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Gracie Abrams just teased new music on TikTok, and one of the many fans who shared their excitement in the comments was none other than Olivia Rodrigo.
In the clip posted by the “That’s So True” singer, her face is cut off from the frame as she vibes out while listening to a demo, a friend dancing in the background. “It’s violent how I need you,” Abrams sings on the synthy track.
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In the comments, Rodrigo simply wrote, “hell yeah.”
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Soon afterward, Abrams posted another video of herself in the car, listening to the same snippet — seemingly teasing further that she has a new project on the way. The Los Angeles native hasn’t properly dropped new music since The Secret of Us deluxe arrived last October, bringing with it Billboard Hot 100 hit “That’s So True.”
Abrams and the “Drivers License” artist have been in each other’s corners for years, with the former opening for the latter on the Sour Tour back in 2022. The “Risk” musician gushed about the opportunity in her April Billboard cover story, telling staff writer Hannah Dailey, “She gave me such a shot, opening for her … I adore her with my whole heart for forever and ever.”
Rodrigo also told Billboard at the time, “Gracie has such a singular voice when it comes to songwriting.”
“I think it’s rare to be so young and already have developed your very own lane,” she added. “You can hear a song and instantly know if it’s a Gracie Abrams song even if she wasn’t singing it. That is so special and a real testament to her talent and influence.”
It’s been even longer since Rodrigo last released music, with her Guts deluxe dropping in March 2024. The expanded project featured new songs “Obsessed,” “Girl I’ve Always Been,” “Scared of My Guitar,” “Stranger” and “So American,” some of which the High School Musical: The Musical: The Series alum performed during her headlining set at Gov Ball in New York City on Saturday (June 7).
See Abrams’ new music teaser — and look for Rodrigo’s comment — below.
Last week, Mariah Carey dropped her first proper single in years — and now, “Type Dangerous” is getting a music video, as revealed Monday (June 9). As teased in a clip posted by the vocalist on her socials, MC’s new visual will arrive on Friday (June 13). The preview finds a characteristically glamorous Carey walking […]
Miley Cyrus educated Monica Lewinsky on the meaning of the acronym “WAP” in a new episode of Lewinsky’s podcast, Reclaiming with Monica Lewinsky, offering a humorous yet insightful reflection on her past controversies.
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In an exclusive clip shared with Billboard ahead of the episode’s release, Cyrus jokingly explains to Lewinsky, who admitted being unfamiliar with the term, exactly what “WAP” means.
“A couple years ago, like, WAP…” Cyrus began, prompting Lewinsky to admit, “Wait, I don’t know what that is.”
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Laughing, Cyrus replied, “Are we telling Monica Lewinsky what WAP is about? Should I tell her?” before playfully clarifying, “It stands for Wet A– P—-. Okay?”
The “Flowers” singer then compared her infamous 2013 MTV Video Music Awards performance, which faced significant backlash, to Cardi B and Megan Thee Stallion’s celebrated rendition of “WAP” at the 2021 Grammys.
“It got performed at the Grammys. I dressed as a teddy bear and got shamed,” Cyrus remarked. “But Cardi B isn’t for kids. She’s not a child star. For me, it was so hard to go but like why is Rihanna not in trouble? But it was because I was a kid star, so it’s like the babysitter went rogue. I was like a babysitter for America’s children.”
Lewinsky’s podcast Reclaiming features candid conversations where guests explore the concept of reclaiming narratives that have been taken or lost. The podcast engages a variety of recognizable figures, experts, and everyday people in open and often unexpected discussions.
This episode’s timing coincides with the release of Cyrus’ ninth studio album, Something Beautiful, which debuted at No. 4 on the ARIA Albums Chart. The album continues Cyrus’ tradition of chart success, following her previous No. 1 albums Breakout (2008), Bangerz (2013), and Endless Summer Vacation (2023).
Fans can catch the full episode of Reclaiming with Monica Lewinsky at 12 p.m. ET on June 10, available early and ad-free for Amazon Music subscribers and Wondery+ listeners.
Watch the “WAP”-torial below.
P!nk was among the people watching at home on Sunday night helping to lift the 78th annual Tony Awards to their biggest broadcast audience since 2019. But the pop superstar seemed more keyed in on the action in her own living room than the best and brightest Broadway stars dancing and belting across the Radio […]
The long-awaited BTS reunion is getting closer to happening, with two more members of the South Korean group completing their mandatory military service.
On Tuesday (June 10), it was reported that BTS members RM and V were discharged from the South Korean military after completing their required service. The pair’s discharge was welcomed by hundreds of their fans (known as members of BTS’ ARMY fandom) who had gathered in Chuncheon City to greet the two musicians.
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“To all the ARMYs who have waited for us in the military, I want to say I am truly, truly grateful,” V told gathered fans and media. “Please wait just a little longer and we will return with a really cool performance.”
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BTS pressed pause on their work as a group in 2023 in order for its members to fulfill their duties as South Korean men between the ages of 18 and 35 and serve a total of 18 months in the South Korean military.
Jin and J-Hope were discharged from their service in June and October of 2024, respectively, while Jimin and JungKook are scheduled to be discharged on Wednesday (June 11). Suga was assigned alternative service, and has been operating as a social worker since his service began. His discharge is expected to occur later this month.
While all members of BTS have released solo projects in the interim, the approaching end of their collective military service has been eagerly anticipated by fans, who are looking forward to the band announcing their official reunion plans.
“I look forward to June when our members will have completed their service,” J-Hope told Apple Music 1’s Zane Lowe last month. “We will quickly get together and talk about what BTS can do in the future. I think it’s going to be a massive energy.”
“When we’re all back together as a group, it’s going to have a huge impact, and everybody’s going to be watching,” J-Hope also said to Weverse Magazine in December. “I’m excited to see what it’ll feel like when we perform together again. I want to come back in style and say, ‘This is us. This is BTS.’ I can’t speak for everyone, but I can tell you the other members feel the same way.”
Katy Perry‘s latest performance in Sydney was marked by a memorable moment, with an individual escorted away by security after a stage invasion. The incident in question took place at Perry’s performance at Sydney’s Qudos Bank Arena on Monday (June 9). The singer’s second of three sold-out dates at the venue for the Australian leg […]
It’s been almost a year since Scooter Braun officially retired from music management after years of shepherding the likes of Ariana Grande, J Balvin and Tori Kelly into superstardom. But before he had any of those clients, he had Justin Bieber.
In an interview on The Diary of a CEO posted Monday (June 9), the music mogul reflected on where he stands with the pop star nearly two decades after Braun first discovered the then-13-year-old Bieber back when he himself was just 25. “We were able to achieve some amazing things,” the businessman began. “I’m very proud of what we achieved and always rooting for him.”
Now that they no longer work together, however, Braun confessed that his relationship with Bieber is “not the same that it was.”
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“I think there comes a point where — I understand — he probably wants to go on and show that he can do it,” Braun said. “We worked together for so long and we had such extreme success, and I think you get to a point as a man where you want to show the world you can do it on your own. And I completely respect that. I think at this point, that’s what he’s doing. Myself and everyone from the old team is rooting for him.”
The SB Projects founder went on to praise Bieber and a few other former clients, noting that their successes only serve as “testimony” to what they were able to achieve together. “To see Justin move forward and succeed, to see Ariana with what’s happened with Wicked in this past year, to see Tori Kelly …,” Braun said. “Everybody that I’ve ever had a chance to work with, to see them go on and do great things on their own, it’s awesome.”
Braun announced in June 2024 that he would be retiring from artist management to focus on his duties as CEO of HYBE America, a role he stepped into after HYBE acquired his Ithaca Holdings for $1.05 billion in 2021. The news came a little less than a year after Billboard reported that the “Baby” singer was exploring other options on the management front, though a full-on split at the time seemed difficult as Bieber still had four years left on his contract with SB Projects.
Also in 2023, Grande, Balvin and Demi Lovato each parted ways with Braun’s company in quick succession. When Braun announced his retirement the following year, the mogul shouted out many of his former clients and wrote, “I will continue to root for them with the same passion that I did at each of their humble beginnings … there will never be a day where I don’t take great pride and honor in what we accomplished together.”
Even so, rumors circulated that there had been a personal rift between Braun and Bieber. That speculation was only exacerbated when the Grammy winner appeared to unfollow his former manager on Instagram in January.
But according to Braun, their professional separation was nothing personal. When asked on The Diary of a CEO whether it “hurt” to hear that Bieber wanted to go his own way, Braun said, “No, not at that point.”
“I was also at that point,” Braun said. “It had been a couple years where I knew I wanted to do something else. I wanted to find out who I was, I wanted to experiment with a different career. We were both communicating enough with each other. The writing was on the wall.”
Watch Braun’s full interview on The Diary of a CEO below.
Now that Taylor Swift has bought back the masters to her first six albums, Scooter Braun is reflecting on his part in the yearslong back-and-forth he ignited by purchasing the singer’s catalog from Scott Borchetta back in 2019.
While speaking about the feud during an episode of The Diary of a CEO posted Monday (June 9), the music mogul began by sharing how he’d originally had high hopes for his relationship with the “Fortnight” singer after he bought Big Machine Label Group from Borchetta for a reported $300 million six years ago, gaining ownership of Swift’s back catalog in the process. Shortly afterward, the pop star shared a Tumblr post calling the sale her “worst case scenario,” accusing Braun of “incessant, manipulative bullying” over the years and including a screenshot of a post from Justin Bieber featuring Braun and Kanye West with the caption, “Taylor swift what’s up.”
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Braun says that he was “shocked” when he read Swift’s post. “When I bought Big Machine, I thought I was going to work with all the artists on Big Machine,” Braun recalled on the podcast. “[Taylor] and I had only met three or four times. One of the times, it was years earlier, it was really a great engagement. She invited me to her party. We respected each other.”
“In between that time since I’d seen her last, I started managing Kanye West,” he continued. “I managed Justin Bieber. I knew she didn’t get along with them. This is where my arrogance came in. I had a feeling she probably didn’t like me because I managed them, but I thought once this announcement happened, she’d talk to me, see who I am, and we’d work together. Then this Tumblr comes out, and it says all of this stuff, and I was just shocked.”
The involved parties would spend the next few weeks disputing details of how the deal went down — including whether or not Swift found out about the purchase only as it was publicly announced, which she claimed in her post — with Braun later writing in an open letter of his own that he was “disappointed” in the 14-time Grammy winner for having “remained silent” despite his family receiving “numerous death threats” amid the debacle. Swift would later announce plans to re-record her old albums, while the retired manager eventually sold her catalog again to Shamrock Holdings.
“I couldn’t fix the relationship that I didn’t have, but then I was able to figure out, ‘You know what? We’ll sell it,’” Braun said of selling to Shamrock on The Diary of a CEO. “In the world of streaming, the re-records will only help the old catalog as much as they help the new catalog. Both will get a bump. I showed how everyone can be a winner here, and I was able to sell the catalog and — I don’t want to go into too much detail, but it’s now come out very factually that I did offer it [to Taylor] … multiple times in that process. They said no, I sold to someone else, washed my hands of it and moved on.”
Swift has also previously addressed Braun’s alleged offers to sell her catalog back to her, though she recalls it much differently. According to the “Karma” artist, his team had asked her to sign a non-disclosure agreement before she could even “bid on [her] own work.”
“He would never even quote my team a price,” Swift wrote in a post on X at the time. “These master recordings were not for sale to me.”
Billboard has reached out to Swift’s rep for comment.
In any case, the musician walked away from negotiations and hammered away at her Taylor’s Version re-recording project, releasing highly successful new versions of Fearless, Speak Now, Red and 1989 between 2021 and 2023. Everything came full circle at the end of May 2025, when Swift announced that she’d finally been able to acquire her old catalog from Shamrock, about which Braun told Billboard at the time, “I am happy for her.”
On the podcast, Braun reiterated that he only hopes for the best for Swift. “I can’t worry about everyone’s niece being mad at me,” he quipped. “What I gotta do is show up for my niece, and I gotta show up for my friends and my family. I wish everyone involved, across the board, whether I know them or not, good wishes.”
Even so, the businessman confessed that the fallout was hard on his mental health and personal life, especially as he was going through a tough time with then-wife Yael Cohen that would eventually lead to a divorce. “When something happens to you that feels deeply unfair, and you can’t fix it, then you’ve really got to look at everything and realize the role you played in this or that, who you want to be,” Braun said of his disagreement with Swift.
“Everything in life is a gift,” he added. “Having that experience allows me to have empathy for people I worked with. I never knew what it was like to be on the global stage like that. I never knew what criticism like that felt like.”
Watch Braun’s full interview on The Diary of a CEO above.
Taylor Swift had lots to celebrate on May 30, when the megastar announced that she had officially acquired the masters of her first six albums from private equity firm Shamrock Capital, along with videos, concert films, art and other unreleased content. The firm had acquired the catalog in late 2020 from Scooter Braun’s Ithaca Holdings, after Braun had bought Swift’s old label Big Machine Records the year before.
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The purchase marked the end of a six-year kerfuffle that resulted in Swift’s Taylor’s Version project, where she re-recorded four of her first six albums that she recorded for Big Machine. After announcing her big purchase — which Billboard estimated cost about what Shamrock initially paid in late 2020, around $360 million — Swifties were quick to buy and stream her music, resulting in a big Billboard chart week.
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Let’s break down the impact of Swift’s announcement, by the numbers (on the latest charts dated June 14 — reflecting activity May 30-June 5, the first full week after the news of the deal).
54,000
Swift’s albums catalog sold a combined 54,000 copies in the U.S. in the tracking week, up 235% from the week before, according to Luminate. This includes each of her albums, re-recordings and all. That 54,000 is the most among all artists this week.
The biggest seller in her catalog was her sixth studio LP and final Big Machine project, 2017’s Reputation, which sold 15,000 copies alone (up 1,183% week-over-week). The album is one of two (along with her 2006 debut, Taylor Swift) that the singer hasn’t re-recorded and released yet. In the letter on her website, she wrote, “Full transparency: I haven’t even re-recorded a quarter of it.” She left fans hopeful though, adding, “There will be a time (if you’re into the idea) for the unreleased Vault tracks from that album to hatch.” The gains for reputation help the album rank at No. 4 on the Top Album Sales chart and No. 10 on Top Streaming Albums, and surge 78-5 on the Billboard 200 (marking its highest placement since January 2018).
The second-biggest seller was Taylor Swift, which she wrote she has finished re-recording but didn’t announce a release date yet. That album sold 8,000 copies (up 955%) and ranks at No. 6 on the Top Album Sales chart. The set also re-enters the Billboard 200 at No. 64, marking its highest rank since 2010.
222 million
Swift’s catalog raked in a combined 222 million official U.S. streams in the week following her announcement, up 32% from the week prior.
“Cruel Summer” was her most-streamed song of the week, tallying 5.4 million U.S. streams (up 6%). Her next four-highest-streamed songs are from Reputation: “…Ready for It” (3.8 million; up 70%), “Delicate” (3.8 million; up 76%), “Look What You Made Me Do” (3.6 million; up 70%) and “Don’t Blame Me” (3.4 million; up 84%).
Those 222 million streams in the U.S. are the second-most among all artists this week, following Morgan Wallen. The country star, who just dropped his latest album, I’m the Problem on May 16, raked in 379 million streams.
11
Swift charts 11 albums on the latest Billboard 200, tying her career weekly best. Here’s a look, with re-entries noted:
No. 5, ReputationNo. 18, The Tortured Poets DepartmentNo. 30, LoverNo. 50, MidnightsNo. 52, FolkloreNo. 61, 1989 (Taylor’s Version)No. 64, Taylor Swift (re-entry)No. 73, 1989 (re-entry)No. 147, Red (Taylor’s Version)No. 170, Speak Now (re-entry)No. 185, Speak Now (Taylor’s Version) (re-entry)
This is the 31st total week that Swift has charted 11 albums simultaneously. The only artists to chart more in a single week — since the list was combined from its previously separate mono and stereo album charts into one all-encompassing ranking in August 1963 — are Prince (who charted 19 albums after he died in 2016, plus 13 the week after that) and the Beatles (14 albums simultaneously for a week in 2010 and 13 during a week in 2014).
Alex Warren’s “Ordinary” remains the biggest song in the world, as it scores a sixth week at No. 1 on the Billboard Global 200 and a fourth week atop Billboard Global Excl. U.S.
Meanwhile, two songs are new to the Global 200’s top 10: MOLIY, Silent Addy, Skillibeng and Shenseea’s “Shake It to the Max (Fly)” bounds 12-6 and Tate McRae’s “Just Keep Watching,” from the forthcoming film F1, races onto the chart at No. 8.
The Billboard Global 200 and Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
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Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“Ordinary” leads the Global 200 with 70.2 million streams (essentially even week-over-week) and 12,000 sold (down 10%) worldwide May 30-June 5.
The rest of the Global 200’s top five is likewise static, with Lady Gaga and Bruno Mars’ “Die With a Smile” at No. 2, after 18 weeks at No. 1 starting last September (second only to the 19 weeks at No. 1 for Mariah Carey’s “All I Want for Christmas Is You” since the chart began); ROSÉ and Bruno Mars’ “APT.” at No. 3, after 12 weeks at No. 1 starting in November; Billie Eilish’s “Birds of a Feather” at No. 4, following three weeks at No. 1 last August; and Benson Boone’s “Beautiful Things” at No, 5 after seven weeks on top starting in February 2024.
MOLIY, Silent Addy, Skillibeng and Shenseea’s “Shake It to the Max (Fly)” surges 12-6 on the Global 200 with 44.1 million streams (up 15%) and 3,000 sold (up 42%) worldwide. The first top 10 on the chart for each artist leads the Billboard U.S. Afrobeats Songs chart for a fifth week.
Tate McRae’s “Just Keep Watching” speeds onto the Global 200 at No. 8 with 33.8 million streams and 2,000 sold following its May 30 release. Her third top 10 is from the Brad Pitt-starring film F1, premiering internationally June 25 and in North American theaters June 27, the same date as its soundtrack. (The song marks McRae’s latest vehicle-related … vehicle; her “Sports Car” revved to the chart’s top 20 in February.)
“Ordinary” commands Global Excl. U.S. with 50.6 million streams (down 1%) and 5,000 sold (down 5%) outside the U.S.
“Die With a Smile” is steady at No. 2 after 17 weeks atop Global Excl. U.S. starting last September. Only “APT.,” which holds at No. 3, has led longer: 19 weeks, beginning in November. “Birds of a Feather” ascends 5-4, following three weeks at No. 1 last August, and “Shake It to the Max (Fly)” shimmies 10-5, a week after it became each act’s first top 10 on the ranking.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated June 14, 2025) will update on Billboard.com tomorrow, June 10. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
