Boy bands may be built on fandom, but behind the music is a business that shapes everything from how groups are formed to how they make money. On this week’s episode of Billboard On The Record, Jason Lipshutz, Billboard’s co-chief content officer, joins host Kristin Robinson to discuss his new book A Whole Lotta History: One Direction and the Music That Defined a Generation. Lipshutz breaks down how boy bands are formed, how One Direction rose to stardom and what the future holds for boy bands. From One Direction to BTS and New Kids on the Block, Lipshutz and Robinson explore the evolution of fandom, the business behind boy bands and what it takes for a group to stand the test of time.

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Billboard On The Record is a podcast in partnership with SickBird Productions. 

Host: 

Kristin Robinson

Executive Producers: 

Diona DaCosta

Jade Watson

Produced By: 

Kayla Forman

Mateo Vergara

Edited By:

Rachel Derbyshire

Kristin Robinson:

What is a boy band?

Jason Lipshutz:

As popular culture has evolved, so has the idea of a popular boy band. And when we think about the modern boy band, that’s to me New Kids. They marketed the hell out of them with different collectibles and different action figures and posters. It was really interesting to kind of track the evolution of the music industry from when One Direction debuted to when they put out their final album.

One thing that you talked about in the book that I thought was really interesting was how ephemeral boy bands are. It’s not something that’s designed to last forever. 

The idea is, like, if you’re 13 and a huge boy band fan, by the time you’re 17, you might not be as into that boy band. And that’s honestly what is so impressive to me about the BTS thing, where they have just kind of powered through. But on the other side of that coin, you look at what Backstreet Boys are doing on the road right now. 

A 20-year trend cycle will eventually come back to you if you’re a boy band. If you’re a boy band, stay in line. 

Stay in line. Yeah. 

Your nostalgia moment is coming. Boy bands. From The Beatles to New Kids on the Block, Boyz II Men, NSYNC, One Direction, and today’s K-pop juggernauts like BTS, boy bands are one of those music industry topics that’s always fascinated me. That’s because boy bands are essentially a bunch of random teen boys plucked from obscurity by savvy music industry executives, and then they’re given some songs, some dance moves, some new outfits, and suddenly they are thrust into a level of unimaginable fame. In a time where we expect total authenticity from artists, these types of groups are often the opposite, and the contrived, youthful nature of these groups unfortunately also leaves them especially vulnerable to exploitation. So today on the show, I’m joined by Billboard’s co-chief content officer, Jason Lipshutz, who just wrote the definitive book on One Direction, to talk about boy bands and the business behind them. Jason Lipshutz, welcome to On the Record.

Thank you for having me.

Thanks for coming.

Yeah.

I’m so excited that we’re doing this. Obviously, we’ve worked together for a while, so fun to finally have you on the pod.

Keep watching for more!

KATSEYE’s Michigan debut will have to wait, after the pop group postponed their show set for Tuesday night (Nov. 3) at Little Caesars Arena due to illness within its ranks.

“Unfortunately, Megan is unwell and unable to perform tonight, and we want to make sure she has time she needs to rest and recover,” explains a message, posted just hours before showtime.

“We know so many of you have travelled, made plans and been looking forward to tonight. We are incredibly disappointed that we won’t get to see you, and we’re truly sorry for the inconvenience,” reads the post on KATSEYE’S Instagram Stories.

In another, the venue urged EYEKONS to hang tight. “We’re sorry to share that the KATSEYE show scheduled for tonight at Little Caesars Arena has been postponed,” reads a statement on the venue’s socials.

A new date will be announced, for which Tuesday night’s tickets will be valid. An email with further information will be distributed shortly.

“We sincerely apologize for the disappointment and inconvenience, especially to those who traveled to be with us tonight,” the venue statement adds. “Thank you for your patience, understanding, and continued support.”

According to sources at the show, the group did a VIP soundcheck with Megan missing and reportedly resting-up for the show. Doors had opened and fans were seated when a message confirming the postponement was splashed on the big screens, roughly 40 minutes before the scheduled start. 

The group is presenting its WILDWORLD TOUR, which has sold outruns across Europe, the United Kingdom and, currently, North America.

Assuming Megan Skiendiel makes a prompt recovery, the group is next booked for the United Center in Chicago, IL on Thursday (Nov. 5). KATSEYE’s 2026 North America shows are slated to conclude Nov. 28 with the second of two nights at Palacio de los Deportes in Mexico City, MX.

A two-month break will follow, after which the group will embark on a tour of Asia, Australia and New Zealand, kicking off Jan. 27, 2027 at Yokohama Arena, Japan.

Promoted by Live Nation, the sprawling arena trek is in support of WILD (HYBE x Geffen Records), which blasted to No. 1 on the Billboard 200 in August for the group’s first leader. WILD was the followup to 2025’s Beautiful Chaos, which peaked at No. 4 on the all-genres albums survey.

Steve Ellis, the singer of British pop-rock band Love Affair, has died. He was 76.

The musician died following “complications from a chronic illness,” according to a statement shared on his official Facebook page.

“It’s with a heavy heart that we share the news of Steve’s passing,” the post read. “After complications from a chronic illness, Steve peacefully left the world on the evening of October 30, 2026, in the presence of his loved ones.”

A specific cause of death was not disclosed.

Songwriter and longtime friend David Courtney also confirmed Ellis’ death in a Facebook tribute. “I am sad to announce the passing of my long time friend Steve Ellis sho left us yesterday,” Courtney wrote. “My thoughts are with Val and the family.”

Ellis rose to fame as the frontman of Love Affair in the late 1960s, when the British group scored its biggest hit with a cover of “Everlasting Love.” Originally released in December 1967, the song topped the U.K. singles chart in 1968, spending two weeks at No. 1, according to the Official Charts Company.

Written by Buzz Cason and Mac Gayden, “Everlasting Love” was originally recorded by singer Robert Knight and released in 1967. Knight’s version reached No. 13 on the Billboard Hot 100, while Love Affair’s recording did not chart in the United States.

Other Love Affair singles also reached the U.K. top 10, including “Rainbow Valley” (No. 5), “A Day Without Love” (No. 6) and “Bring on Back the Good Times” (No. 9).

Ellis began his professional music career at age 15, joining a North London band called the Soul Survivors in 1966. The group changed its name to Love Affair in 1967, according to his website.

Ellis left Love Affair in 1969 and went on to form his own band, Ellis, in 1972 alongside keyboardist Zoot Money and other musicians. The group released two albums, Riding on the Crest of a Slump (1972) and Why Not? (1973). He later joined rock band Widowmaker, which released its self-titled debut album in the mid-1970s.

After leaving Widowmaker, Ellis stepped away from the music industry and took a job working at the docks in England. His life took a dramatic turn in 1981 after a forklift accident severely injured his feet, beginning a lengthy period of surgeries and recovery that he recalled as being “in and out of hospital to mend [his] mashed feet,” according to his website.

Love Affair reunited under Ellis in 1991, with the singer leading his own touring group, Steve Ellis’ Love Affair, through 1998. He also continued recording solo material, releasing Best of Days in 2008, an album featuring contributions from Roger Daltrey and Paul Weller.

Stand Atlantic’s Bonnie Fraser has a problem with the way modern rock music sounds. Too much polish, too much perfection and, increasingly, too little of the human element that made her fall in love with the genre in the first place.

So when it came time to make the Australian band’s fifth studio album, GODBREATH, Fraser decided to do something different: put the musicians in a room together and record them playing.

The approach has now helped deliver Stand Atlantic their first No. 1 album in Australia. Released Oct. 23 via Virgin Music Group, GODBREATH debuted atop the ARIA Albums Chart, also reaching No. 1 on the Australian Albums Chart and No. 3 on the Vinyl Albums Chart.

Speaking with Billboard ahead of the release, Fraser explained why she and producer Stevie Knight were determined to bring a more immediate, imperfect sound to the record.

“Everything is just perfect, it’s too perfect now,” Fraser said of modern rock production. “And everything sounds kind of the same in the production kind of way.”

The frontwoman was quick to clarify that her frustration wasn’t directed at the artists themselves, noting that Stand Atlantic had previously embraced the same production techniques. But with artificial intelligence becoming increasingly prevalent across creative industries, she found herself drawn to older recordings that sounded unmistakably human.

“Rock is supposed to be alternative. It’s supposed to be about rebelling,” she said. “I just personally wanted to recapture that organic and human connection that you can hear on older records.”

Fraser found inspiration watching early-2000s festival performances and listening to older EPs by established rock bands, where rough edges were part of the appeal.

That thinking shaped the recording of GODBREATH, with the band tracking all 11 songs live rather than building each performance separately.

“I hope that they kind of feel like they’re sort of in the room with us when we recorded it,” she said. “We were all just in the same room recording it at the same time.”

The album moves between the melodic pull of “Velcro,” the heavier “SO COOL” and “NEXT2U,” a song inspired by the friendships and connections that remain important amid years of touring.

For Fraser, the record also represents a shift in confidence. She revealed that the title GODBREATH came to her before the songs were written, continuing a pattern that has followed her throughout Stand Atlantic’s career.

The phrase, she explained, can describe either the arrogance of someone who believes they’re God’s gift to the world or the more positive feeling of being completely comfortable with yourself.

“I liked the element — the contrast of each way you can kind of look at it,” she said. “I felt like it kind of summed up the album.”

That sense of confidence extended to the release itself. Unlike previous albums, Fraser said she wasn’t particularly anxious about how fans would receive the new material.

“I think in a lot of ways we kind of threw back to our first record in a weird way,” she explained. “So I feel like our fans would enjoy this record for that reason.”

The album’s chart performance marks another step in a steady upward trajectory for the Sydney group. Their 2020 album Pink Elephant peaked at No. 23 on the ARIA Albums Chart, followed by F.E.A.R. at No. 10 in 2022 and WAS HERE at No. 3 in 2024. With GODBREATH, they’ve reached the top for the first time.

But after more than a decade in the music industry, Fraser is skeptical of the idea that commercial success alone makes an artist special.

Asked about the biggest lie the industry tells emerging musicians, her answer was immediate: “You’re special.”

“I feel like you can be told the sun shines out your a**, but unless you kind of believe that too to a degree and keep working for it, nothing will get handed to you just because some exec tells you that you’re special,” she said.

It’s a perspective shaped by years on the road, where Stand Atlantic have watched pop-punk evolve through changing tastes, new generations of artists and shifting industry expectations.

“I don’t even know what pop punk is anymore,” Fraser admitted, before reflecting on the genre’s enduring audience. “It’s one of those genres that just never dies. It just transforms a little bit.”

Fraser also believes alternative music has become more representative of the people listening to it. While she still encounters familiar sexist assumptions — including being asked to show a tour pass when male colleagues are waved through — she sees meaningful progress in the visibility of women, LGBTQ+ musicians and artists of color.

“I feel like the representation is the main thing that has changed,” she said. “The women are f****** crushing it.”

Stand Atlantic launched their Australian tour on the same day GODBREATH arrived, playing Brisbane before dates in Sydney, Melbourne, Adelaide and Perth. The run included support from Knuckle Puck, bringing the bands together again after Stand Atlantic supported the American pop-punk group in 2018.

Next, Stand Atlantic are heading back to the United States, with an appearance at Vans Warped Tour in Orlando on Nov. 15 before joining Story of the Year and Silverstein on their Camp Screamo tour.

Fraser also teased further projects for 2027, including potential collaborations outside traditional artist features. She’s particularly interested in working with a heavier band, either by appearing on another group’s track or writing something together from scratch.

For now, though, the band’s priorities remain remarkably straightforward.

“As long as we’re still filling out rooms and being able to do what we do, and people still connect to the music, then we’ll stay here,” she added. “I just hope it’s something that lives on for a long time.”

Listen to GODBREATH below.

This year, Emilia has collaborated with artists such as Manuel Turizo, Ludmilla, Latto, Carlos Vives, Wisin, and Zara Larson, to name a few. However, on her 30th birthday (Oct. 29) she dropped her first solo single of the year called “Bodypainting.” 

The track is also the first taste of the Argentine singer’s forthcoming third studio album. 

“The truth is, I took a lot of time to work on the new album and decide on the singles,” she says on the latest episode of Billboard’s “Cafecito Con” video series. “Every time I start a new album—a new creative process—I enter a phase of uncertainty. Personally, I feel that .mp3 (her 2023 album) set the bar quite high; so, beyond my own expectations, I’m also trying to meet the expectations of my fans, who are rather demanding. I try to listen to my team, listen to what I want myself, and make sure I don’t lose my way in that process.” 

“Bodypainting” is a progressive fusion of alternative and electronic music, while staying rooted in Emilia’s core pop sound.  

“I asked myself, what is it that I want? What do I want to hear from myself? And everything kept pointing toward pop—it always has. Lately, I’ve felt very comfortable with the genre, and I wanted to set myself a challenge: how to take it to the next level,” she shares. “I feel like people are seeing a more mature Emilia, one who shares her own experiences and life moments. ‘Bodypainting’ speaks more to themes of freedom and sensuality—I’ve always felt quite comfortable avoiding that side of things, but honestly, I’m super excited about this new phase.”

During the “Cafecito Con” episode, Emilia also talked about her collab with Zara Larsson, performing at Coachella, her gym routine, going to Japan with her boyfriend Duki, and many more. Watch it above.

Cardi B isn’t a fan of students leaning on AI to pass their classes.

During a recent performance at Johns Hopkins University’s Hoptoberfest, the Billboard Hot 100-topping Bronx rapper had a message for the students in attendance. “Y’all better pass y’all motherf–kin’ semester,” she told the crowd. “And don’t ask ChatGPT for the answer.” This isn’t the first time Cardi has shown her disdain for artificial intelligence. Back in February, she tweeted about having to deal with seeing family get duped by AI on Facebook. “Free my older family members from facebook Ai,” the Grammy winner wrote while adding a robot and weary face emoji.

Cardi was a late addition to Hoptoberfest, the annual Halloween event put on by the university’s Hopkins Student Organization for Programming (HOP), after Canadian singer Daniel Caesar had to suddenly cancel. The student paper, The News-Letter, reported that ticketholders learned about the change in an email that read, “Due to unforeseen circumstances, Daniel Caesar is no longer able to perform. However, we are excited to announce that our new headliner is none other than…CARDI B!!!”

Students didn’t mind the last-minute change, though.

“I was actually pretty excited about Daniel Caesar, I do listen to a good amount of his music,” sophomore Bhavya Guru told the paper. “When they switched it to Cardi B, I was a little surprised and honestly thought it was fake. I’m honestly really hyped for Cardi B and think it’s going to be a lot of fun. I feel like it’s going to be really good to hear a lot of throwbacks.”

Sophomore Lana Hakma was also hyped about the switch and didn’t mind that the event had to be rescheduled from Saturday, Oct. 31, to Sunday, Nov. 1. “I am personally really excited about the change,” she told The News-Letter. “I like Cardi B a lot better and I know her songs.”

In other Cardi news, she’s been making headlines lately through X Spaces and Instagram Live, respectively. First, she talked about how rap beef is boring. “I don’t even give a f–k about these b—hes anymore,” she told fans. “To be honest with you, it’s like, I don’t even like beefing with rap b—hes anymore, because it’s kinda boring.” Then, about a week later, she spoke on how fame and fortune can change how those around you view you. “Being successful, it is so scary,” she said. “Not even because you just don’t know who’s genuine anymore. You just don’t know who got that secret animosity for you. And it’s so crazy, because you could be cheering for somebody, you could be loving on somebody, and they don’t want that.”

RAYE is heading home for a huge London show, with the singer-songwriter announced as the second headliner for BST Hyde Park 2027.

The south London-born superstar will top the bill at the concert series on July 10, joined by rising British singer Sienna Spiro as a special guest. Additional acts are expected to be announced in the coming months.

Tickets for the show go on sale on Nov. 10 at 10 a.m. (GMT) via BST Hyde Park’s official website. A presale for American Express cardholders will go live on Tuesday (Nov. 3) at 10 a.m. (GMT), while there will also be two venue presales later in the week, for which further information can be found here.

RAYE joins Bon Jovi as the second headliner for BST Hyde Park 2027, with the rock legends set to perform at the 65,000-capacity event on June 24, with further names still to come. The 2026 edition of the festival featured performances from Garth Brooks, ATEEZ, Maroon 5, Mumford & Sons, Duran Duran, Pitbull and previous Billboard U.K. cover star Lewis Capaldi.

This Music May Contain Hope., RAYE’s second full-length effort, arrived in March and hit No. 1 on the Official U.K. Albums Chart and No. 11 on the Billboard 200. It went on to win the prestigious Mercury Prize earlier this month, before the 29-year-old celebrated her triumph the following day (Oct. 23) with a special symphonic performance at the Royal Albert Hall, where she played the record in full.

On the live circuit, meanwhile, RAYE (born Rachel Keen) headlined six sold-out nights at The O2 in London in the spring amid a wider U.K. and Ireland arena tour. She also joined Bruno Mars for a portion of his North American stadium run for The Romantic Tour.

Spiro has also had a landmark 2026 with her debut album, Visitor, becoming the biggest U.K. debut album of 2026, peaking at No. 2 in her home nation and reaching No. 9 on the Billboard 200. The achievement made her the first British artist in eight years to debut inside the U.S. chart’s top 10. Her track “Great Expectation” also spent three weeks at No. 1 on the Official U.K. Singles Chart.

The 20-year-old Londoner’s growing list of accolades includes a 2026 BRITs Critics’ Choice shortlist nomination and two American Music Award nominations (breakthrough pop artist, best vocal performance) for “Die On This Hill”. She is also in contention for best new artist nod at the 2027 Grammy Awards.

Ausify, the national campaign to lift Australian music’s visibility at home, launched its second year Monday (Nov. 2) against a worsening backdrop: local music now accounts for just 8.5% of all audio streamed in Australia.

That figure comes from APRA AMCOS’s latest Year in Review, released in October, which recorded a 37.5% decline in local content’s streaming share over five years, down from 13.6% in FY21. The rights body’s CEO, Dean Ormston, has warned the share could fall to about 5% within five years without intervention. On user-generated content platforms, Australian music’s share sits lower still, at 3.6%.

A separate analysis published by the Australia Institute last year, using IFPI data, found Australian artists’ share of the 10,000 most-streamed acts in Australia fell from 12% to 8% between 2021 and 2024, with the number of Australian acts on that list dropping from 932 to 773.

The campaign frames the problem as discovery rather than demand. A nationally representative survey of 1,018 Australians, conducted by Pureprofile for Music Australia in October, found 84% say a defining life moment brings an Australian song to mind, and two-thirds could name the song. But only 27% say they have streamed an Australian artist in the past 12 months. Earlier research in Music Australia’s Listening In series found 71% feel pride hearing local music, 62% feel a connection to it and rate it as good as international music, and 66% want more of it.

“These positive attitudes are not translating into listening, sharing, attendance and advocacy,” the campaign said in its launch material, pointing to availability, discoverability and default listener behaviors “often influenced by streaming algorithms and dwarfed by artists from larger English-speaking markets.”

Where last year’s campaign asked listeners to “Ausify” their algorithms, this year’s pitch is visibility: Ausify is calling for “Public Displays of Ausify,” from social posts and tour merch to singing along in public. The month-long run launched with seven Australian artists performing a karaoke version of “Love Is in the Air,” and the artists backing it include Ben Lee, Fanny Lumsden, Astrid Jorgensen, aleksiah, Ayesha Madon, Becca Hatch, Budjerah, Conor Jacob Smith of Midnight Til Morning, Georgia Maq, ISHAN, Missy Higgins, Nooky, Ruel and Vv Pete.

Lee, an ambassador for the campaign, said the goal has shifted. “The Ausify campaign this year isn’t about convincing people that Aussie music is incredible — everyone already knows that,” he said. “This year it’s about being loud and proud about the music we listen to and love.” He added: “I’m calling on everyone to join me in showing their love for Australian music in whatever way they like — tell a friend, get a tattoo, annoy people on the bus by blasting your favourite local track.”

Ausify is run by Music Australia, the contemporary music body within Creative Australia. It launched in 2025 during Ausmusic Month with Thelma Plum, Keli Holiday, G Flip and Ben Lee among its first backers.

The campaign runs alongside APRA AMCOS’s policy push, which includes advocating for a federal live music tax incentive and minimum Australian music requirements across platforms. Australian music continues to perform strongly offshore: APRA’s international revenue topped $100 million for the first time in FY26, with total group international revenue reaching $107.3 million.

Harry Styles gave fans a memorable sendoff at his final Together, Together residency show at New York’s Madison Square Garden.

On Saturday (Oct. 31), the 32-year-old pop superstar wrapped up the second night — and 30th show of his residency — with Harryween, dressing as the city’s infamous Pizza Rat.

The “As It Was” singer took the stage in a furry brown onesie complete with oversized pink ears, a long tail and black sunglasses, while carrying a giant foam slice of pizza. The costume appeared to pay homage to the viral 2015 video of a rat dragging a slice of pizza down the stairs of a New York City subway station.

Styles’ backing band joined in the Halloween festivities, dressing as other NYC staples, including a hot dog and a taxi cab.

The evening also featured a special tribute to Styles, with Madison Square Garden raising a commemorative banner to the arena’s rafters. New York Knicks captain and 2026 NBA Finals MVP Jalen Brunson presented the banner to the singer during the show. The Garden also unveiled a new “Defining Moments” exhibit on its sixth-floor, featuring memorabilia from Styles’ 10-week residency.

During the previous night’s Halloween show on Friday (Oct. 30), the Grammy winner opened the evening dressed as Elvis Presley, while his band and dancers dressed as different versions of Styles from throughout his career. He later changed into the outfit he wore for his 2010 X Factor audition and performed Stevie Wonder’s “Isn’t She Lovely,” the song that helped him advance to the next round of the competition at age 16.

Styles’ MSG run supported his fourth solo studio album, Kiss All the Time. Disco, Occasionally., which debuted at No. 1 on both the Billboard 200 and the Official U.K. Albums Chart.

Styles’ Together, Together tour will continue through August 2027 with a 25-date extension launching April 2 in Phoenix. The North American leg will include stops in Dallas, Los Angeles, Toronto, Atlanta and Chicago. The European leg begins July 2 in Berlin, with additional dates in Paris, Madrid, Rome and Dublin, before wrapping Aug. 28 with the third and final show at London’s Wembley Stadium.

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For nearly 60 years, the New York Marathon has brought the city together to watch and cheer on runners traveling through all five boroughs, including Manhattan, Brooklyn, Queens, the Bronx and Staten Island. In fact, the marathon has open registration for anyone to sign up and participate, even celebrities.

In the past, famous New Yorkers have raced, so it’s fun to see which celebrities are throwing on a pair of running shoes to race with the public this year.

How to Watch 2026 New York Marathon Live Online, at a Glance:

When Does the 2026 New York Marathon Start?

The New York Marathon takes place on Sunday (Nov. 1), with the city-wide race starting at 8 a.m. ET/5 a.m. PT.

What TV Networks Feature the 2026 New York Marathon?

In 2026, the New York Marathon broadcasts across two networks: ABC7NY, locally and ESPN, nationally. Meanwhile, It’s available to livestream on ESPN Unlimited.

Which Celebrities Are Running in the 2026 New York Marathon?

The New York Marathon is known for celebrity sightings with a number of famous actors, actresses and recording artists participating in the race. Artists who have been known to run in the past, include Action Bronson, Kevin Hart, Prince Royce, Jennifer Connelly, Death Cab for Cutie’s Ben Gibbard, AEW star Darby Allin and others.

Meanwhile, it’s likely that Harry Styles might run in the 2026 New York Marathon. His residency at Madison Square Garden ends the night before on Saturday (Oct. 31) and he’s been spotted all over the city running over the last few months.

Where to Watch the 2026 New York Marathon Live Online for Free

For cord-cutters, there are a few ways to watch the New York Marathon, 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, offer free trials, so you can watch for free.

A subscription to DirecTV gets you access to live TV, local and cable channels, including ABC7NY and ESPN, at $59.99 per month for the first month 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.

Sling TV offers the Orange & Blue plan, which comes with ABC7NY and ESPN. With more than 50 channels, the streaming plan goes for $69.99 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.

Fubo starts at $63.99 for the first month ($88.99 per month afterward) with more than 230 channels, including local and cable, like ABC7NY and ESPN, 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.

Broadcast and cable networks ABC7NY and ESPN are available to watch with Hulu + Live TV. Prices for the cable alternative start at $99.99 per month for more than 100 live channels, while each plan comes with Hulu, Disney+ and ESPN Select at no additional cost. Hulu + Live TV might be best for those who want all of these streaming services together in one package. The service includes a three-day free trial.

ESPN Unlimited is the official streaming platform for ESPN. A subscription includes instant access for $31.99 per month. However, you can save almost 17% off by purchasing an annual subscription for $319.99 per year. It features every ESPN network, including ESPN, ESPN2, ESPNU, ESPNEWS, ESPN Deportes, SEC Network, ACC Network, ESPN on ABC, ESPN+, SEC Network+ and ACC Network Extra — all in one streaming service.

In addition to live sports, ESPN Unlimited has original programming to stream on demand. Although the service doesn’t offer a free trial, you can still watch ESPN Unlimited with a clever workaround to watch online for free. Learn more about how to get a free trial to access ESPN Unlimited here.

On Sunday (Nov. 1), the New York Marathon broadcasts across on ABC7NY and ESPN. One of the best ways to watch live is with DirecTV.