genre pop
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A new collaboration between Maroon 5 and LISA is officially on the horizon.
On Saturday (April 25), the Adam Levine-fronted band confirmed on social media that they’re teaming up with the BLACKPINK star on a new song titled “Priceless.” While a release date has yet to be revealed, the song is already available for pre-save on Spotify and Apple Music.
“PRICELESS FT. LISA @lalalalisa_m PRE-SAVE NOW,” Maroon 5 captioned an Instagram clip featuring Levine and LISA having fun together during a photoshoot.
The band also shared a 15-second teaser on its Instagram Story of the track, showcasing Levine’s “Oooh” falsetto croon as LISA raps, “Yeah, talk is cheap boy stop it/ Got my love that’s a real big profit.”
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Levine also took to his personal Instagram account to share black-and-white photos that seem to be from an upcoming music video for “Priceless.” One shot features a clapperboard with the names of director Aerin Moreno and cinematographer Russ Fraser, while another image offers an aerial view of Levine and LISA resting against a balcony.
In the days leading up to the confirmation of “Priceless,” Maroon 5 teased the collab by posting an Instagram photo from behind of the lead singer and a mystery woman standing side by side, gazing out of a floor-to-ceiling window at a cityscape. Last week, LISA’s IG Story also featured a clip with audio, showing the K-pop star lying back while seemingly filming a music video.
The confirmation of “Priceless” comes a few weeks after Levine revealed on The Tonight Show Starring Jimmy Fallon that Maroon 5 has a new album — the band’s first since 2021’s Jordi — arriving this summer. Without sharing any concrete details, the Voice coach also mentioned, “There’s a single coming at the end of the month-ish.”
While Maroon 5 gears up for a new album, LISA is wrapping up the rollout of her first-ever solo album, Alter Ego. Featuring collaborations with Rosalía, Megan Thee Stallion, Doja Cat, RAYE and more, the project debuted at No. 7 on the Billboard 200 and served as the foundation for much of LISA’s victorious Coachella sets on April 11 and 18.
Lady Gaga unleashed her divine chaos in Mexico City, where on Saturday night (April 26) she held her first concert in 13 years, captivating just over 61,000 attendees (according to promoter OCESA) with the gothic dreams emanating from MAYHEM, her celebrated dark and avant-garde new album.
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The pop star brought the striking opera-style show that dazzled this year’s Coachella festival to the Estadio GNP Seguros (formerly Foro Sol), immersing her “Pequeños Monstruos” (Little Monsters) into a dark parallel universe. During the show, which marked the start of the international leg of her new stadium tour, Gaga read an emotional letter to her fans.
“To all my beautiful little monsters who are here tonight, it is an honor for me to be here, in your beautiful country, performing for you. It’s been 13 years since the last time I was here. I hope you see how hard I’ve worked on stage tonight to show you how much I admire and respect you. I sincerely thank you for choosing to spend the night with me,” Gaga read in Spanish from a balcony while a Mexican flag unfurled in front of her.
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“Mexico City holds a special place in my heart because it’s where I ended my first stadium tour, the Monster Ball,” she added. “I will never forget the excitement and passion you shared with me that night as I bid farewell to the most important show of my career. I’m proud to share this moment with you again, only this time, it’s not the end but the beginning.”
Mother Monster’s return to Mexico was also accompanied by the live debut of the song “Blade of Grass,” a track written for her fiancé, businessman Michael Polansky.
“I wrote this song for the person I love most in the world, my fiancé Michael,” she said in English. “It’s on my new album, and I’ve never performed it before, but I really wanted to perform it here tonight. I just wanted to remind everyone, just for my life, that love can make us so happy. Always follow love and it will make you happy”.
After performing the song on the piano, she moved on to “Shallow” in an intimate moment that brought her to the brink of tears.
The majestic show in Mexico, dubbed “¡Viva La MAYHEM!”, kicked off with “Bloody Mary,” her 2011 hit that experienced a resurgence on TikTok, and “Abracadabra,” the first single from MAYHEM, with Gaga donning a massive three-tiered Victorian-era-inspired red dress. The 22 songs included in the setlist, nearly identical to the one presented at Coachella, featured tracks from her new album, like “Perfect Celebrity,” alongside older hits like “Poker Face” and “Born This Way,” delivered in acts that celebrated an internal battle between the lighter and darker sides of the 14-time Grammy and Oscar winner.
The Mexican “Little Monsters” paid tribute to Gaga by taking creativity to the next level with their outfits, which captured the early years of the diva with costumes inspired by that era, as well as her iconic meat dress worn at the 2010 MTV Video Music Awards; her portrayal of Harley Quinn in Joker 2; and the country style blue outfit with red bows from “Die With a Smile,” her hit collaboration with Bruno Mars.
The star closed the night by stepping off the stage to greet fans in the front rows and performing her mega-hit “Bad Romance” alongside dancers, as the sky lit up with green, white, and red fireworks — a nod to the Mexican flag — in a celebration that will undoubtedly remain etched in the memories of both the artist and her local fans.
Lady Gaga will perform a second concert at the Estadio GNP Seguros on Sunday night (April 27) before heading to Brazil, where she will give a massive free show on May 3 at Copacabana Beach in Rio de Janeiro.
Justin Timberlake was joined by the Kelce brothers at his 2025 8AM Golf Invitational.
On Sunday (April 27), the 44-year-old pop superstar shared a festive behind-the-scenes video on Instagram from the Wynn Golf Club in Las Vegas, featuring himself with Travis and Jason Kelce, retired swimmer Michael Phelps, former NBA star Blake Griffin, and other celebrity athletes.
Set to James Brown, Fred Wesley and The J.B.’s’ “People Get Up and Drive Your Funky Soul,” the New Heights podcast co-hosts take center stage in the clip, with Travis showcasing a few dance moves on the golf course alongside Timberlake.
The golf outing marked one of the first public appearances for the Kelce brothers since the Kansas City Chiefs tight end’s Super Bowl loss in February. The NFL star’s girlfriend, Taylor Swift, was not featured in any of the video, and it was unclear at press time whether the pop icon was in Vegas for the 8AM Golf Invitational.
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Timberlake and the Kelce brothers also appeared to enjoy a boys’ night out in Sin City. On Saturday, Travis and Jason were spotted playing cards with the “SexyBack” singer.
Jason, who sported a large straw hat and a colorful patterned vest during the trip, welcomed his fourth child — a daughter named Finnley “Finn” Anne — with his wife, Kylie, in early April. The couple also shares young daughters Wyatt Elizabeth, Elliotte Ray and Bennett Llewellyn.
Meanwhile, the *NSYNC star is currently on his Forget Tomorrow World Tour, supporting his sixth solo album, Everything I Thought It Was, which features the moody R&B single “Selfish.” The album, Timberlake’s follow-up to his 2018 Man of the Woods release, dropped in March 2024.
Following a pair of live appearances in May, Timberlake heads to Europe for a series of dates, starting in Milan, Italy on June 2 and concluding in late July.
Lana Del Rey‘s debut on the Stagecoach lineup has come and gone, but the live intro to her upcoming new record set the stage for its visual components, like the personal style she seems to be leaning into for this album cycle.
Gracing the stage in pretty, tea-length dresses, with hair set in brushed-out waves and lips painted a color described by Lisa Eldrige’s cosmetics brand as an “iconic, late 1950s/early 1960s salmon-pink,” Del Rey’s physical presence at the country music festival served a mid-century, on the bayou aesthetic.
Positioned at a mic stand in front of a rural southern home set on the stage, she looked perfectly poised as she sang sweetly about being by her husband’s side, “where the baby alligators play” and “no one talks to me like you do, or takes care of us so good this way.” (The dark side peeked through, too: “Should I turn on the light or burn down the house?” she later contemplated in the premiere of “Quiet in the South,” a track of quiet rage over the worry her man might not make it home that night. “Feet up on the back porch, the wind’s blowing through/ I’m staring at the propane, like, what’s a girl to do?”)
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A handful of never-before-heard songs from her unreleased, untitled next record — formerly known as Lasso or The Right Person Will Stay, depending on when you asked Del Rey — made the Stagecoach set in Indio, Calif., Friday night (April 25): the aforementioned “Husband of Mine” and “Quiet in the South,” and “57.5,” which will be remembered as the one where Del Rey called out Morgan Wallen. She also sang the hauntingly beautiful “Henry, Come On” live for the first time, and her new ballad “Bluebird” was the star of a hologram interlude.
The first dress Del Rey wore, in demure, cream lace, was custom Valentino, stylist Molly Dickson noted in an Instagram Story.
When the “Summertime Sadness” singer returned to the stage post-interlude in red to sing an iconic line from the Born to Die track (“I got my red dress on tonight”), she was in custom Sugar Ferrini, according to Dickson. The strapless number complemented the earlier Valentino silhouette, with its fitted bodice, bow accent at the waist and full skirt.
Hair stylist Anna Cofone offered a how-to on achieving Del Rey’s coiffure in an Instagram post on Saturday. She listed Authentic Beauty Concept’s Glow Spray Serum for prepping mid-length and ends, and Tymo’s Airhype Lite hair dryer for smoothing before styling. She added Authentic Beauty Concept’s Airy Texture Spray and Nude Powder Spray to Del Rey’s roots as a “base for backcombing,” incorporated Remi Cachet Clip-In Deluxe hair extensions prepped with Curl Pro Stylist Mist, and set the singer’s hair using Tymo’s Cues curling iron with a 1/2-inch barrel. She brushed out Del Rey’s waves with an Olivia Garden Essential Style Double Tunnel Brush and finished the style with a mist of strong-hold hairspray.
Makeup artist Pamela Cochrane posted beauty notes as well, with a list of Lisa Eldridge products she used on Del Rey: Skin and Makeup Enhancing Mist, Seamless Skin Foundation in a mix of shades 5 and 10, Elevated Glow Highlighter in Crystal Nebula on her cheekbones, Kitten Lash Mascara “in the inner corners next to the lashes and underneath,” Kitten Flick Liquid Eyeliner “finely drawn along the outer half of eye with a small flick,” and Lip Pencil in shade 1W with Rouge Experience Refillable Lipstick in shade 189, Audrey.
See Lana Del Ray all dolled up in a clip of her singing “Henry, Come On” below, via Stagecoach’s official X account.
Lana Del Rey is kissing and telling in her new song “57.5.”
During her debut at the 2025 Stagecoach Country Music Festival in Indio, Calif., on Friday (April 25), the 39-year-old singer revealed in the song’s lyrics that she once locked lips with a major country star.
“I kissed Morgan Wallen/ I guess kissing me kind of went to his head,” Del Rey sang. “If you want my secret to success/ I suggest don’t go ATVing with him when you’re out west.”
The eyebrow-raising premiere of “57.5” came during the alt-pop star’s set on the Palomino stage at Stagecoach. According to the lyrics, the title nods to the singer’s monthly Spotify listenership, measured in millions. Just before premiering the track, Del Rey told festival-goers that it would be “the last time I’m ever going to say this line.”
It remains unclear whether Del Rey and Wallen ever shared a kiss, or when it supposedly occurred. Billboard has reached out to Wallen’s representatives for comment.
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Elsewhere in “57.5,” Del Rey crooned about having “a man” who “really loves me,” a sentiment seemingly referring to her husband, Jeremy Dufrene, whom she married in September 2024.
Dressed in a white gown and performing in front of a set designed to resemble a picturesque rural home at dusk, Del Rey’s Stagecoach set featured a duet with George Birge on his current hit “Cowboy Songs,” a cover of Tammy Wynette’s “Stand by Your Man,” and a singalong to John Denver’s “Take Me Home, Country Roads.”
In addition to debuting “57.5,” she also performed several new tracks from her forthcoming country-leaning studio album, which has yet to be titled or assigned a release date. The new songs included “Ride,” “Husband of Mine” and “Henry, Come On.” (Read Billboard‘s best moment from day one of Stagecoach 2025 here.)
The singer’s upcoming album will follow Did You Know That There’s a Tunnel Under Ocean Blvd, which peaked at No. 3 on the all-genre Billboard 200 in April 2023. To date, Del Rey has earned two top 10 hits on the Billboard Hot 100: 2013’s “Summertime Sadness” and her 2022 feature on Taylor Swift’s “Snow on the Beach.”
Justin Bieber is mourning the passing of his maternal grandfather, Bruce Dale.
On Saturday (April 26), the 31-year-old pop superstar shared a heartfelt tribute on social media honoring Dale, who died April 24 at the age of 80 at Rotary Hospice Stratford Perth, according to an obituary posted by W.G. Young Funeral Home in Stratford, Ontario.
“Papa , I always took all ur money lol,” Bieber wrote on Instagram alongside a throwback photo with his grandfather. “I remember u specifically telling me, gramma gave u an allowance of 20 dollars for the WEEK! I would always convince you to spend on snacks at the hockey game on Friday nights.”
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The “Sorry” singer also fondly recalled their shared moments. “Reluctantly you always gave it to me. Corn nuts, skittles, gum balls, chuck a puck, slush puppies … Shout out to the jr b referees Beatty, Fagon, Flanagan lmfao,” he wrote.
Bieber went on to remember Dale’s spirited presence at hockey games, saying, “My grandpa wasn’t shy in letting them know that they were being pieces of sh-ts.”
“I can’t wait to see u again soon in heaven,” he continued. “Until then I know ur watching down probly still heckling Beatty or Fagon for missing that cross check call in the corner there lmfao.”
Bieber concluded his emotional tribute with, “I will miss u. I will ache. And I’ll sit and let myself remember all of the wonderful times we’ve had.”
Dale, father of Bieber’s mom, Pattie Mallette, was a longtime supporter of his grandson’s career. He appeared in Bieber’s 2011 documentary Never Say Never and shared memories during a 2018 interview at the Stratford Perth Museum, which featured an exhibit dedicated to the pop star.
In addition to Justin, Dale’s obituary also mentioned the singer’s wife, Hailey, their son Jack Blues, Dale’s other children, and his wife, Diane.
Bieber’s paternal grandfather, George Bieber, passed away in 2021.
You can see Bieber’s full tribute to his grandfather Bruce on Instagram here.
The more you watch of Lana Del Rey supposedly going country, the more apparent how ridiculous any talk of her pivoting to any genre really is.
For 15 years now, LDR has essentially been a genre unto herself: a unique and borderline-illogical blending of obviously classic influences with some game-changingly modern sensibilities, one that mostly befuddled critics and radio and the charts early on, even as she was inarguably becoming one of the most important pop stars of her generation. She’s been wildly influential without ever being less than unmistakable; no matter what sonic, thematic or characteristic elements other artists may borrow from her, none of them would ever risk being taken for Lana herself. This is all to say: no matter what style of music she’s making, Lana Del Rey has one genre and that’s “Lana Del Rey.”
But of course, Lana did lean into The Stagecoach of It All while making her debut performance at the Indio, Calif. country festival on Friday (Apr. 25). Singing in a white dress in front of a set of an idyllic-looking rural house at dusk, she looked like she walked on stage straight from an old Loretta Lynn album cover. Early on, she brought out George Birge — himself a Saturday performer at the festival — to duet on his current hit “Cowboy Songs,” an extremely country radio-friendly song Del Rey says she can’t get enough of. (You can certainly imagine a Lanafied version of the chorus, though it was strange to hear her singing on such a zippy and muscular hook in 2025.) And of course, she invoked two all-time genre classics during the show by covering Tammy Wynette’s “Stand by Your Man” (“You can’t do this set without it”), and then closing the proceedings with a family singalong to John Denver’s “Take Me Home, Country Roads,” a recent entry into the LDR cover canon.
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But the new songs? Country-ish in their tempo and in some of their thematic content (and occasional lyrics about “all these country singers”), perhaps, but not in any way that feels at a remove from what she’s done her whole career: Lana has long centered the emotional abandon and cinematic sway of country in her songs. You could hear that even in some of the crowd-elating classics Lana performed in the midst of her Grand Ole Opry moment — tweak a couple lyrics and add some banjo and “Ride” is basically a The Chicks single; turn down the sex and turn up the sarcasm and “Video Games” could’ve been penned by Kacey Musgraves. Nothing about the stately balladry and gender-role explorations of songs like set-opening duo “Husband of Mine” and “Henry, Come On” felt without precedent in her catalog; she could have introduced them as deep cuts from Blue Banisters or Chemtrails Over the Country Club and many of her fans probably would’ve bought it.
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If there was a pronounced difference with Del Rey in Country Mode on Friday night, it was that she seemed… maybe more polite and unassuming than we’re used to her being? Watching her express her very sincere-seeming gratitude at being invited to Stagecoach, and about the size and passion of her Friday night crowd, it was very easy to forget that she was once a highly divisive figure in popular music, one prone to controversy in both her lyrics and public statements. There was no trace of any of that in the smiling, hostly, happy-to-be-here performer who took the stage on Friday night.
Well, almost none. If you missed a little of the unpredictability and ostentatiousness that characterized early-years Lana Del Rey– and still informed highlights from her work up until this decade — then you probably loved “57.5,” a shuffling new song referring to her number (in millions) of monthly listeners on Spotify, which also includes a bridge which begins with LDR proclaiming “I kissed Morgan Wallen” and going onto advise listeners against going ATVing with him. It takes a lot of “yes, really” to explain, but it was still probably the best of the new songs that she debuted: some real country s–t, but more importantly, pure Lana through and through, in a way no other artist or genre could ever totally capture.
Ed Sheeran has accomplished more than most people could ever dream of, from selling out stadiums to winning Grammys and earning four No. 1 albums over the course of his career. But recently, he achieved something that even he probably thought he’d never do: make a best-dressed list. On Friday (April 25), the pop star […]
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“I’m still trying to take it all in,” Gigi Perez tells Billboard of her extended moment in the spotlight. Last July, the singer-songwriter’s “Sailor Song” became a viral hit and Perez’s first Hot 100 hit — and months later, the folksy exaltation of queer flirtation remains in the chart’s top 40, rising up one spot this week to No. 35.
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In the interim, Perez played a slew of shows to growing audiences, released follow-up singles like “Fable” and “Chemistry,” and most importantly finished recording her debut album. At The Beach, In Every Life, out today (Apr. 25), finds Perez navigating love, grief and self-possession, as the success of “Sailor Song” has amplified her Island Records debut but not altered its core tenets.
“This project is as close of a reflection of my experiences over the past five years as I could get,” says Perez of the album, which expounds upon the reflection of her sister’s passing that became the focus of her single “Fable.” “My grief has shaped the way that I love, in friendships and with family and romantically. On the project, those things exist next to each other.”
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Below, Perez discusses four songs on At The Beach, In Every Life, and what they represent within her debut album:
The Song That Was Finished Last
“Two days before I was turning the album in, I recorded ‘Sugar Water’ on my own,” says Perez of the five-minute emotional heavyweight, which looks back on her transition into adulthood with childhood details and a simple guitar-and-vocals arrangement. “I wasn’t expecting to put ‘Sugar Water’ on the project,” Perez continues. “And my A&R asked me about the song. I was like, ‘Oh, I love this song.’ … I was like, “Okay, I’m gonna just record and see what happens.’ And it ended up being one of my favorite songs on the project.”
The New Song That’s Most Fun to Play Live
“The most excitement that I’ve had playing a new song has been definitely ‘At The Beach’ or ‘Sugar Water,’” says Perez, who’s been playing a handful of headline shows in the lead-up to the album release. The title track of At The Beach, In Every Life closes the album with an encapsulation of Perez’s worldview, full of passion, disappointment and unruly thoughts that run into each other over the course of the song.
Perez says that testing out her new material on live audiences over the past few weeks has been a thrilling experience. “I just have fun for an hour straight, so it’s hard” to pick one highlight, she explains. “Every single song I get the guitar, and I’m like, ‘Oh my god, I’m so excited to do this song!’”
The Song That Was Most Difficult to Finish
“’Crown’ was hard,” Perez says of the searing centerpiece of the album’s second half, which mixes religious imagery with memories of her late sister. “I think it was letting myself go into that space of my grief and the uglier side of it. It’s all ugly, pretty much, but a different shade was probably the hardest to do in a specific time constraint.”
Yet that struggle, Perez believes, speaks to the truth of her first full-length. “Ultimately, I feel like that’s part of the album,” she says. “It’s not easy.”
The Smash Single That Set the Tone
“Sailor Song” kicks off At The Beach, In Every Life, and Perez says that she’ll always be thankful for the doors that her breakthrough hit has opened. “Especially now that there are new songs in the mix and other focuses that I have, to know that she’s just holding down the fort is amazing,” she says of “Sailor Song. “It’s a gift — to know that I was part of the creation of something that has impacted people globally just feels divine.
“And it’s exciting to see where the rest of the music is gonna go,” she continues, “because in my head, ‘Sailor Song’ and the impact that it’s had are amazing, but I’ve set my sights on personal fulfillment, and what that means is different. As long as there’s a community there, whether it’s one person or it’s 1 million, every single person that’s impacted by it matters.”