Finneas and every other artist supporting Ed Sheeran on his Loop Tour have withdrawn from the trek after Macklemore was forced off it following onstage comments he made in support of Palestinians and critical of Israel’s war in Gaza.
Finneas, the singer-songwriter best known for his work with sister Billie Eilish, will no longer open for Sheeran on the upcoming South American leg of the Loop Tour, which was set to begin in November. “Artists must not be silenced when they speak up for the oppressed,” he wrote on Instagram. “I have decided to withdraw from my upcoming tour dates with Ed Sheeran. I stand with Palestine and its people.”
Additionally, the other two openers for the U.S. leg — Danish pop artist Lukas Graham and Irish singer-songwriter Aaron Rowe — announced they would not partake in the rest of the U.S. leg of the Loop Tour.
On Instagram, Graham wrote, “It’s hard to watch families in other parts of the world burying the people they love. We should be able to speak about war, about civilians being killed, about children who deserve to grow up. Wherever they live. Whatever flag flies over them.
“Money doesn’t give you the right to own the conversation. Nobody’s bank balance should decide who gets to speak or which suffering we’re allowed to acknowledge,” he added. “I love Ed, and I’m grateful for everything we’ve shared. That hasn’t changed. But I can’t put these words out into the world and carry on with this tour as things stand. We’re withdrawing from the remaining dates. I’m sorry I won’t be there. This is a difficult decision, but it’s one I need to stand by.”
“I cannot stand by and allow billionaires to use their position of power to silence the rightful voices of those who speak up against Israeli genocide and who highlight the savage,” Rowe wrote on Instagram. Rowe added that he did not “take the decision lightly,” thanking Sheeran for his friendship and for the opportunities he’d given him. “But,” Rowe continued, “as Irish people we know all too well about genocide, forced famine and violent occupation… I need to be true to myself and my ancestors who resisted colonization, and fought for a freedom that I enjoy today in Ireland.” (Humanitarian groups and a United Nations commission have said Israel’s actions in Gaza constitute a genocide. Israel and its allies, including the United States, have denied this.)
Sheeran is also losing the support of Beoga, a traditional Irish folk band who join him onstage for a run of songs during his set. The band said they made the decision to leave the tour “following the silencing of Macklemore by zionist lobbies.”
Like Rowe, the band thanked Sheeran for his friendship and for asking them to join him on tour, but said: “We believe in dialogue as a means of progressing the plight of the Palestinian people. As musicians, playing to those crowds every night is the stuff of dreams but to play in venues that silence anyone advocating for a Free Palestine is simply not an option for us.”
They added, “We were there for Macklemore’s performance and speech. We fully supported his message, so did most of the audience in MetLife Stadium, which terrifies the lobbies. Go back and read the transcript if you’re in doubt. We are Irish people who understand colonialism. As founding members of the Irish Artists for Palestine movement, we are committed activists for justice and will continue to be. This whole episode is once again serving to distract form the real issue, over 1000 Palestinians have been killed since the most recent so-called ceasefire.”
Macklemore was dropped from Sheeran’s Loop Tour on Monday after several venues told Sheeran they would not allow gigs to take place if the Seattle rapper was still on the bill. Macklemore was heavily criticized by pro-Israel groups for his actions at two shows at MetLife Stadium, where he expressed solidarity with people in Gaza and the occupied West Bank, shouted “Free Palestine,” shared images of the devastation from Israel’s war in Gaza, and performed his protest song, “Hind’s Hall, about pro-Palestine demonstrators at Columbia University.
In a statement, Macklemore said New England Patriots owner, Robert Kraft, led the effort to pressure Sheeran into dropping Macklemore. “Ed told me that Kraft said I would not be allowed to perform in his stadium,” Macklemore wrote. “Ed also told me that Kraft had rallied some of the other stadium owners and collectively they gave him an ultimatum: if Macklemore stays on the tour, you will not be allowed to play in our venues.”
Kraft, for his part, confirmed he would not allow Macklemore to perform at Gillette Stadium, which he owns. He said the decision was based on the rapper’s “recent actions, material shared from the stage during Ed Sheeran’s shows in New Jersey, and a broader history of antisemitic rhetoric and imagery that we believe has been deeply offensive and hurtful to the Jewish community.” Kraft, however, did not address Macklemore’s claim that he also “rallied” other stadium owners to pressure Sheeran into dropping Macklemore.
On Tuesday, Sheeran reiterated that the decision to drop Macklemore was not his, but that of promoter Messina Touring Group following pressure from the venues. “I have spent this week trying to build bridges, to find a solution and unfortunately, was unable to do so,” Sheeran wrote. “I know who I am, both as a person and as an artist, and those who know my heart know my values too.”
Reps for Sheeran did not immediately return requests for comments regarding the decisions of Finneas, Rowe, and Beoga.
Ken Casey stuck around after the show in San Diego, California, talking to members of the International Brotherhood of Electrical Workers.John Francis Peters for Rolling Stone
Some of the challenge-coin haul.
The band started as a bet. “My band has a show in three weeks,” Casey’s coworker told him in 1996. “I dare you to open for us.”John Francis Peters for Rolling Stone
Dropkick Murphys (from left): Casey, DaRosa, Webster, Kelly, Rheault, Brennan, and Lynch John Francis Peters for Rolling Stone
Casey is largely the voice of the band, but the other members back him up. “We’re so lucky he’s the mouthpiece,” says Brennan, left. John Francis Peters for Rolling Stone
“Only the Irish can take a song about death and destruction, famine, alcoholism, and raise a glass like it’s an anthem,” says Casey. John Francis Peters for Rolling Stone
“Anytime it feels like things are about to plateau for us, something gives us a little bump,” says guitarist Lynch. “It feels exciting. It feels dangerous. It feels like doing something.” John Francis Peters for Rolling Stone
Jay-Z performing at the Stade de France in Saint-Denis in Paris.
Jay-Z Deserves the Super Bowl Halftime Gig
Where’s the love? Jay-Z asked that question 25 years ago, in the chorus of one of many songs in his catalog that still move audiences today. If he performs “Heart of the City” as part of his Super Bowl halftime show next February, those indignant bars are sure to be a highlight: “First the Fat Boys break up, now every day I wake up, somebody got a problem with Hov…” It would be an appropriate choice, too — because then as now, any time Jay-Z notches a new achievement, people find a way to complain.
The jokes and nonsense started almost as soon as the first rumors trickled out that Jay, whose company Roc Nation has executive-produced the Super Bowl halftime show since 2019, might be choosing himself to headline next year’s show. “Jay-Z just Dick Cheney’d himself for the Super Bowl,” Puck‘s Matthew Belloni quipped on X last week, alluding to the time that the late prince of darkness, who’d been asked to run the vice-presidential search committee for George W. Bush’s 2000 campaign, put himself on the ticket. (Super hip and current reference, and not at all apples-and-oranges.) Others pointed to TMZ reports that pop stars like Harry Styles and Justin Bieber had been asked first. “How are they the frontrunners, and he end up in the front?” Cam’Ron, who’s delighted in trolling Jay for many years, wondered aloud on his podcast. “Out of all the people on the roster, they couldn’t pick nobody else?” asked Cam’Ron‘s co-host, Ma$e.
These critiques miss the point, which is that Jay-Z is one of the best choices for a high-profile gig like this. He’s a superstar with a comparable level of name recognition to any other A-lister in music. He has a deep stack of classic songs going back decades. And he’s a highly skillful live performer who knows his way around a stadium stage, as he’s spent this year reminding people on his Jay-Z 30 tour. He tore down Yankee Stadium three nights in a row this summer; just last week, he rocked SoFi Stadium, which happens to be the same place where the 2027 Super Bowl is being held. He held the crowd’s attention with ease at all of those shows, and though there were plenty of glittery guests — that’s a given at a Jay show, and it will surely be true at the Super Bowl, too — he did it mostly through the force of his own magnetic energy. Let’s state the obvious here: Jay-Z is really, really good at rapping. We’re talking about one of the slickest, sharpest talkers in the history of words, someone who made it to the top through a sustained act of myth-making, then kept going. Are we seriously asking whether he can handle a 15-minute televised performance?
And yeah, there’s a touch of self-congratulation in the way he appointed himself. So what? Praising his own gifts is arguably Jay-Z’s greatest talent of all. He made a fine art out of self-applause. He told his story again and again, retracing the steps from Marcy Projects to the corner suite, and he made us believe. It would almost be insulting to the audience if he didn’t give himself the gig at some point.
Pop culture observers in recent years surely remember the backlash to Super Bowl headliners like Kendrick Lamar and Bad Bunny — all of it at least culturally conservative, and much of it frankly just racist. The blowback to Jay’s announcement is mostly coming from other quarters, at least for now (let’s just wait to see what the right-wing swamps make of this one). But it’s disappointing in a different way. Jay-Z has spent his career expounding hip-hop as a mainstream commercial force. He’s not a businessman, he’s a business, man. But he’s also an artist. He’s made huge amounts of money, and gotten himself into the rarefied rooms where he even has the ability to give himself a gig like this, by spinning his experiences into compelling narrative art, one verse at a time. Let’s not lose sight of how impressive his life’s work really is. Jay-Z is not some random C-suite bro, and he’s definitely not Dick Cheney. He’s one of the greatest rappers of all time, by any measure. He’s earned that Super Bowl spot.