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Rapsody “Back In My Bag,” Dave East & Harry Fraud “Questions” & More | Daily Visuals 5.17.24

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Rapsody

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Whether you want to accept it or not, Rapsody is one of thee nicest MC’s in the game regardless of gender and though she may not get the flowers she deserves from her Hip-Hop peers or Hip-Hop fans, she’s going to continue to plant the seeds that is sure to grow some appreciation for her talents as time goes on.

Returning to the rap game with some new work in “Back In My Bag,” the MC from Snow Hill, NC rolls through her city mobbed out before getting a tattoo on her arm and enduring some rain while she spits her bars and reminds everyone that nor rain, sleet or snow will keep her from delivering the goods. She’s the truth in the booth, homie.

Back in Harlem, Dave East keeps on churning out new product himself and in his Harry Fraud assisted clip to “Questions,” takes in a game of chess between two OG’s on the street while spitting his rhymes and politicking with his peoples.

Check out the rest of today’s drops including work from Key Glock, Elmiene, and more.

RAPSODY – “BACK IN MY BAG”



DAVE EAST & HARRY FRAUD – “QUESTIONS”



KEY GLOCK – “THE GREATEST”



42 DUGG – “WIN WIT US”



METRI DINERO FT. JPEZZ – “DO FOR LOVE”



ELMIENE – “SWEETNESS”



TAMMI JEAN – “MY LIFE”



VEL NINE – “GIVE EM HELL”



Stray Kids Share Process Behind ‘Lose My Breath,’ Preparing for ‘Authentic’ New Music & Tour

Only two months ago, Stray Kids told Billboard the band’s 2024 would be “very different from what we’ve done so far,” with the four-time Billboard 200 chart-toppers’ latest New York trip already proving that to be the truth.

Sitting inside a recording studio owned by their U.S. label, Republic Records, the K-pop sensations’ charisma, candidness and slight trepidation shone through in a laid-back, honest chat to recount their Met Gala debut, just-released collaboration with Charlie Puth, and the anticipation surrounding their upcoming projects.

Reflecting on their Met Gala experience, the members expressed how their initial worries eventually turned into pure excitement. “We didn’t know anything about Met Gala,” Stray Kids leader Bang Chan shares in his affable Australian accent, before adding, “It was a really good experience.” Felix shares that “it was an honor and pleasure for us to show what our team color is like” with their appearance, thanks to Tommy Hilfiger, marking a significant milestone in attending one of fashion’s most prestigious nights out, as they mingled with celebrities like Chris Hemsworth, Baz Luhrmann and Jennie from BLACKPINK.

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Shifting to their first original English single, their collaboration with Charlie Puth in “Lose My Breath” is highlighted as an experience for their team to learn but also share their years of experience in blending musical styles. “We had a lot of freedom to express our opinions,” notes Han, emphasizing the collaborative nature of the project that included Bang Chan, Changbin and himself writing and composing alongside Puth. For the pure-pop affair, Hyunjin says his aspiration is “to show that Stray Kids can do this kind of song” as a testament to their versatility and willingness to explore different musical landscapes.

While SKZ spoke with nervous excitement to Billboard just hours before the release of “Lose My Breath,” the band’s anticipation for their potential new future projects was also palpable.

While details remain under wraps, Bang Chan hinted at the exciting prospects: “If there was a new album, it’s definitely very new, very different yet very genuine and authentic.” The tour — that may or may not have been spoiled by Tommy Hilfiger himself — is also important, and when Lee Know mentions how “there are countries we haven’t been to yet,” he seems to hint toward a truly expansive global trek.

As Stray Kids continue to break barriers and captivate audiences worldwide, the Kids themselves remain grounded and committed to continually improving and leveling up artistry. Like “Lose My Breath,” their upcoming projects all show promise in showcasing an evolving and maturing sound to affirm their status as boundary-breakers in the global music scene. Read the full conversation from Billboard‘s chat with Stray Kids below.



Welcome back to New York, Stray Kids. It’s great to have you back, and we have to give you a big congratulations on your Met Gala debut. Overall, how was the experience?

Bang Chan: There was a lot happening, but I mean, it was a really good experience. We had fun.

Felix: It was such a huge honor because it was our first time as a team, and to go with Tommy Hilfiger to the Met Gala. Like what Chris [Bang Chan’s birth name] said, it’s such an honor but also a pleasure for us to show what our team color is like. It was incredible.

Bang Chan: Because we didn’t know anything about Met Gala! So, we went in, and then as soon as we got in, we walked up the stairs, and then there was Anna Wintour, Bad Bunny, Jennifer Lopez and Chris Hemsworth. So we said “Hi,” and then Chris was like, “Oh, I know you guys! You guys are two Australians — aww, come here, boys!” He took really great care of us. Baz was there too.

Felix: Baz Luhrmann was there as well. So, we had a nice chat with him. It was very nice, very nice.

Bang Chan: Ben Simmons, the basketball player, who is actually from and born in Australia, he was there. There were a lot.

It was amazing to see all eight of you there, but I’m curious how you got eight invitations for the Met Gala and how you coordinated on the red carpet with your reveal as eight?

Bang Chan: Big thanks to Tommy.

Felix: Yeah, big thanks to him.

Bang Chan: But at the Met, Tommy had a little bit of an idea. Because we have to unveil what was underneath, right? So, we kind of rehearsed how we should show what our outfits were. We did exactly what we had to do and were told to do; it was all right.

I think it was more important than you might realize. But let’s jump to the present with “Lose My Breath.” What’s the significance of this being Stray Kids’ first original English single?

Bang Chan: It is kind of exhilarating if you think about it. But one thing I wanted to point out is, I’m very, very thankful to the members because everyone recorded their parts on point and very good. The English has improved, I don’t know why, but yeah. [Laughs] So, I’m very very thankful to the members but we worked on the song here [in this New York studio], I think it was like the room across. But we had fun because, you know, Charlie Puth is very musically talented so we learnt a lot from him; it was a great experience.

You are so involved in your music, and Charlie Puth is also so involved in his music. How did you find the balance behind the scenes to collaborate?

Han: Since it’s a collaboration, the way we work might be different and there could have been clashes. But in the end, we were very open and Charlie was very open with ideas too. We had a lot of freedom to express our opinions and tried a lot of things So, we balanced it out from the get-go; it was very smooth. And with all these ideas we get from each other, we developed the parts that we wanted to show each other and the parts that we wanted to get closer aligned and eventually finished off the project.

Changbin: I was just really thrilled. There’s the Charlie that I know on social media, on videos or YouTube or whatever, and I think it was he even more than what I’ve seen on YouTube or social media so it was really cool. It was cool. He’s so musically talented, and it’s something that I, myself, want to learn from and want to have in being so versatile when you’re making music.

What are your goals or hopes for this song?

Hyunjin: Since it’s a pop genre-type of song that we haven’t done before, I want to show that Stray Kids can do this kind of song — I want to show the world, STAYs, everyone that we can do music like this. We also have a performance as well, and I want everyone out there to see what kind of performance we’ve prepared this time.

Since it might be a sound people don’t expect from Stray Kids, how do you think about or hope to introduce something new to fans?

Felix: This whole pop genre is very different to us, but like what Chris hyung said, we’re able to record the song and the lyrics perfectly through our own feelings and our emotions, which means we’re really able to express what the song is. And because we’re all experienced in making music and just showing fans what our style is, I think fans will really enjoy “Lose My Breath” as it is.

Bang Chan: It might not seem like a Stray Kids song, but in the end, it is our voices, we did write the lyrics, the melodies and everything as well. But I don’t know what people will think! I hope they can get a hint of Stray Kids in the whole platter.



I have a theory that “Lose My Breath” is the first taste or connection to the “special album” you teased at the top of the year...

Bang Chan: Um…I think of it as a side quest. “Lose My Breath” might just be a side quest…

I.N is smiling, though!

All: [Laugh]

Bang Chan: What I can say is: If there was a new album, um, it’s definitely, very new, very different yet very genuine and authentic. Because the messages that we want to say through music are all packed inside.

What’s the message you want to share when it comes to “Lose My Breath”?

Seungmin: We just want to appeal that we can, all of our members can sing the pop genre. From the moment we first began recording, everyone has been used to singing [in] like a really strong tone, but this time we try to, what the word in English? We tried to power down and compress — compressed into our natural voices. We tried to tone it down and record with a sound that naturally fit to the pop genre. I think that’s a big difference compared to the last album — I think that it will appeal to STAYs.

Bang Chan: It’s funny because I don’t usually get opportunities now to talk about what we did and everything, but definitely, with “Lose My Breath,” we did try a lot of different vocal techniques while we recorded the song. I hear that especially with Seungmin. Changbin as well. Everyone did their part so good.

Mr. Hilfger did share that you’re preparing a 40-date world tour. Can you share or confirm anything about the tour or preparations?

Bang Chan: He spoiled it on TV…and he spoiled it for us as well. [Laughs] I guess there would be a tour? But we’re still in the preparation process so we don’t know what’s what or don’t know how it’s gonna set out…

Seungmin: Lee Know wants to say something!

Lee Know: There are countries we haven’t been to yet and foods we want to eat while on the tour; touring means we can see a lot of STAYs. I think that’s what I’m looking forward to the most. It’s the chance to meet different STAYs in different parts of the world that is really important. But we haven’t started choreographing or developing the blueprints for the stage yet.

You’re in the moment with this single, but what’s coming up for Stray Kids in the immediate future? Or what message do you have for fans as you start this new chapter?

Bang Chan: [To their team member in the room] How much can we say?

Stray Kids team member: The less you talk, the better!

Stray Kids: [Laugh]

Bang Chan: Well, we don’t want to raise your expectations too much but when we head back [to Korea], it’s going to be late May. We’ve got some preparations for, well, let’s say, I guess a tour. If there’s an album, probably the album. Probably festivals. That’s is, you know, if. I don’t know if it’s true or not,

Han: There is nothing 100% real. We don’t know what’s happening.

Bang Chan: Lollapalooza is something that we’re really looking forward to. The one in Paris was amazing, there were a lot of people in the audience, and now we’re off to Chicago.

I.N: We want everyone to look forward to “Lose My Breath,” but there are a lot of things that are gonna come up and I hope you don’t get too surprised about the things that are going to come.

Diddy Appears to Physically Assault Ex-Girlfriend Cassie in Resurfaced Video | Billboard News

It’s Friday, May 17, and Billie Eilish has released her new album ‘Hit Me Hard and Soft,’ Saweetie put out “NANi” and Bebe Rexha released her new single “Chase It (Mmm Da Da Da).” In a 2016 surveillance video published by CNN, Diddy appears to assault his former girlfriend Cassie Ventura.

Yesterday was a busy day for all things country music; we give you a recap of the ACM Awards. To tie it all in, Luke Combs released “Ain’t No Love In Oklahoma.” Luis Fonsi on what inspired him for his new album ‘El Viaje,’ his collaboration with Carlos Vives and more. We sat down with Grupo Frontera to talk about their new album  ‘Jugando a Que No Pasa Nada.’ Zayn dropped his new album ‘Room Under the Stairs’ and more!

Tetris Kelly: 

We have breaking news on Cassie and Diddy. New music from Billie, Bebe, Saweetie and more. We sit down with the boys of Grupo Frontera and Luis Fonsi and we run down what you missed at the ACMs. A 2016 surveillance video appears to show Sean “Diddy” Combs assaulting his then-girlfriend Cassie Ventura in a hotel. We have word from her attorney.

The new video obtained by CNN seems to mirror an assault allegation Ventura made in a now-settled lawsuit she filed against the hip-hop mogul in November. In the video, Combs appears to shove Ventura to the ground near an elevator bank, kick her several times while she lies on the ground, and drag her down a hallway. Cassie’s attorney stated: “The gut-wrenching video has only further confirmed the disturbing and predatory behavior of Mr. Combs. Words cannot express the courage and fortitude that Ms. Ventura has shown in coming forward to bring this to light.”

Now for our Friday Music Guide. Billie Eilish enters a new era with ‘Hit Me Hard and Soft.’ Saweetie submits her entry for the song of the summer with “NANi.” Last night was a celebration of country, and Dallas was the place to party. From Dua Lipa joining Chris Stapleton, to Jelly Roll & Lainey Wilson winning big. The 2024 ACM Awards in Dallas were the place to be, and we’re telling you what went down. The night had some big performances including our boy Jelly Roll delivering “Liar” and the prolific singer took home his first ACM. Lainey herself took home Entertainer of the Year.

Keep watching to learn more!

Here’s a Full List of Musical Offerings on Disney+, From ‘Queen Rock Montreal’ to ‘Taylor Swift’s The Eras Tour’

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

If you’re a music lover, Disney+ has a ton of entertainment just for you.

The streaming giant gives users full access to the nostalgic Disney vault filled to the brim with films and series. With nearly 500 movies and 7,500 episodes to sort through, it all seems overwhelming at first — but don’t worry, Billboard has you covered.

From the Queen Rock Montreal documentary to Taylor Swift’s Eras Tour film, see below for a full list of all the musical offerings on Disney+, so you can quickly find a way to jam to all your childhood favorite songs.

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If you’re not already a member, sign up for Disney+ here.

MUSIC

Olivia Rodrigo: Driving Home 2 U
Happier Than Ever: A Lover Letter to Los Angeles
A Celebration of the Music From Coco
Black Is King
The Disney Family Singalong
The Disney Family Singalong II
The Disney Holiday Singalong
Hannah Montana/Meet Miley Cyrus Best of Both Worlds Concert
Jonas Brothers Concert Experience
Taylor Swift’s Folklore: The Long Pond Sessions

Queen Rock Montreal Concert Film
Taylor Swift’s The Eras Tour 
The Beatles, Let it Be
Ed Sheeran: The Sum of it All
If these Walls Could Sing
Bono & The Edge: A Sort of Homecoming with Dave Letterman
SUGA: Road to D-Day
The Beach Boys (Streaming on May 24)
BTS: Permission to Dance
The Beatles: Get Back

Summer of Soul
Disney Howard 
The Boys: The Sherman Brothers’ Story 
Idina Menzel: Which way to the stage?
Voices Rising: The Music of Wakanda Forever
My Music Story: Yoshiki

Elton John Live: Farewell from Dodger Stadium



DISNEY+ ORIGINALS

Encore!
High School Musical: The Musical: The Series


https://youtube.com/watch?v=RlaV8sJGhfc&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

High School Musical: The Musical: The Series: The Special
High School Musical: The Musical: The Holiday Special

DISNEY CHANNEL ORIGINAL MOVIES & SERIES

Camp Rock
Camp Rock 2: The Final Jam
Cheetah Girls
Cheetah Girls 2
Cheetah Girls: One World
Hannah Montana
High School Musical
High School Musical 2
Jonas
Lemonade Mouth

Den Brother
Avalon High
The Suite Life Movie
Geek Charming
Good Luck Charlie
Frenemies
Let it Shine
Girl vs. Monster
Teen Beach Movie
Cloud 9



Princess Protection Program
Starstruck
Sharpay’s Fabulous Adventure
Star Struck

Hatching Pete
Dadnapped
Twitches Too
Johnny Kapahala Back on Board
Jump in
Return to Halloween Town
Read it and Weep
Wendy Wu: Homecoming Warrior

ANIMATED

Anastasia
Aladdin
Aladdin and the King of Thieves
Alice in Wonderland
The Aristocats
Beauty and the Beast
Beauty and the Beast, The Enchanted Christmas
Beauty and the Beast, Belle’s Magical World
Cinderella
Cinderella II
Cinderella III
Coco
Encanto
Dumbo
Fantasia
Fantasia 2000



The Fox & the Hound
The Fox & the Hound 2
Frozen
A Goofy Movie
Hercules
The Hunchback of Notre Dame
The Hunchback of Notre Dame II
The Jungle Book
The Jungle Book 2
Lady and the Tramp
Lady and the Tramp II: Scamp’s Adventure
Lilo & Stitch
Lilo & Stitch: Stitch Has a Glitch
Lion King
Lion King 1 1/2
Lion King II: Simba’s Pride
The Little Mermaid
The Little Mermaid II
The Little Mermaid: Ariel’s Beginning
Melody Time
Mickey’s Christmas Carol
Mickey’s Once Upon a Christmas
Mickey’s Twice Upon a Christmas
Mulan
Mulan II
Tim Burton’s The Nightmare Before Christmas



Peter Pan
Pinocchio
Pocahontas
Pocahontas II: Journey to the New World
The Princess and the Frog
Robin Hood
Sleeping Beauty
Soul
Tangled
Tangled: Before Ever After
Tarzan
Tarzan II
The Three Caballeros
Up

LIVE-ACTION FILMS

Beauty and the Beast (Live-Action)
Cinderella (Live-Action)
The Jungle Book (Live-Action)
Lady and the Tramp (Live-Action)
Dumbo (Live-Action)


https://youtube.com/watch?v=7NiYVoqBt-8&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

DISNEY+ FAVORITES

Annie
A Christmas Carol
Clouds
Confessions of a Teenage Drama Queen
The Greatest Showman
Hamilton
Hannah Montana: The Movie



Hello, Dolly!
High School Musical 3
Hocus Pocus
Into the Woods
The Last Song
Lizzie McGuire Movie
Mary Poppins
Mary Poppins Returns
Newsies
The Nutcracker and the Four Realms
Prom
Rodgers & Hammerstein’s Cinderella
Sister Act
Sister Act 2: Back in the Heart
Sound of Music

Which Performance at the 2024 ACM Awards Was Your Favorite? Vote!

From the red carpet fashion to the emotional acceptance speeches, this year’s ACM Awards were full of memorable moments. But the highlight of the show was arguably the star-studded lineup of performances, from Dua Lipa‘s surprise cameo with Chris Stapleton to host Reba McEntire‘s blazing closing number.

Lainey Wilson opened the show — which was produced by Dick Clark Productions — with a cover of “God Blessed Texas,” a fitting tribute given the ceremony’s location in Frisco, Texas. Billboard‘s latest cover star went on to sing her new single “Hang Tight Honey,” just hours before she won entertainer of the year later in the night.

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The ceremony also featured knockout showcases from Jelly Roll — who went on to take home music event of the year for his “Save Me” collaboration with Wilson — as well as Jason Aldean, Kane Brown, Miranda Lambert and Thomas Rhett. Several notable duets also took place on the 2024 ACMs stage, with Blake Shelton and Gwen Stefani appearing for a husband-wife duet of their song “Purple Irises” and Noah Kahan joining Kelsea Ballerini for a joint performance of “Stick Season” and “Mountain With a View.”

Plus, Stapleton took the entire world by surprise when Dua Lipa joined him onstage for a duet of his Higher track “Think I’m in Love With You.” Later, the country crooner told Billboard that the performance came together in just two days, while the “Levitating” singer revealed that “lots of zip-up hoodies and running in and out of the arena” were involved in keeping their rehearsals secret.

Which performance at the 2024 ACM Awards was your favorite? Vote for your top pick below!

DCP is owned by Penske Media Eldridge, a Penske Media Corporation (PMC) subsidiary and joint venture between PMC and Eldridge. PMC is the parent company of Billboard.

Tencent Music Shares Gain 16% on Earnings, Analyst Upgrades as Music Stocks Surge to New High

Tencent Music Entertainment (TME) stock rose 15.7% to $15.43 after the release of its first-quarter earnings on Monday (May 13), which showed net profit rising 28% to $212 million as music subscription revenue surpassed $500 million and the company’s subscribers rose by 7 million to 113 million. Online music revenue climbed 43% to $693 million, helping offset a nearly 50% decrease in social entertainment revenues to $244 million.

Numerous analysts upped their price targets for TME this week following the company’s earnings release. Jefferies raised TME to $15.40 from $12.00. Mizuho raised its price target to $15.00 from $13.00. HSBC also raised TME to $15.00 from $13.00. 

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Another Chinese music streaming company, Cloud Music, jumped 11.7% to 105.00 HKD this week after it announced a licensing deal with Kakao Entertainment for distribution in China. Kakao has over 50 “star” artists and 70,000 tracks, according to a press release announcing the pact. Cloud Music has not announced a date for its first-quarter earnings release. 

Shares of TME have risen 97.6% over the last 52 weeks and gained 71.3% in 2024. The company (which trades on the NYSE and Hong Kong Stock Exchange) and Cloud Music (which trades on the Hong Kong Stock Exchange) are part of an upswing in Chinese stocks in 2024. After falling in January, the Shanghai Composite Index is up 15.5% since Feb. 2 — far better than the gains of the FTSE 100 (10.6%), S&P 500 (7.0%) and Nasdaq composite (6.8%) over that period.

TME has come a long way since being targeted by government regulators in 2021 for anticompetitive behavior. Its shares traded below $5 for much of 2022 and dropped as low as $3.14 in October of that year. 

The 20-company Billboard Global Music Index rose 3.3% to a record 1,847.64, topping the previous high mark of 1,841.66 for the week ended April 5. While there were an equal number of winners and losers, the three top performers had double-digit gains — Cumulus Media was up 18% — while the worst-performing stock, Sphere Entertainment Co., fell 8.1%. Most of the index’s most valuable companies posted gains this week: Spotify increased 2.8% to $302.84, Universal Music Group rose 2.6% to 28.74 euros ($31.31) and Warner Music Group gained 1.3% to $32.04. 

Music stocks bested numerous indexes. In the United States, the Nasdaq composite rose 2.1% to 16,685.97 and the S&P 500 gained 1.5% to 5,303.27. In the United Kingdom, the FTSE 100 declined 0.2% to 8,420.26. South Korea’s KOSPI Composite Index dropped 0.1% to 2,724.62. 

B. Riley resumed coverage of Reservoir Media on Thursday (May 16) with a “buy” rating and an $11 price target. Reservoir shares rose 0.2% to $8.40 this week. The company will release first-quarter earnings on May 30.

Elsewhere, iHeartMedia dropped 6.2% to $1.21 this week. Guggenheim lowered its price target to $3 from $5 following the radio company’s earnings release on May 9, which prompted the stock to fall 36% last week. While Guggenheim maintained its “buy” rating, it dropped its price target to account for “headwinds at the core broadcast business,” analysts wrote in a May 15 note to investors. 

Sphere Entertainment Co. dropped 8.1% to $36.07, bringing its year-to-date gain to 6.1%. The company announced Monday that it bought out the remaining shares of Holoplot GmbH, the German company that provided the 3D audio technology for the Sphere in Las Vegas. 

Outside of the Billboard Global Music Index, JYP Entertainment fell 13.4% to 60,000 won ($44.30) following the company’s release of first-quarter earnings after the markets closed on May 10. Revenue increased 15.6% to 136.5 billion won ($100.8 million) but operating profit declined 20% to 33.6 billion won ($24.8 million) and net profit fell 26.3% to 31.4 billion won ($23.2 million). Operating profit and net profit declined due to increases in artist fees, labor costs and commissions at JYP Three Sixty, the company’s businesses that produce merchandise and license artists’ intellectual property. 

Another non-index stock, Sony Corp., rose 11.1% to $83.74 following its fiscal fourth-quarter earnings release Tuesday (May 14). Driven by subscription streaming growth and aided by foreign exchange, Sony Music’s yen-denominated revenues jumped 23.5% to $2.85 billion in the quarter and the music division was the parent company’s largest contributor of operating income. 

Twitter Is Now X.Com, Xitter Says We’re Still Calling It By Its Original Name

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X Officially Replaces Twitter.com

Source: NurPhoto / Getty / X / Twitter

It took a while, but Twitter.com is officially dead.

The rollout for X, Elon Musk’s version of the social media platform known as Twitter, was a hot ass mess. Logging onto Twitter.com still worked, and sharing tweets on websites didn’t work unless you changed the x in the URL to Twitter (that still is the case.).

Today, many desktop Twitter users were surprised to see that typing Twitter.com now redirects them to Elon Musk’s X.

Along with the redirect, a message at the bottom of the webpage says, “We are letting you know that we are changing our URL, but your privacy and data protection settings remain the same.”

The domain transition from Twitter to now X was a weird one. Almost everything, like the platform’s official account, mobile apps, and useless premium accounts, was under the new X branding, while Twitter.com still worked.

Of course, even though Elon Musk is still turning X into the “everything app” he has envisioned, users on X are sticking by the original name and telling Musk, “We are still gonna call it Twitter.”

The platform, formerly known as Twitter, has seen better days. Bots live in people’s mentions, porn is all over timelines, and there are way too many Cheech and Chong edible ads.

Still, as our favorite tech reviewer, Marques Brownlee, said in a post, it’s “still Twitter.”

You can see more reactions in the gallery below.

2. Forever

Joshua Bassett Announces Debut Album ‘The Golden Years’: Here’s When It Arrives

Joshua Bassett is going for gold. After years in the music industry, the 23-year-old singer-songwriter has finally announced that his debut studio album The Golden Years is arriving this summer.

Sharing a teaser video for the project, Bassett simply wrote via Instagram on Friday (May 17), “THE ALBUM. THE GOLDEN YEARS. JULY 26.”

In the clip, the High School Musical: The Musical: The Series alum shoots the single artwork for The Golden Years‘ title track, which also dropped Friday. In jeans, a denim jacket and white tank top, Bassett frolics through a grassy meadow, lit by the sunset.

“If I would’ve known those were the golden years/ I would’ve held you longer that night when you kissed me goodbye through your tears,” he sings on the soft rock number, which plays in the background of the teaser. “If I would’ve known those were the golden years/ I would’ve never left you alone when you needed me most, my dear.”

Trending on Billboard

The new album will follow a string of singles from Bassett, including last year’s “Just Love” and 2022’s “Different” and “I’m Sorry.” In 2022, he released the EP Sad Songs in a Hotel Room.

The announcement comes about two weeks after the singer/actor teased “The Golden Years” in a viral TikTok, in which he sang along to a snippet of the track on the beach. At the time, many commenters speculated that the regret-filled lyrics were about either Olivia Rodrigo or Sabrina Carpenter, both of whom he’s been romantically linked to in the past.

See Bassett’s announcement — and stream “The Golden Years” — below.

Gabby Barrett on Taking a Classic Emotional Approach in ‘Dance Like No One’s Watching’

With Mother’s Day in the rearview mirror, Gabby Barrett is learning to better appreciate the parent/child relationship the holiday represents.

In successful child-rearing, Mom and Dad essentially make themselves obsolete — after doting on the kids, sinking time and money into them, those children grow up, move away and create lives of their own. It makes things complicated, but there’s a sweet full-circle experience when the grown-up offspring come to understand the sacrifice that was involved in raising them as they, in turn, parent the next generation.

“I never understood that before I had kids,” Barrett says. “I’ve seen those relationships where it’s really difficult for parents to let their children go, you know, but they’re going to be adults longer than they’re going to be children, and having your mind set up that way will hopefully make it a little bit easier whenever that day comes.”

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Barrett isn’t the only person thinking about circle-of-life inevitability. So is Luke Combs, who had an idea in 2022 to write about how letting go plays out in a father/daughter relationship. Combs was trying to widen his creative relationships at the time, setting appointments with some of his frequent collaborators’ co-writers. And it was in that spirit that he proposed a writing appointment with regular co-writer James McNair (“Lovin’ On You,” “Glory Days”) and one of McNair’s professional partners, Emily Weisband (“Can’t Break Up Now,” “Looking for You”). When Combs extended the invitation, it fell during a week Weisband had intended to take off to prep for her wedding, but she couldn’t pass up the opportunity. 

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“I’m a huge fan of Luke,” she says. “And I’m a huge fan of the way that he does business and the way that he stays so connected and loyal to his friends.”

Combs, McNair and Weisband met on Sept. 26 at Sony Music Publishing’s Fire Hall, spending about an hour chatting before Combs mentioned “Dance Like No One’s Watching,” an idea he had about the sweep of a father/daughter relationship. The setup for the day was perfect because a song about a daughter needed to have a female involved in its creation.

“I think in his brain it was this big, iconic wedding song,” recalls Weisband. “He was like, ‘If you can write one of those, they’re huge.’ And so we took on the challenge.”

They fell into a waltz time — not because the hook involved dancing, Weisband says, but because it felt “big and dramatic.” That’s certainly the tone they gave the chorus first, fitting the title to a languid melody with long notes. 

“The big drawn-out melody, ‘Daaaance liiiike noooooo ooooone’s watching,’ it just felt like this is a singer’s song,” explains Weisband. “So [we] let the notes last a long time, let it just kind of flow out. It doesn’t have to be too wordy. It just has to be pure emotion. I definitely think we had to get that part right first.”

That chorus included her father’s encouragement to accept the risk of love if it appeared, unwittingly mirroring the encouragement in Lee Ann Womack’s “I Hope You Dance.”

When the chorus was mostly finished, they started building the rest of the story. Verse one relied, in part, on Weisband’s memory of a father/daughter Valentine’s dance at elementary school, when her dad guided her through her insecurities about dancing in front of her classmates. Verse two zoomed ahead to Dad helping pack the trunk as the protagonist heads off for college — shades of The Chicks’ “Wide Open Spaces.” 



Weisband had mentioned as they wrote the chorus that she and her father had taken lessons for the first dance at her wedding — “Well, that’s the bridge,” Combs told her — and they reversed the emotions from the Valentine’s dance for that section, with the daughter coaching Dad during the wedding dance to stay cool: “Just don’t look at Mom.” Though they consider it a bridge, it’s literally a third verse, using the established verse melody.

“When I say ‘bridge,’ it was just that last thing that’s going to really put the dagger in the heart,” she notes.

Weisband played “Dance Like No One’s Watching” for her dad later that week, and he managed to hold it together. “I remember he went, ‘It’s good,’ and just turned away,” she says. “He had to wait till after my wedding to be like, ‘That song’s amazing.’ ”

Between her Oct. 1 wedding, the honeymoon and moving into a new home, it was weeks before she finished the demo. The day she sent it to Combs, he texted it to Barrett, whom he had always envisioned as the beneficiary of their work. Barrett was taking a leisurely bath when the phone pinged, and she held the cell tightly as “Dance” connected with her on an emotional level. “Fortunately, I did not drop it in the water,” she says.

“Dance” resonated with Barrett as a mom — she delivered her third baby, Ivy Josephine Foehner, on Feb. 17 — but it also spoke to her of her own transition into adulthood.

“The lyric ‘Girl, it’s a big world/ And it’s so easy to get lost in’ — that lyric hits me and just brings me back to the memories of really starting to do things all on my own,” she says.

She joined a band of session players at Nashville’s Blackbird Studios to record “Dance,” the first time she had been able to do that. Her first album’s vocals, recalls producer Ross Copperman (Dierks Bentley, Darius Rucker), were either from her songwriting demos or done remotely during the pandemic. The band responded to her emotions, dressing her performance with a quiet fragility. 

Barrett returned to Blackbird at a later date to do the final vocal, delivering the parent/child storyline with all the right emotions, though she remained almost motionless in the process.

“She was so pregnant,” says Copperman. “She was sitting on a stool, and it just kind of flies out of her mouth. You’re like, ‘Wow, how did that just happen?’ ”

McNair orchestrated Combs’ participation on background vocals. Combs never steals the show — there are moments that it sounds like him, though he’s mostly tucked in behind Barrett, acting very much like a support singer. In the final seconds, though, he lines his harmonies up tightly with Barrett’s curly melodic ad-lib.

“This guy is such a good singer,” Copperman says. “I would not have followed that trill. I would have just kind of fallen off that note. But it’s cool, and it’s also cool just how intentional he was with singing the harmony. Most people wouldn’t have gone that deep on a harmony.”

Warner Music Nashville released “Dance Like No One’s Watching” to country radio via PlayMPE on March 8. The plot is timeless, but it should make a particular impact next month as the calendar reaches Father’s Day.

“It’s becoming a song to create new special memories like Daddy/daughter dances or at-school events or weddings,” says Barrett. “I’m receiving all these sweet clips of fans sharing that moment with me, and I’m seeing my fans make core memories. It’s just so amazing they think of me to share their forever moment.” 

U.S. DOJ Plans to Sue Live Nation Following Antitrust Investigation: Explaining the Dispute

Officials with the Department of Justice’s Antitrust Division plan to sue Live Nation after they wrap up a two-and-a-half-year investigation into the company, according to two high-level sources with knowledge of the matter.

The lawsuit will take aim at Ticketmaster’s use of exclusive venue contracts for its ticketing services, the sources say. Last week, Live Nation officials met with attorneys from the Department of Justice to discuss the case, including DOJ Assistant Attorney Jonathan Kanter, but neither the DOJ nor Live Nation commented on the meeting’s details. There’s no clear timeline on when the DOJ plans to officially close its investigation or file suit, and the two sides could meet again to discuss the case. Both The Wall Street Journal and Politico have previously reported that the DOJ planned to sue Live Nation in published reports earlier this year.

Live Nation officials are continuing to cooperate with the investigation, company president Joe Berchtold indicated on a May 2 earnings call. Based on the issues the DOJ has raised with Live Nation, Berchtold said he believes the lawsuit is related to “specific business practices at Live Nation” and “not the legality of the Live Nation/Ticketmaster merger.”

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That’s both good and bad for Live Nation officials. On the one hand, if the merger isn’t central to the government’s case, then ending the merger and splitting the company up probably isn’t on the table — at least according to Berchtold. Alternatively, if the government believes that the company’s use of exclusive ticketing contracts with venues is monopolistic, it could propose an even harsher penalty.

That’s because politicians like Senator Amy Klobuchar (D-Minn.), who chairs the anti-trust subcommittee in the Senate, have zeroed in on Ticketmaster’s 70-80% market share of the top 100 highest-grossing theaters, arenas and stadiums in North America. Klobuchar has repeatedly said she believes Ticketmaster uses exclusive contracts to lock up market share. In contrast, Ticketmaster attorneys and industry advocates have argued before that the exclusive nature of these contracts benefits venues because it simplifies the ticket-buying process for consumers and generates important revenue for venues that they would not earn without an exclusive agreement.

DOJ officials are also expected to argue that Live Nation has illegally abused its power in the concert business to drive up ticket prices over the last decade, in part through additional fees that can add as much as 30% to ticket prices.

But officials from Ticketmaster, which Live Nation controls, have long argued that artists set their ticket prices, not Ticketmaster, and that only a small percentage of the fees collected above face value go to the ticketing company, with the vast majority of those funds going to venues to help cover the costs of a concert.

The government also bears the burden of proving why its proposed remedies — like forcing Live Nation to sell its stake in Ticketmaster — would benefit consumers.

Simply being named in an antitrust lawsuit filed by Kanter has the potential to significantly damage Live Nation reputationally and financially. A detailed lawsuit against it could galvanize the company’s critics behind a narrative that alleges the concert conglomerate acts monopolistically and abuses its power, undoing the company’s efforts in recent years to improve its image and destigmatize its business model.

A lawsuit will also likely have a negative impact on the company’s share price and serve as a major distraction for Live Nation when it would otherwise be focused on strategic expansion following its most successful fiscal year ever, with revenue up 36% from the previous year and an impressive $1.8 billion in adjusted net income.

Instead, Live Nation may face the full weight of America’s top law enforcement agency, which this year has taken on companies like Apple and Google with market capitalizations that are each 100 times larger than Live Nation’s. While Kanter’s efforts against these companies have been applauded by powerful allies including Senator Amy Klobuchar (D-Minn.), who has vowed to “make antitrust sexy again,” Kanter’s efforts so far have been unsuccessful, with the DOJ losing the bulk of the major antitrust cases it has filed. In December 2022, a judge dismissed the DOJ’s efforts to block a merger between security firms Booze Allen Hamilton and Everwatch as well as mergers between UnitedHealth Group and Change Healthcare, U.S. Sugar Corp and Imperial Sugar, Meta and Within, and Microsoft and Activision.

Kanter also lost a major ruling in the DOJ’s antitrust case against Google earlier this year when a judge struck down a request to bar the tech giant from offering up evidence that activities the government had deemed anti-competitive also had positive qualities that improved the product and generated positive consumer feedback.

“If the government can tip the scales and prevent courts from considering pro-competitive effects, the government could win every case by default,” wrote Sean Heather, a senior vp at the U.S. Chamber of Commerce, in a recent paper on the Google case.

The Google litigation, which deals with ongoing business practices at the company as opposed to a merger, could be a litmus test for a yet-to-be-filed Live Nation suit. In the Google case, the government alleges that the company controls 90% of the online search advertising market by paying out billions of dollars each year to companies like Apple and Samsung to be the default search engine on their computers and smartphones.

While Live Nation officials are confident they can prevail in the looming antitrust case, they will do so with far fewer resources than other companies hauled before the Justice Department in recent years. Live Nation’s market cap currently sits at $22 billion, whereas Google and Apple’s combined market cap is $6.7 trillion, making Live Nation one of the smallest companies in recent decades to be the subject of such a lawsuit.

Live Nation declined to comment for this story. The Department of Justice did not respond to requests for comment.