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Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Miley Cyrus seeks friends for “End of the World,” Ed Sheeran goes global and ENHYPEN drop their first single of the year. Check out all of this week’s picks below:
Miley Cyrus, “End of the World”
The three songs that Miley Cyrus has released this week, culminating in sparkling new single “End of the World,” have included members of indie darlings like Alvvays, The War on Drugs and Model/Actriz in the liner notes — but instead of Cyrus pivoting to the Pitchfork set, she has synthesized their attributes for her most effervescent collection of songs in years, with “End of the World” sounding primed to shimmer on top 40 radio and stoking anticipation for the upcoming album of the same name.
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Ed Sheeran, “Azizam”
Place the wistful, finger-picked melancholy of – (Minus) and Autumn Variations squarely in the past: Ed Sheeran is back to crafting stadium-sized anthems, and with “Azizam,” a relentlessly catchy mash-up of the singer-songwriter’s Irish folk sing-along instincts and Persian pop production, Sheeran has kicked off his next era with global ambitions.
Elton John and Brandi Carlile, Who Believes in Angels?
“My ambition for her with this album was to break her internationally,” Elton John told Billboard recently about working with Brandi Carlile on Who Believes in Angels?, a rollicking rock project that pushes Carlile out of her Americana sound and towards more mass-appeal songwriting; the pair play off each other well, and the project could indeed open new doors for the Grammy winner.
ENHYPEN, “Loose”
ENHYPEN’s first new music of 2025 is a throwback to boy band days of yore: “Loose” carries a funky groove and boasts plenty of high-falsetto harmonies, with moments that recall classic Motown but the K-pop group steeping the single in modern sensibilities. “Loose” will thrill ENHYPEN diehards, but there’s plenty of crossover potential with this one.
Sexyy Red, “Hoochie Coochie”
With one minute remaining on a two-and-a-half minute track, Sexyy Red sits back and lets the ominous piano line rock for a few seconds, before tossing out some ad-libs and returning to the chorus; that’s how efficient she is on the raunchy, riotous “Hoochie Coochie,” dressing down her competition so thoroughly in the first half of the new single that she can take a break to shine midway through.
Djo, The Crux
While Joe Keery’s musical project scored a viral smash last year with “End of Beginning,” Djo is a long-term investment that’s already paying dividends: new album The Crux stretches its creative ambition outward, as Keery tinkers with alt-pop idiosyncrasies, makes room for moments of hushed beauty, and upends anyone pigeonholing him into one song, sound or medium.
Lainey Wilson, “Bell Bottoms Up”
“Bell Bottoms Up” is already a set highlight on Lainey Wilson’s tour in support of last year’s Whirlwind album, and the studio version of the single captures its live energy, with the rising country star declaring, “I’m fillin’ up these jeans like I do my cup / Throwback, throw down, bell bottoms up!” before a heel-kicking guitar solo crashes in.
Editor’s Pick: Scowl, Are We All Angels
The tension between pop bliss and hardcore rage makes Scowl’s new album, Are We All Angels, an immediately intoxicating listen — the way that the Santa Cruz band construct songs on their Dead Oceans debut, the next scream or hook is always lurking around the corner, but band leader Kat Moss serves as the connective tissue between Scowl’s two modes and achieves a true breakthrough.
It’s always a bold move to perform one of the coaches’ songs on The Voice, but Divighn was up for the challenge — and he excelled.
For the Knockout rounds, the 33-year-old California native opted to perform Maroon 5’s “Harder to Breathe” in front of Adam Levine himself. He added choreography and amplified emotion to the Songs About Jane breakout hit, all while maintaining impressive vocal control.
His competitor, Kaiya Hamilton, followed up with a performance of Alessia Cara’s “Here,” an objectively difficult song to sing due to its pace. Hamilton had no issue, though, displaying flawless vocal ability and range as she delivered the track.
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Both performances were met with standing ovations by the judges, and Levine voiced his support for Divighn’s choice to perform a Maroon 5 song. “Divighn, you got great taste in music, man,” he joked, before adding more seriously, “I always secretly dread when people are going to do our songs, because it makes me nervous. I’m so close to it. I love what you did with it. You took it and did something that I actually liked, and that it wasn’t what I normally do. The way that you can get up there and move the way you were moving, and still just deliver a rock solid big vocal, that’s big.”
He also praised Hamilton, noting, “I love how you sing. You kind of gave the opposite clinic. Your’s was like, ‘I’m not going to worry about anything except singing my butt off.’”
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Though, as perhaps expected, he ultimately gave his pick to Divighn. “I would maybe go with Divighn, because he has all these other things that were really impressive but it’s no disrespect to you Kaiya because you did an amazing job as well,” he said.
However, the choice on who stays in the competition comes down to the duo’s coach, Michael Bublé, who revealed that he “made a mistake” putting Divighn and Hamilton against each other. “Divighn, your performance, your choreography was beautiful and so smooth and so fun to watch. You’re an overall entertainer,” he told his team member. “Kaiya, your voice is undeniable. You sang the heck out of this and I feel like you know who are as an artist.”
Watch the Knockout round performance below, and find out who Bublé chooses when the full episode airs on Monday (April 7) at 8 p.m. ET on NBC, before it streams the next day on Peacock.
Vancouver label Nettwerk is giving a boost to a key west coast accelerator program.
Music BC’s ARC intensive welcomes 10-15 emerging artists annually to participate in intensive workshops and professional development training. For the next three years, Nettwerk will be offering extra resources to the program, to help the cohorts further grow their skills and profiles.
Specifically, Nettwerk will give participants the opportunity to leverage the label’s direct access to digital service providers (DSPs) and social media properties. In an industry where digital presence has become paramount, those tools will help ARC artists reach a wider range of fans and build audiences toward long-term loyalty.
The label is an influential indie music company in Canada, representing Canadian and international talent like pop duo Milk & Bone, folk singer James Vincent McMorrow, and indie pop artist Miya Folick. Founded in 1984, Nettwerk operates in cities across the globe like London, Sydney, Berlin and Nashville. Recently, the label celebrated its 40th anniversary.
“At Nettwerk, we believe deeply in the value of the independent music sector in fostering innovation and elevating exceptional talent,” says Nettwerk president Simon Mortimer-Lamb. “Partnering with Music BC’s ARC Program celebrates Nettwerk’s unwavering commitment to helping unsigned Canadian talent find their places on the world stage and build a lasting legacy in the music industry.”
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“With an undeniable track record and a long-standing commitment to artist development, Nettwerk has helped shape the careers of countless artists on the global stage,” adds Music BC Executive Director Lindsay MacPherson. “It speaks volumes that they recognize the impact of our work through ARC to empower emerging talent in our own backyard.
ARC has hosted three cohorts so far, with alumni including rising hip-hop artist Kimmortal and R&B singer Sadé Awele. The program consists of a three-day training clinic, a five-day retreat, and a culminating performance, tackling topics like building a brand, vocal performance and recording techniques and mental health care.
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bbno$ Lands ‘Check’ on the Billboard Canadian Hot 100
bbno$ has a knack for making the most of a moment.
The Vancouver rapper won the TikTok Fan Choice Award at the Junos this past weekend, and used the time to nab the viral moment of the night. “Elon Musk is a piece of garbage,” he said, eliciting cheers in the patriotic crowd. (He also took the time to remind people his name is pronounced “baby no money” and not “bibinos.”)
Already in the viral zeitgeist, he has another thing to celebrate as his song “Check” debuts at No. 75 on the Billboard Canadian Hot 100 for the chart dated April 5, 2025.
Built around a familiar sample, War’s instantly recognizable “Low Rider” horns, the song’s nonstop hooks burrow into your head in less than two minutes – though many are hearing it in even shorter 5 or 10 second chunks on TikTok.
bbno$ has had billions of streams on Spotify and TikTok for songs like “La La La” and “Edamame,” with “Check” quickly racking them up too, so expect to see him on the charts again.
Check out more on this week’s charts here.
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SOCAN Celebrates 100th Year: Canada’s largest music rights organization marks its centennial with a record $512.4 million in royalty distributions, a 17.5% increase from 2023. Despite this success, SOCAN warns that less than 10% of online music consumed in Canada is Canadian-made. It urges greater support for local artists, emphasizing their role in the nation’s economy, culture, and global presence. SOCAN’s 2024 Annual Report highlights revenue growth to $559.4 million, new software initiatives, and enhanced educational programs, maintaining an expense-to-revenue ratio of 12%. FULL STORY
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SiriusXM Canada Launches New South Asian Music Channel, SiriusXM Dhamaka
SiriusXM Canada is launching a new channel dedicated to South Asian music.
That makes the satellite radio company the latest in a series of Canadian music institutions to put resources behind the massive growth of South Asian music in Canada.
The new channel, SiriusXM Dhamaka, is available across North America on channel 796. The channel will play a mix of Canadian and international stars, as well as featuring exclusive artist interviews, live performances, talk programming and comedy.
It’s programmed by Canadian radio host and Emmy-nominated music supervisor Raoul Juneja. Juneja previously created Canada’s first South Asian music TV show, V-Mix on OMNI Television in 2011.
Over ten years later, South Asian music is one of the buzziest subjects in the Canadian industry.
Rising superstar Karan Aujla won the Junos fan choice award last year, and heads into this year’s Junos with three nominations In 2024, Diljit Dosanjh made history with two Canadian stadium shows on his Dil-Luminati Tour, while artists like AR Paisley, AP Dhillon and Ikky make waves on the Canadian charts.
The Canadian industry is supporting that growth. The Junos introduced a new category for South Asian music recording for the 2025 awards, and Warner Music Canada’s 91 North records, a joint venture with Warner India, has been a key source of investment in new South Asian talent.
SiriusXM Dhamaka provides a new avenue for that expansion, promising to showcase Hindi, Punjabi, Pakistani, South Indian,Bengali and West Indian artists who make up the global South Asian diaspora.
“This channel has been in the works for some time, and we are so proud to finally announce its launch,” says Michelle Mearns, senior vice president of programming and operations. “SiriusXM Dhamaka showcases not only our incredible South Asian talent right here in Canada, but also international artists, giving listeners the opportunity to discover new and emerging music from around the world.”
Mumford & Sons has returned to the top of the U.K.’s Official Albums Chart for the first time in nearly a decade with the release of Rushmere (Apr. 4).
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The folk group’s fifth studio album – their first since 2018’s Delta – has placed them back at No. 1, and follows two previous chart-toppers: 2012’s Babel and 2015’s Wilder Mind. Their huge 2009 debut, Sigh No More, peaked at No. 2, as did Delta. Each of the band’s LPs – minus Sigh No More – has topped the Billboard 200.
Rushmere is the first LP from the group since the departure of guitarist Winston Marshall who left the band in 2021, with Marcus Mumford, Ben Lovett and Ted Dwayne continuing as a trio.
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The group’s upcoming arena shows sold out instantly upon ticket release last week, and will include two dates at London’s The O2, alongside dates in Manchester, Birmingham, Leeds, Newcastle, Cardiff, Glasgow and Sheffield in November and December.
Rock band The Darkness finish the week at No. 2 with eighth studio album Dreams on Toast, their highest spot for 22 years. Earlier this week, guitarist Dan Hawkins threw down the gauntlet in the chart battle with Mumford & Sons, saying to Classic Rock that he was “confident” that Dreams on Toast would go to No. 1, adding “We’re going to beat those c—s.” The flamboyant rockers’ 2003 debut Permission To Land remains their sole chart-topper in the U.K.
Following the release of a deluxe edition, Ariana Grande’s Eternal Sunshine returns to the top five, finishing the week at No. 3. The album first went to No. 1 upon its initial release in March 2024 and spawned two singles “Yes And?”, and “We Can’t Be Friends (Wait for Your Love)” which both hit No. 2 on the Official Singles Chart.
Sabrina Carpenter’s Short n’ Sweet finishes the week at No. 4 while indie hero Lucy Dacus’ Forever is a Feeling finishes at No. 5. In 2023, the debut album from Boygenius – comprised of Dacus, Phoebe Bridgers and Julien Baker – hit the top spot on the U.K. Albums Chart.
“Cowgirls” hitmaker and four-time ACM Award nominee Ernest is adding another notch to his musical resume, launching his own label, DeVille Records, in a joint venture with Big Loud Records (where Ernest himself signed as an artist in 2019).
Ernest’s DeVille Records features Chandler Walters, Rhys Rutherford and Cody Lohden as its first artists. Ernest, Walters, Rutherford and Lohden are all managed by new recently-announced management company Greenhouse Management, launched by Kiley Donohoe.
The initial project from the new label is Cadillac Sessions, a mixtape-style compilation set for release on May 9, that will feature two new original songs, and one cover from Ernest, Walters, Rutherford and Lohden, plus guest artists. The project will blend honky-tonk, ’90s country, Western swing and more.
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“We’re going to build this thing wide and on concrete,” Ernest said in a statement of DeVille Records. “Artist development. Write the songs and do it the old-school way. Make the videos, see the vision, help the vision come to life.”
“We have been in business with ERNEST for almost a decade. What started with ERN as a young prolific songwriter-artist in Big Loud’s publishing hallways, has evolved into so much more over the years,” Big Loud CEO / partner Seth England added. “Our partnerships in ERN’s Cadillac Music have gone so well, and his desire to create DeVille Records alongside of it made sense. ERNEST himself grew in an independent and cultural environment much like the one he desires to create. He and I have talked about this day for years, and all of the unique ways we could help break the next wave of prolific artists. Kudos to Rhys, Cody and Chandler for buying into this vision and supporting this unique rollout style with our upcoming DeVille project.”
With the new label, Ernest continues doubling down on giving back to his hometown of Nashville. Last year, he released a musical love letter to his hometown with the album Nashville, Tennessee, has earned multiple ACM, CMA and Grammy nominations, including his current ACM nominations for artist-songwriter of the year, as well as being a co-writer on the ACM song of the year-nominated song “I Had Some Help,” recorded by Morgan Wallen and Post Malone.
Writer, artist and steel guitar player Walters is touring with Post Malone and Ernest, and co-wrote the Post Malone/Morgan Wallen hit “I Had some Help.” Kentucky native Lohden, a former firefighter/paramedic, draws on the sounds of ’80s country singers such as Keith Whitley and Don Williams, and has toured with Ernest, Bailey Zimmerman and Walker Hayes. Rutherford has contributed to songs by (“Is This Really Over?”), Ernest feat. Morgan Wallen (“Hangin’ On”), Kashus Culpepper (“Talk With Me”) and George Pippen (“Rest of Our Life”).
Last month, DK Metcalf proposed to Normani — and according to the “Motivation” singer, she was totally clueless that the NFL wide receiver was going to pop the question.
While stopping by The Jennifer Hudson Show on Friday (April 4), Normani told her side of the story, describing how the new member of the Pittsburgh Steelers popped the question during a family gathering in Houston. “I had absolutely no idea,” she began. “As oblivious as oblivious can get, that was me.”
The former Fifth Harmony member went on to explain that Metcalf was originally going to propose to her a year prior on a trip to Turks and Caicos, but ultimately decided to wait as not to overshadow the June 2024 release of Normani’s debut solo album, Dopamine. Fast forward to last month, when the wide receiver tricked the musician into thinking that she was headed to a birthday celebration for his sister — but really, it was her own engagement that she walked into.
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“I’m like, dang, I hope I don’t ruin the surprise… I thought I was in on the surprise, but I got surprised,” Normani told Hudson, noting that the room in which Metcalf proposed was decorated with bunches of flowers, as well as a violinist and pianist. “He really did it up for me.”
The “Wild Side” musician’s visit to the talk show comes just a few weeks after Metcalf revealed their engagement during an NFL press conference following his recent trade from the Seattle Seahawks to the Steelers. “Hold that rock up, baby,” he said at the time, gesturing to Normani sitting nearby, before telling reporters: “It was my sister’s spring break and just thought about getting the whole family together for a big kumbaya and joining our families with the ring.”
The couple first sparked dating rumors in summer 2022, going official on Instagram a year later. They were introduced by Ciara and Russell Wilson, who played with Metcalf on the Seahawks.
“[Ciara] kept telling me, ‘There’s this guy, there’s this guy,’ for literally like two years,” Normani told Hudson on Friday. “I was in a relationship at the time… but then when the time came around and the time was right, God put all of that together.”
Also on the show, Normani played a game of “Shake It or Share It,” wherein she had to either answer personal questions or bust a move in different styles of dance. While avoiding queries about secrets she hasn’t told her parents and the craziest things fans have done, the X Factor alum showed off her impressive breakdancing and disco skills. She did, however, reveal which celebrity she’d have officiate her wedding to Metcalf — “Ciara, easy,” she said” — as well as if she wants to have kids someday.
“Absolutely,” Normani replied. “My dream has always been four. I want a big family.”
Watch Normani on The Jennifer Hudson Show above and below.
Over two decades ago, Texas native Jessica Simpson was known for her pristine, sleek pop image — as the vocal purveyor of massive pop hits like “I Wanna Love You Forever,” “I Think I’m in Love With You” and “With You,” but also for her work as a fashion industry titan and a reality television star.
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But her new music video, “Blame Me,” off her March 21-released, five-song EP Nashville Canyon: Pt. 1, showcases Simpson in a laid-back, creative mode, working with a cavalcade of writers and musicians to bring the song to life. She wrote “Blame Me” with Lucie Silvas, Brothers Osborne’s John Osborne, Teresa LaBarbera, and writer-producer JD McPherson (who recently toured with Alison Krauss and Robert Plant).
“Being in the studio, what you see with ‘Blame Me’ is really the process of me becoming the artist I’ve always wanted to be,” Simpson tells Billboard.
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Nashville Canyon: Part 1 marks Simpson’s first new music in 15 years — and a project where she explores the nuances of healing after heartbreak, fusing her own written lyrics with elements of rockabilly and Americana. Following a split from husband Eric Johnson, she decamped to Nashville in late 2023, and found solace and strength through songwriting — chasing emotional connection rather than simply widespread audience consumption.
“We gave them a playlist of songs with artists like Sister Rosetta Tharpe, Sierra Ferrell, Fred McDowell, and we just said, ‘Anything you want off the playlist, let’s go with that vibe.’ Don’t say the word ‘single,’ don’t say the word ‘hit,’ we’re traumatized by the word ‘smash,’” Simpson said.
Many of the songs filling the EP are drawn from a notebook of what Simpson calls “Jessica’s Golden Nuggets”: an assortment of quotes, ideas and musings Simpson has jotted down throughout her days, which served as inspirations for the songs on the new project. “I’ve always journaled. If I don’t journal for a few months, I know there’s something I’m not wanting to confront, emotionally. So, I went to Nashville and was like, ‘Let the confrontation begin,’” Simpson says.
In “Blame Me,” knowing her own story and her own worth, she dares an ex-lover to go ahead with trash talking her to those around them and laying the responsibility for the fizzled relationship at her feet.
“I think it’s such a powerful song. I think it’s a strong heartbreak anthem that we’re all strong enough to go through whatever hand gets dealt and we can find power in the pain of things,” she says.
Simpson says more music is on the way, with part two of the project in the works. “We’re finishing that up in the next couple of weeks, which is exciting,” she says.
Simpson spoke with Billboard about the video for “Blame Me,” creating her new project in Music City and rediscovering herself as an artist.
The video for “Blame Me” features you and the musicians, your fellow creators, all in the studio together. Why was that so important for you to showcase?
When I walked into the studio with all the musicians, at first I thought I was going to throw up in my mouth. I was so nervous, but then it was just so welcoming and everybody just looked to me for direction, which I’m not used to as an artist. You would think I’d be used to that, but I’m so used to somebody else directing me.
To have other musicians that do this every day of their lives for all kinds of artists looking at me and wanting to really understand where I was at lyrically and understanding me as an artist, this just feels so authentically me. And it was important to show the process in such a vulnerable song. We have to feel to heal. It was the last song we wrote for EP One. We didn’t have a ballad and I really wanted to have one.
You wrote “Blame Me” with a few co-writers, including Lucie Silvas and Brothers Osborne’s John Osborne. What was that like?
We also did “Leave” on the EP with John and Lucie. They are incredible, and John — what a guitar player. He’s so incredible, I was just blown away.
You named the EP Nashville Canyon. Why was Nashville the right place for you to record this project?
I love Nashville so much because lyrically, it’s such a place where you can say anything and you can open up about anything without judgment, and you are just automatically connected to the other songwriters. It’s truly like therapy sitting in front of a therapist, yet nobody’s a therapist. It depends on what kind you go to. They can ask you questions that make you discover. And I feel like the way that writers do that, they talk you through things as well. They offer advice. A lot of people have gone through the same things and they’re so used to being so open.
You released Nashville Canyon independently. How has that been different?
I’m not with the record label. I don’t have money behind me. Everything you’re seeing is just my own change that I have. I’m not paying for radio. I do feel like a new artist all over again. But this time I have the reins. Early on [in her career], I never met the musicians behind any of my music, and I never even knew the songwriters. So, until I started writing with people… the first song that I got to write was actually my first huge song [2003’s “With You”]. I realized early on that people respond to who I am as a person, my work — they know when it’s real. They know when it’s authentic. I think I’ve taken such a long break that people are now discovering me all over again.
One of the last albums you released was the country album Do You Know. Last month, you played your first live show in 15 years, at SXSW, and Nashville Canyon: Pt. 1 went to No. 1 on iTunes’ country albums chart. How has that felt?
It was shocking that it went to number one on country. I was like, “Wait, I had a number one country album [in 2008 with Do You Know] and I was dropped that week, and I never understood it.” I just thought people didn’t want me singing country. [With Nashville Canyon: Pt. 1] I wanted it to be genreless. When you’re not focused on radio and you’re not focused on that type of thing, the music really can land wherever the people put it.
I was dropped [from her former label] in 2007, 2008. I had a record deal since I was 14 years old. It’s losing a part of yourself that you thought made you who you were. I didn’t really have a deep understanding of it until a bit later. But they also didn’t know that I was such a different artist than they were trying to push and I never got that freedom of discovery. I did another project, a Christmas project [2010’s Happy Christmas], but that was the last thing I’d ever done. My kids [Maxwell (12), Ace (11), and Birdie (5)] have never seen me perform still. I did the Rockefeller Tree lighting and the Macy’s Day Parade, but they have never seen me perform, so when they do, it’ll be such a beautiful moment for me.
What do you hope people take away from this record?
I wanted to give people a piece of me, and that is what art is: they watch it and they apply it to their own lives, and they know that I’m just like they are. Just like reality TV was important for people to take me off of a pedestal and not just be an unapproachable, pretty singer. It was important to show my personality so people knew that there’s some things in life I take seriously and there’s some things that I don’t. I definitely say everything that comes into my mind out loud. I have no filter and I don’t have a filter when it comes to music.
What is ahead for EP two?
We just recorded at a different place called The Bomb Shelter, which had different acoustics and vibes for EP two, but the sounds will be cohesive. We have steel guitar on there, but not steel guitar in how you would think country… it’s more like how Tom Petty or Neil Young would use a steel guitar player.
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Lady Gaga is gearing up for a grand Mayhem Ball and all her little monsters are invited, if you can snag tickets. Tour dates were announced a couple weeks ago, and tickets have been selling out quickly ever since. Luckily, Mother Monster has just added 13 extra nights to the tour, including multiple shows in New York City, London, and Paris. If you act fast, there are plenty of tickets still available through Ticketmaster and other resale sites including StubHub, Vivid Seats, Seat Geek and Gametime that you can shop.
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Following her headlining sets at Coachella, Gaga will kick off the Mayhem Ball tour in Las Vegas on July 16. The concert will then hit six North American cities including three shows in Seattle, six nights at Madison Square Garden in New York and a three-night run in Miami, Toronto and Chicago before heading abroad to Europe and the UK. Unlike her previous Chromatica Ball tour in 2022, this tour will mainly be arena-based.
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“This is my first arena tour since 2018,” said Gaga in a statement. “There’s something electric about a stadium, and I love every moment of those shows. But with The MAYHEM Ball, I wanted to create a different kind of experience — something more intimate — closer, more connected — that lends itself to the live theatrical art I love to create.”
Keep reading on to learn how you can secure tickets to Lady Gaga’s Mayhem Ball below.
How to Get Tickets to Lady Gaga’s ‘Mayhem Ball’ Tour Online
Lady Gaga’s Mayhem Ball tour will kick off July 16 at T-Mobile Arena in Las Vegas. Tickets have already gone on sale through Ticketmaster. While they’re selling fast, fans can still secure tickets through other resale sites including StubHub, Vivid Seats, Seat Geek and Gametime.
StubHub is offering tickets for as low as $146. Each purchase comes with the FanProtect Guarantee, which will keep your purchases protected. You can also use the interactive venue map to choose tickets based on price and seating section.
Another option is Vivid Seats, which has tickets for this tour for as low as $146. You can also save $20 off orders of $200+ when you use the code BB2024 at checkout. Each ticket purchase will be protected through the site’s Buyer Guarantee, which you can learn more about here.
SeatGeek currently has tickets starting at $135 and you can utilize the site’s deal rating scale to determine how good of a deal you’re getting. SeatGeek uses a 1-10 rating system, with 1 being the worst deal and 10 being the best deal you can get. You can also save $10 off your ticket purchases of $250+ (offer valid on first purchases only) when you use the code BILLBOARD10.
For affordable tickets, Gametime is offering ticket options for as low as $136. Purchasers will receive the Gametime Guarantee, which includes event cancellation protection, a low-price guarantee and one-time ticket delivery. Bonus offer: Get $20 off orders of $150+ when you use the code SAVE20 at checkout.
Check out the dates for the 2025 Mayhem Ball tour below:
North America
Jul 16 – Las Vegas, NV @ T-Mobile Arena
July 18 – Las Vegas, NV @ T-Mobile Arena
July 19 – Las Vegas, NV @ T-Mobile Arena
Aug. 6 – Seattle, WA @ Climate Pledge Arena
Aug. 7 – Seattle, WA @ Climate Pledge Arena
Aug. 9 – Seattle, WA @ Climate Pledge Arena
Aug. 22 – New York, NY @ Madison Square Garden
Aug. 23 – New York, NY @ Madison Square Garden
Aug. 26 – New York, NY @ Madison Square Garden
Aug. 27 – New York, NY @ Madison Square Garden
Aug. 31 – Miami, FL @ Kaseya Center
Sept. 1 – Miami, FL @ Kaseya Center
Sept. 3 – Miami, FL @ Kaseya Center
Sept. 6 – New York, NY @ Madison Square Garden
Sept. 7 – New York, NY @ Madison Square Garden
Sept. 10 – Toronto, ON @ Scotiabank Arena
Sept. 11 – Toronto, ON @ Scotiabank Arena
Sept. 13 – Toronto, ON @ Scotiabank Arena
Sept. 15 – Chicago, IL @ United Center
Sept. 17 – Chicago, IL @ United Center
Sept. 18 – Chicago, IL @ United Center
Europe/U.K. dates
Sept. 29 – London, UK @ The O2
Sept. 30 – London, UK @ The O2
Oct. 2 – London, UK @ The O2
Oct. 4 – London, UK @ The O2
Oct. 7 – Manchester, UK @ Co-op Live
Oct. 8 – Manchester, UK @ Co-op Live
Oct. 12 – Stockholm, Sweden @ Avicii Arena
Oct. 13 – Stockholm, Sweden @ Avicii Arena
Oct. 15 – Stockholm, Sweden @ Avicii Arena
Oct. 19 – Milan, Italy @ Unipol Forum
Oct. 20 – Milan, Italy @ Unipol Forum
Oct. 28 – Barcelona, Spain @ Palau Sant Jordi
Oct. 29 – Barcelona, Spain @ Palau Sant Jordi
Oct. 31 – Barcelona, Spain @ Palau Sant Jordi
Nov. 4 – Berlin, Germany @ Uber Arena
Nov. 5 – Berlin, Germany @ Uber Arena
Nov. 9 – Amsterdam, Netherlands @ Ziggo Dome
Nov. 11 – Antwerp, Belgium @ Sportpaleis Arena
Nov. 13 – Lyon, France @ LDLC Arena
Nov. 14 – Lyon, France @ LDLC Arena
Nov. 17 – Paris, France @ Accor Arena
Nov. 18 – Paris, France @ Accor Arena
Nov. 20 – Paris, France @ Accor Arena
Nov. 22 – Paris, France @ Accor Arena
Chappell Roan’s “Pink Pony Club” enters the winners circle on Billboard’s Pop Airplay chart, jumping three spots to the top of the April 12-dated ranking. She leads the list for a second time, after “Good Luck, Babe!” hit No. 1 for a week last September. “Pink Pony Club,” on KRA/Amusement/Island Records and promoted to radio […]
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New Orleans rapper Rob49 is taking over the game with his new anthem “WTHELLY,” and the streets are absolutely screaming it.
The track dropped with a hook so catchy it’s stuck in everyone’s head, and it’s about to be the club banger of the summer. The buzz started brewing during Super Bowl weekend in his hometown, New Orleans, where the unreleased song was bumping in all the local clubs. Word got around fast, and even Cardi B hit Rob49’s DMs asking, “Where the hell can I find this song?” She told him she’d been looking for it all weekend because every spot she went to in N.O. had it on repeat.
Less than a month later, Rob49 dropped “WTHELLY” and the world went crazy. It’s already getting mad love from the industry, and it’s turning into a whole new slang that’s popping off everywhere. People can’t stop saying it, remixing it, or shouting it out in their captions. It’s everywhere, and it’s not slowing down anytime soon.
Rob49’s been putting in work since he hit the scene in 2022 with his breakout single “Vulture Island.” That track went crazy, and then he followed it up with the remix featuring Lil Baby, which gave him major co-signs. The music video even brought out legends like Birdman and Kevin Gates, solidifying Rob49’s place in the game. Now, with “WTHELLY,” he’s back with another one that’s shaking up the culture and has the clubs on fire. The whole rap game is tuned in, and Rob49’s not slowing down anytime soon.