, down 7%), Wallen’s chart-topping One Thing at a Time drops 10-9 (39,000, down 2%) and Kahan’s Stick Season steps 11-10 (38,000, down 2%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
The streets of Copacabana, Rio de Janeiro, were gradually overtaken on Saturday (May 2) by Shakira’s fans, affectionately known as the “wolfpack.”
By late afternoon, the world-famous Brazilian beach had effectively transformed into the largest concert venue on the planet. Outside the Copacabana Palace, where the Colombian singer is staying, thousands of fans kept a tireless vigil, hoping for even a glimpse of the diva. Just hours before the show, the air was thick with anticipation for the third installment of the “Todo Mundo no Rio” (Everyone in Rio) project — a series that in previous years has hosted icons like Madonna and Lady Gaga.
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Copacabana Becomes ‘Lobacabana’
Sporting an outfit inspired by Shakira’s 2020 Super Bowl performance and a she-wolf headpiece, 41-year-old Brazilian fan Yagan Rebeca arrived to pay tribute to her favorite artist.
“I’ve loved Shakira since I was 16,” she said. “She is a true inspiration to me. I’ve been dealing with health issues lately, and I always like to come in cool clothes; her costumes are a dream to me. I managed to hand-sew this Super Bowl look together at the last minute.”
Shakira’s entourage in Copacabana isn’t just limited to Brazilians. Performer Mati Bish traveled from Chile specifically for the event. As a professional Shakira impersonator, Bish donned an outfit inspired by the “Hips Don’t Lie” music video.
“Shakira has been an inspiration since I was very young,” Bish stated. “I’m a huge fan; her looks and her music move me deeply. She’s massive in Chile, and to me, she is everything.”
International Fans Join the Brazilian Pack
The Colombian star’s success even crossed the species barrier. Dressed in a coin-beaded gypsy scarf, a Golden Retriever named Nala was playfully “mistaken” for the singer by fans, who showered her with affection. Her owner, Jessica Lima, explained the fun: “I already had this Carnival costume, so we put it on her with the concert in mind. She’s a total hit here in front of the hotel. People are already calling her ‘Shakira’ and everything.”
Finally, the “Todo Mundo no Rio” project proved to be a boon for street vendors, who sold Shakira-themed merchandise all along the boardwalk. Mother and son duo Paula Cristina and Igor Rodrigues celebrated the continuation of the project, which has already been confirmed for 2027 and 2028.
“This year feels different,” Paula remarked. “I think if it had been Justin Bieber, it might have been even better. Maybe next year or in 2028. I’m here and I’ve invested a good amount of money in stock. As far as we’re concerned, these beach concerts should happen every year. It’s great for Rio, for the low-income population who can’t afford traditional venues, and for tourism.”
It didn’t take Eagles legend Don Henley too long during the band’s day 2 set headlining the 2026 New Orleans Jazz & Heritage Festival to acknowledge just how different the environment was to their current home of Las Vegas.
“This is very different from the Sphere,” Henley quipped to laughs and cheers from the daytime New Orleans crowd, who were very grateful to be under blue skies and sunshine on Saturday (May 2) versus the two previous days of rain and muddy fields at Jazz Fest. “We got some sunshine up in here,” Henley added — and unlike at the state-of-the-art Vegas venue where the Eagles have been playing since September 2024, it wasn’t a life-size sun being projected on floor-to-ceiling screens behind them; it was the real deal.
The weather lent itself to the easy, breezy vibes of the Eagles’ greatest-hits set, where fans got to listen to “Take It Easy” and “Peaceful Easy Feeling” from the comfort of the Big Easy.
In a pivot from their Sphere set, the Eagles returned to their traditional opening number of “Seven Bridges Road” instead of the bombastic Vegas opener of “Hotel California,” which instead kicked off the final three songs of the fest. And about those final songs: The most notable omission from the setlist was “Desperado,” the title track from their 1973 album, and when the band wrapped up about 25 minutes earlier than the schedule had promised, fans were hopeful they might return for the Henley ballad — but the gear being broken down behind them proved otherwise.
But rest easy: Fans got a robust 19 songs from the Rock & Roll Hall of Famers. “We’ve been playing these songs for you for about 53 years now, and we hope to continue to do that,” Henley said onstage. And most importantly, the sold-out crowd got sunshine.
Below, find the full setlist from the Eagles’ headlining set at the 2026 New Orleans Jazz & Heritage Festival — their first time back at Jazz Fest since 2012.
Connor Storrie made an unexpected appearance on Saturday Night Live to introduce Olivia Rodrigo’s new song.
The 26-year-old Heated Rivalry star — who previously hosted the late-night comedy show in late February — stepped in during the May 2 episode to present Rodrigo’s latest track “Begged,” which will appear on her upcoming album.
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Dressed in an all-denim look, Storrie was met with loud cheers from the live audience as he welcomed Rodrigo back to the stage for a second time that night. In addition to serving as musical guest, Rodrigo also hosted the episode.
Storrie, who did not appear in any other sketches during the broadcast, had taken on hosting duties himself earlier in the year, making his SNL debut as host on the Feb. 28 episode.
During her performance of “Begged,” Rodrigo delivered the mournful ballad while seated on a swing. The track will appear on her third album, You Seem Pretty Sad for a Girl So in Love, set for release on June 12.
Earlier in the evening, the singer-songwriter was introduced by Blondie’s Debbie Harry for an energetic performance of “Drop Dead,” the lead single from You Seem Pretty Sad for a Girl So in Love, released April 17. The track has already become Rodrigo’s fourth No. 1 on the Billboard Hot 100.
The episode marks Rodrigo’s third overall appearance on SNL but her first time hosting. She previously appeared as musical guest in May 2021, performing songs from Sour, and again in December 2023 promoting Guts.
Watch Storrie’s surprise SNL appearance in the video below.