State Champ Radio Author: djfrosty
Page: 115
Trending on Billboard
Since subscribing to Spotify in 2023, Genevieve Capolongo says she’s mostly listened to “lesser-known artists” like Próxima Parada, Julia Cooper and Brusco. But she says the streamer’s recommendation tools keep serving her “mainstream, major-label tracks” by Drake, Zach Bryan and Justin Bieber.
According to her lawyers, that’s because Spotify was paid to do so.
Related
In a lawsuit filed last week, Capolongo claims the streamer’s Discovery Mode and editorial playlists amount to a “modern form of payola,” allowing labels to secretly boost their tracks with a “deceptive pay-for-play” program. She says she wouldn’t have subscribed if she knew that Spotify’s recommendations had been sold “to the highest bidder.”
The case is sometimes light on specifics, like citing unnamed “industry insiders” about alleged illicit payments or “disproportionate” rates of major-label music. Spotify, for its part, called the lawsuit “nonsense” and said it was “riddled with misunderstandings and inaccuracies.”
But it targets a program that has raised eyebrows for years — and comes at a time when Spotify has faced multiple accusations about manipulation on the platform. For more, go read our full story here.
You’re reading The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. To get the newsletter in your inbox every Tuesday, go subscribe here.
Other top stories this week…
DRAKE’S APPEAL – As Drake asks an appeals court to revive his lawsuit over Kendrick Lamar’s “Not Like Us,” I asked legal experts what his lawyers might argue — and whether it’ll work.
TAYLOR V. TRUMP? – Taylor Swift fans want her to sue the Trump administration after it used “The Fate of Ophelia” in a TikTok video. She probably could, but almost certainly won’t.
DISJOINT VENTURE – 10K Projects, the Warner-owned label founded by Elliot Grainge, is facing a lawsuit claiming it owes millions to Taz Taylor’s Internet Money Records under a joint venture.
FAST & FREE SONGS – How did New York City Mayor-elect Zohran Mamdani get clearance to use Bob Dylan’s iconic anthem “The Times They Are A-Changin’” in a campaign ad? It turns out he didn’t.
MJ LITIGATION – Michael Jackson’s estate is locked in a legal battle over abuse allegations from the Cascio siblings, who spent much of their childhoods with the King of Pop.
GORDIAN SLIPKNOT – Slipknot’s lawsuit against a group that has owned slipknot.com for decades has hit an unexpected snag: The shadowy entity has hired a lawyer and is fighting back.
ATLANTA ARREST – Rod Wave was arrested in Atlanta on weapon and drug charges. His lawyer — star defense attorney Drew Findling — says Wave was “unjustly profiled and unlawfully arrested.”
NAME REVEAL? – A “Jane Roe” woman who accused Garth Brooks of sexual assault is refusing to concede defeat in her fight to remain pseudonymous, filing an appeal to avoid disclosing her real name.
NOVEMBER LITIGATION – An ex-manager of Guns N’ Roses is suing the band, claiming it has unfairly blocked the release of his memoir by threatening to sue him and his publisher over a decades-old NDA.
Trending on Billboard
GIRLSET is back! Formerly known as VCHA, GIRLSET makes their return to the music scene and sat down with Billboard to dive into it all. From going through the K-pop training system during A2K, to past member lawsuits and allegations, and those KATSEYE comparisons, GIRLSET doesn’t hold back
Brooke Morrison:
You guys are finally back in the spotlight. You know, back to the grind. How does it feel to kind of come out of a waiting period and finally be out again?
Camila:
I mean, I think it’s definitely like a shift, because for some time we weren’t like grinding as much as we’re doing now, so it’s kind of just getting back in the feeling and the vibes is very different now. It’s kind of just getting into this vibe again. But, I mean, we love it.
You guys have gone through a lot of change in two years than most groups see in five. And there’s a lot to be said, you know, and like, frankly, how did you guys feel whenever headlines hit about a lot of controversy, maybe KG’s lawsuit, Kaylee’s health hiatus, how did that hit you guys personally, and did it affect your confidence at all?
Kendall:
It definitely hit hard at some points. Some things were unexpected. Some others were not recent news to us, and I feel like we had a lot of deep, intertwined feelings about everything because obviously, of our journey where we came from, our relationships with people, with the past members, everything. But I feel like have like us to rely on, like, we just rely on each other, and we’re able to one, like, talk out how we were feeling with each other. And also, I feel like it’s so important that we were able to, like, put those into songs that we’ve written as well that’s become a big way for us to express ourselves, and is the way that we want to communicate with the world how we feel because, frankly, there is just so much to be said that we feel that it’s kind of, you can’t describe it.
Keep watching for more!
Trending on Billboard
GIRLSET wants you to know that nothing’s over until they say it is.
Ten months ago, news broke of the group’s shake-up: a lawsuit against its label, South Korea’s JYP Entertainment, from a former member, KG, followed by the exit of another, Kaylee, due to health concerns seven months later. But by the end of August, the now four-member girl group had already redebuted with new music and a new name.
Formerly known as VCHA, GIRLSET is a K-pop rarity: a group that didn’t crumble under pressure but rebuilt itself from within. It’s a story of optimism — and what follows a breaking point in the often unforgiving world of K-pop. GIRLSET’s hiatus would’ve been a death sentence for most groups. Instead, the resilient quartet returned with a renewed love for its craft.
In a plush, dimly lit Hollywood club on a recent Wednesday afternoon, GIRLSET’s members — Kendall, Lexi, Camila and Savanna — are bubbly and noticeably excited to chat about their latest era. There’s a light, airy energy among them.
“I had to keep reminding myself, ‘You’re doing this for you,’” Lexi, 19, says of her experience within the rigid K-pop training system. “Whatever happens, happens. I love what I do and that’s what kept me going.”
VCHA formed in 2023 through the competition show A2K (or America2Korea), a joint project by JYP Entertainment and Republic Records that followed American contestants through multiple rounds of evaluations in Los Angeles and Seoul that summer. Thousands of young girls auditioned, but only 11 trainees made it to the show’s final rounds. JYP Entertainment founder and CEO J.Y. Park envisioned a multicultural girl group that could represent the Western market while undergoing the famously rigorous training of the K-pop system. Having already secured his place among South Korea’s “Big Four” entertainment giants, Park, who this fall was named co-chairman of the Korean government’s presidential committee focused on cultural exchange, wanted to bridge the two pop worlds.
JYP wasn’t the only K-pop company with this goal. As A2K was holding auditions, HYBE and Geffen Records jointly launched The Debut: Dream Academy, another reality show with similar objectives to A2K. The competition yielded a new group, KATSEYE, whose formation was documented in the 2024 series Pop Star Academy: KATSEYE. Now, KATSEYE is dominating the pop world: The group received a Grammy nod for best new artist in early November, as well as a best pop duo/group performance nomination for its single “Gabriela,” released in June, which hits a new No. 33 high on the Billboard Hot 100 dated Nov. 15.
GIRLSET’s Camila, a 20-year-old Cuban Canadian, embraced the opportunity to get involved in the K-pop system. “For me, I always wanted to be a singer,” she says of her motivation to audition for A2K. “I loved K-pop and pop groups, but it felt like a faraway dream. So when the opportunity came, I told myself, ‘I’m getting it. I’m going to be in a girl group.’ ”
Camila
Munachi Osegbu
Kendall, a 19-year-old Vietnamese American who hails from Texas, says auditioning was more about blending her passions than choosing just one. “Back then, I was figuring out my future — college, career — and I loved both singing and dancing,” she says. “But I thought the only place I could do both was Broadway, and that wasn’t what I wanted. So I assumed I’d have to pick one, maybe go into production. Then A2K came along — it was perfect.”
As Kendall, who describes herself as “calm and collected,” explains, “We always say, ‘Everything happens for a reason.’ That’s something we all repeat a lot.”
The four members say they found strength in camaraderie when things got tough during training. Savanna, a 19-year-old Venezuelan Trinbagonian from Florida, recalls that the hardest part of the A2K audition process was “taking it day by day. Growth doesn’t happen overnight. Seeing everyone beside me working hard helped, too. We were all pushing each other.”
VCHA’s initial run was promising. The original six-member act debuted in January 2024 with the single “Girls of the Year,” reached No. 5 on Billboard’s since-discontinued X-based Hot Trending Songs chart with “Y.O.Universe,” opened for JYP powerhouse girl group TWICE on select tour dates and quickly built an international following. However, following a canceled Lollapalooza 2024 debut due to unforeseen circumstances and the imminent departure of two members, things quickly turned — and left fans wondering if the act would continue. But GIRLSET’s drive, and the discipline forged through its members’ auditions and training, became a foundation as the quartet’s world threatened to fall apart.
On Dec. 7, 2024, a lawsuit was filed in Los Angeles County Superior Court by the guardian of then-17-year-old member KG Crown, alleging child neglect, labor exploitation and unfair business practices by JYP USA staff. Two days later, on Dec. 9, JYP USA issued a statement calling the claims “false and exaggerated” — but also suspended VCHA’s activities. The case ignited widespread debate among K-pop fans about the treatment of young artists within the idol system, a topic that continues to dominate social media as the once-niche genre expands globally.
Months later, the group suffered another blow. In July, JYP USA announced that 15-year-old member Kaylee had “mutually agreed to part ways” with the company. Now only four of VCHA’s original six members — Lexi, Camila, Savanna and Kendall — remained.
Many VCHA fans have wondered: Had the girls foreseen the hard times on the horizon? “Some things were unexpected; others weren’t new to us,” Kendall reflects. “We had a lot of intertwined feelings about everything: our journey, our relationships, the past members. But we had each other to rely on.”
Kendall
Munachi Osegbu
All four say they talked through the toughest moments and felt supported by their team at JYP USA and Republic. But they’re still processing the changes to VCHA and the turmoil that followed. “It’s impossible to sit down and explain everything,” Camila says softly before Savanna brightly adds, “But then we found a group in us. It felt right — like this was the moment to truly put ourselves out there as GIRLSET.”
Less than 30 days after Kaylee’s departure, on Aug. 7, VCHA redebuted as GIRLSET under JYP USA and Republic. Its first release as a rebranded act, “Commas,” signaled a confident reset. The fun, stand-alone pop single highlights where the group is heading next, with a girl-crush concept that says, “We’ve been here the whole time. Pay attention.”
While the highly publicized departure of two members might’ve rattled another group’s confidence — and its label’s faith in its future — GIRLSET is digging its heels in.
“When we’re in dance practice, I always have these moments,” says Sheboygan, Wis., native Lexi, her eyes bright. “I’ll stop, look in the mirror and think, ‘Wow — This. Is. Us.’ We’ve come so far. Hearing the sound, seeing how much we’ve evolved — it’s crazy. Every time I look in the mirror, I lock in for 10 seconds and say it out loud: ‘Guys, this is us.’ ”
Lexi
Munachi Osegbu
The rest of the girls smile as she speaks, for these optimistic, supportive moments have become Lexi’s calling card within the group. “It’s easy to forget change when it’s gradual,” Kendall adds. “But when we look back, we see how much we’ve grown.”
JYP Entertainment is confident about GIRLSET’s future as well. “They’ve walked a path no artist has taken before, and we hope this original journey leads them to a new level of success that no artist has achieved before,” the company says.
And in a 2025 pop world where global girl groups — and especially those hailing from the K-pop training system — are hot commodities, GIRLSET may have reemerged at the perfect time. The term “multicultural girl group” has recently become a fixture in industry conversations. Traditionally, K-pop groups comprised East Asian members. The newer multicultural model, however, seeks trainees from diverse national, ethnic and cultural backgrounds. It’s a concept that Park pioneered through A2K — and GIRLSET embodies the promise of that experiment. It knows that “multicultural girl group” has become something of a buzzword, but for the members, it’s a lived reality. They’re deeply proud of representing their own cultures within K-pop.
“I always feel so happy being the representation for Latinas,” Camila says, glowing. “Growing up, seeing Fifth Harmony with Cuban members made me feel like maybe I could also make it. I know there are girls and boys seeing us now and seeing themselves in us. That’s really special.”
Lexi, who is Hmong American, adds, “Being able to bring different communities together is such a great feeling. Everyone loving the same thing — that’s the best part.” As Camila explains, “We want people to see themselves in us. That’s the whole point.”
GIRLSET isn’t alone in that mission — but does the group feel any rivalry with its fellow L.A.-based K-pop-trained peers in KATSEYE? “We’re all just doing our own thing,” Kendall says matter-of-factly. The act is aware of the constant online comparisons between it and KATSEYE but isn’t phased by them. “It shouldn’t be about competition,” Camila says with a smile. “Let’s just slay together.
“It’s amazing seeing so many talented girls from different cultures coming together and making something great,” she adds. “I think what they’re doing is amazing — and they’re super sweet. It’s more about appreciating both [groups]. I think we’re both special in our own ways.”
When it comes to GIRLSET’s place within the larger multicultural group movement, JYP Entertainment says, “The members were born and raised in North America, but they were trained under JYP’s signature training that highlights discipline and artistry. The combination of their cultural diversity and K-pop artistry makes them truly distinctive. For us, GIRLSET isn’t just joining the movement; they’re helping to shape the next era of U.S. pop.
“The goal isn’t just success,” the label adds. “It’s endurance and legacy.”
GIRLSET feels a shared responsibility to represent authenticity in a world that prizes perfection. “We always want to be a group that speaks about real things and be raw and realistic,” Savanna says. “We’re just people with emotions, and I think that’s what we want to be remembered for.”
Savanna
Munachi Osegbu
Of course, being a K-pop act based in L.A. rather than Seoul presents logistical challenges. In Korea, JYP groups have access to fellow idols who can share tips and tricks of the trade, as well as state-of-the-art training facilities, built-in TikTok content buddies and consistent opportunities to sharpen their skills on Korean music shows. K-pop fans have come to love seeing their faves collaborate with other groups, and crossover TikTok dance challenges have become common.
“L.A. is different,” Kendall notes. “There aren’t weekly music shows where idols naturally meet. It’s less accessible, but if it happens, it happens.”
They’ve still found community within the JYP universe. GIRLSET’s members reflect on opening for TWICE in early 2024 with admiration. “Seeing TWICE’s show was inspiring,” Camila recalls. “Lily from NMIXX is really sweet. She’s given advice about this lifestyle and overcoming things.” Kendall adds, “We’ve also talked with [NiziU members] Nina and Rima. Speaking English makes it easier to connect. They’ve been supportive.”
As for their L.A. peers? “Maybe one day,” Kendall says of connecting with KATSEYE. “They’re super talented and sweet; the essence of their group is similar to us — global, representing your culture, bringing something new.”
For GIRLSET, just the opportunity to start fresh means everything. When asked what they want fans to remember most about this new era, the answers come quickly: survival, growth, empowerment.
“We’ve all pushed ourselves individually and become so much stronger as a group,” Savanna says. “Our versatility now — it feels like a power. Seeing our artistry come to life in sessions and performances, it hit me: We’re really transforming now. We’re becoming the artists we were meant to be.”
They’re proud of how far they’ve come — and ready to show it. “This new music era feels a lot like, really, the core of us. The vibe of this comeback is very much our vibe,” Kendall teases. “It’s bold, confident and full of personality. Definitely a new chapter.”
Munachi Osegbu
The group’s latest single, “Little Miss,” represents that new chapter. Due Nov. 14, the Y2K-flavored pop track with hip-hop edges and GIRLSET’s signature vocal prowess is the act’s second release since its redebut, and it cements its image as four young artists embracing their power. “The song feels like the core of us,” Kendall says. “It’s really our essence.”
“I think I really value that during this era, we just get to be truly who we are moving forward,” Savanna reflects confidently. “I think that’s something that I appreciate the most about being GIRLSET now.”
And when things get heavy, they lean on each other. “No one else could ever understand us like we do,” Camila says. “We’re living it together.”
This story appears in the Nov. 15, 2025, issue of Billboard.
Trending on Billboard
Spotify and the National Music Publishers’ Association (NMPA) have joined forces to create a new opt-in license for NMPA members to enter into a direct license agreement for “expanded audiovisual rights” in the U.S., according to a press release about the deal. NMPA members can sign up using a portal, and the deal is said to increase the royalty-earning potential of participating publishers and writers by offering them a new audiovisual royalty stream.
News of the deal comes during a time of great tension between Spotify and the NMPA. In March 2024, Spotify began paying music publishers and songwriters a discounted royalty rate for streams on its premium tiers. Spotify explained that by adding audiobooks to its premium offerings, these subscriptions could be reclassified as “bundles,” a type of plan that qualifies for a discounted rate on U.S. mechanical royalties, given that multiple products are offered under one price tag.
Related
The NMPA and its allies have fought this assertion ever since, spearheading a multi-faceted attack against Spotify soon after. This included the Mechanical Licensing Collective filing a lawsuit against Spotify over the matter, and the NMPA filing a legislative proposal, an FTC complaint and cease-and-desist notices over allegedly hosting lyrics, videos and podcast content that contained their members’ copyrighted works without proper licenses.
This deal, at least, potentially creates a pathway for any alleged unlicensed videos on Spotify to become licensed. According to a source close to the deal, the NMPA does not plan to back down from its other pushes against Spotify, given that this deal does not address bundling.
News of the agreement comes after a series of announcements from NMPA members — including Universal Music Publishing Group, Sony Music Publishing, Warner Chappell Music, Kobalt and their parent companies — each of which came to direct deals with Spotify throughout 2025. Little is known about the nature of the deals beyond what is disclosed in the press release, but each was said to improve remuneration for songwriters and offer multi-year agreements for the companies, often covering both publishing and recorded music.
“This new partnership with the NMPA will increase revenue for songwriters and independent publishers who are the heart of the industry,” says Alex Norström, co-president and chief business officer, Spotify. “We look forward to continuing to work with the NMPA to create new value and opportunities for their members.”
Related
“We are pleased that this deal offers indie publishers the chance to enter into direct deals with Spotify in regard to audiovisual streaming functionality on the platform alongside the recently announced larger publishing companies,” says David Israelite, president and CEO, NMPA. “This new income stream reflects the growing value of songs as digital platforms offer new capabilities to consumers.”
The NMPA Opt-In Portal is open to eligible publishers beginning today, Nov. 11, with onboarding continuing through Dec. 19.
Kanye West might be on a redemption tour. Travis Scott brought out the old Ye at his show in Japan, and the crowd went crazy.
According to Hip Hop N More, Travis Scott was in the Land of the Rising Sun for his Circus Maximus Stadium Tour. His performance was well-received as soon as he started his first song. Cactus Jack took ticket holders through a medley of his biggest hits and even tracks that only hardcore fans could probably sing line by line.
Midway into the evening, the stage lighting was turned off and the music stopped. Out of nowhere, the opening keys from “Runaway” started playing, which sent the crowd into a frenzy. Shortly after Kanye West came out wearing an all black outfit with his face covered.
Needless to say, the surprise electrified everyone at the Belluna Dome in Tokyo. He proceeded to perform a mini-set of his tracks, which included “Stronger” and “All of the Lights,” all the while being backed up by Travis Scott. Kanye then proceeded to add yet another memorable moment to the surprise appearance when he took off his mask at the end of “Can’t Tell Me Nothing.”
In recent weeks, the world has been treated to a more intentional Kanye West. Not long ago, the Chicago native sat down with Israeli Rabbi Yoshiyahu Yosef Pinto and apologized for his antisemitic behavior.
“It’s a big deal for me as a man to come and take accountability for all the things that I’ve said,” Ye said. “And I really just appreciate you embracing me with open arms and allowing me to make amends. And this is the beginning and the first steps, and the first brick by brick to build back the strong walls.”
You can view Kanye West’s surprise performance with Travis Scott below.
—
Photo: Getty
Trending on Billboard
For Riot Games’ goal to elevate women and marginalized genders in esports with its Game Changers initiative, few music-gaming collaborations would make a more natural fit than KATSEYE and Valorant.
The newly Grammy-nominated act’s song “M.I.A,” off their Billboard 200 top 10 EP Beautiful Chaos, is reimagined in a new “Valorant Game Changers Version,” out Tuesday (Nov. 11) ahead of the 2025 Valorant Game Changers Championship finals, taking place this month in Seoul. However, this collaboration carries extra resonance because one of KATSEYE’s six members is an avid gamer who appears to have manifested the team-up.
“I used to just say it on livestream before I even knew anything was gonna happen with KATSEYE and Valorant,” Megan shares, speaking to Billboard exclusively about the new partnership. “So when they presented this collaboration, I was literally so stoked. I’ve been playing this game since I was like 14 years old on my brother’s computer in COVID times; this is so nostalgic to me, honestly.”
Now 19, Megan’s enthusiasm — as well as KATSEYE’s larger message of inclusivity and empowerment — is threaded throughout the reworked anthem, with new lyrics drawing on themes of perseverance and community that stem from the connections in gaming when uplifting one another.
“We all stand behind that anyone can play any game and there shouldn’t be any weirdness,” the Honolulu native adds. “We really, really do think this aligns so much with KATSEYE and our brand. We’re so, so excited to do this collab.”
With several No. 1 Billboard chart hits to its name, Riot Games has leaned into music as a storytelling mechanism for gaming before. However, Valorant Game Changers shines the spotlight on new players in its first-person shooter game, with its global championship in Asia for the first time. The event will run Nov. 20-30 in Seoul, with finals scheduled from Nov. 28-30 at Riot’s LoL Park esports stadium in Seoul. Bringing in Korea-based HYBE and its global girl group KATSEYE positions the collaboration as a cultural handshake between two rapidly growing cultural communities.
“KATSEYE already had a ton of fans across Riot [Games] and in the Valorant community,” Jonny Altepeter, Riot Games’ senior manager of music supervision and A&R, tells Billboard. “When we found out Megan was a VAL player and they were excited to collab, it just made sense.”
For Altepeter, the appeal of reworking “M.I.A” resonated both musically and to the culture within the gaming community: “Sonically, it has that high-energy, bold confidence that works so well in our world. And thematically, it lined up perfectly with the moment we were trying to capture…our artist collaborations are everything. We’re always looking for voices that feel exactly right for a specific moment in our universe. We’re really intentional — and honestly, pretty precious — about VAL music, because we know how much it means to our community. Every artist we bring in is chosen for a reason. They bring something unique that helps elevate the story we’re telling, both in-game and beyond. That level of care and specificity is what sets us apart. We’re not just trying to find good songs… we’re building meaningful creative partnerships that help shape the emotional core of our world. And we’re so grateful to the artists who trust us and bring their full selves to that process.”
Anna Donlon, head of Valorant Studios and the architect behind Game Changers, frames the partnership as precisely the kind of crossover Riot Games built the program to foster.
“When we started Game Changers, the goal was always bigger than just competition,” Donlon shares. “It was about creating a space for players who hadn’t always seen themselves represented in esports. This year’s anthem and music video captures that same spirit, bringing people together, no matter where they come from. Across all our global events, music has been a powerful way to connect players, celebrate them and deepen their bond with Valorant. At the Game Changers Championship finals, you’ll see all of that come to life: the energy, the pride, the love for the game. And having South Korea’s own Ninetails, the first all-Korean team to qualify for the championship, take the stage on home turf? That’s going to make it even more special.”
Altepeter calls collaborations with actual players “hands down our favorite types of collaborations” because players-turned-artists speed up creative chemistry. “When someone already understands our world, everything just flows better…you can always feel that real connection in the final result.”
Check out the results for yourself with KATSEYE’s new video for “M.I.A. (Game Changers Version)” here and read on for more with Megan below.
KATSEYE X VALORANT Game Changers – “M.I.A. (Game Changers Version)”
Riot Games Music
How does it feel remixing “M.I.A” for the Valorant Game Changers initiative?
Megan: “M.I.A” is such a hard-hitting, strong, confident song. Especially with Valorant, since it’s such a cool, fun, very fierce game, I feel like going with “M.I.A” was just the perfect song. Especially [how] it tells a story with determination and perseverance, so I think going with this new reimagined version of “M.I.A” for Valorant was just like a no-brainer decision for all of us.
How did KATSEYE get involved in the program and what did it mean to you also to be here as a player?
Megan: Especially with me being a player myself, I used to just say on livestream before I even knew anything was gonna happen with KATSEYE and Valorant. I was like, “Oh yeah, I play Valorant.” It was just something that I said because it’s something I used to do in my free time. When they presented this collaboration, I was literally so stoked. I’ve been playing this game since I was, like, 14 years old on my brother’s computer in COVID times; this is so nostalgic to me, honestly. So, when we were presented this, I was literally jumping for joy. This is literally my game; I love this game. So it really does mean a lot to me and especially with the Game Changers, with what it represents — it’s just so cool. We’re just all so excited for this collaboration and we’re just so grateful that we’re able to do it.”
What’s your history with gaming and Valorant?
Megan: I grew up with a brother, so a lot of the games that I would play, my brother would introduce them to me. When I was little, I would always want to play dolls with him, but obviously he wasn’t going to play with dolls. So then he would introduce me to computer games like Valorant, Minecraft and those kind of games. And then he was really into Valorant and I was like, “OK, like let me get into this.” And I did. It was just so addictive. Especially during COVID and everything, like that was my sh–. That’s all, really, I could do because no one was going outside and it was a fun way to play with your friends. I feel like it was just a cool thing to do on my free time and it felt so much fun. There’s nothing really more to it than just saying that it was really, really fun and I really am such a competitive person that loves games like these — I thrive in it. [Laughs]
Do you have a go-to agent you play with in Valorant?
Megan: I usually play as Sage, the healer. There’s like this little term for Valorant players that you say they’re the “pocket Sage,” so I would usually be a pocket Sage when I would play with my friends. I would be their support to heal them when they’re dying.
Do you ever play Valorant with any of your KATSEYE members?
Megan: No, I actually haven’t got the chance to yet. I feel like right now we’re like so busy with our schedule, but I really specifically want to see how Yoonchae will play with me. [Laughs] I have to teach her how to be a pocket Sage — I feel like she’d be a really good pocket Sage. Yeah, we really do need one sit-down gaming session, all six of us, to play Valorant and see who’s naturally gifted. I think that Lara would be Jett. I feel like Sophia could maybe be Neon since Neon is Filipino…
This Game Changers program is meant to empower people from different backgrounds and marginalized genders. Have you ever experienced pushback as a girl gamer? Are things changing?
Megan: Honestly, I think it’s better now, but there were times in games where you would turn your microphone on and play with random people who were online, trying to find a group member. It was such a big thing for a second where if a girl turned their mic on, they would start bullying the girl — it happened to me a few times. It was pretty crazy, but then the funniest thing is when you’re really good, as a girl, and they get so mad. [Laughs] But I just don’t understand that, it was a big thing but I don’t think it’s as big of a thing now. It’s just them thinking that I was going to drag them behind and I ended up being the last one standing, pulling through and carrying the team. It’s the funniest thing ever, honestly, I just laugh.
Do you notice any direct link between music and gaming? Does music enhance the experience?
Megan: Music and games are such a big thing and I feel like people don’t really realize how much music is incorporated and how much it like really affects the gameplay. I mean, when you’re in combat mode, you want some good hype-up music and when you’re in more of a chill vibe, you would want like some [chill music], you know what I mean? It really does affect the whole overall vibe. I think Fortnite would play concerts in their games, which was so insane and so, so cool. I love how like they incorporated that in such a fun way. I would honestly love to do a virtual concert one day. I’d love to see how that works — it’s so intriguing.
Trending on Billboard
Madi Diaz pulled double duty while recording her recently released seventh album, Fatal Optimist. In addition to laying down her own songs, the singer also recorded a track-by-track cover of Blink-182’s breakthrough 1999 album, Enema of the State.
The collection — dubbed Enema of the Garden State in honor of the location of the studio — is available only on Bandcamp, with proceeds earmarked for the Defending our Neighbors Fund, which provides legal assistance to immigrants in the midst of the Trump administration’s massive immigration enforcement actions.
“These recordings started out as a fun exercise fueled by the love and fandom I have for blink-182 and the record Enema Of The State,” Diaz wrote in an Instagram post on Monday (Nov. 10) of the re-record she tracked in a New Jersey studio while “peeling back layers and tracking/writing Fatal Optimist. “Every morning producer and engineer Andrew Maury would set up some mics and turn on the 4 track. I had been listening to this batch of songs obsessively (again) on my jogs and I wanted to see if I could run these songs and let the nostalgia drive my memory for the lyrics and tear through a punky acoustic arrangement,” Diaz added.
“No planning, no overthinking, no analyzing allowed, just ripping into the songs. It was pure joy with no clear intention of releasing this project until recently. We started thinking about how incredible the name Enema Of The State is for a record,” she wrote of the joyously juvenile LP featuring the classic hits “What’s My Age Again?,” “All the Small Things” and “Adam’s Song,” among others.
Not for nothing, Diaz said the album’s once-silly, punny title is suddenly not so hilarious. “How the title is somehow so current and politically culturally socially ironic… How ridiculous it is to cover this record in 2025 when it feels like we need to flush the system and give our whole government a health check / gut check,” Diaz wrote. “There is so much going on at this moment across America and so much pain with ICE raids and false condemnations of hard working American citizens and undocumented immigrants. And maybe we could use this version of enema of the (garden) state to raise awareness and money for people in need of defense and aid in their right to live and work and breathe and be and stay on American soil.”
Diaz noted that while she was born in the U.S., her family is made up of Danish and Peruvian immigrants, like so many other American families whose roots trace back to other nations. “There is a lot here we have to love and protect and nurture,” said Diaz, who promised that “every penny” it generates will go to the Defending Our Neighbors Fund, a rapid-response non-profit that helps families, adults and children in need of advocates access legal representation and financial support in the midst of the Trump administration’s aggressive, nationwide immigration raids.
“They are providing immediate grants for trusted organizations to deploy legal advice and bond assistance,” she said of the organization. “For me, it’s about much more than a nostalgia for teenage rebellion against mom and dad. F–k ICE. Enema Of The State Forever.”
You can purchase the entire digital album now and listen to acoustic versions of “Don’t Leave Me” and “Anthem” for free here.
Trending on Billboard
Long live CMAT summer. The Irish pop star has been revealed as the latest headliner for the 2026 edition of London’s Lido Festival, performing on June 12.
The booking marks the Irish pop star’s first-ever U.K. festival headline slot. It follows a stellar year that has seen her cross over into the mainstream and deliver much talked-about performances at high-profile events including Glastonbury, All Points East and Green Man.
Explore
See latest videos, charts and news
She will be joined by a stacked bill of artists on the day, with supports including Father John Misty and Sharon Van Etten & The Attachment Theory. The other names confirmed to appear so far are: Beverly Glenn-Copeland and Elizabeth Copeland, Getdown Services, Katy J Pearson, Junior Brother, Jacqui McShee’s Pentangle and Zakia (DJ).
Tickets for the event, which will take place in Victoria Park, go on sale on Thursday (Nov. 13) at 10 a.m. (BST). More information can be found at the festival’s official website.
In August, CMAT (born Ciara Mary-Alice Thompson) unveiled her third studio album EURO-COUNTRY via AWAL. Upon release, the record hit No. 2 on the Official U.K. Albums Chart, her highest placing on the chart to date.
The continued success of EURO-COUNTRY has also seen the songwriter land a Mercury Prize 2025 nomination, as well embark on sold-out tours across the U.K. and the U.S. The LP follows 2023’s Crazymad For Me and her debut album If My Wife New I’d Be Dead, released the year prior.
The inaugural Lido festival took place this year, welcoming 35,000 fans a night with Charli xcx, Jamie xx, Massive Attack and London Grammar all topping the bill across two weeks of shows.
Named after Victoria Park’s Lido Field, the event has a strong focus on sustainability and holds community events during the week. Its second iteration will also include electronic duo Maribou State, who are headlining the festival on June 20.
Trending on Billboard SZA‘s Not Charity has teamed up with the Los Angeles-based restaurant Jon & Vinny’s to provide 1,400 free meals for people who are struggling to put food on the table in the midst of the longest government shutdown in history as their SNAP (Supplemental Nutrition Assistance Program) benefits dry up. Explore See […]
Trending on Billboard
Femme It Forward will be hosting its fourth annual Give Her FlowHERS Gala this month, Billboard can exclusively announce on Tuesday (Nov. 11).
Ciara will be honored with the Muse Award, which pays homage to a living legend whose legacy, impact and timeless music inspires past, current and future generations. Kehlani will receive the Alchemist Award, honoring a woman who turns her struggles into strength and her truth into timeless art. She is also being honored at ASCAP Women Behind the Music on Wednesday, Nov. 12. They also received two Grammy nominations when the full slate was announced last Friday (Nov. 7) for best R&B song and best R&B performance with “Folded,” Kehlani’s first Billboard Hot 100 top 10 hit. Jhené Aiko will receive the Glow Getter Award, which honors women who embody wellness, self-care and purpose. Last year, Aiko launched her holistic self-care brand Jhenetics, which includes elixirs, body balms, lotions and bath soaks that aim to “nourish the spirit and cultivate balance from the inside out,” according to its website.
Mariah the Scientist will be honored with the Bloom Award, spotlighting a breakthrough artist whose growth and grace have transformed her journey into full bloom. Mariah’s “Burning Blue” lead single from her fourth studio album Hearts Sold Separately became her highest-charting hit on the Hot 100 (No. 25) this year, while Hearts Sold Separately became her highest-charting album on the Billboard 200 (No. 11). Normani will receive the Femme It Forward Award, which honors women who have made incredible inroads within their industries and communities through impactful service and leadership. Nikki Taylor, Teyana Taylor‘s mother, will be honored with the Queens Raising Queens Award, awarded to mothers and maternal figures whose love, guidance and example empower the next generation of women to rise, thrive and lead. Teyana — who received her first Grammy nomination for best R&B album with Escape Room — accepted the Visionary Award in 2023.
Gail Mitchell, Billboard executive director of R&B and hip-hop, will be honored with the Mentor Excellence Award, which recognizes leaders who open doors and pour into the next generation through mentorship at the highest level. Sylvia Rhone, former chairwoman/CEO of Epic Records, will receive the Legacy Award, which honors visionary leaders whose groundbreaking contributions have not only shaped the entertainment industry, but built the very foundation on which future generations now stand. Rhone was the first Black industry executive and woman to chair a major record company. She was Billboard‘s Women in Music executive of the year in 2023.
“Every year, Give Her FlowHERS reminds me why this work matters. It’s about celebrating the women who show up, do the work and keep moving our culture and industry forward,” says Heather Lowery, CEO/founder of Femme It Forward, in an exclusive statement. “For me, it’s not just about honoring them, it’s about creating a space where women feel seen, supported and inspired to take up space unapologetically. This year’s honorees truly embody what it means to lead with purpose, create from the heart and pour into others while they rise.”
The 2025 Give Her FlowHERS Gala will return to the Beverly Hilton on Friday, Nov. 21. This year’s theme, “Same Root. New Flower,” celebrates the beauty of evolution, the shared roots that connect us all as woman and endless ways we continue to bloom. The gala serves as a fundraiser for Next Gem Femme, Femme It Forward’s mentorship program that’s designed to improve equity and accelerate career opportunities for women in music and entertainment. The mentorship program and gala reflect Femme It Forward’s deep commitment to cultivating a thriving ecosystem of women supporting women, rooted in community, creativity and purpose.
