genre pop
Page: 60
The Osheaga Festival in Parc Jean-Dreapeau in Montreal (Aug. 1-3) announced its 2025 lineup on Wednesday (Feb. 19), which will feature headlining sets from The Killers, Tyler, the Creator and Olivia Rodrigo.
Explore
See latest videos, charts and news
See latest videos, charts and news
The stacked-and-packed roster also includes: Glass Animals, Doechii, Dominic Fike, Lucy Dacus, Finneas, Gracie Abrams, The Chainsmokers, The Struts, Future Island, Smino, Tommy Richman, Shaboozey, Kaleo, TV on the Radio, Cage the Elephant, Jamie XX, Royel Otis, The Beaches, Chet Faker, Gigi Perez, Bossman Dlow and Bigxthaplug, among many others.
Tickets for this year’s event will go on sale on Friday (Feb. 21) here; $1 from every ticket will be donated to the Evenko Foundation, which provides musical instruments to schools in Quebec and encourages young people to pursue a life in the performing arts.
Trending on Billboard
Among the other acts on this year’s roster are: Barry Can’t Swim, Jorja Smith, Artemas, James Hype, Nico Moreno, Måneskin singer Damiano David, Omah Lay, La Femme, Joey Valence & Brae, Wunderhorse, BBNO$, Sammy Virji, Alex Warren, Claude Vonstroke, Good Neighbours, Naomi Sharon, Adam Ten, Whitney, Matt Champion, Isoxo, Marina, Mark Ambor, Amaarae, Loco Dice, The Dare, Jersey, Oden & Fatzo, Ruby Water, Inji and Kenny Mason.
Last year’s Osheaga hosted nearly 150,000 fans at the city’s largest outdoor concert venue, where they took in sets by Noah Kahan, Green Day, SZA, Melanie Martinez, Lil Tjay, Smashing Pumpkins, Martin Garrix, Reneé Rapp, Hozier, Teddy Swims, Teezo Touchdown, Rancid, Chappell Roan, Raye, Tyla, Kevin Abstract, Justice, Jungle and T-Pain.
Check out the 2025 Osheaga Festival poster below.
Lady Gaga has made a career of wearing the most outrageous, impractical and confounding costumes in pop history. But one outfit in particular has continued to top the list of her most cuckoo couture: the Franc Fernandez-designed meat dress she wore to the 2010 MTV VMAs.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The cow costume accessorized with steak shoes and a shank chapeau blew minds at the time and continues to be one of her most iconic looks. But in a new lie detector test with Vanity Fair, Gaga was asked if she would ever wear the raw chuck couture — which was later preserved and turned into beef jerky — again.
“I don’t think so. No,” Gaga, 38, told the examiner, who informed the singer that her answer was “inconclusive.” Gaga seemed taken aback, responding, “Oh, well, that was a surprise.” She was also reminded that she asked Cher to hold her meat purse while accepting the video of the year award for “Bad Romance.”
Trending on Billboard
When the interviewer asked if that moment brought her closer to the fellow pop icon, Gaga said, “I think so. In the moment.”
Dressed in a lacy white outfit with peaked shoulders and a corset top, a serious-looking Gaga seemed nervous to take the test, admitting that she does not “have a good poker face,” which the examiner said caused the machine to detect “some deception.”
“So I do have a good poker face? Thank you,” she replied with a contented smile. In a timely query, Gaga was reminded that the video for her 2009 collab with Beyoncé, “Telephone,” says “to be continued” at the end, prompting a question about whether there will be a second part some day. “Yes,” Gaga said, though she admitted she didn’t know when it would be released, and, when presented with a picture of Beyoncé and asked if her fellow pop icon would be involved the second time, slyly saying “maybe.”
As for whether she’s ever answered the phone and said, “sorry, I can’t hear you, I’m kind of busy,” as she sings in the song, Mother Monster said, “I feel like I might have done that before, but maybe not,” fretting that she was saying both yes and no; the interviewer said either way she was being truthful.
Also, for the record, she still has that giant egg she arrived in at the 2011 Grammy Awards, which is stashed in her 40,000-square foot archive with her other famous costumes.
At press time it wasn’t clear if the second “Telephone” would be including on Gaga’s upcoming seventh studio album, Mayhem, which is slated to drop on March 7. Earlier this week, the singer revealed the full track list for the 14-track LP, which will feature the previously released singles “Die With a Smile,” “Abracadabra” and “Disease,” as well as “Garden of Eden,” “Perfect Celebrity,” “Zombieboy,” “Vanish Into You,” “LoveDrug,” “How Bad Do U Want Me,” “Don’t Call Tonight,” the Gesaffelstein-collab “Killah,” “Shadow of a Man,” “The Beast,” “Blade of Grass” and two bonus tracks, “Kill For Love” and “Can’t Stop the High.”
Watch Gaga take the VF lie detector test below (beef talk begins at 11:30 mark).
Tate McRae is stepping into a new era with her third studio album, So Close to What, set for release Friday. To celebrate, McRae partnered with Spotify for an intimate listening party on Tuesday night at The Living Room in Los Angeles, where 40 fans got an exclusive first listen.
From the moment the first song played, the energy in the room was electric. Fans were dancing, jumping and fully immersed, reacting in real time as McRae unveiled her most personal and dynamic project yet.
The night wasn’t just about the music. It also featured a Q&A session with McRae’s best friend, social media personality Jake Shane. Their dynamic was effortless, filled with playful banter, inside jokes and genuine excitement for the album. Shane, one of McRae’s biggest supporters, couldn’t hide his enthusiasm, especially for his favorite track of the night. Before “Signs” played, he hyped it up to the room, blurting out, “It’s so good!” McRae laughed, adding, “It’s a really fun, sarcastic pop song. … I can’t wait for everyone to hear it.” The second it started, the entire room was moving. The track is pure spring and summer energy — made for blasting in the car, top down, cruising with friends.
Trending on Billboard
McRae’s So Close to What delivers a mix of vulnerability and high-energy anthems, showing her evolution as an artist. One of the biggest crowd favorites of the night was “Revolving Door.” The second it started, fans latched onto it, jumping and dancing without hesitation. It’s a song that demands movement, a full-blown party record with pulsing energy. The room was completely alive, and it was impossible not to picture this track blowing up on playlists and club remixes.
On the opposite end of the spectrum, “Purple Lace Bra” slowed things down, bringing an introspective, emotional energy. McRae described it as her response to the media, a raw and deeply personal track. Speaking on the theme of the album, she explained, “The album title encapsulates how I felt turning 21 … feeling like you’re finally a woman while also wrestling with how the media portrays you.”
Then there was “Green Light,” a track about the exhilarating-yet-terrifying feeling of falling in love again. It captures the tension of hesitation and excitement, like waiting at a green light, unsure whether to move forward. The mix of vulnerability and an infectious beat makes it an instant fan favorite — one of those songs that lingers long after it ends.
But the highlight of the night: “Bloodonmyhands,” featuring Flo Milli. The second the beat dropped, the entire room erupted. People stood up, danced and completely lost themselves in the music. It was giving summer 2016 — chaotic, fun, completely unfiltered energy. And Flo Milli, she ate. Her delivery, her confidence, her flow — she brought exactly what the song needed, and the crowd’s reaction said it all.
During the chat, McRae opened up about much of the album leaking ahead of her release date, which she called a “f—ing bummer.” “I was just so devastated because I’m like, ‘There’s nothing I can do about this.’” McRae combated the leak by getting back in the studio and writing some new songs to add to the project, including what would become the Flo Milli collab, plus “Like I Do.”
McRae also gave fans insight into her creative process, revealing that her alter ego played a big role in shaping some of the songs. “Tatiana, my alter ego, wrote a lot of the songs on the album — including ‘Sports Car,’” she shared of her latest single.
One of the most anticipated collaborations is “I Know Love,” her song with boyfriend The Kid Laroi, which came together in a way neither of them expected. “It was a really funny process, because me and Laroi have never really, like, taken each other seriously,” she laughed. “You know when you’re in a relationship and you sing around each other, but you don’t really, like, sing? So it was a little stressful being in the studio singing and writing in front of him, but it was a cool experience to watch him in his process.”
McRae closes the album with “Nostalgia,” a deeply personal track that lingers long after the final note. It’s the perfect ending to an album that takes listeners through every high and low.
The listening party proved that So Close to What will be a defining moment in McRae’s career. Fans connected instantly with the songs, and the energy in the room was undeniable. With her Miss Possessive Tour kicking off in March, this is just the beginning. If the reactions at the listening event were any indication, McRae’s biggest era yet has officially arrived.
Tate McRae and Jake Shane speak during an exclusive listening of ‘So Close to What’ with Tate McRae at The Living Room on February 18, 2025 in Los Angeles.
Emma McIntyre/Getty Images for Spotify
It’s been nearly 16 years since Lady Gaga and Beyoncé made a Thelma & Louise-style getaway in their “Telephone” collaboration, with the music video ending with the message, “To be continued…” Now, the story really is continuing. Explore See latest videos, charts and news See latest videos, charts and news Lady Gaga sat down with […]
The Backstreet Boys are psyched that they will be the first pop group to take the stage at Las Vegas’ Sphere in July, and when Billboard asked what fans can expect from the shows, AJ McLean promised, “one incredible experience,” while Nick Carter added “sensory overload.”
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
In addition to performing their 1999 career-peak Millennium album in full along with some greatest hits and new single, “Hey,” McLean teased that there might be “some new adaptations of things,” requesting that attendees pack “something all white” for the 12-show run that will bring McLean, Carter, Brian Littrell, Kevin Richardson and Howie Dorough to the high-tech venue in July.
The Boys, who are now men in their mid-to-late 40s and early 50s, said they’ll be bringing their friends, and families, along for the ride, with McLean reminiscing about going from the original in-the-round configuration for the first Millennium run to the bump-up to the most state-of-the-art, “sonically overwhelming… visually outstanding” venue on the planet. (Check out the full interview in the video above.)
They’re also psyched to make history as the first pop band to touch down in the futuristic arena that to date has hosted U2, Phish, Dead & Company, the Eagles, EDM act Anyma and, later this spring, Kenny Chesney.
“Die hard fans are going to get a great experience, a great nostalgic moment,” McLean said, with Dorough revealing that they are working on the setlist at the moment. “Even just playing the whole Millennium album, there’s some deep cuts in there that we were just discussing the other day,” Dorough said. “[We were] reminiscing about some of the songs like ‘The Perfect Fan’ and ‘No One Else Comes Close to You’ [and ‘Spanish’] Eyes,’ which are songs that the fans probably haven’t heard since the Millennium tour.”
The 25th anniversary celebration of the album that topped the Billboard 200 for 10 weeks and has sold more than 24 million copies to date coincides with the July 11 release of Millennium 2.0, a two-CD collection featuring a remastered version of the original — including the hits “I Want It That Way” and “The One” — along with six demos from the sessions for the album, as well as b-sides from international releases, six live tracks and the previously unheard track “Hey.”
Richardson said “Hey” was tracked during the session for their 2019 DNA album, and while they all agreed it was a “beautiful song,” it didn’t quite fit that LP’s vibe. Not to worry, though, it will get its live debut on what McLean said will be the “massive” stage set-up that will include the men pulling off some of their most iconic choreography, and maybe some new moves.
As for who they would like to see at the Sphere once they’re done burning up the stage, Richardson said for sure Coldplay while Carter joked that he’s like to see, well, the Backstreet Boys.
The BSB will touch down at the Sphere on July 11, 12, 13, 18, 19, 20, 25, 26 and 27, as well as August 1, 2 and 3. The artist presale for the shows is open now, with the general on-sale slated to launch on Friday (Feb. 21) at 9 a.m. PT here.
While cameras were rolling on Sabrina Carpenter and Dolly Parton‘s music video set for their new remix of Billboard Hot 100-topper “Please Please Please,” the former was totally professional. But between takes, she fangirled exactly as much as anyone would having the Queen of Country on set with them.
In a behind-the-scenes video from the shoot posted to Parton’s official TikTok account Wednesday (Feb. 19), Carpenter — dressed in a checkered pinup leotard and a teased-to-the-heavens hairdo — loudly gasps with delight when she arrives on set to find her legendary collaborator already there, modeling sparkly shoulder pads and sunglasses.
“You look so cute!” Carpenter chirps ecstatically, smiling at the “Jolene” singer. “You look amazing.”
Trending on Billboard
The clip then shows footage of the pair bonding inside the rusting pickup truck used in the music video to tow a kidnapped man whose face is covered by a bag (but whose outfit just so happens to match one worn by Carpenter’s ex Barry Keoghan in the original “Please Please Please” visual). “We’re in a pickup truck,” the Girl Meets World alum tells the camera while leaning in close to Parton in the TikTok. “Big hair. The stars are all really aligning.”
After showing a few more shots of the two women filming the Thelma & Louise-esque project, the behind-the-scenes camera circles back to the duo having a love fest between takes. “We’re little, we’re blonde and we love each other,” the country icon says as Carpenter cackles.
“Two blondes are one thing, a collab with @Sabrina Carpenter is another,” reads Parton’s caption.
The post comes just five days after the pair’s duet version of “Please Please Please” arrived on Valentine’s Day, along with the rest of Carpenter’s Short n’ Sweet deluxe version. Announced shortly after the original LP took home best pop vocal album at the 2025 Grammys, the expanded edition also includes four new songs: “15 Minutes,” “Couldn’t Make It Any Harder,” “Busy Woman” and “Bad Reviews.”
On release day, Carpenter and Parton also posted a video of their first time meeting, which included an adorable bonding moment over their shared short statures. “I didn’t know how tall you were … you’re like my height!” the 5-foot “Espresso” artist gushed in the clip while hugging her longtime hero, later saying she “can’t wait” to look like Parton when she gets older.
Watch Carpenter fangirl over Parton on the set of “Please Please Please” below.
Rizzle Kicks has learned not to question a bolt from the blue. While working on the lyrics for its mighty new LP, Competition is for Losers, the duo – comprised of rappers Jordan Stephens and Harley Alexander-Sule – was struck by moments of synergy. The two members had entered the studio with the intention to make “an album talking about exactly where we’re at in our lives,” says Alexander-Sule, 14 tracks of fluorescent-hued pop-rap that celebrate a journey to embracing stillness over momentum, peace over chaos.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The pair’s freewheeling spirit shines on the record because of how easily its bars dip and traverse through different moods. Tracks like “Everything’s Aligned” and “Javelin” hone in on the realization that something truly powerful can still exist and thrive after years of fear have been pushed aside: for Stephens and Alexander-Sule, it’s a friendship that has withstood everything it has been through.
Trending on Billboard
Rizzle Kicks formed in Brighton as teenagers in 2008, having attended music workshops together, and then south London’s BRIT School, which also helped to launch the careers of Adele, Lola Young and Olivia Dean. Within three years, it became one of the biggest acts in the U.K. For a moment in time, 2011 debut album Stereo Typical felt omnipresent; it blasted from car windows, it shot over TV montages, it echoed through shopping centres.
The 2011 hits “Down With the Trumpets” and “Mama Do the Hump” both went platinum. A breezy approach to music-making conjured images of giddy misadventures, cider-soaked conversations among friends that would roll until dawn, in-jokes formed from the simple, shared pursuit of a laugh. Rizzle Kicks defined a specific, more innocent time in youth culture, so much so that TikTok has turned to labelling any glimpse of sunshine in the U.K. as “Rizzle Kicks weather”.
Shortly after they released its second LP Roaring 20s in 2013, which landed at No. 3 in the Official U.K. Album Charts, the pair say they had lost a sense of purpose. They started to drip-feed a number of singles and EPs, and diversified into acting, but many of these one-off releases felt like “treading water,” Alexander-Sule notes.
Rizzle Kicks attempted to create another album, which never came out, while a U.K. tour booked for late 2016 was called off before the pair even hit the road. Though Stephens and Alexander-Sule remained close during this period, for a number of years, the question of working together again was scrupulously avoided.
They soon shifted towards solitary creative work, including respective solo material. There was broadcasting and some literary projects (2024 memoir Avoidance, Drugs, Heartbreak and Dogs and children’s book The Missing Piece) for Stephens, and for Sylvester, writing with the likes of ascendant British acts Rachel Chinouriri and Tom Grennan.
Rekindling their creative partnership as Rizzle Kicks after more than a decade necessitated an open mind for Stephens and Alexander-Sule, and a willingness to let go. Speaking over Zoom, the pair discuss new beginnings, last November’s comeback gig at KOKO in London, and the greater purpose of their comeback.
Jordan, on Miquita Oliver and Lily Allen’s Miss Me? podcast, you spoke about witnessing “rebellious joy” at your comeback gig. What does that phrase mean to you?
Jordan: I guess I’d be careful about [the energy] being seen as rebellion, but it was incredible. If I’m feeling pumped, I’m thinking of [Irish rap trio] Kneecap – they’re actively doing guerrilla marketing, picking court cases against the government – that’s so serious! But my understanding of the gig at KOKO versus my understanding of the gigs we did 10 years ago is that the joy we’re providing feels a little bit different in these tough times.
It’s hard right now. I really, really hate saying that everything seems like it’s the end of the world. I don’t like being apocalyptic. But we’re seeing the worst of everything in the world right now; the news and social media is just more shocking than ever. The lane in which we exist might be more necessary, as we value community and live music. Being in a place with people who have a mutual interest is hugely important nowadays.
Are there any of your older songs that feel more potent or relevant now when playing them live?
Jordan: I loved playing the older songs [at KOKO]! In my mid 20s, after we put Rizzle Kicks on ice, I spent a lot of time dealing with stuff to do with being in the pop industry; how I felt about my own self-worth and understanding of achievement. In that time, through the work I’ve done on myself, I’ve turned around and realised that [Rizzle Kicks] did so well at such a young age.
I actually really reveled in playing the songs that everybody loves. We made a breakthrough as being carefree, f–king joyful young men, you know? And that’s what we were talking about in the music. Don’t get me wrong, tracks like [2013’s] “Lost Generation” were politically-charged, to an extent. But we weren’t mouthy – ultimately, we just wanted to give people a good time.
Was there anything that shifted in your personal lives that made it the right time to return to music?
Harley: Making music with Jordan is my favorite thing in the world, and I just wanted that feeling back. Before, I was definitely struggling a lot with my mental health, and just over time, that got better. I spent a lot of time with people I love, and eventually, the desire to get back in the studio started to outweigh the pressure of returning to the stage. Other than the initial, overwhelming period after the news was out, I’ve dealt with everything a lot better than I could have anticipated.
Did you ever worry that the public’s reaction to the comeback wouldn’t meet your own expectations?
Harley: “I mean, if anything, when we announced that we were going to come back the response was overwhelming. I remember the day we put the KOKO tickets on sale, I said to my manager, ‘I’d be really happy if we could sell 300 tickets on the first day, that’d be great.’ And then it sold out in 15 seconds!
Jordan has remained in these media spaces over the years, but I’ve definitely been away from the world for a long time, so I found it quite overwhelming at first. There’s quite a lot of schools around where I live, and I was getting hounded for the first couple of weeks because our comeback videos were getting shared loads. I can’t believe how excited people were.
We’re not trying to base this whole comeback on nostalgia, however. We want this to be something that can grow from here. We want to be in a space where we can continue to make albums and tour; we want this to be consistent, not just a ‘flash in the pan’-type situation. We could have easily released a song, done a tour, made a bit of cash, and then f–ked off again. The fact that this album has been in the works for four or five years is testament to how seriously we’re taking this era. We really want to push ourselves and progress.
How different does it feel to be writing from a place of acceptance in your life?
Jordan: For me, personally, I was so chaotic on the last album. This is the complex thing of mixing drugs with creativity, is that we have this whole historical notion around being a ‘tortured genius.’ I was messed up by crazy ideas, I needed grounding – but at the time, even Harley struggled to do that with me. I don’t have any real vivid memories of that time, other than I know where I recorded it, and I know I involved a bunch of my family in the process.
In the past, I would have been eating loads of sugar, doing drugs and drinking [during recording]. Now I’m just drinking maybe one coffee. I’m thinking more logically and rationally; I’m a better rapper; I’m more relaxed and comfortable in the studio. I had great lyrics back in the day, but nowadays, I deliver bars with a little bit more confidence.
But also, I write so much slower than I used to! That’s one thing, I guess, that’s a blessing and a curse in a way. When I was younger, I used to think so fast, and sometimes I’d only be able to think in rhyme. But now, I only have one or two thoughts at a time. Sometimes they trouble me, but they’re calmer. So if I’m writing a rap, I don’t just write rap verses for no reason. I’m there for three or four hours writing a 16-bar verse, just because I’m chilling!
“I’ve been bursting at the seams to be able to talk about this stuff,” Chloe Moriondo tells Billboard of her upcoming album, Oyster. The singer-songwriter shifted her aesthetic across her three previous albums, from the ukulele twee on 2018’s Rabbit Hearted. to heartfelt pop-punk on 2021’s Blood Bunny to fuzzed-out, radio-ready melodies on 2022’s SUCKERPUNCH.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Oyster, due out Mar. 28 on Public Consumption/Atlantic Music Group, functions as an amalgamation of those sounds, while also featuring the 22-year-old’s most vulnerable lyrics by far. “This feels like a very special project,” says Moriondo. “I’m nervous, as I always am before releasing things, but especially because this one’s so personal.”
On Wednesday (Feb. 19), Moriondo released the second preview of the album with “Hate It,” a gleefully unhinged pop track with a creeping bass line and an obsessive protagonist (“Wanna wear your body and trade places / Everybody loves you, and I hate it,” Moriondo sings on the chorus). After showcasing a sardonic streak on SUCKERPUNCH, Moriondo lets the dark humor simmer on the track while the listener is urged to hum along.
Trending on Billboard
“It’s one of the only non-aquatic songs off the album,” Moriondo says of “Hate It,” which is surrounded by songs titled “7 Seas,” “Abyss” and “Shoreline” on Oyster. “I did stick very thematically with the ocean, water and all things aquatic in general. But ‘Hate It’ was an oddball, and it just proved to me that I’m going to continue writing murderous pop love songs till I die, I’m pretty sure. And we just couldn’t leave her off the album.”
Moriondo began working on the new album in early 2023, tinkering on songs for weeks at a time in London and Los Angeles, while also processing the worst breakup of her life. Heartbreak, and how to manage its aftereffects, serves as the undercurrent of Oyster, from the mournful piano ballad “Pond” to the reflective bedroom-pop track “Raw” to the breathtaking “Siren Calling,” which offers closure within the final track.
“It was very cathartic to be able to pour out everything that had been going on in my brain and in my life,” Moriondo notes. “It was nerve-wracking, in some ways. I kind of felt like a baby sea turtle — flopping around, confused — for the first couple sessions and the first couple songs. I felt a little bit nervous, but it also felt like an outpouring of pent-up energy and emotion that I was excited to finally be able to release.”
Not only does Oyster represent the cohesive front-to-back listen of Moriondo’s career, but the singer-songwriter says that she wants every aspect of this album campaign to feel part of a whole — and that she became more hands-on with the planning of execution of this rollout than she’s ever been.
“With this album, I’ve just learned how crucial it can be to be as involved as possible creatively, with every facet of the album,” she says. “With an album like Blood Bunny or Rabbit Hearted., I was so young, and I say this as a term of endearment, but I was still very ignorant to a lot of things. I don’t think I poured as much of myself as I could have into a lot of my previous stuff, in terms of the touring, the vinyl packaging, just the life and blood of it. So I think I’m much more connected creatively to this album than I have been.”
After releasing “Shoreline” as the first taste of Oyster last month, Moriondo also announced a spring headlining tour, which kicks off on Apr. 24 in Detroit. She says that ideas for performing these new songs live have dominated her thoughts for months, and she hopes that her shows are as freeing for her fans as making this album proved to be for her.
“The people who come to my shows, whether they’re longtime fans or new fans or boyfriends or parents of fans, can expect to experience a very immersive show,” Moriondo says with a laugh. “A lot of dancing, a lot of potential crying, and something reminiscent of the Jellyfish Jam from Spongebob.”
How you like that! BLACKPINK announced its highly anticipated 2025 world tour dates on Wednesday, Feb. 19, revealing that the global trek will kick off in July.
The K-pop supergroup consisting of JENNIE, ROSÉ, JISOO and LISA revealed that the limited run of shows will begin with a pair of shows July 5 and 6 at the Goyang Stadium in Seoul, South Korea, followed by stops in Los Angeles, New York City, Paris, Barcelona and more. The tour ends Aug. 15 with a stop at London’s famed Wembley Stadium, which will also mark the first time that a K-pop girl group has ever headlined the venue.
Though not mentioned in the press release, the group’s Instagram post announcing the tour dates also revealed that 2026 shows are also coming to the Tokyo Dome in mid January.
Trending on Billboard
Tickets for the shows go on sale Feb. 27 via Live Nation. Onsale start times will vary by market.
The 2025 world tour will be the first time BLACKPINK has gone on the road as a group since the Born Pink World Tour, which ran from 2022 to 2023. That trek landed the K-pop group on the Billboard‘s 2023 Top Tours chart, having sold 703,000 tickets over 29 shows during the period of eligibility; the trek grossed $148.3 million.
The group first teased the upcoming tour on Feb. 5. At the time, little information was revealed, with BLACKPINK sharing just a quick teaser video of fans screaming in massive venues, the four women on stage and the clip ending with the message “2025 World Tour” in pink lettering over a black background.
Over the past year, JENNIE, ROSÉ, JISOO and LISA have taken a break from group duties to focus on their own solo projects. LISA’s solo effort, Alter Ego, arrives at the end of the month on Feb. 28, while JENNIE‘s Ruby arrives a week later on March 7. JENNIE is also dropping a collab track with Doechii titled “ExtraL” this Friday (Feb. 21). And just last week on Valentine’s Day, JISOO dropped her mini solo album, AMORTAGE. ROSÉ’s solo album rosie arrived in early December, and also features her Billboard Hot 100 No. 3 hit “APT.” alongside Bruno Mars.
LISA, who also confirmed that a BLACKPINK tour was coming this year in her November Billboard cover story, expressed excitement about the trek at the time. Said the pop star: “I can’t wait.”
See BLACKPINK’s 2025 World Tour dates below:
Justin Timberlake, BTS’ J-Hope, Gracie Abrams, Raye and Benson Boone are among the headliners for 2025’s Lollapalooza Berlin. Among the other acts slated to perform on July 12 and 13 at Olympic Park and the Olympic Stadium in Berlin are: Armin Van Burren, Brutalismus 3000, Ive, The Last Dinner Party, Dom Dolla, John Summit, Artemas, Shaboozey, Royel Otis, Ashnikko, Magdalena Bay, Sofi Tukker, Bigxthaplug and Mark Ambor, among many others.
Explore
See latest videos, charts and news
See latest videos, charts and news
Tickets for the festival are on sale now.
Lollapalooza Berlin was the first European extension of the beloved Lolla brand, first touching down in 2015, shifting between a series of different venues before finding its permanent home in the Olympic Park in the heart of Berlin.
Trending on Billboard
Last year’s fest featured a similarly eclectic lineup topped by Sam Smith, Martin Garrix, Burna Boy, OneRepublic, Seventeen, The Chainsmokers and solo sets from former One Direction band mates Niall Horan and Louis Tomlinson.
The 2025 Berlin edition will also host Mother Mother, Mahmut Orhan, Argy, Mark Ambor, Bunt., Nora En Pure, Miss Monique, Anna, Flo, Joey Valence & Brae, Neil Frances Present Club NF, Benjamin Ingrosso and Wasia Project, among others. The set from J-Hope will come following the conclusion of the K-pop superstar’s Hope on the Stage 2025 solo world tour, which will kick off on Feb. 28 with the first of two shows at KSPO Dome in Seoul, South Korea before jumping to the Barclays Center in New York and winding down on June 1 with the second of two shows at the Kyocera Dome Osaka in Osaka, Japan.
Check out the poster for the 2025 Lollapalooza Berlin festival below.