There were two bosses on The Late Show, as Bruce Springsteen stopped by on Wednesday night (May 20) and paid tribute to outgoing host Stephen Colbert.

Springsteen always seems to show up at the precisely the right time. And so it was, again, as the legendary rocker gave a rousing pro-democracy speech and performed “Streets of Minneapolis” on what was Colbert’s second-to-last show.

“I am here tonight to support Stephen, because you’re the first guy in America who lost his show because we’ve got a president who can’t take a joke,” he remarked, while at the mic. “And because Larry and David Ellison feel the need to kiss his ass to get what they want.”

That second jab was aimed at the Ellison family, led by billionaire Larry Ellison and his son David, who now own and controls Paramount Global following their $8 billion merger with Skydance Media. That arrangement gave them ownership of CBS, the broadcaster for Colbert’s left-leaning program, which regularly punishes Trump’s administration and his MAGA movement with razor-sharp comedy footwork that would make Muhammad Ali proud.

“Stephen, these are small-minded people,” Springsteen added. “They’ve got no idea what the freedoms of this beautiful country are supposed to be about.”

And with that Springsteen dedicated “Streets of Minneapolis” to Colbert. The Boss’s choice of song was a poignant one. He wrote and recorded the anti-ICE (United States Immigration and Customs Enforcement) song following the deaths of Renée Good and Alex Pretti in Minneapolis in January amid Operation Metro Surge, during which undocumented immigrants were targeted and apprehended by ICE.

Then, he premiered the song live in Minneapolis during the Tom Morello-helmed Defend Minnesota benefit concert on Jan. 30. “Streets of Minneapolis” went on to be the highest-selling song in the United States, debuting at No. 1 on Billboard’s Digital Song Sales chart dated Feb. 7, even though it was available for just two days of the tracking period. Springsteen has vowed to donate all proceeds from the recording to the Good and Pretti families, in perpetuity.

Colbert’s final episode of The Late Show will air on Thursday, May 21, drawing curtains on an 11-year run. CBS announced the cancelation in July 2025, citing financial losses. Many observers, however, aren’t buying it, with figures like Senator Elizabeth Warren claiming the axing was political censorship, coming just days after Colbert publicly criticized CBS’s parent company, Paramount, over its $16 million legal settlement with Trump.

Watch Springsteen’s speech and performance here and below.

View this post on Instagram

Postie will deliver his biggest-ever headline shows in Australia and New Zealand when his BIG ASS World Tour swings down under this October.

Produced by Live Nation, Post Malone’s four-date stadium jaunt gets underway Oct. 9 at Melbourne’s Marvel Stadium, then stops at Brisbane’s Suncorp Stadium (Oct. 12), Sydney’s ENGIE Stadium (Oct. 15), and wraps up at Auckland’s Go Media Stadium on Oct. 21. Don Toliver will be joining Post Malone as “special guest” on those dates.

The U.S. singer and rapper’s fans in the regions won’t miss out. Malone’s lap of Australia will include spots on the Strummingbird Festival bill in Ballarat (Oct. 10), Newcastle (Oct. 17) and Queensland’s Sunshine Coast (Oct. 18).

The “Rockstar” artist is familiar with the biggest venues in these parts. He opened for Red Hot Chili Peppers’ on the rockers’ six-date Australasian stadium run in early 2023, and later that year headlined headline Spilt Milk festival, which visited Canberra, Ballarat and Perth. On that festival run, he enamored himself even further with locals when he performed a “shoey” by drinking beer out of fans’ boots while on stage.

Post Malone gets it done on the Australia charts, too. His seven albums have all impacted the ARIA top 10, including No. 1s for Beerbongs & Bentleys in 2018, Hollywood’s Bleeding in 2019. His most recent collection, the 2024 country album from F-1 Trillion, flew to No. 2.

Spreading over two years, and two legs, the Big Ass world tour marks a continuation of Malone’s recent pivot toward country and roots-influenced sounds, a direction that has broadened his audience in recent years.

As previously reported, Postie pushed back the opening of his U.S. run earlier this year with Jelly Roll, as he got down to work on completing his forthcoming album, reportedly titled The Eternal Buzz. A release date hasn’t been announced.

Tickets for Postie’s Australasian shows will be available starting with an artist presale beginning Tuesday, May 26. The general onsale then starts on Thursday, May 28. 

Visit postmalone.com, livenation.com.au/register and livenation.co.nz/register for more. See here for further information on Strummingbird Festival dates.

View this post on Instagram

The “Big Ass World Tour” Australia & New Zealand 2026 Dates:
Oct. 9 – Marvel Stadium, Melbourne, AUS
Oct. 10 – Strummingbird Festival, Ballarat, AUS
Oct. 12 – Suncorp Stadium, Brisbane, AUS
Oct. 15 – ENGIE Stadium, Sydney, AUS
Oct. 17 – Strummingbird Festival, Newcastle, AUS
Oct. 18 – Strummingbird Festival, Sunshine Coast, AUS
Oct. 21 – Go Media Stadium, Auckland, NZ

Not for the first time, Moby is swinging out with frustration at Donald Trump’s administration.  

“The U.S. is being run into the ground by a staggeringly incompetent and corrupt administration,” the veteran electronic music artist writes in a social post. “Unbelievably dark dark times.”

Moby expands further with a video, in which he reminds the world outside of the United States that he and many others are as confused as they are.

“So a lot of my friends who live outside the United States keep asking me, ‘what the hell is going on in the United States? And the truth is, we don’t know,” he explains. “The United States is being run by the most corrupt, evil, incompetent administration. And nobody knows what’s going on. It’s dark dark times in the U.S.”

Moby’s voice is part of a growing chorus of artists who’ve used their platforms to criticize Trump and MAGA, a list that includes Bruce Springsteen, Jack White, Eminem and Billie Eilish.

Earlier this year, Moby posted a statement to social media offering advice on how people can respond following the killing of Alex Pretti by ICE agents in Minneapolis. “The question is not whether we should be outraged and horrified at what’s happening in the United States,” Moby says in the clip, posted Jan. 26, “but rather what are we going to do about it.”

The artist activist also outlined a solution, telling people to protest as it’s a “constitutionally established right and it’s a right that Trump and his administration are trying to take away from us.”

Ultimately, he insisted, get out and vote, “not just in the upcoming midterms, although that’s very important, but in all of the special elections that happen throughout the year.” He also advises to “stop supporting the scumbag corporations who support Trump and ICE. We all know who they are. Boycott them.”

His latest comments come as the U.S.  justice department announces an almost $1.8bn fund to compensate allies of Trump who allege they were unfairly investigated, and the Strait of Hormuz remains closed, forcing up gas prices worldwide, after the U.S. and Israel launched military campaigns against Iran in late February, without U.S. Congressional approval.

A career independent recording artist, Moby has landed 10 titles on the Billboard 200, plus two Billboard Hot 100 hits, and countless syncs. Not bad. On the other side of the Atlantic, however, he’s recognized as one of the leaders of his generation. In the United Kingdom, he boasts two No. 1 albums (1999’s Play and 2002’s 18), and 18 top 40 appearances on the national singles chart, and he has twice been nominated for best international male act at the BRIT Awards.

Check out Moby’s latest social post below.

View this post on Instagram

Bruno Mars makes a comeback to the Billboard Latin charts with “Lo Arriesgo Todo,” the Spanish-language version of his latest single “Risk It All.”

The track, his first Spanish-language studio recording, was released May 8 on Atlantic Records. “Lo Arriesgo Todo” debuts at No. 20 on the Hot Latin Songs chart, claims the No. 1 spot on both the Hot Latin Pop Songs and Latin Digital Songs Sales charts, and bows at No. 6 on the Latin Pop Airplay chart (dated May 23).

“Risk It All” was issued in its original English version on Mars’ The Romantic album, released on Feb. 27.

Meanwhile, “Risk It All” — combining all versions of the song, both English and Spanish — re-enters the top 10 on the overall Billboard Hot 100 chart (rising 15-8), climbs 11-9 on the all-format Radio Songs ranking and 5-3 on the Adult R&B Airplay chart and holds at its No. 9 high on Pop Airplay. Following the Hot 100 No. 1 hit “I Just Might,” “Risk It All” is the second single from The Romantic, which gave him his second chart-topper on the all-genre Billboard 200 albums chart in March.

On the Hot Latin Songs chart — which incorporates streams, airplay and sales of the Spanish version of the track into its formula — “Lo Arriesgo Todo” debuts at No. 20, fueled by activity across all three metrics. According to Luminate, in the week ending May 14 in the United States, the track generated 1.6 million official streams, earned 1.9 million airplay audience impressions and sold 1,000 downloads. The latter yields Mars’ first entry, and No. 1, on Latin Digital Song Sales.

The debut marks a notable return to the chart for Mars after a decade and secures his highest-charting entry to date. His previous peak arrived through his featured role on Bad Meets Evil’s “Lighters,” which climbed to No. 22 in 2011. Plus, “Lo Arriesgo Todo” becomes his first and only Spanish-language track among his seven career entries on Hot Latin Songs. Before October 2012, the chart was solely based on radio airplay, prior to its evolution into a multimetric system combining streams, airplay and sales.

On the Latin Pop Airplay chart, the No. 6 start for “Lo Arriesgo Todo” marks Mars’ second top 10, following his featured turn on Mark Ronson’s “Uptown Funk,” which peaked at No. 8 in 2015.

Chance the Rapper took the stage at the Gordon Parks Foundation Annual Awards in NYC on Tuesday night (May 19) and delivered a stirring tribute performance to Muhammad Ali with “I Was a Rock.”

It was a star-studded night at Cipriani 42nd Street celebrating the foundation’s 20th anniversary and the life of the legendary photographer and civil rights activist Gordon Parks, who died in 2006.

Parks was one of the leading photojournalists narrating the Black experience in America starting in the 1940s and continued to publish until his death.

Chano was joined by Anthony Morgan’s Inspirational Choir of Harlem for a soulful performance, which included audio from a famed Ali interview in 1977 outlining his philanthropic plans for the future. He previously performed “I Was a Rock” in dedication to the boxing and social justice icon at the 2016 ESPY Awards.

“To be recognized in a space honoring Gordon Parks and Muhammad Ali is humbling. They told the truth through their work, and that’s always been the goal of mine too,” Chance told Billboard in April ahead of the event. “The tribute to Ali is really about honoring that spirit and showing gratitude to his legacy.”

The 20th-anniversary awards dinner and auction brought together various dignitaries with music, social justice, art and philanthropy.

Former NFL quarterback and civil rights activist Colin Kaepernick was a presenter, while Alicia Keys and Swizz Beatz served on a committee of co-chairs for the evening. Philadelphia Eagles quarterback Jalen Hurts was also present.

“We are so honored to be here continuously celebrating the legacy of Gordon Parks. He was a
Renaissance Man. No starts, no stops, just endless beginnings.” Alicia Keys said on stage after being presented with an original portrait of Parks.

John Legend was among the honorees for the night and Pharrell was fittingly called on as a presenter to welcome the singer to the stage. “In trying times like these, I feel a great sense of responsibility,” Legend said. “This award is a challenge for me and for us to get to work. Gordon Parks knew how to get to work, and he understood that seeing clearly was necessary for justice.”

According to a press release, the Gordon Parks Foundation raised $3 million through the awards dinner and auction to help advance the foundation’s causes.

Launched by Gordon Parks and Philip B. Kunhardt, Jr. in 2006, the Gordon Parks Foundation honors the legacy of the social justice efforts by Parks as a groundbreaking photojournalist with various educational and artistic initiatives. Fellowships and scholarships support students along with emerging artists and writers through the Gordon Parks Arts and Social Justice Fund, which was created in 2019.

An updated version of the Nurture Originals, Foster Art, and Keep Entertainment Safe (NO FAKES) Act was reintroduced in the U.S. House of Representatives and Senate on Wednesday (May 20) with a wide coalition of music industry support, including from the three major music companies, the Recording Industry Association of America (RIAA), the Recording Academy and the National Music Publishers Association (NMPA).

The bill, which aims to establish federal rights around likeness for individuals portrayed in digital deepfakes, was first introduced in 2024. While it has maintained steadfast support within the music industry ever since, including a co-sign from country star Randy Travis last year, it has also increasingly gained the support of the tech giants. Last year, OpenAI, Google and IBM announced their support of the bill, and now, with this latest reintroduction, Spotify and Getty are signing on as well.

Some critics, however, have warned that such legislation is too aggressive and could hamper free speech. By granting people a broad new way to sue over the use of their likenesses on the internet — existing state laws are more limited, covering only commercial exploitation — opponents of previous versions of the NO FAKES Act have warned that it could force online platforms to self-censor and remove too much content out of fear of legal liability.

The bill’s authors say they’ve avoided those pitfalls with the latest version, which they say has “carefully calibrated exceptions” aimed at ensuring “open discourse,” including explicit carve-outs for news coverage, biopics and criticism. There is also protection from liability for libraries and similar organizations.

The other updates to the bill are to ensure that the enforcement mechanisms work for a wide variety of platforms — whether it’s a user-generated platform, like YouTube, or a more curated one, like Spotify. Now, the way disputes are processed and enforced will be tailored to what kind of platform the issue occurs on. For a site that relies on user-generated content, it offers a “safe harbor,” meaning the platform will not be held liable for a user’s deepfake upload to its site as long as it follows the rules and takes down the content when it’s alerted to it. The updated bill also now allows for challenges to incorrect takedown notices.

The goal of NO FAKES is to provide nationwide protection over one’s voice and likeness in the case of “digital replicas,” which include — but are not limited to — deepfakes created by artificial intelligence. This is an increasingly pressing issue for the music industry, as artists, including Taylor Swift — who recently applied for new trademarks on the sound of her voice, a move seemingly designed to combat deepfakes — face issues with the dissemination of images and songs that contain AI recreations of themselves.

Currently, artists’ only protection against AI deepfakes is from some states’ right of publicity laws, which vary widely in the level of protection they provide. Some states, like Tennessee, have updated their publicity rights laws to cover issues specific to the AI age, but many have not. NO FAKES’ proponents believe the bill could create a baseline level of protection for all citizens.

The NO FAKES Act was first introduced as a draft bill in 2023 and formally introduced to the Senate in the summer of 2024. Other music industry supporters include CAA, BMI, American Association of Independent Music (A2IM), Academy of Country Music, Human Artistry Campaign, Music Artists Coalition, American Federation of Musicians (AFM), ASCAP, SAG-AFTRA, SESAC, Songwriters of North America (SONA), Sound Exchange, Christian Music Trade Association, Folk Alliance International and more.

Additional reporting by Bill Donahue.

Snoop Dogg says in new court filings that his company was not in charge of the Los Angeles hip-hop festival where Drakeo the Ruler was fatally stabbed in 2021.

The argument came in a series of Tuesday (May 19) motions that seek to throw out wrongful death claims brought against Snoop’s company, Snoop Dogg’s LLC (SDLLC), over Drakeo’s killing. The rapper (born Darrell Caldwell) died of stab wounds after being attacked by a large group backstage at the Once Upon a Time in LA festival in December 2021.

Drakeo’s family members later filed multiple negligence lawsuits alleging that various companies involved with Once Upon a Time in LA, including Live Nation and C3 Presents, were to blame for his death because they provided insufficient security at the event. Two of these lawsuits, brought by Drakeo’s mother and brother, claim SDLLC also holds some liability because it helped organize and promote the festival.

Snoop himself expressly denies this in his Tuesday declarations to the court. The rapper (Calvin Broadus Jr.), the controlling member of SDLLC, says in the filings that his company “had no role in management of the festival” and “did not supervise security personnel.”

Lawyers for SDLLC elaborate on this in accompanying legal memos, arguing that Snoop’s only written contract with Once Upon a Time in LA was a $500,000 performance agreement for the star’s one-hour set. According to the attorneys, that contract “does not require the artist to control the premises or manage the event.”

“The subject incident video itself confirms SDLLC’s lack of involvement,” read the memos. “The evidence shows that no employee, agent or representative of SDLLC was present at the backstage area at the time of the altercation.”

SDLLC is asking a judge to enter a summary judgment order permanently ending its involvement in the litigation. Lawyers for Drakeo’s mother and brother did not immediately return a request for comment on Wednesday (May 20). They will likely respond to the summary judgment request in writing in the coming months.

If the allegations survive summary judgment, they’ll be part of a larger trial scheduled to begin this September on all the claims brought by Drakeo’s mother, brother and son over his death. In addition to SDLLC, the defendants include industry giant Live Nation and other concert promoters and security personnel from the festival. (Live Nation has denied any wrongdoing, saying Drakeo’s death was “unforeseeable.”)

The lawsuits also initially targeted the operators of BMO Stadium, which hosted parts of Once Upon a Time in LA. Judge James I. Montgomery threw out those claims earlier this month, however, ruling that Drakeo’s death occurred in a different section of the festival grounds not owned by the stadium.

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 
 
This week: Drake’s biggest Iceman hit changes hands day-to-day, Yung Miami has a breakout solo hit, Noah Kahan’s blockbuster new album has a viral bonus cut and more.

‘Janice STFU’ Takes Over as Drake’s Top Iceman Song

Drake has obviously been the story of the streaming world this week, as his triple-release of new albums — Iceman, Maid of Honour and Habibti — has been setting all sorts of first-day and first-week marks on DSPs, and generally taking over discussion, as fans debate the merits of the albums and the strategy behind them. But while fans ingest the three albums and the combined 43 tracks between them, one song has begun to separate from the pack as the streaming favorite: “Janice STFU.”

In the days since the albums’ release, the Sopranos-referencing (and even Sopranos-sampling) Iceman cut has taken over as Drake’s top song — and indeed, the top song period — on the U.S. daily streaming charts for both Spotify and Apple Music. While its release Friday (May 16) saw Iceman opener “Make Them Cry” as the sets’ most-streamed cut with 14.1 million first-day official on-demand U.S. streams, according to early data provided by Luminate, by Saturday “STFU Janice” had taken over as the most-streamed cut with just over 6.2 million, narrowly beating out the Future- and Molly Santana-featuring “Ran 2 Atlanta” at just under 6.2 million. (“Make Them Cry” had dropped to 5.1 million.)

As of Monday, “Janice” was still pacing the set with 5.4 million daily plays, while also delighting fans and superproducers and NBA MVPs and even the progeny of West Coast rap royalty. In other words, if you’re wondering about the most likely breakout hit from the 43 new Drake songs in our lives this week — or maybe even the biggest threat to take over at No. 1 on next week’s Billboard Hot 100 — you should probably start here. – ANDREW UNTERBERGER

---

Yung Miami Eyes New Solo Hit As ‘Spend Dat’ Takes Off on Streaming 

It’s been almost five years since Yung Miami scored her first unaccompanied Hot 100 entry with “Rap Freaks” (No. 81) — and it looks like her second is on the way. 

Co-signed by Fat Joe and Jadakiss and steadily winning over social media, “Spend It” arrived on April 24, alongside its official music video. The hook-laden mid-tempo track finds the former City Girls member exploring familiar territory — scamming and contemporary romance — and its catchy hook has won over audiences due to its sing-songy cadence and Miami’s Opa-locka-rooted accent. 

Miami has also been hitting the promo circuit in anticipation of her forthcoming solo debut studio album, even sharing an EP of alternate version for fans who felt the song would sound better if sped up. Her presence and dedication to the record — combined with early skeptics eventually coming around — have resulted in notable streaming gains. According to Luminate, “Spend Dat” collected a little over 1 million official on-demand U.S. streams during the week of May 1-7. That figure leapt 107% to over 2.23 million official streams the following week (May 8-14). 

On May 9, TikTok user @/mrflawdaaa (a popular creator who’s launched viral dances for artists like Bossman Dlow), shared a “Spend Dat” dance challenge, racking up nearly 600,000 views and sparking a legitimate trend. Yung Miami hopped on the trend by May 17, with her post earning over 1.3 million views. During the weekend of May 8-10, “Spend Dat” earned over 870,000 official on-demand U.S. streams, with that figure jumping 107% to over 1.8 million official streams the following weekend, which reflects about a week of the dance trend’s burgeoning virality. 

On TikTok, the official “Spend Dat” sound plays in nearly 8,000 clips, while the sound attached to her On the Radar performance of the song can be heard in 17,000 additional posts. “Spend Dat” also plays in over 3,300 Instagram Reels. With a “Spend Dat” Goyard giveaway in process, a gas drive in her hometown of Miami on May 17 and the full album still on the way — expect “Spend Dat” to continue growing as the summer heats up. — KYLE DENIS 

---

Noah Kahan’s ‘Orbiter’ Is Becoming a Breakout Bonus Track

Not far behind Drake, the reception for Noah Kahan’s The Great Divide album is undoubtedly becoming one of the streaming stories of the year. Not only did the album generate enough blockbuster-sized numbers during its debut week to chart all 17 tracks on the Hot 100 — as well as four extra bonus cuts, added to the album before the end of its first day of release — but the 21 combined Kahan songs all continued to stream well enough in the album’s second week to spend a second week on the chart, a rare level of week-over-week consistency for such a big debut.

While the decline has been slow, the great majority of the 21 songs have slipped week-to-week in streams from that debut week. But “Orbiter,” a tender ballad included as one of the four bonus cuts added to the album slightly after the fact, has actually begun to gain, and is now positioned to be one of the biggest and longest-lasting hits from this Kahan era.

The growth has come from TikTok’s embrace of the song as a trending audio, with its sentimental “I circle you” chorus soundtracking many thousands of clips — most from one half of a couple paying tribute to the other, but also including infinite varieties on that theme. Another similar audio focusing on the “even anxious pups need the moon” part of the refrain has become a predictable favorite among pet-owners, with Kahan himself indulging in such a video last week, captioning it “This trend is making my eyes dusty.”

The impact of these trends has been evident in the song’s official on-demand U.S. audio streams, which have climbed from 4.6 million for the tracking week ending Apr. 30 (just after the album’s release) to 5.3 million the week ending May 7 and 6.7 million the week ending May 14 — in total a 46% gain from release week. Meanwhile, the song has climbed from No. 79 to No. 56 on the Hot 100, leapfrogging several songs on the album that initially debuted higher than it, and threatening to jump into the chart’s top half next week as it continues to dustify eyes of listeners across the country. – AU

---

PinkPantheress Celebrates One Year of ‘Fancy That’ Era with One More Streaming Hit 

From “Illegal” to “Stateside” — not to mention double Grammy nominations — PinkPantheress’ Fancy That era has been a resounding success. On May 8, she shared the official “Girl Like Me” music video to celebrate her mixtape’s first birthday — and sneakily launch her latest streaming hit. 

About a month before the music video arrived, “Girl Like Me” earned just over one million official on-demand U.S. streams during the week of April 10-16. That figure jumped 56% over the following two weeks to over 1.69 million official streams during the period of April 24-30, according to Luminate. By the week of May 8-14, which accounts for the first full week of the music video’s release, “Girl Like Me” leapt a further 69% to over 2.85 million official weekly streams. Over the past four weeks, “Girl Like Me” has exploded by over 165% in streaming activity. 

Notably, there’s also a mashup of “Girl Like Me” and Snow Strippers’ “Under Your Spell” that’s been dominating TikTok over the past 4-5 months, playing in over 125,000 clips on the platform, with most of those finding users recreating Pink’s live choreography for her song. “Girl Like Me” also currently plays in over 12,000 Instagram Reels. 

Already a No. 13 hit on Billboard‘s Dance/Pop Songs chart, “Girl Like Me” could potentially make Fancy That the soundtrack for a second consecutive summer. — K.D. 

Wiz Khalifa is a wanted man. The Pittsburgh rapper (born Cameron Jibril Thomaz) is listed on the website of the Romanian police, which states he has a warrant out for his arrest to complete a nine-month prison sentence.

Khalifa is wanted after being sentenced to nine months behind bars in December on illegal drug possession charges. The website lists the “warrant to execute a prison sentence” as the reasoning alongside the artist’s passport photo.

Translated to English, the website states that Khalifa was “sentenced to nine months in prison for committing the offense of possession of dangerous drugs without the right for personal consumption.”

When handing down the nine-month sentence, prosecutors alleged that Khalifa was smoking marijuana on stage during his July 2024 performance at the Beach, Please! Festival in Costinesti. Prosecutors also claimed he was found with more than 18 grams of marijuana.

Police allegedly stopped the Taylor Gang boss after seeing him smoking on stage while performing the Snoop Dogg-assisted hit “Young, Wild & Free,” which reached No. 7 on the Billboard Hot 100 in 2011.

The 38-year-old posted an apology on X following the performance. “Last nights show was amazing. I didn’t mean any disrespect to the country of Romania by lighting up on stage,” he wrote at the time. “They were respectful and let me go. I’ll be back soon. But without a big ass joint next time.”

Last nights show was amazing. I didn’t mean any disrespect to the country of Romania by lighting up on stage. They were very respectful and let me go. I’ll be back soon. But without a big ass joint next time

— Wiz Khalifa (@wizkhalifa) July 14, 2024

Wiz was originally slapped with an $830 fine by a lower court, but Romanian prosecutors sought out a harsher sentence. He was then sentenced to the nine months behind bars, which was determined to be a final ruling.

It appears, as of press time, Khalifa failed to report to serve his sentence. The Pittsburgh native is currently on mgk’s Lost Americana tour, which kicked off Friday (May 15) and is trekking through North America. Wiz and mgk are also teaming up to drop their nostalgic Blog Era Boyz joint project on Friday (May 22).

Billboard has reached out to Khalifa’s reps and the Romanian police for comment.

After teaming up for a new soccer jersey drop, Peso Pluma and adidas continue in the World Cup spirit, announcing an official watch party and performance for the tournament’s opening in June.

The iconic footwear and apparel brand partnered with the Los Angeles World Cup 2026 Host Committee for its FIFA World Cup 26 activations set to take place June 11 at the city’s BMO Stadium. Starting at 11 a.m. PT, the event will host a watch party for the World Cup opening match between Mexico and South Africa followed by the adiCup, adidas’ nationwide 3v3 tournament, and culminating with a watch party for South Korea vs. Czechia at 7 p.m. PT.

BMO Stadium will then convert into a free celebration featuring a performance by Peso Pluma and a DJ set by Noodles. Free tickets for the show will be available as of June 1 on Ticketmaster. 

The initiative is part of adidas FIFA World Cup 26 Home of Soccer Brand Hubs — located in New York City and Toronto — that will offer free fan destinations open to the public throughout the tournament that starts June 11 and wraps July 19. The World Cup NYNJ Host Committee will host performances from PinkPantheress and Larry June alongside watch parties at NYC’s Brooklyn Bridge Park. Adidas will also host events on select dates in Houston, Atlanta, Mexico City, Guadalajara and Monterrey. 

Earlier this month, the Música Mexicana star partnered with adidas to create a Mexico 26 away jersey for the football team’s 2026-27 season.

“This isn’t just about me — it’s for my people, my culture and everyone pushing Mexico forward,” Pluma said in a press statement. “I’m excited to join the adidas family and keep showing the world who we are.” 

For more information on the adidas Home of Soccer events, click here or visit the adidas App.