分类： entertainment

Global pop superstar Ed Sheeran stepped onto the stage of Philadelphia’s Lincoln Financial Field Saturday night alone, opening his first in-person public address of the firestorm sparked by the removal of American rapper Macklemore from his tour lineup over pro-Palestinian comments with an unreserved apology to fans for missteps amid the ongoing fallout.

“I never set out to be an activist musician, but this situation has forced me into the center of a heated, high-stakes debate over free speech and one of the most intractable political conflicts in the world,” Sheeran told the assembled crowd. The stripped-back show went forward without any supporting acts after multiple opening performers pulled out of the tour in response to the Macklemore dispute, marking the first time Sheeran has spoken directly to audiences about the controversy since it erupted.

The controversy has already taken a visible toll on the North American leg of his *Loop Tour*. Ticket prices have been slashed, and sales have slumped for all remaining shows across the continent, which are scheduled to continue through North and South America in the coming weeks. Sheeran has repeatedly pushed back against blame for the decision to drop Macklemore, arguing that the choice was made exclusively by tour promoters, not by himself.

Opening his set with a direct address to the audience, Sheeran emphasized that his concerts have always been intended as a safe, inclusive space for people of all backgrounds, and that his commitment to his fans was what brought him back to the stage after weeks of backlash. He then moved to address the core question at the heart of the conflict: his public position on the ongoing humanitarian crisis in Israel and Palestine.

“Throughout my career, I have avoided stepping into political commentary, because I want my music and my shows to stand for unity, not division; for shared humanity, not partisan politics,” he said. “But this is first and foremost a humanitarian issue, and I can no longer stay silent about what I feel.” Sheeran went on to condemn the 7 October 2023 attacks in Israel, describing the violence as “horrific” and noting that it compounded centuries of intergenerational trauma for Jewish communities. He did not stop there, adding that “what is happening in Gaza is catastrophic, unjustifiable and disproportionate. My heart has been broken by the scale of the devastation and the loss of civilian and children’s lives, and the systemic injustice unfolding in the West Bank cannot be ignored.”

Sheeran closed his statement by acknowledging the complexity of the issue, saying he is still learning, listening and working to identify tangible ways to support civilian victims of the conflict on both sides. He ended by reaffirming his hope that the concert would remain a gathering space for all fans, regardless of their personal political beliefs on the crisis.

Even with deep discounts, some tickets to the Philadelphia show dropped as low as $32 (around £24), a steep markdown from the tour’s original pricing, amid the slump in demand. Multiple fans reported access to full ticket refunds ahead of the show, though official representatives from Ticketmaster and lead promoter Messina Touring Group have not confirmed any widespread refund policy.

In the hours before the concert kicked off, hundreds of ticket holders streamed into the stadium, with most declining to speak to assembled press outside the gates. Dozens of protesters gathered near the nearest transit station, waving signs and flags ahead of the show, but the event proceeded with no major disruptions to its schedule.

Interviews with a small group of attendees outside the venue revealed a wide range of perspectives on the controversy, most tied to a desire to enjoy a night of live music regardless of political disagreements. One couple who paid $450 per ticket said they respected Macklemore’s right to freedom of expression. Two other attendees noted they had snapped up discounted tickets to the show after prices dropped, explaining that they support Palestinian statehood while still being fans of Sheeran’s music. In a viral moment, two teenage fans interviewed by the BBC drew laughter when they responded to questions about Macklemore’s removal by asking, “Who is Macklemore?”

One protester who identified himself as Cooper told the BBC he had joined the demonstration to stand in solidarity with the Palestinian people. “We need more artists like Macklemore, who have a public platform and a voice, to speak out for the Palestinian people and their struggle for liberation, especially here in the United States,” he said. Cooper added that his ideal outcome would be a full apology from Sheeran, but he held out little hope for that, saying, “I’d like to hear him acknowledge that genocide is real and that we have to do everything we can to stop it, but I’m not really expecting that.”

Israeli officials have repeatedly rejected all claims of genocide, maintaining that their military operations in Gaza and the occupied West Bank are conducted as acts of self-defense and in full compliance with international law.

This is a developing breaking news story, and additional details will be published as they become available. Readers can access real-time updates through the BBC News mobile app or by following @BBCBreaking on X.

What began as a standard opening set on Ed Sheeran’s sold-out North American tour has spiraled into a full-blown controversy that has thrown the British pop star’s remaining U.S. dates into damage control, after opening act Macklemore was removed from the lineup over public pro-Palestine statements. The fallout has already triggered ticket sales declines, high-profile drop-outs from supporting acts, fan backlash, and planned protests ahead of Sheeran’s first post-controversy show this weekend.

The incident traces back to early September, when Macklemore, the Grammy-winning rapper best known for hits like *Thrift Shop*, took the opening stage for Sheeran at a New Jersey concert. During his set, he publicly declared “Free Palestine” — a statement he said was a core motivation for joining the tour. He went on to perform a track dedicated to pro-Palestine student protesters at Columbia University, with lyrics criticizing Israel’s military campaign in Gaza launched after the October 7, 2023, Hamas attack that killed roughly 1,200 Israelis. The following night, Macklemore characterized the rising Gaza death toll, which now tops 41,000 Palestinians according to Gaza’s health ministry, as a genocide — a framing Israel has repeatedly rejected.

The comments sparked immediate pushback from pro-Israel groups: the Israeli American Council launched a public petition demanding Macklemore be removed from the tour, while advocacy organization StopAntisemitism accused the rapper of ambushing concertgoers with political propaganda. Pop star Pink, who is Jewish, amplified criticism of Macklemore by reposting an anti-Macklemore meme before sharing her own critical take on his remarks.

Macklemore later took to Instagram to reveal that billionaire Robert Kraft — a Jewish owner of the NFL’s New England Patriots and Gillette Stadium, one of the venues on Sheeran’s tour — had personally called Sheeran following the incident to demand the rapper’s removal. “Ed told me that Kraft said I would not be allowed to perform in his stadium,” Macklemore wrote.

Concert promoter Messina Touring Group later confirmed Macklemore’s removal on September 14, explaining that multiple venues, including Kraft’s Gillette Stadium, had threatened to cancel Sheeran’s entire booked shows if Macklemore remained on the lineup. Kraft later publicly confirmed his ban, accusing the rapper of spreading hate speech and antisemitic rhetoric. “I agree with Macklemore, too many lives have been lost and there has been too much suffering, but only sharing selective information and ignoring the actions of Hamas is not honest and only advances more divisiveness and hate,” Kraft said in a statement.

In a formal response, Macklemore noted that after a week of tense negotiations with Sheeran, the talks ended in a “place of fundamental disagreement” that led to his removal. He acknowledged the pressure Sheeran faced from venue owners and promoters, but criticized the singer for refusing to take a public stance in his defense. “Taking a side can cost you. Money, brand deals, sponsorships, festivals, private shows, relationships and access. I’ve lost all of those things. But there is no neutral position between the oppressor and the oppressed,” Macklemore wrote.

Addressing the antisemitism allegations against him, the rapper pushed back on what he called the weaponization of antisemitism claims to silence criticism of Israel. He also referenced a 2014 incident where he apologized for a stage costume that critics called antisemitic, framing the current accusations as part of a pattern of suppressing pro-Palestine speech.

Sheeran has pushed back against claims he made the call to oust Macklemore, insisting the decision rested solely with his promoter, Messina Touring Group. The *Shape of You* singer said he respects Macklemore’s commitment to his beliefs, explaining that he has long chosen not to use his public professional platform for political commentary. “There is a reason I do not use my professional platform for politics — my audience includes young people, often children, of all backgrounds,” Sheeran said in a statement, adding that he did not want to cancel the tour and disappoint fans and crew who depend on the shows. “That doesn’t mean I don’t care or that I don’t support causes in my own, personal way,” he added.

Critics, however, have called out Sheeran’s claim of political neutrality, noting that he previously spoke out publicly to support Ukraine following Russia’s 2022 full-scale invasion.

The fallout has spread rapidly across Sheeran’s tour and public profile. Ticket resale prices for remaining U.S. dates have dropped sharply, with many listings now selling for below face value, as frustrated fans seek to offload their purchases. Ireland’s Classic Hits Radio has also pulled all of Sheeran’s music from its on-air playlists, responding to listener backlash over his handling of the controversy. Sheeran, who was raised in England but identifies culturally as Irish, has seen his popularity in the country take a hit over the incident.

The most significant blow has come from supporting acts, multiple of which have stepped down from the tour in solidarity with Macklemore. Irish singer-songwriter Aaron Rowe, Danish pop group Lukas Graham, American singer-songwriter Finneas (brother of global pop star Billie Eilish), and Irish folk band Beoga — who had served as Sheeran’s backing band for the tour — have all announced their departures. In public statements, each artist thanked Sheeran for the opportunity to join the tour, but made clear they could not remain after the silencing of Macklemore. Aaron Rowe wrote that he “cannot stand by and allow billionaires to use their position of power” to silence critics of Israel’s actions in Gaza, closing his statement with “Free Palestine.” Lukas Graham said it could not “carry on with this tour as things stand” while expressing solidarity with Palestine. Finneas argued that “artists should not be silenced when they speak up for the oppressed,” while Beoga reaffirmed its support for Macklemore’s message.

All eyes are now on Sheeran’s upcoming Saturday show at Philadelphia’s Lincoln Financial Field, his first concert since Macklemore’s removal. No opening or supporting acts are currently listed for the show, after the wave of departures. Pro-Palestinian advocacy groups including the Philly Palestine Coalition and Shut Down D&Z have already announced plans to hold a large protest outside the venue ahead of the show. “There is no neutrality against oppression, only complicity,” the groups wrote in a public announcement of the protest.

Sheeran’s *Loop Tour* launched in January 2026 with dates across New Zealand and Australia, before moving through the Caribbean, Central America, and South America. The North American leg launched in Arizona this past June, and Sheeran still has 10 remaining U.S. dates scheduled through November, including stops in Atlanta and Tampa, before the tour wraps up in Mexico this coming December.

A viral claim has recently circulated claiming that the iconic John F. Kennedy Center for the Performing Arts in Washington, D.C. is facing catastrophic losses amounting to hundreds of millions of dollars, sparking widespread discussion about the financial health of one of the nation’s most prominent cultural institutions. But a thorough review of the center’s 2024 official financial records tells a far different story. When all sources of revenue—including philanthropic contributions from private donors and public grant funding from federal and local arts agencies—are fully accounted for, the Kennedy Center actually closed its latest financial cycle with a multi-million dollar surplus. The Kennedy Center, which serves as the United States’ national cultural hub, hosts thousands of performances, educational programs, and community outreach initiatives every year, relying on a mix of ticket sales, private donations, and public grants to cover its operating costs. Critics and misinformed sources have focused solely on operating gaps from core ticket revenue to inflate claims of massive financial failure, ignoring the critical role of contributed income that the center has always depended on to fulfill its non-profit public mission. The 2024 financial data confirms that the institution’s balanced budgeting strategy has delivered a positive financial outcome, quelling unfounded rumors about its fiscal stability. The surplus comes as the Kennedy Center continues to expand its access programs, bringing performing arts experiences to underserved communities across the country and maintaining its status as a leading global destination for cultural exchange. Industry analysts note that for major non-profit arts institutions, structural operating gaps covered by philanthropy and public grants are standard practice, and the 2024 surplus reflects strong management of both fundraising and operational expenses amid ongoing post-pandemic recovery for the live performing arts sector.

When you pair one of the horror genre’s most buzzed-about modern directors with the best-selling survival horror video game series in history, it is a combination that was always bound to spark intense conversation and high expectations. That exact pairing has arrived in the form of Zach Cregger’s *Resident Evil*, a brand-new big-screen adaptation of Capcom’s legendary franchise that has already divided fans ahead of release, even as critics praise its creative approach to bringing the game experience to life.

First launched in 1996 for the original Sony PlayStation by Japanese game developer Capcom, *Resident Evil* revolutionized the video game landscape. Unlike most 1990s games that cast players as overpowered, unflappable heroes, the original *Resident Evil* forced audiences to navigate terrifying environments with scarce ammo, limited healing items, and constant dread — a formula that invented the survival horror genre and spawned one of gaming’s most enduring franchises. Across nearly 30 years of smart remakes, innovative reinventions, and expanded lore, the series has sold more than 213 million copies worldwide, built a global fanbase that obsessively dissects its story and characters, and turned locations like Raccoon City into household names for gamers.

Cregger, who earned widespread acclaim from horror fans and critics alike for his original, boundary-pushing work on hit horror films *Barbarian* and *Weapons*, is a lifelong fan of the *Resident Evil* series. For his adaptation, he opted not to retread the familiar storylines and iconic characters that long-time fans know from the games. Instead, he crafted an entirely original narrative centered on Bryan, a new character portrayed by Austin Abrams — who previously collaborated with Cregger on *Weapons*. Bryan, a working courier, accepts what seems like a routine delivery job to a local hospital in Raccoon City, only to find himself trapped in the opening hours of a deadly viral outbreak that turns ordinary people into bloodthirsty, monstrous creatures. What begins as an ordinary workday quickly devolves into a relentless fight for survival, mirroring the tense, resource-scare experience of playing the original games.

This creative choice, however, sparked immediate backlash from segments of the *Resident Evil* fanbase when the film’s first trailer dropped online. Comment sections were flooded with complaints questioning the absence of beloved franchise characters like Jill Valentine, Leon Kennedy, and Albert Wesker, as well as iconic fan-favorite monsters. Cregger, who has had to repeatedly defend the project from accusations that he is simply cashing in on the *Resident Evil* brand, admits he was caught off guard by the intensity of the criticism.

“I think I was naive,” Cregger told BBC Newsbeat in an interview. “I was expecting people to be excited to see a Resident Evil movie that felt in the spirit of the games. What I was trying to do is make a movie that really honoured the experience of playing them.”

This is far from the first time *Resident Evil* has been adapted for the screen. The first big-screen adaptation launched in 2002, kicking off a six-film franchise helmed by writer-director Paul W.S. Anderson and starring Milla Jovovich. While those films eventually gained a cult following, they never won over critics and deviated heavily from the source material’s lore. A 2021 reboot that leaned more closely into the games’ story and a 2022 Netflix original series also failed to satisfy fans and critics alike. Many long-time franchise fans blame Constantin Film, the German production company that owns the live-action film rights to *Resident Evil*, for the consistent low quality of past adaptations. Unconfirmed online reports suggest Constantin’s licensing agreement with Capcom prohibits the studio from setting its adaptations within the official timeline of the games. Cregger also noted that he never received any communication from Capcom during the film’s production, stating: “Nobody from Capcom ever reached out to me, ever, in any way.” Though Constantin declined to comment on the record, BBC Newsbeat has confirmed that informal coordination between Capcom and the film’s production team happened behind the scenes.

Early critical reviews of Cregger’s *Resident Evil* have been largely positive, with many critics noting that the director successfully delivers on his goal of capturing the feeling of playing a *Resident Evil* game rather than just copying its plot. In a three-star review, NME pondered whether the film marks the first great video game horror adaptation, writing that “for a large chunk of the film’s runtime, the answer is a resounding yes” — though the review criticized Bryan’s encounters for growing repetitive in the second half. The Jam Report’s Doug Jamieson awarded the film four stars, praising Cregger’s approach: “He understands adaptation as translation rather than imitation.” Looper critic Alastair Ryder gave the film an 8 out of 10 score, writing, “Zach Cregger has done the best job I’ve seen of translating the experience of playing a video game and making it feel cinematic.”

Cregger says he acknowledges it is almost impossible to please every segment of the franchise’s massive fanbase, and that replicating a game’s plot beat-for-beat was never his goal. “If I had delivered a faithful retelling of one of the stories in the games, I feel like those people would probably be upset with me for that too, because I would have messed it up somehow, inevitably,” he explained. “So all I can do is just tell the story that I think is going to be the very best story. If somebody’s going to have a problem that it doesn’t do exactly what they had in their mind of what a Resident Evil movie is, I can’t say anything to that.”

While the full verdict from general audiences and the wider fanbase is still pending, the film is currently tracking for a strong opening weekend at the global box office. It arrives in theaters alongside a recent wave of commercially successful video game adaptations, including *The Super Mario Bros. Movie* and *Minecraft*, which earned mixed critical reviews but drew massive audiences worldwide.

Popular Swedish pop artist Zara Larsson has become the latest high-profile musician to publicly rebuke the Trump White House for the unauthorized use of her work in political social media content, calling out the administration for pairing her track *Midnight Sun* with footage of immigration enforcement raids in what she describes as a dehumanizing and divisive messaging push.

The short-form video posted to the White House’s TikTok account spliced together raw footage of U.S. Immigration and Customs Enforcement (ICE) agents and other law enforcement officers detaining undocumented individuals, showing suspects being handcuffed and loaded into transport vehicles. The White House cleverly reworked a lyric from Larsson’s track to caption the clip: “never ending deportations,” a direct play on the song’s original line “never-ending midnight sun.” Though the White House has since removed Larsson’s audio from the post, the video itself remains visible on the administration’s official TikTok feed.

Larsson responded quickly to the unauthorized use, posting a three-minute reaction video to her own social media channels that had amassed more than 4.2 million views as of recent counts. In the clip, she shared a clip of the original White House post before cutting to a selfie-style response where she held an L-shaped hand gesture against her forehead in a clear sign of criticism.

“That is so dehumanizing,” Larsson told her followers in the video. “These people in this video — they’re real people. The vast majority of these people who are undocumented are regular people with jobs and they’re just trying to have a better future. It’s so crazy how everything is so memefied and so ‘ha-ha-ha,’” she added. The artist also noted that her original lyrics for *Midnight Sun* were written to celebrate the connection between people and the natural world, making the White House’s repurposing of the track to promote hardline immigration policies even more inappropriate. She accused the administration of using her work to deepen political division in the country.

This is not the first time Larsson has clashed with the Trump administration over unauthorized use of her music. Earlier in 2026, she publicly condemned a campaign video featuring Donald Trump dancing that was set to her hit track *Lush Life*. Larsson is far from alone in pushing back against the White House’s social media practices: a growing number of top music artists have demanded the administration remove their work from political content, with multiple high-profile incidents forcing the White House to take down audio from past posts.

Earlier this year, Taylor Swift’s *August* was removed from a Trump administration reel after the artist’s team intervened, while Olivia Rodrigo had one of her tracks pulled from a White House video after she publicly condemned its use for what she called “hateful propaganda.” Singers Ariana Grande and Sabrina Carpenter have also issued separate public warnings demanding the Trump administration stop using their music in political social media content.

The BBC has reached out to the White House to request comment on Larsson’s accusations, with no official response issued as of yet.

Ed Sheeran’s worldwide Loop Tour has entered full damage control mode after a rapidly escalating controversy over the removal of pro-Palestinian opening act Macklemore has dragged the pop superstar and his fanbase into the center of the fraught geopolitical debate over the Israel-Gaza conflict.

The crisis erupted earlier this week after event organizers removed Macklemore from the tour’s lineup, following the rapper’s on-stage public statement calling for freedom for Palestine. In an unprecedented show of solidarity, every remaining supporting act on the tour has stepped down in the wake of Macklemore’s ousting, leaving the tour without its full advertised roster ahead of upcoming shows across North America, Mexico and South America.

As Sheeran prepares to take the stage for his first performance since the controversy spiraled, ticket-holders across the United States remain deeply divided over how to respond to the unfolding crisis. A range of fans interviewed by the BBC shared conflicting perspectives, from calls for boycotts and refunds to steadfast support for the pop star’s neutral stance.

Damien Given, a fan from Northern Ireland holding tickets to Sheeran’s upcoming Philadelphia show, says he remains torn over whether to attend. He accuses Sheeran of acting disingenuously, pointing out that the artist openly expressed support for Ukraine following Russia’s 2022 invasion, contradicting his current claim that concerts should not become platforms for political debate. Given also criticized Sheeran for a lack of transparency around the decision to remove Macklemore, calling the rapper’s treatment unfair. Despite his frustration, Given says he is leaning toward attending the show due to a deeply personal emotional connection to Sheeran’s music: *Thinking Out Loud*, one of the star’s biggest hits, was the first dance at his wedding to his late wife Kellie, who passed away from ALS in 2024 four years after her diagnosis.

Other fans have struck a more sympathetic tone toward Sheeran, framing the situation as an unwinnable conflict no matter what decision he made. Longtime fan Patti Ann, who plans to attend Sheeran’s October show in Atlanta, says she fully supports the star’s response. She agrees that concert venues are not appropriate spaces for political discussion, noting that Sheeran remains bound by contractual and financial obligations to venue operators that he cannot easily exit. “Believe what you want, just don’t press it on me,” Ann said of the political tensions playing out on the tour.

Backlash has come from all sides of the debate, however. Jewish-American fan Matt Jaye from Florida was outraged by Macklemore’s pro-Palestinian comments and initially requested a refund from Ticketmaster for his November Tampa show, a request that was denied. While he welcomed Macklemore’s removal from the lineup, he argues that Sheeran still bears responsibility for allowing the protest to happen in the first place. If Sheeran claims to be strictly apolitical, Jaye says, he should hold all supporting acts on his tour to that same standard. Jaye added that he believes Sheeran owes an apology to the Jewish community for making a segment of his audience feel deeply uncomfortable.

For some other ticket-holders, the primary concern centers on whether their scheduled shows will go ahead as planned. Heather Park, a 49-year-old fan attending a show this weekend, says she is worried the ongoing controversy could lead to last-minute cancellations. While she argues that Macklemore’s removal was unfair and a violation of free speech, Park says she prefers to separate the political drama from the music, noting that Macklemore was always just a bonus to her main goal of seeing Ed Sheeran perform. “I still like the music,” she confirmed.

In the days since the controversy broke out, calls for a widespread boycott of the tour have spread across social media, and secondary market ticket prices for all remaining shows have dropped as demand softens. For his part, Sheeran has released a public statement responding to the backlash, saying that he has been “appalled by the conflict between Israel and Palestine” but has no intention of entering the ongoing political debate around the crisis. The pop star emphasized that concert-goers attend his shows to experience music, not engage with political discussion, and pushed back against claims he was personally responsible for Macklemore being dropped from the lineup. Many fans, however, have criticized that response as evasive, leaving the tour in crisis mode as it navigates competing pressures from all sides of the charged conflict.

A brewing controversy surrounding Ed Sheeran’s North American Loop Tour has erupted into a major industry debate over free speech and the Israel-Gaza conflict, after all scheduled supporting acts resigned in solidarity with ousted opening act Macklemore.

The conflict traces back to earlier this month, when pro-Palestinian rapper Macklemore, born Benjamin Haggerty, delivered politically charged sets at two of Sheeran’s concerts in New Jersey. During the performances, he publicly called for a free Palestine and shared on-stage visuals showing widespread destruction in the Gaza Strip. The remarks quickly drew pushback from Robert Kraft, the 85-year-old Jewish billionaire owner of the New England Patriots and Gillette Stadium, located near Boston, Massachusetts.

Kraft, who also owns the sports and events conglomerate Kraft Group, confirmed on Monday that he had removed Macklemore from the upcoming Gillette Stadium stop of Sheeran’s tour, accusing the Grammy-winning artist of spreading hate speech and harboring a history of antisemitic rhetoric—claims that Macklemore has outright denied. Kraft further argued that the rapper only shared one-sided information about the ongoing conflict and ignored the violent actions of Hamas. In a follow-up statement, Kraft noted that he has long backed initiatives that connect young Israelis and Palestinians to build economic opportunity and cross-community relationships, saying “I have dedicated much of my life to building bridges between all people. I believe deeply that all lives are worth protecting.”

In the wake of Macklemore’s removal, Ed Sheeran quickly distanced himself from the decision, telling reporters that the choice to cut the rapper from the line-up was made exclusively by venue promoters, and that he would not engage in public debate over the Gaza conflict. However, just days after the announcement, all remaining supporting acts on the U.S. leg of the tour stepped down in solidarity. The departing acts include Finneas, brother and producer for global pop star Billie Eilish, Irish singer-songwriter Aaron Rowe, Danish pop group Lukas Graham, and Irish folk band Beoga, who have toured with Sheeran as on-stage collaborators for years. In a joint statement, the artists argued that Macklemore’s removal sets a dangerous precedent that creates a chilling effect on freedom of expression in the live music industry.

The controversy quickly escalated on Wednesday, when Macklemore announced he would donate his full $1 million in net earnings from the Loop Tour to six Palestinian humanitarian organizations. The rapper used his social media platforms to throw down a public challenge to Kraft, calling on the billionaire to match the $1 million contribution to support relief efforts in the region. “This is a manmade injustice, and I believe it requires immediate political change,” he wrote, adding that the donation would refocus the conversation on the Palestinian people suffering from the ongoing conflict.

Shortly after Macklemore’s challenge, Kraft released a new statement revealing that Ed Sheeran had personally contacted him earlier that day, before the rapper’s public callout, to request that Kraft commit $2 million to match a donation of the same size from Sheeran, with all funds going to alleviate the worsening humanitarian crisis in the Israel-Gaza region. Kraft did not specify exactly which organizations would receive the funding. Sheeran also plans to reach out to other venue owners across the country to coordinate broader collective action, with the stated goal of continuing to work toward cross-community dialogue. The billionaire also denied Macklemore’s claim that he has lobbied other stadium operators to ban the rapper from future events at their venues, and reaffirmed his own longstanding support for humanitarian programs that create opportunity for Palestinian people.

As of this reporting, widespread speculation has emerged online about whether the entire U.S. leg of Sheeran’s tour will be canceled following the mass resignation of all supporting acts, though no official announcement about the tour’s status has been released from Sheeran’s team or event promoters.