Spain’s National Court has acquitted Shakira in a tax fraud case after eight years, ordering the government to return 60 million euros ($69 million) to the Colombian superstar. According to a judicial document obtained Monday (May 18) by Billboard Español, the court concluded that Shakira did not meet the minimum residency requirement to be taxed in Spain during 2011.
“After more than eight years enduring brutal public accusations and sleepless nights that took a toll on my health and my family’s well-being, the National Court has finally set the record straight,” Shakira said in a statement. “There was never any fraud, and the Administration itself was never able to prove otherwise.”
Related
The case revolved around whether Shakira was obligated to pay taxes in Spain on income generated during her world tour that year, during which she performed 120 concerts in 37 countries. Tax authorities had argued that the artist had spent enough time in Spanish territory to be considered a tax resident, a claim the court ultimately rejected.
The ruling also dismissed the notion that Spain was the main center of her economic activities and ordered the return of 60 million euros withheld, along with interest and legal costs. According to the verdict, Shakira did not meet the minimum stay required to be taxed in Spain during the investigated period.
In the same statement, the singer’s lawyer, José Luis Prada, described the ruling as the end of “an eight-year ordeal” and stated that Shakira “had the strength and resources to see it through to the end” in a process that, he said, “suffocates many anonymous taxpayers who lack the resources to defend themselves.”
The artist added that she hopes the ruling “sets a precedent” for other taxpayers facing similar disputes with Spain’s Tax Agency.
This is not the only case Shakira has faced with the Tax Agency. In November 2023, she reached an agreement with Spanish authorities over a separate case related to the years 2012 to 2014, when she lived in Barcelona with her then-partner, Gerard Piqué. Shakira acknowledged six charges for unpaid taxes, received a suspended three-year sentence, and paid a fine of $7.6 million.
The ruling comes as Shakira prepares to close the European leg of her Las Mujeres Ya No Lloran World Tour in Madrid, where she has already scheduled 12 dates for October at the temporary “Shakira Stadium,” built specifically for the tour’s final stretch. The news also coincides with one of the singer’s most prominent moments on the international stage, following her performance for 2.5 million people at the Copacabana in Rio de Janeiro and her upcoming halftime show at the FIFA World Cup 2026 final alongside BTS and Madonna.
Reggaetón icon Don Omar will kick off his The Last King World Tour on Sept. 25, Billboard can officially announce.
The tour will hit 21 cities (to date), beginning Sept. 25 at Santander Arena in Reading, Pa. it will then travel to arenas in Boston, Dallas, Miami, Los Angeles and Las Vegas, among others.
The tour, produced by Don Omar (real name William Omar Landrón) and promoted in the U.S. by Cardenas Marketing Network (CMN), comes two decades after the release of Don Omar’s seminal sophomore album, King of Kings. The set was groundbreaking in its day for including collaborations with both Latin and mainstream artists. The album reached No. 1 on Billboard’s Top Latin Albums chart, and spent 11 weeks on the top spot. It also reached No. 7 on the Billboard 200 (for the week dated June 6, 2006), a massive achievement in the pre-streaming era. It would spend a total of 30 weeks on the chart.
Don Omar’s The Last King World Tour follows his 2024 Back to Reggaetón Tour, which was his first outing in over a decade. That tour would eventually sell more than 335,000 tickets in 2024 alone, earning more than $32.9 million over 39 shows and ending 2024 ranked 10th among Billboard’s top Latin tours of the year. Back to Reggaetón was also promoted by CMN.
Presale for The Last King World Tour begins Tuesday, May 19 at 10 a.m. local time for members of the Kingdom fan club and ends May 22. A CMN presale begins May 21. General public tickets go on sale May 22 at 10 a.m. local time.
Here is the full list of dates:
• 9.25.26 – Reading, PA – Santander Arena
• 9.26.26 – Boston, MA – TD Garden
• 9.27.26 – Hartford, CT – PeoplesBank Arena
• 10.1.26 – Dallas, TX – American Airlines Center
• 10.3.26 – Orlando, FL – Kia Center
• 10.4.26 – Miami, FL – Kaseya Center
• 10.8.26 – Chicago, IL – Allstate Arena
• 10.10.26 – Brooklyn, NY – Barclays Center
• 10.11.26 – Newark, NJ – Prudential Center
• 10.14.26 – Charlotte, NC – Spectrum Center
• 10.15.26 – Washington, DC – Capital One Arena
• 10.17.26 – Atlanta, GA – State Farm Arena
• 10.22.26 – San Antonio, TX – Frost Bank Center
• 10.23.26 – Houston, TX – Toyota Center
• 10.25.26 – El Paso, TX – UTEP Don Haskins Center
• 10.29.26 – Ontario, CA – Toyota Arena
• 10.30.26 – Las Vegas, NV – Michelob Ultra Arena
• 11.1.26 – Salt Lake City, UT – Delta Center
• 11.5.26 – San Jose, CA – SAP Center
• 11.6.26 – Los Angeles, CA – Kia Forum
• 11.8.26 – Phoenix, AZ – Mortgage Matchup Center
OsamaSon is heading to Australia for the first time. The 22-year-old South Carolina rapper will play three shows across Melbourne, Sydney and Brisbane in October on the Psykturnal Tour, Live Nation announced Monday (May 18), marking a significant milestone for one of underground rap’s most compelling breakout voices.
The run opens at Festival Hall in Melbourne on Oct. 10, moves to Enmore Theatre in Sydney on Oct. 11, and concludes at Fortitude Music Hall in Brisbane on Oct. 14. General tickets go on sale Friday, May 22 at 10 a.m. local via livenation.com.au, with a Mastercard presale opening Wednesday, May 20 at 10 a.m. and a Live Nation presale from Thursday, May 21 at 10 a.m.
OsamaSon first broke through with his 2025 LP Jump Out, which debuted at No. 151 on the Billboard 200. Built on an aggressive, distorted take on rage-leaning trap, Jump Out introduced an artist with a singular sonic identity — one capable of commanding chaos in a live room while still maintaining the melodic instincts that set him apart from his peers.
Less than a year after Jump Out, OsamaSon returned with Psykotic, the album from which the Psykturnal Tour takes its name. Recorded almost entirely on the road during the 20-stop nationwide Jump Out Tour, Psykotic represents a return to what OsamaSon has described as his “Flex Musik era” — the experimental phase of his early career before he sharpened his sound into the rage-trap blueprint that made Jump Out a critical phenomenon.
In releasing two back-to-back, sonically independent albums in the same calendar year, OsamaSon joins a lineage of artists including DMX and Future who have used rapid double releases to consolidate momentum and demonstrate range simultaneously.
The Australian dates arrive at a pivotal moment in OsamaSon’s trajectory. Having already played major festival stages including Rolling Loud 2026 and completed extensive touring across North America, the move into international headline touring signals a significant step up.
At just 22, with two critically acclaimed albums, a growing cult following and a live show built for exactly the kind of high-energy rooms he’ll be playing in Melbourne, Sydney and Brisbane, the Psykturnal Tour shapes up as one of the most anticipated underground rap debuts on Australian soil in years.
Madonna and Peggy Gou‘s “I Feel So Free (Peggy Gou Energy Mix)” tops this week’s best new music poll.
Listeners voted in a poll published Friday (May 15) on Billboard, choosing the dancefloor-ready remix as their favorite music release of the week over a stacked field that included Drake’s historic triple album drop and new projects from Maluma, Gracie Abrams, Givēon and more.
The winning single is the latest preview of Madonna’s forthcoming album Confessions II, due July 3 — her first full-length release in seven years and the long-awaited sequel to her landmark 2005 dance record Confessions on a Dance Floor.
The original “I Feel So Free” was co-produced by Stuart Price, who helmed the original Confessions on a Dance Floor and serves as musical director on several of Madonna’s tours. The Peggy Gou remix transforms the track into a bouncy, high-energy club anthem that leans into the Berlin-based DJ and producer’s signature house sound — a natural pairing given Gou’s crossover breakthrough with her 2023 hit “(It Goes Like) Nanana”.
Madonna teased the track during her surprise appearance at Sabrina Carpenter’s Coachella weekend two headlining set last month, where the two also performed “Like a Prayer” together and debuted what appeared to be another new track from Confessions II.
The biggest competition in the poll this week came from Drake, who dominated New Music Friday with a sweeping triple album drop — Iceman, Habibti and Maid of Honour — comprising a combined 43 tracks featuring Future, Molly Santana, Sexyy Red, PARTYNEXTDOOR and 21 Savage.
Maluma also made a strong showing with his new album Loco X Volver, in which the Colombian superstar sharpens his focus on family and his roots.
Gracie Abrams entered the race with “Hit the Wall,” the lead single from her forthcoming album Daughter From Hell, once again joining forces with producer Aaron Dessner for a verbose track that signals a more mature creative chapter. Tove Lo dropped “I’m Your Girl Right?” — the dance-floor-ready first taste of her upcoming Estrus LP — while Rostam and Clairo teamed up on “Hardy” from Rostam’s new American Stories album.
Elsewhere, Jorja Smith delivered the basement club-tinged “What’s Done Is Done,” Shakira and Burna Boy linked up on “Dai Dai,” and Martin Garrix and Ed Sheeran reunited on “Repeat It.” Full projects also arrived from Givēon (Beloved: Act II), Shaggy (Lottery), Kenny Mason (Bulldawg), Mýa (Retrospect), Tone Stith (The Edge), and Tank and the Bangas (The Last Balloon).
See the final results of this week’s poll below.
Killswitch Engage are returning to Australia and New Zealand for their biggest headline run in the region yet, the Massachusetts metalcore band announced Monday (May 18). English metal outfit Sylosis will serve as special guests across all dates.
The run marks the band’s first headline shows in Australia and New Zealand since 2018, and their first visit to the region since September 2024, when they supported Iron Maiden on their arena tour.
The upcoming tour will kick off in New Zealand with a show at Auckland’s Powerstation on Oct. 31, followed by Wellington’s Meow Nui on Nov. 1. The band then moves through Australia, playing Brisbane’s Fortitude Music Hall on Nov. 3, Sydney’s Enmore Theatre on Nov. 6, Wollongong’s Waves on Nov. 7, Melbourne’s Forum on Nov. 10, Adelaide’s Hindley Street Music Hall on Nov. 12, and concluding at Metropolis Fremantle in Perth on Nov. 14.
A Spotify presale opens Tuesday, May 19 at 10 a.m. AEST using the code KSE26, followed by a promoter presale Wednesday, May 20 at 10 a.m. AEST with the code KSEAUS. General tickets go on sale Thursday, May 21 at 10 a.m. AEST via SBM Presents.
Formed in Westfield, Massachusetts in 1999, Killswitch Engage are one of the defining acts of the American metalcore movement, having placed seven albums on the Billboard 200 including three top 10 debuts. Their 2016 album Incarnate remains their highest-charting record, debuting at No. 6, while Disarm the Descent (2013) and their 2009 self-titled album both debuted at No. 7. Atonement (2019) peaked at No. 13 and topped both the Top Rock Albums and Hard Rock Albums charts.
The band has earned three Grammy nominations for Best Metal Performance — for “The End of Heartache” (2005), “In Due Time” (2014) and “Unleashed” (2020). Their most recent studio album, This Consequence, was released in February 2025.
Ella Langley and Cody Johnson dominated this year’s Academy of Country Music Awards trophy winners on Sunday night (May 17) in Las Vegas, with Johnson picking up both male artist of the year and entertainer of the year, while Langley took home the lion’s share of the accolades, with song and single of the year (for “Choosin’ Texas”), female artist of the year, artist-songwriter of the year, and musical event of the year (for the Riley Green collab “Don’t Mind If I Do”).
Parker McCollum took home album of the year, while The Red Clay Strays picked up group of the year and Brooks & Dunn won duo of the year. When it came to performances, more than a dozen performances were packed into just over two hours, highlighting both multi-ACM Award winners such as Lainey Wilson and Miranda Lambert, to newcomers including Tucker Wetmore and Carter Faith.
Held at the MGM Grand Garden Arena in Las Vegas, the stars came out to play, as the performances leaned heavily on newer song releases from artists including Kane Brown, Miranda Lambert and Little Big Town, while there were also a plethora of ballads from artists including Dan + Shay, Carter Faith, and Riley Green.
Shania Twain hosted the awards ceremony, which was streamed again on Amazon Prime Video, and highlighted both established hitmakers and rising newcomers to the stage.
Billboard ranked every performance at Sunday night’s ACM Awards, counting down to the top performance.
The American Music Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
Harry Styles has added a fourth and final Melbourne show to his Together, Together global residency run, Live Nation announced Monday (May 18), citing extraordinary demand for tickets.
The new date — Friday, Dec. 4 at Marvel Stadium — marks the final Australia date added on the tour and joins three previously announced Melbourne shows on Nov. 27, Nov. 28 and Dec. 2.
Sydney shows follow at Accor Stadium on Dec. 12 and 13, with Fousheé supporting across all Australian dates alongside Baby J. General tickets for the new Melbourne date go on sale Friday, May 22 at 11 a.m. AEST via hstyles.co.uk/tour, with an American Express presale running Wednesday, May 20 at 11 a.m. and a Live Nation presale Thursday, May 21 at 11 a.m.
Together, Together is one of the most ambitious touring operations of 2026, comprising more than 60 performances across Amsterdam, London, São Paulo, Mexico City, New York, Melbourne and Sydney.
Highlights of the run include 30 consecutive nights at New York’s Madison Square Garden — Styles’ only U.S. shows — and a 12-night run at London’s Wembley Stadium, which the tour claims breaks the record for the most performances by any artist at the venue in a single calendar year.
Each show features an in-the-round stage production blending new material with career highlights, with support acts varying by city — including Robyn in Amsterdam, Shania Twain at Wembley, Jorja Smith in Mexico City and Jamie xx at MSG.
Styles is one of the biggest touring acts in Billboard Boxscore history. Love On Tour grossed $617.3 million and sold more than 5 million tickets across 169 shows, making it the fifth-highest-grossing tour in Boxscore history. His first three solo albums — Harry Styles (2017), Fine Line (2019) and Harry’s House (2022) — all debuted at No. 1 on the Billboard 200. “As It Was” spent 15 non-consecutive weeks at No. 1 on the Billboard Hot 100, making it the fourth-longest-running No. 1 in the chart’s history and the longest ever by a UK act.
The tour supports Styles’ fourth studio album Kiss All the Time. Disco, Occasionally., released earlier this year and executive-produced by Kid Harpoon. The album spent two weeks at No. 1 on the Billboard 200, while lead single “Aperture” topped the Billboard Hot 100. Styles launched the tour with the first two of 10 Amsterdam shows at Johan Cruijff ArenA over the weekend.
The tour’s charity partner is Choose Love, with whom Styles has partnered for a decade, supporting humanitarian aid including food, shelter and education for displaced people globally.
Cody Johnson caught up with Ellie Thumann & Billboard’s Tetris Kelly at the ACM Awards 2026.
No one was surprised when Ella Langley’s “Choosin’ Texas” won single of the year or song of the year at the 2026 Academy of Country Music Awards, which were presented at the MGM Grand Garden Arena in Las Vegas on Sunday (May 17). The superbly crafted, universally relatable song is one of the biggest country crossover hits in history. It would have been a shock if it hadn’t won.
And many pundits figured The Red Clay Strays, Brooks & Dunn and Cody Johnson would repeat their CMA Awards win from Nov. 19 as group of the year, duo of the year and male artist of the year, respectively. Indeed, they all won here as well. The only handover in the top categories was female artist of the year. Lainey Wilson won in that category at the 2025 CMA Awards for the fourth year in a row. Langley took the award at the ACM Awards.
That doesn’t mean there weren’t some snubs and surprises among the results at the ACM Awards. It wouldn’t be an awards show without ’em.
Shania Twain hosted this year’s awards show, which was held at the MGM Grand Garden Arena in Las Vegas. The show streamed live via Prime Video for the fifth consecutive year.
Here are some of the biggest snubs and surprises at the 2026 ACM Awards.
The ACM Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
En los noventa, mientras los gustos y las melodías se debatían entre el grunge importado y el pop de fórmula, en Concepción, bien al sur de Chile, cuatro amigos se juntaron con un contrabajo, guitarras y letras para hacer canciones contestatarias y rockeras, con toques de rockabilly y sin olvidar la música primaria de su país, la cueca.
Los Tres fueron una anomalía en el Chile de los noventa. Su música no sonaba como lo que dominaba las radios en ese momento. A lo largo de los nueve años que compartieron sus cuatro miembros fundadores, el grupo mutó, se expandió y dejó una huella imborrable: en ese corto período publicaron cinco discos fundamentales del rock chileno –Los Tres (1991), Se remata el siglo (1993), La espada & la pared (1995), Fome (1997) y La sangre en el cuerpo (1999)–, tres de los cuales figuran en el ranking de Los 50 mejores discos chilenos según Rolling Stone, publicado en 2008. También grabaron el primer MTV Unplugged de una banda chilena, en 1996, antes de implosionar a fines de la década.
Durante años hubo intentos sueltos de volver, discos nuevos (con algunos miembros originales), proyectos por separado. Pero la magia no reaparecía… hasta que en octubre de 2023, un simple posteo en el Instagram de la banda, con solo cuatro nombres –“Álvaro, Titae, Ángel & Pancho”–, marcó el regreso más esperado del rock chileno. Desde entonces, todo se aceleró: giraron por todo Chile (y por varias ciudades de México), editaron Revuelta –un disco en vivo registrado en 2024–, anunciaron un show aniversario en Santiago para celebrar los 30 años de La espada & la pared, y grabaron en Abbey Road un nuevo álbum, XCLNT (pronunciado “Excelente”), lanzado el 10 de abril, el primero con los cuatro originales en más de 25 años.
Desde Santiago,Ángel Parra, guitarrista de Los Tres, habló con Rolling Stone sobre la reunión, la historia del grupo, su vínculo con Buenos Aires (y con Luis Alberto Spinetta) y lo que viene.
El disco Revuelta suena poderoso. ¿Cuál fue la sensación de volver a estar juntos después de tanto tiempo?
La verdad es que estoy muy contento. Hay una evolución en la manera de ejecutar las canciones de cada uno, por todo el tiempo que ha pasado, pero la máquina rítmica, instrumental y lírica sigue estando presente. El amor por las canciones, el respeto entre nosotros y la sincronía entre el contrabajo y la batería siguen siendo algo increíble. El sentido del humor también es superimportante en el grupo. Creo que nos estamos reencontrando con todo eso, y resulta muy interesante y entretenido, sobre todo con el apoyo de un público tremendo que nos entrega un cariño increíble.
Ya no es la misma generación que los vio hace tantos años. ¿Cómo se siente encontrarse con un público nuevo?
La gente ha tenido tiempo de ir escuchando y aprendiendo la historia del grupo a través de plataformas digitales, de CD o de casetes, que en algún momento circulaban. Han pasado veinticinco años y me doy cuenta por mis hijas que tienen cariño y fanatismo por las canciones. Me imagino que con el público pasa lo mismo: los mayores, los que nacieron en los sesenta o setenta, les transmitieron a sus hijos también esas canciones.
Entre el primer disco, Los Tres (1991), y el segundo, Se remata el siglo (1993), hay una evolución enorme. ¿Cómo ves hoy esa transición?
El repertorio de Los Tres es vasto. Cuando tenemos que hacer una lista de temas, nos damos cuenta de eso. Para un escenario como Lollapalooza [tocaron en la edición 2025 en Chile] hay cosas que no vamos a hacer y otras que sí. En un set pequeño de cuecas también queremos dejar en claro de dónde venimos [La Yein Fonda es un evento que la banda organiza cada septiembre durante las Fiestas Patrias, donde homenajean la música tradicional chilena]. El primer disco es más rockabilly, con el contrabajo de Titae como sello del grupo. El segundo es más sucio y rockero, y La espada & la pared tiene guiños al R&B.
La música de Los Tres siempre mantuvo una identidad muy marcada. ¿Cómo definirías hoy esas influencias y la manera en que las combinan?
Una línea constante en la música de Los Tres es no tener la necesidad de empaparse de lo que está en la radio o el mercado, porque buscar desesperadamente que una canción pegue nunca ha sido un buen camino. Si tocas con honestidad tus influencias, siempre habrá posibilidad de que la gente se encuentre contigo. Los músicos jóvenes a veces toman muchos caminos de sobreinstrumentación o no conocen su propia música, o que el rock and roll está basado en el blues, que viene de los años 1800 y 1900. Afortunadamente, eso está muy arraigado en Los Tres, pero también están las influencias de los Beatles, Stravinsky o los Beach Boys.
Spinetta aparece en los agradecimientos de La espada & la pared, disco que grabaron en Buenos Aires. ¿Por qué?
Tenemos muchos recuerdos con Luis. Fue muy generoso y nos ayudó mucho. En esa época me compré mi primera Telecaster y recuerdo que hice un solo country ahí. Spinetta solía pasar por La Diosa Salvaje, el estudio que tenía en Buenos Aires [donde grabaron el álbum], y siempre se mostraba cercano y cálido. En el diálogo con Mario Breuer [productor del disco] también encontramos muchas afinidades. Aunque Mario tenía la presión de la compañía para que la banda entrara en el mercado, fue un gran ingeniero y productor.
En otra entrevista le pregunté a Álvaro por esos agradecimientos y me contó que Spinetta le afinó y le prestó una guitarra para grabar “Me rompió el corazón”. ¿Lo recordás?
Es muy probable que haya ocurrido, porque en esos estudios había instrumentos que en Chile no existían todavía en esa época. Nosotros no andábamos con muchas guitarras Martin ni cosas así, entonces es probable que Luis le haya prestado alguna. Él era un tremendo guitarrista, muy amable, cálido y humilde, y le gustó mucho nuestra música.
Después vino la etapa con Joe Blaney [productor de Clics modernos, de Charly García, y Alta suciedad, de Andrés Calamaro]. ¿Cómo fue trabajar con él?
Sí, Joe Blaney es un productor con mucha experiencia. Nos permitió explorar nuevas posibilidades y darle una pulida muy profesional a nuestro sonido. Grabamos en un estudio enorme, muy diferente a los primeros años, con muchos instrumentos y una sala gigante [Bearsville Studios, en Woodstock, a las afueras de Nueva York, donde se grabaron discos como Grace de Jeff Buckley, Automatic for the People de R.E.M. y King for a Day… Fool for a Lifetime de Faith No More]. Eso ayudó mucho a que Fome tenga ese sonido especial. Fue un aporte increíble.
Esa época fue muy intensa.
Sí, estábamos en el camino hacia un quiebre, con una urgencia y una energía especial. La sangre en el cuerpo es un disco bueno, pero también un poco agitado, mareado por la fama, la sobreexposición, los viajes. Todo eso genera cansancio, pero a veces de las crisis salen cosas buenas. Con Fome y La sangre en el cuerpo, los dos producidos por Joe Blaney, llegamos a un punto de madurez muy alto. Grabar en un estudio así nos dio espacio para probar más, sumar instrumentos y explorar ese humor ácido y esa tristeza que atraviesan las canciones.
¿Y ahora? ¿Hay planes de volver a Buenos Aires?
Sí, tenemos planes de volver a Buenos Aires. Estamos a punto de salir a mostrar canciones nuevas y queremos prolongar esta reunión. No quisimos partir con el disco, sino dejar que la reunión se diera de forma natural, y justo se dio en un momento de conciertos grandes y mucha energía. La idea es seguir adelante.
The post Los Tres: “Buscar que una canción pegue nunca ha sido un buen camino” appeared first on Rolling Stone en Español.