Author: Rap Hooks

Following the success of his latest album, La Voz Favorita, Jay Wheeler announced on Monday (Oct. 5) a world tour of the same name that will take him to 34 cities across Europe, the United States and Latin America.

Produced by Dynamic Records in partnership with AUL Worldwide & UTA, La Voz Favorita World Tour will kick off in Spain on Dec. 4 at the Palmetum in Tenerife and continue through Gran Canaria, Malaga, Valencia, Bilbao, Madrid and Barcelona, where the European leg will wrap on Dec. 19 at the Palau Sant Jordi.

In March 2027, the Puerto Rican urban music star will bring the show to the U.S., with performances in Miami, Washington, D.C., New York, Boston, Chicago, Houston and Los Angeles, among other cities. Between April and June, he will tour Latin American countries including Ecuador, Peru, Honduras, Guatemala, Mexico, Argentina, Chile, Panama, Costa Rica, Colombia and the Dominican Republic.

“This La Voz Favorita tour is going to be very special,” Wheeler said in a statement. “Seeing and hearing all my fans sing along to my songs is one of the most beautiful parts of this career, and I feel truly blessed to have the opportunity to experience it all over again.”

Presale tickets will be available starting this Wednesday (Oct. 7) at 11 a.m. (local time), with general sales opening on Friday (Oct. 9) at the same time. Tickets will be available at jaywheelermundial.com. 

The tour is in support of Wheeler’s La Voz Favorita album, released in May. The 24-track set debuted in the top 10 of Billboard’s Top Latin Rhythm Albums chart at No. 6, and produced the No. 1 hit “De Lejitos,” which topped the Latin Airplay and Latin Rhythm Airplay rankings and reached No. 7 on Hot Latin Songs, where it stayed in the top 10 for 11 consecutive weeks. His No. 1 hits also include “Viendo el Techo,” “Dos Tragos” and “Si Te Vas” with J Balvin.

Before going on tour, Wheeler will participate in Billboard Latin Music Week, which returns to the Faena Forum in Miami Beach from Oct. 19-22. He will join the “Love and Music” panel alongside his wife Zhamira and another Latin music power couple, Paola Jara and Jessi Uribe, on Wednesday, Oct. 21. Later that night, he and Zhamira will headline the Billboard En Vivo showcase at Wynwood Marketplace. For more information on Latin Music Week and to purchase tickets, click here.

Check out all the dates announced for Jay Wheeler’s La Voz Favorita 2026-27 world tour below:

When The Game recently decided he wanted to remix his 2005 hit “Hate It or Love It,” “Everybody thought that I was crazy,” he says. “They’re like, ‘This is a classic. You shouldn’t touch this. How are you going to make it better?’ And I thought to myself, ‘I love challenges, so how am I going to make it better?’”

Without original collaborator 50 Cent on the hook — which two decades ago helped the song reach No. 2 on the Billboard Hot 100 — The Game brought Snoop Dogg into the fold, helping the Doggfather to write a verse that recalls his iconic counting flow on Dr. Dre’s 1992 G-funk classic “Nuthin’ but a ‘G’ Thang.” Both Game and Snoop made references to the original “Hate It or Love It,” while saluting West Coast legends including Nipsey Hussle, 2Pac and Ice Cube. A sample of Bobby Caldwell’s 1978 hit “What You Won’t Do for Love” — not present on the 2005 track — tied the new version together.

“Love It or Hate It,” The Game figured, would generate buzz for the August release of his 11th studio album, The ­Documentary III — and serve as connective tissue between his new project and his debut album, The Documentary, which featured “Hate It or Love It” and stamped him as a torchbearer of West Coast hip-hop in the aughts.

“I knew for my core fans, them being able to go down memory lane and in such a nostalgic way early on in the album would set the tone for the listener and kind of trick your ears into understanding that this album is going to be a classic album too,” he says. “So when you listen to the song, you think you’re listening to ‘Hate It or Love It’ because you’re used to it, but you’re not. That’s just me playing mind games with my fans — and even myself.”

“Love It or Hate It” was part of a trio of rap remixes that arrived this summer — and all reanimated existing hits. Meek Mill recalled his millennial motivational scripture “Dreams and Nightmares” for the new “Nightmares to Dreams,” and DJ Shadow and Run the Jewels celebrated 10 years of their collaborative “Nobody Speak” with “Nobody Speak Part 2,” which featured buzzy rappers Denzel Curry and TiaCorine.

Crate-digging, and flipping known intellectual property, have always been fundamental to hip-hop. Nas released a sequel to “N.Y. State of Mind” (“N.Y. State of Mind Pt. II”) five years after dropping his classic Illmatic (the revamped track appeared on his 1999 album, I Am…), and more recently, Lil Uzi Vert released “P2,” a sequel to the top 10 2017 smash “XO Tour Llif3” that arrived three years after the original and used its same hypnotic melody and TM88 production. (“P2,” which featured on 2020’s Eternal Atake, reached No. 11 on the Hot 100.)

Reworking catalog hits of the past — albeit by other artists — has previously proved to be a formula for chart success, given how TikTok and social media have disrupted traditional music consumption methods. Just consider how Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” remade Mario Winans’ “I Don’t Wanna Know” and scored a top five Hot 100 hit nearly two decades after the Bad Boy singer’s original.

With the genre’s scarcity on the charts in 2026 — so far, Drake is the only rapper to notch a top 10 hit on the Hot 100 this year as a lead artist — flipping a once-big hit might seem like an easy remedy. And considering the dearth of new mainstream stars — outside of Doechii and Don Toliver, other emerging talents have yet to commercially break through — hip-hop veterans have more of an opening to notch genuine hits.

But among The Game, Meek Mill and DJ Shadow, only Meek’s “Nightmares to Dreams” reached the Hot 100, landing at No. 82 for just one week before falling off the chart. Overall, these remixes failed to generate a lasting buzz in a current mainstream climate that’s shown to be less hospitable to hip-hop than it has been in the recent past. The Game credits the genre’s lackluster showing lately to a modern disconnect from the generation of rap he was raised in where titans sparred in collaboration and juicy remixes ruled.

But a recent text exchange with ­310babii gave him some hope. The rising West Coast rapper reached out to him looking for advice on improving his artistry — the first time The Game says that a rap newcomer has personally sought him out.

And while the two haven’t revealed any plans to work together just yet, cross-­generational collaboration has proved mutually beneficial for veterans and rising talent across genres and eras, from Jay-Z co-signing an emerging Drake in 2009 to Tyler, The Creator guesting on rising rapper AZ Chike’s single “Look Like My Mama” this August. So while remixing one’s own work of the past may be a cool curio for serious fans, collaboration among genre titans and newcomers could be the real key to getting rap back in the conversation and on the charts. “Everyone’s so selfish and all about ‘me,’ when it should be about us,” The Game says. “And fans know the difference.”

This story appears in the Oct. 3, 2026, issue of Billboard.

Minutes before taking the stage at Mexico City’s Estadio GNP Seguros on Sept. 18, Natanael Cano was already in full corridos tumbados rockstar mode: cowboy hat, snakeskin jacket, chest on full display and the attitude of someone who knows exactly what he represents. “I’m looking fresh as hell — I’ve got that Tupac, DMX, Chalino Sánchez, Natanael Cano kind of flow,” he told Billboard Español, explaining with his charm the inspiration behind his look.

The image — a mix of norteño tradition, hip-hop bravado and irreverence — also captures Cano’s identity as one of the central figures in the movement that helped take corridos tumbados from regional circuits to Mexico’s and the U.S.’ biggest stages.

The interview took place shortly before Cano launched his first stadium tour across Mexico with two consecutive sold-out shows at the capital’s Estadio GNP Seguros. When asked how his U.S. visa situation had influenced — or affected — this new chapter of his career, the singer made clear that he did not feel limited by it. “Mexico never lets me down. Mexico always supports me and is always behind me,” he said. “And that’s something I can never thank the fans enough for.”

Cano also spoke about “Olivia La Flaca,” his latest collaboration with Tito Double P, Ovi and Víctor Mendívil. The trap-leaning single arrived Sept. 24. “All the homies on that song killed it, for real,” said the Rancho Humilde star. “It’s really dope, a song for all the fans — it goes hard. Pure happiness, pure peace.”

One of the most personal songs on his new album, Natanael Cano, Vol. 1, is “Mar Azul,” which the artist called his favorite. The song has been rumored to be about his ex. When asked what it means to him, Cano replied knowingly: “You know what it means.” He added, “I think everybody knows too.”

“Mar Azul” peaked at No. 7 on Billboard’s Mexico Songs chart, No. 26 on Hot Latin Songs and No. 22 on Regional Mexican Airplay. The album debuted at No. 4 on Top Regional Mexican Albums and No. 10 on Top Latin Albums. Its 15 tracks represent a new chapter for Cano after he experimented with trap, reggaetón and afrobeat on 2025’s Porque La Demora.

Beyond the hits, Cano said he wants his fans to take away a message of perseverance: “Take the hard work, the perseverance, the dedication,” he said. “And even if you get sidetracked, that’s normal — life is fucking hard. But always take the good from it, and keep moving forward.”

Cano is currently on his Natanael Cano Vol. 1 Tour. His upcoming dates include Mérida on Oct. 17; Boca del Río on Oct. 30; Puebla on Oct. 31; Toluca on Nov. 6; Oaxaca on Nov. 7; Mexicali on Nov. 14; Morelia on Nov. 21; Saltillo on Nov. 27; Torreón on Nov. 28; and Acapulco on Dec. 5.

Watch the full interview above, and read our recap of the five best moments from Cano’s Mexico City tour kickoff.

Six years passed between Phoebe Bridgers’ second and third solo albums, but it was hardly time off. Between 2020’s Punisher — her major breakthrough, which yielded her a best new artist Grammy nomination — and 2026’s Lost Weekend, the singer-songwriter, with Lucy Dacus and Julien Baker, dropped The Record, their Grammy-winning debut album as boygenius; toured as a solo artist, with boygenius and as an opener on nearly a dozen Eras Tour dates with Taylor Swift; launched Saddest Factory Records as an imprint of her label, Dead Oceans (which ultimately absorbed Saddest Factory in June); and filmed her acting debut in Lance Oppenheim’s recently released Primetime. Amid all those professional milestones, Bridgers also ended a high-profile relationship with actor Paul Mescal; lost her father, Tony Bridgers; and started dating comedian Bo Burnham.

That deep well of experiences informed the songs that would become Lost Weekend. While some ideas on the album date back as far as 2022, Bridgers began writing and recording for the project in earnest in 2024. Though her first two albums were mostly made with producers Tony Berg and Ethan Gruska at Sound City Studios in Van Nuys, Calif., Bridgers added to her recording locations this time around — visiting Electric Lady Studios in New York and Tamarind in Los Angeles — and her production team, bringing on perennial Grammy favorite Jack Antonoff for the first time, with additional work from Alex G. With more musicians in tow as well, Bridgers stretched her predominantly rock sound to new melodic territory, from ambient electronic to driving country.

Bridgers first shared the new material in May at a club in New Mexico, kicking off a series of phone-free, secret pop-up shows at smaller venues across the country that culminated with Madison Square Garden in New York on June 4. Upon announcing Lost Weekend’s August arrival later that month, she logged back-to-back appearances on The Tonight Show Starring Jimmy Fallon in July, playing new single “Lost Boys” each time, first with a rock band of children and the next night an acoustic rendition with veteran musicians. Bridgers capped off the unorthodox rollout by hosting worldwide release-week listening parties at planetariums.

The critically acclaimed album (which reached No. 2 on the Billboard 200) has made Bridgers, who took home four Grammys in 2024 — more than anyone else that year — one of indie-rock’s front-runners for the 2027 ceremony. With nine of her collaborators, Bridgers explains how the emotional, unusual and expansive world of Lost Weekend came together.

Tony Berg, producer: Initially, you might look at her career and go, “Gee, six years between solo albums and 10 or 11 years to produce three solo albums.” It was a long time because there was a lot of material, and Phoebe, if she senses something can be better, doesn’t have a problem coming to us and saying, “I want to start this over.”

Ethan Gruska, producer: After Punisher, there was boygenius, and after that, I very clearly remember Phoebe going, “I’m going to take some time off,” and a year or two into her lost weekend, her time off, time away, I was starting to get glimpses from her that she was writing.

Christian Lee Hutson, songwriter: My memory is, right after Punisher came out, some of the first ideas for the record came, but not in any grand, fully realized way.

Gruska: Phoebe kind of started by saying, “I want to really bring in new musicians and new people to inspire us and surprise us.” She wanted an injection of freshness that’s hard to provide when you’re so entrenched in a flow.

Phoebe Bridgers: I knew I wanted to work with Tony and Ethan again — you know, “if it ain’t broke” and so on and so forth. Tony and Ethan are my family. But I knew I wanted to change the sound of this one and that fresh blood would help.

Gruska: Alex [G] kind of was brought into the mix before Jack [Antonoff], and I was thrilled about that because I’m such a huge fan of Alex. Alex and ­Phoebe and Christian were writing and making sketches of stuff.

Marshall Vore, songwriter-drummer: We went to Philadelphia to see Alex for four or five days or something and we went into a studio — Christian, Bo [Burnham], me and Alex and Phoebe — to make songs.

Bridgers: I have wanted to work with Alex for over a decade. Went to Philly with Alex and Christian to work. One of the times, he played me a ­discarded idea that turned into “Lost Boys.” He’s the most creative person I’ve ever met. And definitely the funniest.

Berg: As funny as I think all the people in the room were, he’s funnier. His take on the world is unusual. I would describe it as quixotic. He is just an unusual person with a real musical gift, and it comes from a field that is neither left, right nor center. It is a different field altogether.

Gruska: Generally, we would bring in musicians for their expertise on a particular instrument or style. But with Alex, we were like, “We just want you to play anything on everything.” The ending of “Liberty Tree,” when it goes into this very strange, dissociated “ooh”-ing melody, the whole palette at the end was Alex in 40 minutes on a Mellotron.

Bridgers: Then when the L.A. fires happened [in January 2025], I was evacuated from my house for three weeks, so I went to New York. Lee [Foster, studio manager] at Electric Lady gave me a writing room and one day Jack [Antonoff] crashed.

Hutson: He’s the ghost of Electric Lady. Anytime you’re there, you’ll expect a haunting — Jack to wander down the stairs, find you in some cavernous basement studio and bless you with his presence for a moment.

Bridgers: I certainly wasn’t looking for more producers, but I had been mostly looking at my phone and not writing. He brought me a little drum machine, and that was it. He appears to those who need him most.

Jack Antonoff, producer: I kind of live upstairs at Electric Lady and I think she was in the middle room or something. But it was truly one of those stories that reminds me of stories I heard from like the ’70s, where two people were in the same studio not working together, kind of run into each other, get talking, start playing a few things here and there.

Gruska: I remember Phoebe playing me something that Jack had put together from the voice memo that ended up being the first “Lost Weekend” song, because there’s three iterations of it on the record.

Vore: The way I remember [“Lost Weekend”] was that she was sort of having writer’s block, and she found that melody from Damien Jurado [from his “The Last Great Washington State”]. She was like, “I love this melody so much. I’m going to write to it just to try to get lyrics out.”

Gruska: It went from that voice memo to this outro because Phoebe had showed Jack [composer] Paul Lansky. Jack sampled it [Lansky’s “Notjustmoreidlechatter”], and I was just hearing from ­Phoebe that Jack was a wizard and took it and sampled it and created what was the framework and kind of the basis and really like a majority of that outro. The kind of flurry of that outro and I just remember hearing it, and I remember seeing her excitement about it.

Antonoff: I think it was, well, what if it is the voice note? And then what if it goes from the most nonsonic thing possible, just like a little voice note on the phone, to the most sonic exploration possible of this sample and this chaos and all this stuff? I felt like what Phoebe was articulating, it’s where she was at from the writing of this, and all the grief and all the joy and all the terror mixed together. There was just something really interesting about going from zero to 1,000 without any warning. It’s simple enough to gently make something sound this way or that way. But in my experience, it’s when you really just say f–k it and take a big swing with people that you actually build a different kind of trust.

Gruska: From there, Jack was just slowly introduced in the process. To be able to enter into a group of people that have been working together for nine years the way that he did, and to share his expertise and also bring a level of comfort and personability and friendship was just so impressive.

Vore: There had been a decade of precedent, and he was a completely different energy, which was really necessary. It needed to be fun again. I found him to be so kind and just made you feel like you were 15 in your garage again.

Hutson: I think that Jack’s gift as a producer and as a person is that he’s a really good listener. He’s very selfless and listens to what you want and is not afraid to try things, even if they don’t work.

Antonoff: I don’t know if I’m a good listener or anything like that, but my philosophy on why I do this doesn’t come from hearing solely my ideas come to life. My ego and spirit come from realizing a vision. That’s the whole job. There’s so many twisting alleyways within that, but it’s like, that’s it. When the real fun times happen is when you have that clear direction, and everyone’s sort of flying a plane together.

Bridgers: There’s a reason he’s the guy. He really knows what is great about everyone he works with and gave me so much confidence to experiment. The best example of his brain is “Kill Me.” He made the whole album 30% stranger.

Gruska: It went from an insular group to a very large group of people and musicians, and it was beautiful. Chris Thile, Caroline Shaw, unbelievable talents that would just come in and throw this amazing paint and then we all got to collage it together.

Chris Thile, Nickel Creek: We had three days together [at Sound City in November 2025]. The freaking “Lost Weekend” situation was so fun when that happened. I play this funny instrument [mandolin] that’s only used for seasoning unless it’s in a bluegrass context. I’ll try every now and then [to] take a big swing, and almost always it’ll get voted off the island. “Oh, we were thinking a little bit more like that R.E.M mandolin thing, ‘Losing My Religion’ at the end.” Mandolin’s most fundamental moment in the history books. Whereas this situation was just like, “Hey, try some s–t on the outro of this,” and so I’m like, “I mean, I could go like this,” and they were like, “Yeah, do that!” And there it is at the end of the title track, that outro.

Caroline Shaw, vocal arranger: I met up with her at her apartment in New York [on March 23, 2025]. I’ve been in rooms with big stars and lots of producers around, and sometimes it feels like there are lots of sharks, like, producers getting their stuff on and I sense the artist being a little overwhelmed by that. So I just remember telling her, “You stay in control of what you want.” It was nice to be in a room of … I would say they’re more like whales.

Bridgers: We were all working together in the end, but I really enjoyed hopping around from place to place, with fresh ears every time. The nice thing about so many producers was that it was like having a reverse band. Lots of input, but ultimately, I make the final call.

Hutson: [Phoebe] is extremely focused and has a lot of what I think all of my favorite writers have: enough doubt to make sure that you try really hard to get it right.

Thile: This is a fearless record. There’s a couple of illustrious producers, and she is in there, hands-on and exploding with ideas.

Greg Leisz, pedal steel guitar: The thing that I noticed the most was that there was a lot of respect for her ideas. She was really driving the enthusiasm for the event as it was going on. She would be walking around listening. She wasn’t passive at all.

Shaw: I remember her really wanting to not be always singing small, but to sing out big and resonant and not just put the echo on later, but like, “Let’s do it real,” as much as she can do. “I want to do this as real as we can.”

Antonoff: When we first started, the big conversation, which became a huge conversation on the whole album, was obscuring [the] organic-synthetic [divide], playing with all of it until it just is its own Lost Weekend thing and not something you can even identify anymore. That’s the whole point, productionwise, of the album and the thing we put such a microscope on, of obscuring those two things.

Gruska: I knew that it had to feel different and not like Punisher 2.0. With every artist and with every project, you live in the shadow of the thing you just did until you don’t. I think the subject matter was so nude that [it had to be] surrounded by tones and sounds [that] had to have the kind of roughness and rawness that the songs had.

Bridgers: The first and last song was “As Above.” It was a kind of Pavement-sounding indie rock idea I was playing at sound checks on tour in 2022. Something about walking around Saint Petersburg [Russia] because I was reading [Elif Batuman’s] Either/Or. It stayed pretty aimless for a while. Then it was about abortion/my dad’s death making me consider having a kid someday for the first time. When Christian and I were trying to crack the end and wrote, “You won’t have to believe in magic, leave it to me and I’ll make it happen,” we both cried.

Hutson: “As Above” took a long journey. I think that one was the most frustrating because we kept coming back to it and being like, “Oh, you again.” (Laughs.) Even that was kind of fun though, like a crazy crossword that you’ve been working on for a long time. I think the fastest one was “Haunted.”

Vore: I remember being a big champion of that song because I love country music and bluegrass music and Irish music. I remember her being pretty reluctant about it, like, “Is it just kind of like, cheugy?” And I was like, “This is so good.” But I also earnestly listen to Megan Moroney.

Antonoff: [We spent a] ton of time at Sound City. I think all studios look like the inside of the person whose studio it is, and there’s no doubt in my mind that Sound City is a living map of Tony. Tony would pull out some child tape recorder that someone sent him from Indonesia, and it didn’t work, but it exploded, and as it exploded, the whole thing’s like a Rube Goldberg machine. Tape shoots out and knocks into something that falls into something else and then hits a harpsichord, and someone gets an idea. There’s a slapstick nature to that place where there’s just stuff, and all the stuff is informing this great desire to just try things.

Bridgers: The freakiest night by far was one with Jon Brion. He brought a U-Haul full of priceless instruments to Sound City at 9 p.m., gave Tony a Guatemalan marimba, played a synthesizer that looks like Battleship — that sounded so good we opened the album with it — ripped a guitar solo and left at about 5 a.m.

Gruska: The general throughline of everybody that worked on the record is that there’s a lot of extremely f–king funny people. It’s a lot of work, but it’s also a lot of hanging and shooting the s–t and laughing. Sometimes on sessions, you’re nose to the grindstone, but if we’re working and there’s several hours of hanging out, it does actually make the hours of work, which end up being less, more productive.

Antonoff: The process was full of wonderful ­surprises. That’s when you know you’ve reached something, when you’re split down the middle: half completely comfortable and familiar with something and half completely shocked by it.

Berg: It was only in the home stretch that it was clear to me that Phoebe felt the need for all 16 songs to be on the album. I thought initially it might be more concise, but she had a broader story to tell and more things that she wanted to deal with.

Leisz: It’s an artist’s record. It’s somebody that is really focusing on their art without, I think, a whole lot of trying to make something commercial. It’s adventurous.

Bridgers: It’s all my ideas. I’m very lucky to not have to do anything I don’t want to do, so I don’t show up resentfully anywhere anymore. I was fixated on the idea of LARPing [live-action role-­playing] in general for this album because of my old ­skeleton suit. I was thinking about people whose lives revolve around dressing up. Because I dress up as myself. It was [director and Primetime co-­producer] Ari Aster’s idea to do the ren faire thing with Lance [Oppenheim, who co-directed the “Lost Boys” music video]; he wanted to see slo-mo LARPers beating each other up. I’ve known Lance since I was a teenager and trust him with my life.

Lance Oppenheim, director: I met Phoebe back in 2014. She was basically the same then as she is now: so chill, so funny, so sharp. We had such a great time working together [on Primetime], and I kept thinking during production how much I wanted to work with her again. I was so happy when she thought of me for “Lost Boys.” Phoebe knew she wanted something LARP-adjacent and to be the leader of a vagabond troupe living off the grid. She also wanted to work with Skyler Gisondo again — they share a lot of screen time in Primetime. We shot the video over two days in Atlanta [in April].

Leisz: I was in Europe on vacation when she did The Tonight Show. They called me to play [on “Lost Boys”], but I was on vacation. So I was curious because I didn’t play on the song [on the album], and there wasn’t any reason for me to be on it that I could see. And then I watched it, and the first thing I saw was all these kids. And then I became aware that she did a version with old people, and I realized that she wanted me to come and play in that band. (Laughs.)

Shaw: I did one of those planetarium listening sessions in Portland [Ore.]. I hadn’t heard [the album]. I think it’s really beautiful.

Gruska: If we’re talking about growth, it was another cut above for me. Like, “Wow, we’re really going for something,” and it comes through when I listen back. I feel the team all just going, “No, let’s not stop until it’s weird and perfect.”

Hutson: This is what happens when people who really, really, really love each other come together to serve something that is greater than themselves. I think it’s a feat of what love and friendship and taking care and listening actually looks like and what it can do. You can end up with this beautiful piece of art that is very healing for everyone that worked on it.

Bridgers: Having the album in the world is wild. It was very intense to write and very acutely painful to release. I’ll never get over how profound it is to have people sing the songs I wrote about my dad back to me. I wish he could have seen it.

This story appears in the Oct. 3, 2026, issue of Billboard.

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After nearly 20 years of game play, the NFL returns to London for the 2026-27 season. The league has been growing American Football around the world with regular season games played in international cities, such as Rio, Mexico City, Melbourne, Berlin, Dublin and others.

For the week four matchup, two premiere NFL teams with the Colts and Commanders play against each other for domination on the field. Meanwhile, there might be one or two celebrity sightings during the game too with a special performances of the U.S. and U.K. national anthems by Jordyn Simone and Mimi Webb, respectively.

How to Watch NFL London Game 2026 Live Online, at a Glance:

When Does the NFL London Game 2026 Start?

The NFL London Game happens on Sunday (Oct. 4) with a matchup featuring the Indianapolis Colts (1-2) taking on the Washington Commanders (1-2) at Tottenham Hotspur Stadium in London, England, with a start time of 9:30 a.m. ET/6:30 a.m. PT.

What TV Network Features the NFL London Game 2026?

The Colts-Commanders game broadcasts on NFL Network, while the NFL game is available to livestream on ESPN Unlimited.

Which Celebrities Are Making Appearances During the NFL London Game 2026?

NFL games are known for celebrity sightings, so it’s likely there may be a number of famous actors, actresses and recording artists in attendance. Artists have been known to appear at games in the past, include English NFL fans, Idris Elba, Kit Harington, Prince William and others.

In addition, R&B singer and former-contestant on The Voice, Jordyn Simone performs “The Star-Spangled Banner,” while English pop star Mimi Webb performs “God Save the King,” ahead of kickoff.

Where to Watch the NFL London Game 2026 Live Online for Free

For cord-cutters, there are a few ways to watch the NFL London Game, if you don’t have cable, especially if you want to watch for free. DirecTV has a five-day free trial, while other streaming services, such as Fubo and Hulu + Live TV, also offer free trials, so you can watch Colts vs. Commanders for free.

EDITOR’S PICK

DirecTV

Get 5-Day Free Trial

Comes with a five-day free trial.

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A subscription to DirecTV gets you access to live TV, local and cable channels, including NFL Network, at $59.99 per month for the first three months of service ($89.99 per month afterward). The service even offers a five-day free trial to watch for free, if you sign up now. It comes with access to ESPN Unlimited too for even more ESPN networks.

600+ FREE CHANNELS

Sling TV

Get Sling TV

Sling Blue comes with 40+ broadcast and cable channels.

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Sling TV offers the Blue plan, which comes with NFL Network. With more than 40 channels, the streaming plan goes for $54.99 per month. All plans come with a free cloud DVR and an extra 600 or so free channels too. Please note: Pricing and channel availability vary from market-to-market.

UNLIMITED DVR

FuboTV

Get 5-Day Free Trial

Fubo is an affordable option offering a five-day free trial for new users who sign up.

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Fubo starts at $63.99 for the first month ($88.99 per month afterward) with more than 230 channels, including local and cable networks, like NFL Network, that are streamable on smart TVs, smartphones, tablets and on web browsers. And with a five-day free trial, you can watch for free, if you act fast and sign up now.

NO HIDDEN FEES

Hulu + Live TV

Get 3-day free trial

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For the NFL London Game: Colts vs. Commanders, the broadcast network NFL Network is available to watch with Hulu + Live TV. Prices for the cable alternative is on sale for $49.99 for the first month ($89.99 per month afterward) for more than 100 live channels, while each plan comes with Hulu, Disney+ and ESPN Unlimited at no additional cost. Hulu + Live TV might be best for those who want all of these streaming services together in one package.

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On Sunday (Oct. 4), the NFL London Game 2026: Indianapolis Colts vs. Washington Commanders broadcasts on NFL Network. One of the best ways to watch the game live is with DirecTV.

Turnstile made their Saturday Night Live debut on Saturday (Oct. 4), performing three songs from their Grammy-winning album Never Enough on the Dakota Johnson-hosted episode.

The Baltimore hardcore band — appearing the night after a set at Austin City Limits — opened with “Birds,” which won best metal performance at the 68th annual Grammy Awards in February. Later in the show, the five-piece returned for a medley of “I Care” and “Dull.”

The appearance marked a milestone for the band, and for the genre: Turnstile are the first hardcore act to perform on SNL since Fear’s famously chaotic 1981 appearance. Host Dakota Johnson had teased the booking in a promo earlier in the week, joking that she was ready to start a “wall of death” for the band.

Never Enough, released in June 2025, is Turnstile’s fourth album and the follow-up to their 2021 breakthrough Glow On. It debuted in the top 10 of the Billboard 200 and topped the Top Hard Rock Albums chart, while its title track became the band’s first No. 1 on Billboard’s Alternative Airplay chart. The record earned the group five Grammy nominations — making Turnstile the first band ever nominated across the rock, alternative and metal fields in a single ceremony — and converted two of them, winning best rock album alongside “Birds.”

In August, Turnstile followed up with Never Enough: Versions, a reimagined edition of the album featuring contributions from Elton John, Hayley Williams, Slayyyter, Julien Baker, Four Tet, Blood Orange, Faye Webster and Alex G, among others.

Johnson’s turn, which featured a surprise cameo from Taylor Swift, marked her third time hosting the show and arrived a day after the theatrical release of her new film Verity. Turnstile followed season 52 premiere guest KATSEYE, with Rosalía set to perform alongside host Shane Gillis on Oct. 10 and Gracie Abrams booked for Oct. 31 with host Inde Navarrette.

Turnstile’s tour resumes Monday (Oct. 5) in Oklahoma City, followed by stops in Lawrence, Kan.; St. Louis; Ventura, Calif.; and Las Vegas before the run wraps Oct. 18 in Santa Ana, Calif.