Grammy-nominated singer Adam Lambert has sold his 4-bedroom, 5,000-square-foot Los Angeles estate for $6.2 million. Take a look. By David Caraccio Singer and actor Adam Lambert has waved goodbye to his super chic Beverly Hills, California, estate for $6.2 million and is passing it on to new owners who too will fawn over its epic views. “Hollywood Hills perfection,” the description on Zillow said of the four-bedroom, six-bathroom, 5,028-square-foot property. The primary suite in the Los Angeles estate is elegant, cool and seductive, with walls of glass opening to city views, two plush walk-in closets and a jaw-dropping bathroom. Christopher Amitrano / CS8 Photo “This gated Sunset Strip stunner is sited on an expansive lot complete with a drive on motor court and a glorious large yard with swimming pool, spa, outdoor kitchen and firepit,” the listing says. The kitchen is “pure drama” with a large stone island and modern light fixtures like floating works of art, the listing states. Christopher Amitrano / CS8 Photo Built in 1952, the home has clearly been updated to reflect modern decor and style, which includes four bedroom suites, a workout room and an open floor plan that includes moving glass walls in the living room, the listing says. The gated 6,000-square-foot Sunset Strip stunner sits on an expansive hillside lot with a large yard and swimming pool, spa, outdoor kitchen and firepit. Christopher Amitrano / CS8 Photo Other features, per the listing, include: Chef’s kitchen “Seductive” primary suite Swimming pool Dramatic views The listing was held by Greg Holcomb of Carolwood Estates. The buyers were represented by Dennis DeWalt and Brandon Meneses of The Beverly Hills Estates. The home on North Kings Road in Los Angeles has six bedrooms and four bathrooms. Christopher Amitrano / CS8 Photo Lambert is best known for being a contestant on “American Idol” and most recently taking on Broadway in “Cabaret.” Next, he’s starring opposite “Wicked” star Cynthia Erivo in “Jesus Christ Superstar,” Variety reported.

But just weeks later, the story took a turn no one was prepared for.

Snoop Dogg, Cori Broadus

Cori Broadus | instagram.com/princessbroadus/

Cori Broadus | instagram.com/princessbroadus/

Cori Broadus | instagram.com/princessbroadus/

Cori Broadus | instagram.com/princessbroadus/

Cori Broadus | instagram.com/princessbroadus/

Post Malone led an all-star tribute to Ozzy Osbourne during the 2026 Grammy Awards, taking the stage alongside Watt, Slash, Duff McKagan and Chad Smith during the In Memoriam montage.

Malone performed a rendition of “War Pigs” with Guns N’ Roses guitarist Slash and Red Hot Chili Peppers drummer Chad Smith. Osbourne’s widow, Sharon Osbourne, and their children Kelly and Jack watched from the audience in tears as Malone sang the iconic anti-war protest song by Black Sabbath. The track is the opening song from the band’s second studio album, “Paranoid,” released in 1970.

All of the musicians who appeared during the tribute had previously collaborated with Osbourne. Post Malone recorded duets with the Black Sabbath frontman on the songs “Take What You Want” and “It’s a Raid,” while Watt served as executive producer on Osbourne’s final two albums, 2020’s “Ordinary Man” and 2022’s “Patient Number 9.” Slash featured Osbourne on the 2010 track “Crucify the Dead,” and McKagan and Smith contributed to his last records.

Osbourne died in July 2025 at age 76 after a yearslong struggle with Parkinson’s disease. He had performed just weeks earlier at what was billed as Black Sabbath’s final concert, a festival titled “Back to the Beginning” in the band’s hometown of Birmingham, England. The event featured a five-song solo set and four-song Sabbath set, as well as tributes from Slayer, Tool, Billy Corgan, Tom Morello, Sammy Hagar and others.

The Grammys tribute to Osbourne follows a separate all-star tribute that took place at the MTV Video Music Awards in September. During that performance, Aerosmith’s Steven Tyler joined forces with British singer Yungblud for a three-song set that included covers of “Crazy Train,” the 1972 ballad “Changes” and the closer “Mama I’m Coming Home.”

Since his death, Osbourne’s life was commemorated with the October release of the documentary “No Escape From Now” on Paramount Plus, chronicling his health issues over the past six years. In the film, Osbourne is shown struggling with chronic pain after a 2019 fall and numerous surgeries, as well as his battle with Parkinson’s disease.

He was the only one sitting when it was over, rubbing his eyes in disbelief.

Bad Bunny had made history by winning album of the year for “Debí Tirar Más Fotos,” the first time a Spanish-language album took home the Recording Academy’s top prize.

Next stop: Super Bowl.

While that emotional win for the Puerto Rican superstar is hard to top, there were some other great moments from the 3 1/2-hour telecast, like when Cher nearly forgot to announce the winner of record of the year.

Justin Bieber stripped his set down, while Lady Gaga added some manic energy and Ozzy Osbourne was honored with a heavy metal classic complete with exploding fire.

Here are some of the night’s notable moments:

A pair of high energy performances by Bruno Mars and Rosé to start the show and one by Lady Gaga halfway through kept hearts pumping.

Mars and Rosé — from the K-pop group Blackpink — performed “APT.,” one the biggest hits of the year, a song inspired by a South Korean drinking game.

She wore a white tank top, black slacks and a tie, while he matched the color scheme in a dark suit, tie and with his guitar slung with a checkerboard strap. There was plenty of jumping, shredding and smoke — a raucous opening.

Lady Gaga later took it to the weird, singing “Abracadabra” in a feather-festooned costume from inside a basket-like headpiece. She used a gnarly cane, played some synths, twitched and nailed a more rock-funk version of her song.

Lady Gaga would take home the trophy for best pop vocal album. Mars would return to the stage for his latest single, “I Just Might.”

Sabrina Carpenter turned the Grammys into a busy airport during her performance of “Manchild” — and it soared.

Playing her sexpot, tongue-in-cheek best, the singer-songwriter wore white hot pants, a white neckerchief and a white captain’s hat emblazoned with SCA — presumably for Sabrina Carpenter Airlines — as she strutted across a stage filled with baggage carousels and dancers, even signing into an intercom at one point and using a pair of traffic wands used on runways.

“Hey Grammys, how ya doing? It’s your captain Sabrina speaking,” she said.

The dancers included an astronaut, a UPS worker, a firefighter and an ER doctor. Carpenter ended her overflowing set on a baggage cart and then went into a plane fuselage holding a live dove.

Among those shown grooving along was best new artist nominee Olivia Dean. It was the second straight Grammy appearance by Carpenter, a nominee for best new artist last year.

Taking note of what worked last year, the Grammys once again leaned on the best new artist category to spark the crowd. They were clumped into a block and despite their various styles, it showed the future of music is in good hands.

The Los Angeles-based band the Marías started with some shimmery, bilingual dream-pop of “No One Noticed Me” before influencer-turned-pop-artist Addison Rae was shown on the back of a moving truck entering the Crypto.com Arena, jumping off to deliver a sweaty, sultry “Fame Is a Gun.”

That led to the six-piece girl group Katseye with their high-energy “Gnarly” as they danced into the arena with gymnastics and booty-shaking. They gave way to Leon Thomas’ guitar-driven “Mutt” and then Alex Warren took a microphone from a popcorn vendor and walked through the aisles for his “Ordinary,” shrugging off what seemed like earpiece difficulties, before being hoisted into the air on a platform.

The British powerhouse Lola Young took the baton, seated at a piano to sing “Messy,” before Olivia Dean, the old-soul British singer-songwriter, gave an exuberant version of her “Man I Need.” The moody pop star sombr ended the block by being lowered onto the stage in a spangly jumpsuit to sing “12 to 12.”

Chappell Roan, last year’s category winner, then anointed her successor — Dean.

Justin Bieber, alone on the Grammy stage in just a pair of shimmering gray boxers shorts and gray socks gave a mesmerizing, somber performance of his “Yukon.”

A guitar slung across his back, the shirtless Bieber programed his song first and then sang along, eyes often closed, opposite a full-size mirror. It was a nod to the way Ed Sheeran has shown audiences how to make a hit song with just looped instruments and a voice.

“One wrong move, and we would have had to put the show on OnlyFans,” Noah later joked.

Bieber’s darkly, moody set didn’t feature any background graphics, musicians or stage decor, and he ended it simply by walking off the stage. It was a performance in stark contrast to the night’s highly produced sets, like Tyler, the Creator, who performed with a sports car, gushing water and explosions.

Hailey Bieber, his wife, liked it, swaying and snapping her fingers.

Justin, a one-time child star who was discovered on YouTube at the age of 12, returned to the Grammys this year at age 31 after a four-year absence as a new father.

Usually, in memoriam sections are staid affairs, with a harp and a sad song. Not this year.

Post Malone, Chad Smith, Duff McKagan, Slash and Andrew Watt belted a rocking version of Black Sabbath’s “War Pigs” in honor of Ozzy Osbourne, compete with fire bursts and plenty of leather. Osbourne’s wife, Sharon, and kids Kelly and Jack, seemed deeply moved.

Ms. Lauryn Hill led the tributes to D’Angelo with versions of “Nothing Even Matters,” “Brown Sugar,” “Lady,” “Devils Pie,” “Untitled (How Does It Feel)” and ”Africa” with such singers as Raphael Saadiq, Jon Batiste and Anthony Hamilton.

Hill then pivoted to a tribute to Roberta Flack, with “First Time Ever I Saw Your Face” “Compared to What,” “Closer I Get To You,” “Where Is the Love,” “Feel Like Makin’ Love” and “Killing Me Softly with His Song” featuring John Legend, Chaka Khan, Leon Bridges and Wyclef Jean.

Add to that list a performance of “Trailblazer” by Reba McEntire, Brandy Clark and Lukas Nelson — as well as pre-recorded tributes to Brian Wilson from Bruce Springsteen and one to Bob Weir from John Mayer — and it was a stacked, rollicking goodbye to some musical giants.

Sharon Osbourne, along with her children Kelly Osbourne and Jack Osbourne, were overcome with emotion at the 2026 Grammy Awards as a powerful tribute honored the late Ozzy Osbourne during the show’s In Memoriam segment.

The moving moment unfolded as a montage celebrating artists who passed away over the last year filled the giant screens inside the arena. When Ozzy’s image appeared, accompanied by clips from his legendary career and a haunting musical tribute, cameras quickly cut to Sharon, Kelly, and Jack in the audience. All three were visibly emotional, wiping away tears as they held onto one another.

For the Osbourne family, the tribute carried immense personal weight. Ozzy, often referred to as the Prince of Darkness, died six months ago, leaving behind an extraordinary legacy that reshaped heavy metal and rock music forever. From his pioneering work with Black Sabbath to his groundbreaking solo career, Ozzy’s influence stretched across decades and generations.

As the music swelled and archival footage played, Sharon bowed her head, clearly struggling to contain her emotions. Kelly clutched her mother’s hand, while Jack stared toward the stage, his eyes glistening. The raw display of grief resonated deeply with viewers at home and inside the venue.

The In Memoriam segment has long been one of the most emotional parts of the Grammys, but this year’s tribute to Ozzy felt especially poignant. The performance celebrated not only his musical achievements, but also his larger-than-life personality, rebellious spirit, and impact on countless artists who followed in his footsteps.

Throughout his career, Ozzy became more than a rock star. He became a cultural icon, known for his unmistakable voice, dark humor, and unapologetic individuality. Despite numerous struggles with health and addiction over the years, he continued to create, perform, and inspire until the end.

For Sharon, who managed Ozzy’s career for decades and stood by him through every high and low, seeing her husband honored on music’s biggest stage was both heartbreaking and validating. Friends of the family have said Sharon has been privately grieving, and her emotional reaction at the Grammys offered a rare glimpse into the depth of her loss.

Kelly and Jack, who grew up in the public eye thanks to their family’s fame and the success of The Osbournes reality series, have both spoken openly about how close they were to their father. Seeing Ozzy’s legacy celebrated in such a grand way appeared to stir a mix of pride and sorrow.

Social media quickly lit up with messages of support for the Osbourne family. Fans shared clips of the moment, calling it “gut-wrenching,” “beautiful,” and “a reminder of how much Ozzy meant to the world.” Many praised the Grammys for giving Ozzy the recognition he deserved, while also expressing sympathy for Sharon, Kelly, and Jack.

The tribute served as a reminder that behind every legend is a family left to grieve.

While Ozzy Osbourne may be gone, his music and influence will live on forever. His songs continue to echo through arenas, headphones, and the hearts of fans around the world.

As the In Memoriam segment concluded, Sharon, Kelly, and Jack received a wave of quiet support from those seated nearby. It was a moment of collective remembrance — for a legend lost, and for a family still learning how to live without him.

Former child actor and star of “Home Alone,” Macaulay Culkin, has paid an emotional tribute to his on-screen mother Catherine O’Hara following her death at the age of 71. The pair struck up a close relationship after working together on the 1990 film and Culkin explained just how much she meant to him in his social media post.

Macaulay Culkin Posts Emotional Tribute to On-Screen Mother Catherine O’Hara

Posting to Instagram, Culkin paid tribute to O’Hara with an emotional message referencing the fact that she had played his mother in “Home Alone” and its sequel.

Posted alongside a picture of the pair when the film released and one of them together more recently, he wrote, “Mama. I thought we had time.”

He continued, “I wanted more. I wanted to sit in a chair next to you. I heard you. But I had so much more to say.  I love you.  I’ll see you later.”

Catherine O’Hara Passes Away Aged 71

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According to a report from TMZ, O’Hara was rushed to hospital earlier this morning. The Los Angeles Fire Department confirmed that first responders had attended her home in the earlier hours of the morning before she was taken to hospital in a serious condition.

This apparently came after the actress suffered from a brief illness before she died.

O’Hara’s career spanned five decades and started with the sketch comedy series “Second City Television,” before she later had roles in “Double Negative,” “Beetlejuice,” and ““Home Alone.”

In 2020, she won the Emmy for outstanding lead actress in a comedy series for the role of Moira Rose in the hit series “Schitt’s Creek.” She also won a Golden Globe and a SAG Award for the series.

More recently, she appeared opposite Seth Rogen in the AppleTV+ series “The Studio,” which earned her another Emmy nomination.

The ‘Home Alone’ Actor Leaves Behind Her Husband Bo Welch

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Outside of her work as an actor, O’Hara is probably best known for her long marriage to husband Bo Welch.

The pair met while they were working on the 1988  film “Beetlejuice” together, with Welch operating as a production designer. They were encouraged to date by director Tim Burton and later married in 1992.

They were together for more than three decades in total and shared two sons together. Matthew was born in 1994 while Luke was born three years later in 1997.

Catherine O’Hara was married to Bo Welch for over three decades. The beloved actress — who died in January 2026 at the age of 71 — met the production designer when she starred in Tim Burton’s 1988 classic Beetlejuice

Welch and O’Hara eventually got married on April 25, 1992. They welcomed their first son, Matthew, in 1994 and their second son, Luke, in 1997.

At the 2026 MusiCares Person of the Year gala honoring Mariah Carey on January 30, 2026 at the Los Angeles Convention Center, Adam Lambert performed a rendition of Mariah Carey’s 1992 ballad “Can’t Let Go.” He delivered it from a smaller B-stage in the middle of the room with piano and background vocals supporting him, showcasing his powerful and expressive vocal style.

This tribute was part of a larger set of performances by artists covering classics from Carey’s catalog in celebration of her career and philanthropy.

Adam Lambert revealed he felt unexpectedly nervous during a recent MusiCares appearance, a reminder that even seasoned performers can still grapple with pre-show jitters. The moment — shared publicly after the set — underlines the pressure artists face when high-profile benefit stages combine performance expectations with emotional stakes.

The performance took place at a MusiCares event, the charitable arm of the Recording Academy that provides support to music professionals. For Lambert, who splits his time between a solo career and high-profile collaborations, the evening carried extra weight: supporters, peers and media were all present, increasing the scrutiny on a short but visible set.

Why it matters now

Public admissions of anxiety from prominent musicians shape how audiences view live music: vulnerability can humanize stars and also steer conversations about mental health in the industry. Lambert’s candor arrives at a moment when performers and audiences alike are paying closer attention to the emotional costs of touring and public appearances.

That matters because benefit concerts have dual purposes — raising funds and honoring community — and that mix often amplifies pressure on artists to deliver both technically and emotionally.

• • Humanizing effect: Acknowledging nerves makes established performers feel more relatable to fans.

• • Industry spotlight: It draws attention to the mental-health challenges musicians face on the road and at single-night events.

• • Performance stakes: Benefit stages can demand a different type of emotional labor than a standard concert.

Colleagues and fans typically respond to such admissions with support rather than critique. Social reactions tend to foreground empathy, applauding honesty more than perfection — a pattern that has persisted across recent backstage disclosures from artists in multiple genres.

Context: live performance in a changing landscape

Over the last decade, the live-music ecosystem has evolved: streaming reduced earnings from recorded music, making touring more essential to many artists’ livelihoods. At the same time, the spotlight on a single performance has grown thanks to social media and live clips that circulate instantly. That combination can sharpen pre-show nerves even for experienced acts.

Lambert’s career — spanning solo releases and high-profile collaborations — provides perspective: strong vocal control and stagecraft do not eliminate anxiety, they coexist with it. For audiences, the admission reinforces a simple takeaway: live performance is an emotionally charged craft, not just a series of flawless moments.

What to watch next

Look for two likely follow-ups. First, how artists continue to talk about mental health publicly — whether confessions like Lambert’s prompt more open conversations among performers. Second, whether event organizers adjust backstage support at high-profile charity shows, for example by expanding access to wellness resources or modifying rehearsal schedules.

Either development could have a modest but meaningful impact on how musicians prepare for and recover from one-off appearances — and how audiences understand what happens behind the curtain.

In a twist no one saw coming, the powerhouse Italian trio Il Volo is teaming up with glam-rock icon Adam Lambert for what insiders are calling “the most unexpected and electrifying collaboration of the year.”

The operatic pop stars — Gianluca, Piero, and Ignazio — were recently seen leaving a Los Angeles recording studio with Lambert, sparking an explosion of fan speculation online. Now, it’s official: Il Volo x Adam Lambert is happening.

“We’ve always admired Adam’s voice,” said Piero. “It’s strong, emotional, and fearless — just like opera.”

Lambert echoed the excitement: “These guys bring so much passion. It’s not just a duet… it’s a collision of worlds.”

Sources close to the artists hint that the collaboration will blend Il Volo’s signature classical harmonies with Lambert’s theatrical pop-rock edge — think Queen meets Nessun Dorma. The track, reportedly titled “Hearts in Rebellion,” is set to release this fall, with a visually stunning video already in the works.

Fans from both camps are already freaking out.
“Operatic glam? Inject it into my veins,” one fan tweeted.
“This might be the best vocal mashup since Freddie Mercury met Montserrat Caballé,” another wrote.

Could this lead to a full crossover album? A tour? A Grammy run? No one knows for sure — but one thing’s clear: music history is about to get a dramatic upgrade.