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A wide range of guest performers will hit the American Idol stage Sunday alongside this year’s top 14 contestants ahead of the live crowning of the 2025 winner during the three-hour finale, Ryan Seacrest announced on Monday’s (May 12) live episode. Sunday’s performers include: Brandon Lake, Goo Goo Dolls, Good Charlotte, Jennifer Holliday, Jessica Simpson, […]

Veteran music journalist Gerry Wood died on Saturday (May 3) in Inverness, Fla. He was 87.
Wood was Billboard’s Nashville bureau chief and country editor in 1980 when he was promoted to editor-in-chief of the magazine, resulting in a transfer to the publication’s New York headquarters. He served in that capacity through 1983, when he left Billboard, only to return in 1986 as general manager/Nashville, a position he held into 1991.

Wood’s elevation to editor-in-chief coincided with the explosion of country music in the late 1970s and early ‘80s, when Kenny Rogers, Willie Nelson and Alabama were among the top-selling acts in any genre and the film Urban Cowboy became a pop-culture phenomenon. Wood was there before, during and after the explosion, charting every bit of it. He could probably relate to the lyrics of a Barbara Mandrell hit in 1981: “I Was Country When Country Wasn’t Cool.”

Ken Schlager, former Billboard managing editor, paid tribute to Wood on Facebook: “When I joined Billboard as managing editor in November 1985 one of the first tasks was finding a new Nashville bureau chief. Our publisher, Sam Holdsworth (R.I.P.), had asked Gerry, who was no longer associated with Billboard, to check out the candidates that had emerged and scout for others. After several weeks, Gerry reported back that he, in fact, was the best candidate. It seemed like a whole lotta hubris, but it turned out he was right. That’s how Gerry ended up back at Billboard.

Trending on Billboard

“Some weeks later, when I made my first trip to Nashville, Gerry, now bureau chief, greeted me with a gift basket in my hotel room filled with GooGoo Clusters, Moon Pies, and airplane bottles of Jack Daniel’s.

“Gerry was a sweet guy. Smart, hard-working, knowledgeable and well-connected. I’m sorry to hear of his passing.”

Born Gerald Edmund Wood in Lewiston, Maine, on April 7, 1938, Wood began his career in radio. He was a news and sports reporter and DJ at WSON in Henderson, Ky., and at WVJS in Owensboro, Ky. He also served as news reporter and DJ at WAKY in Louisville, Ky.

Wood graduated from the University of Kentucky in 1960 and went on to earn a master’s degree from Vanderbilt University in Nashville in 1965. He later worked in public relations at Vanderbilt (1966-69).

While attending Vanderbilt and after, Wood served as news reporter and DJ at WKDA in Nashville (1964-66). After working in public relations at Vanderbilt (1966-69), he shifted to working on Music Row, where he worked in public relations at ASCAP (1969-75), rising to associate director. Wood began his first stint at Billboard in 1975.

Wood left Billboard in 1983 when the editorial leadership was reorganized under group publisher Jerry Hobbs. He moved back to Music City to become editor-in-chief at Nashville magazine (1983-84) and a special correspondent for People magazine (1984). Like many others before and since, Wood returned to Billboard for a second tour of duty, rejoining the staff in 1986 as general manager/Nashville. In that capacity, he directed and coordinated editorial, chart and sales activities in the country sector. He held that position through 1990.

On local TV, Wood became known as “The Gamboling Gourmet” on WTVF-TV. He also worked under that identity for Nashville magazine. As a freelance journalist, Wood wrote for Country Weekly and many other publications. He was also a regular reviewer on the TNN cable channel in the mid-1980s.

Wood won a Journalistic Achievement Award from SESAC in 1981. He was a board member of the Nashville Entertainment Association and a member of the Country Music Association, the Gospel Music Association, the Recording Academy, the Nashville Songwriters Association International, and Sigma Delta Chi.

Wood was also a published author. Ain’t God Good (1975) and Let the Hammer Down (1978) were collaborations with country comedian Jerry Clower. Other titles included The Grand Ole Opry Presents the Year in Country Music (1997) and Tales From Country Music (2003).

Outside of his career, Wood was a travel enthusiast. Late in life, he moved to Florida and wrote books and articles for local publications on the Gulf Coast.

“I was just laughing with Ed [Morris] yesterday as we were reminiscing about our days at Billboard with Gerry at the helm of the Nashville bureau,” says Debbie Holley, who worked under Wood in the country department at Billboard in the 1980s.

“Ed and I never knew where he would be calling in his column from, to whichever one of us was willing to take it over the phone by dictation. If he wasn’t on a plane or boat, he was calling from a train making his way across the country!

“Ed and I truly loved Gerry Wood! If free-flowing, imaginative, intuitive, and emotional thought are characteristics associated with the right brain, his right hemisphere must have been double in size. Gerry Wood definitely encompassed and underscored ‘creative.’ He was full of original ideas, artistic works and new possibilities. He was unconventional and impractical at times, but that always led to even more interesting projects. He was more than willing to share the spotlight and pushed everyone around him to ‘be your best self,’ ‘try things without fear of judgment,’ and ‘go for it, or you’ll always wonder!’

“I’m sad that he has left us, but I bet there are a couple of one-way streets called ‘Music Row’ just inside ‘Heaven’s Gates!’ And, I bet Gerry Wood is right there with all of the songwriters, music publishers and record label execs on ’16th (and 17th) Avenue!’”

Ed Morris, who was Billboard’s country music editor from 1990-95, tells Billboard, “Gerry hired me in 1981 as he was leaving Nashville for New York to take the chief editor job. Having heard I was an atheist, he found it enormously amusing to name me gospel editor, thereby making me hostage to the Righteous for the next two years. Gerry lived to be entertained—by both by personalities and circumstances—and I never once saw him less than buoyant.”

Wood also had a good sense of humor about himself. At one Billboard staff conference, a staff member, Jean Williams, wasn’t able to be present, but sent in taped remarks. At one point she said, “Gerry Wood had a good idea. I think it was about a year ago.”

William paused just a little too long between those two sentences, creating the impression that good ideas from Wood were a rarity. Everyone in the room laughed at the unintended slight. No one laughed harder than Gerry.

On Friday (May 9), SoundCloud encountered user backlash after AI music expert and founder of Fairly Trained, Ed Newton-Rex, posted on X that SoundCloud’s terms of service quietly changed in February 2024 to allow the platform the ability to “inform, train, develop or serve as input” to AI models. Over the weekend, SoundCloud clarified via a statement, originally sent to The Verge and also obtained by Billboard, that reads in part: “SoundCloud has never used artist content to train AI models, nor do we develop AI tools or allow third parties to scrape or use SoundCloud content from our platform for AI training purposes.”
The streaming service adds that this change was made last year “to clarify how content may interact with AI technologies within SoundCloud’s own platform,” including AI-powered personalized recommendation tools, streaming fraud detection, and more, and it apparently did not mean that SoundCloud was allowing external AI companies to train on its users’ songs.

Trending on Billboard

SoundCloud seems to claim the right to train on people’s uploaded music in their terms. I think they have major questions to answer over this.I checked the wayback machine – it seems to have been added to their terms on 12th Feb 2024. I’m a SoundCloud user and I can’t see any… pic.twitter.com/NIk7TP7K3C— Ed Newton-Rex (@ednewtonrex) May 9, 2025

Over the years, SoundCloud has announced various partnerships with AI companies, including its acquisition of Singapore-based AI music curation company Musiio in 2022. SoundCloud’s statement added, “Tools like Musiio are strictly used to power artist discovery and content organization, not to train generative AI models.” SoundCloud also has integrations in place with AI firms like Tuney, Voice-Swap, Fadr, Soundful, Tuttii, AIBeatz, TwoShot, Starmony and ACE Studio, and it has teamed up with content identification companies Pex and Audible Magic to ensure these integrations provide rights holders with proper credit and compensation.

The company doesn’t totally rule out the possibility that users’ works will be used for AI training in the future, but says “no such use has taken place to date,” adding that “SoundCloud will introduce robust internal permissioning controls to govern any potential future use. Should we ever consider using user content to train generative AI models, we would introduce clear opt-out mechanisms in advance—at a minimum—and remain committed to transparency with our creator community.”

Read the full statement from SoundCloud below.

“SoundCloud has always been and will remain artist-first. Our focus is on empowering artists with control, clarity, and meaningful opportunities to grow. We believe AI, when developed responsibly, can expand creative potential—especially when guided by principles of consent, attribution, and fair compensation.

SoundCloud has never used artist content to train AI models, nor do we develop AI tools or allow third parties to scrape or use SoundCloud content from our platform for AI training purposes. In fact, we implemented technical safeguards, including a “no AI” tag on our site to explicitly prohibit unauthorized use.

The February 2024 update to our Terms of Service was intended to clarify how content may interact with AI technologies within SoundCloud’s own platform. Use cases include personalized recommendations, content organization, fraud detection, and improvements to content identification with the help of AI Technologies.

Any future application of AI at SoundCloud will be designed to support human artists, enhancing the tools, capabilities, reach and opportunities available to them on our platform. Examples include improving music recommendations, generating playlists, organizing content, and detecting fraudulent activity. These efforts are aligned with existing licensing agreements and ethical standards. Tools like Musiio are strictly used to power artist discovery and content organization, not to train generative AI models.

We understand the concerns raised and remain committed to open dialogue. Artists will continue to have control over their work, and we’ll keep our community informed every step of the way as we explore innovation and apply AI technologies responsibly, especially as legal and commercial frameworks continue to evolve.”

05/12/2025

Top Fortnite players & content creators competed in L.A., where D4vd provided commentary, and ZHU performed at Fortnite and Billboard’s afterparty.

05/12/2025

Latto really needs “Somebody,” and she announced on Monday (May 12) that she’s dropping her new single with that name on Friday. “Greetings from Jamaica,” she wrote on Instagram under the island-inspired artwork. She first teased the single on X back in March with a one-minute clip of her playing it in the car. “I’m […]

In her 1991 documentary Truth or Dare, Madonna declared that Sean Penn was the love of her life. And more than three decades later, the actor is sharing his thoughts on it. In an interview on The Louis Theroux Podcast posted Monday (May 12), Penn said that his superstar ex-wife was “very sweet” for her […]

The lineup for this year’s KCON LA just got even more robust, with aespa, NCT 127 and several more star K-pop acts joining the list of previously confirmed performers in a second wave of lineup announcements unveiled Monday (May 12).
In addition to the “Whiplash” girl group and the NCT subunit, RIIZE, KISS OF LIFE, MEOVV, NOWADAYS, MONSTA X, KEY, HWASA and YUQI have also been added to the 2025 lineup. The festival also revealed that CHOIHOJUNG, who won Mnet’s dance competition series STAGE FIGHTER, will perform too.

The news comes a couple of weeks after the Los Angeles iteration of the global KCON enterprise revealed the first set of names headed to Crypto.com Arena this year. Among them were CRAVITY, SEVENTEEN subunit HxW, IS:SUE, IVE, izna, JO1, LEE YOUNGJI, NMIXX, P1Harmony, Roy Kim and ZEROBASEONE.

Trending on Billboard

KCON LA will take place Aug. 1-3 at the downtown L.A. venue, featuring multiple stages such as ARTIST STAGE, MEET & GREET, X STAGE and M COUNTDOWN. The 2025 theme is “KLOVER’S CLUB FAIR,” taking inspiration from the lucky symbolism of four-leaf clovers.

In addition to musical performances and opportunities to see their favorite K-pop artists up close, attendees of the festival will also get to experience different facets of Korean culture through different activities and stations dedicated to fashion, beauty and food.

“This year, [organizer] CJ ENM plans for a more immersive KCON LA 2025, expanding both on-site and digital experiences,” reads a release, which adds that the festival was “designed to help fans connect directly with their favorite idols, discover emerging acts on X STAGE, and join dance and participation programs designed just for them.”

The L.A. installment of KCON is just one of several that take place each year. Japan, Hong Kong, Germany, United Arab Emirates, France, Mexico, Australia, Thailand and Saudi Arabia have also hosted iterations since the inaugural festival kicked off in the United States in 2012.

In 2024, KCON LA attracted more than 5.9 million fans from 170+ countries, both on-site and virtually.

Fuerza Regida makes a splash across Billboard‘s charts with the arrival of 111XPANTIA, the group’s ninth studio album, which debuts at Nos. 1 and 2 on the Top Regional Mexican Albums and Top Latin Albums charts (dated May 17), respectively. The 12-track set also opens at No. 2 on the all-genre Billboard 200 chart, becoming the highest charting Spanish-language album by a duo or group ever.
111XPANTIA was released May 2 as a 12-song album on Street Mob/Rancho Humilde/Sony Music Latin. It starts at No. 1 on the Top Regional Mexican Albums with 76,000 equivalent album units earned in the U.S. in the tracking week ending May 8, according to Luminate.

Trending on Billboard

Of the 76,000 units for the week, streaming contributes 37,000, which translates to 50.4 million official on-demand streams. The remaining 39,000 units are nearly all from album sales, with a negligible number of track-equivalent units.

111XPANTIA marks Fuerza Regida’s sixth No. 1 overall on Top Regional Mexican Albums and third No. 1 debut in just under six years. The group’s No. 1 run began in July 2019, when Del Barrio Hasta Aquí debuted at the summit, becoming its longest-leading set to date, with an 18-week domination. There, 111XPANTIA joins three other Fuerza Regida’s albums, two still in the top 10: Pa Las Baby’s y Belikeada at No. 9, Mala Mía (EP), their joint effort with Grupo Frontera, at No. 10, and Dolido Pero No Arrepentido at No. 19.

111XPANTIA also sees its No. 2 debut on Top Latin Albums, matching the group’s previous No. 2 start with Pa’ Las Baby’s Belikeada –which eventually dominated for three weeks in 2024.

As reported, on May 2, 111XPANTIA was released in both on physical formats and as a digital download for purchase, and via streaming platforms. The physical albums were sold exclusively through the group’s webstore. A deluxe edition of the album, featuring three bonus tracks—including collaborations with Anuel AA and Bellakath—followed shortly after on May 5, available via digital download and streamers.

15 Simultaneous Songs: On a song front, all 12 songs from 111XPANTIA arrive on the multimetric Hot Latin Songs chart. “Peliculiando” leads the new cuts, with most of it debut driven by 5.3 million official U.S. streams in the tracking week. (Hot Latin Songs blends streams, airplay and sales.) The set was previewed by its first single “Por Esos Ojos,” which rallies 10-3 with the Greatest Gainer/ Streaming honors, after registering 7.3 million official streams, up 36%. Those songs join two other tracks with Grupo Frontera, as well as one with Clave Especial, for a total of 15 concurrent entries on the tally.

Let’s dive into Fuerza Regida’s lineup on this week’s Hot Latin Songs chart:

No. 2, “Me Jalo,” with Grupo FronteraNo. 3, “Por Esos Ojos”No. 11, “Peliculiando”No. 14, “Marlboro Rojo”No. 16, “GodFather”No. 22, “Ansiedad”No. 25, “Tu Sancho”No. 26, “Ayy weyy”No. 31, “Caperuza”No. 32, “Como Capo,” with Clave EspecialNo. 34, “Nocturno”No. 35, “Chavalitas”No. 37,” Chaka”No. 38, “Chufulas”No. 40, “Coqueta,” with Grupo Frontera

Elsewhere, 111XPANTIA also bows at No. 2 on the all-genre Billboard 200, marking the highest charting Spanish-language album by a duo or group ever, surpassing Maná’s Amar Es Combatir (No. 4 in 2006). Plus, it scores the largest week, by units, for any Spanish-language album by a duo or group, and by a regional Mexican album, since the chart began ranking by units in December 2014.

All charts (dated May 17, 2025) will update on Billboard.com tomorrow, May 13. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Kendrick Lamar and Baby Keem had a big influence on one of the biggest movies of the year. In a clip posted by IMAX on social media, Thunderbolts director Jake Schreier explained how going to see Christopher Nolan’s movie Tenet at IMAX headquarters while working on music videos with the two cousins during the pandemic […]

A slimmed-down Lizzo joined The Breakfast Club on Monday (May 12), and the “Truth Hurts” singer opened up about her “weight release” process, which began with cleansing her mind and clearing out the negative energy from her life.
“I think I had to start with cleaning out my mind and my energy and clearing out all of the negativity around me. And I feel like I released so much I was holding on,” she said. “I do call it a weight release because [when] it started, I got snatched here first. And then my body just followed suit so I do feel amazing.”

Lizzo credits workouts like pilates and yoga sculpting as well as pickleball and going on hikes as part of her exercise regimen.

Trending on Billboard

The Detroit native pushed back when co-host Charlamagne Tha God said he doesn’t consider her “big” anymore. “I am big,” she said. “What we talking about? Baby, I’m big.”

Lizzo added: “The Internet is like, ‘Oh Lizzo’s skinny now,’” she said. “I am well over 200 pounds, do you know what I’m saying? I’m 5-foot-9. I got double-numbered pants on now.”

While Lizzo said she reached her weight loss goal in January, a number she hasn’t seen on the scale since 2014, the singer still looks in the mirror and sees her 2023 self, and even at her heaviest, Lizzo says she still felt mentally skinnier back then compared to now.

“Put me next to any pop star right now, I’m still bigger than them,” she explained. “I didn’t realize how much my body changed until I was filming the ‘Love in Real Life’ music video. I was in shock. It shocked me, because the way that I’m releasing weight has been a long slow process,” she added. “People may not have seen me or been keeping up with me, but I’ve been posting about it, and I’m in a calorie deficit, so that’s the one that sneaks up on you.”

Lizzo continued: “When I was bigger, I felt skinnier than I do now. When I was in my string bikini and I was at my heaviest weight, I was like, ‘Skinny bi—.’ That’s when I realized skinny was a feeling and not a look.”

While she’s feeling “Good as Hell,” Lizzo is gearing up for a new album. She returned with her “Love in Real Life” and “Still Bad” singles earlier this year.

Watch the full interview with Lizzo below.