Music News

Ariana Grande’s Fans Think ‘Eternal Sunshine’ Is the Next ‘Album of the Year’: Arianators React to New LP

Ariana Grande‘s new album Eternal Sunshine is out following a four-year music drought — and it was well worth the wait, as far as most fans are concerned.

In the hours since the 13-track LP dropped Friday (March 8), listeners have been flocking to social media to sing the pop star’s praises and gush about their favorite songs on the album. “ariana grande KNEW she ate eternal sunshine up omg,” one person wrote on X.

“so we all agree this is the holy trinity of eternal sunshine,” tweeted another fan, sharing a screenshot of Grande’s “True Story,” “Bye” and “The Boy Is Mine.”

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And even though it’s only been a few hours since the project hit streaming services, Arianators already have it pegged as the next recipient of album of the year at the Grammys — a prize she was previously nominated for in 2020 with Thank U, Next, but lost to Billie Eilish’s When We All Fall Asleep, Where Do We Go?

“SELF WRITTEN???? PRODUCED EVERY TRACK????” raved a particularly enthusiastic supporter. “VOCAL ENGINEERED IT ALL??? idk…. AOTY is right thereeeee ariana”

“eternal sunshine is a solid f–king album and i am not surprised ariana is one in a million,” another fan added. “the artistry the vocals the production, put some f–king respect on her name. one of the best to do it.”

In celebration of Eternal Sunshine‘s release, Grande will perform on Saturday Night Live this weekend as the Josh Brolin-hosted episode’s musical guest. Along with the album, the “Yes, And?” singer dropped the music video for her next single “We Can’t Be Friends (Wait For Your Love)” on Friday.

See the best fan reactions to Eternal Sunshine below.

Marilyn Manson Hitting the Road with Five Finger Death Punch For First Dates Since Sexual Abuse Allegations

[Trigger warning: this article contains descriptions of domestic violence, as well as sexual and physical abuse.]

Marilyn Manson announced his first live dates in nearly five years on Friday (March 8), marking the shock rocker’s return to the road after more than half a dozen women accused the him of sexual and emotional abuse. The news came in an X post in which Manson revealed that he and Slaughter to Prevail will be hitting the road this summer/fall for a 30-date arena/amphitheater tour with Five Finger Death Punch slated to kick off on August 2 at Hersheypark Stadium in Hershey, PA.

More than a dozen women have accused Manson (born Brian Warner), 55, of sexual, emotional and physical assault, including actress Evan Rachel Wood, who was the subject of the two-part HBO 2022 documentary Phoenix Rising that delved into her claims of the abuse she claims she allegedly suffered at the rocker’s hand during an on-and-off relationship that began when she was 18.

Manson, who has denied all the allegations, reached a settlement with actress Esme Bianco last year to end her sexual assault lawsuit after a judge dismissed another sexual abuse suit from model Ashley Morgan Smithline. Previously, an L.A. Superior Court judge dismissed a suit against Manson filed by a former personal assistant alleging sexual assault, sexual battery, sexual harassment and intentional infliction of emotional distress.

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The singer was sued over allegations of sexual assault against a minor in January 2023, in which the “Jane Doe” claimed Manson groomed and sexually assaulted the then-underage girl early in his career. The graphic details of that Doe suit closely match the allegations from a number of the other women who have made claims against Manson, including that the singer subjected them to “hostile and verbally abusive behavior,” as well as racially charged language mixed with the sharing of intimate personal details.

After initially declining to name Manson as her abuser, Wood posted an Instagram statement in Feb. 2021 in which she wrote that “he [Manson] started grooming me when I was a teenager and horrifically abused me for years. I was brainwashed and manipulated into submission. I am done living in fear of retaliation, slander or blackmail.” Among her horrifying claims were that Manson would “draw swastikas over my bedside table when he was mad at me” and that he would allegedly tie the actress up and torture her ritualistically, lashing her to a “kneeler” bench and hitting her “over and over” with a Nazi whip from the Holocaust before shocking her welts and private areas until she broke the bench in half. Following Wood’s claims four other women came forward with similarly allegations against Manson in a Vanity Fair article.

Manson has countersued a number of his alleged victims — in addition to settle Bianco’s suit — and judges have dismissed several of the abuse lawsuits against him over the past three years. In the wake of the raft of allegations, Manson was dropped by his record label Loma Vista Records in Feb. 2021 as well as by his longtime manager, Tony Ciulla, several days later.

The “Antichrist Superstar” singer has been off the road since the final August 18, 2019 date on the Twins of Evil: Hell Never Dies joint tour with Rob Zombie and hasn’t released new music since his 2020 We Are Chaos album.

See the announcement and tour dates below.

Summer/Fall 2024 North American tour:

August 2 — Hershey, PA @ Hersheypark Stadium

August 4 — Boston, MA @ Gillette Stadium ( w/ @metallica )

August 5 — Holmdel, NJ @ PNC Bank Arts Center

August 7 — Detroit, MI @ Pine Knob Music Centre

August 8 — Cincinnati, OH @ Riverbend Music Center

August 10 — St. Louis, MO @ Hollywood Casino Amphiteater

August 11 — Chicago, IL @ Soldier Field (w/Metallica)

August 13 — Rogers, AR @ Walmart Amphitheater

August 14 — Nashville, TN @ Bridgestone Arena

August 16 — Noblesville, IN @ Ruoff Music Center

August 18 — Minneapolis, MN @ US Bank Stadium (w/Metallica)

August 19 — Des Moines, IA @ Wells Fargo Arena

August 21 — Omaha, NE @ CHI Health Center

August 22 — Denver, CO @ Ball Arena

August 24 — Saskatoon, SK @ SaskTel Centre*

August 25 — Edmonton, AB @ Commonwealth Stadium (w/Metallica)

August 27 — Vancouver, BC @ Rogers Arena

August 29 — Airway Heights, WA @ NorthQuest

August 31 — Portland, OR @ RV Inn Style Resorts Amphitheater

Sept. 1 — Seattle, WA @ Lumen Field (w/Metallica)

Sept. 3 — Mountain View, CA @ Shoreline Amphitheater

Sept. 4 — Chula Vista, CA @ North Island Credit Union Amphitheater

Sept. 6 — Anaheim, CA @ Honda Center

Sept. 8 — Las Vegas, NV @ MGM Grand Garden

Sept. 10 — Phoenix, AZ @ Talking Stick Resorts Amphitheater

Sept. 11 — Albuquerque, NM @ Isleta Amphitheatre

Sept. 13 — Durant, OK @ Choctaw Grand Theater

Sept. 15 — Atlanta, GA @ Lakewood Amphitheatre

Sept. 16 — Biloxi, MS @ Mississippi Coast Coliseum

Sept. 18 — Austin, TX @ Germania Insurance Amphitheater

Sept. 19 — Houston, TX @ Cynthia Woods Mitchell Pavilion

*no Manson

Jimmy Kimmel Reveals Whether Taylor Swift & Travis Kelce Jokes Are ‘Off Limits’ at the 2024 Oscars

Jimmy Kimmel undoubtedly has a list of names he plans on mentioning during his hosting duties at the 2024 Oscars, but are Taylor Swift and Travis Kelce‘s in red, underlined? The late-night juggernaut says it isn’t likely.

In an interview with CNN two days ahead of the Sunday (March 10) ceremony, Kimmel said that jokes about the high-profile romance are “not off limits, but probably played out.”

The admission will come as a relief to those who groaned through Jo Koy’s quip about the pop star and Kansas City Chiefs tight end at the Golden Globes in January, which elicited awkward silence and a cold reaction from Swift, who was in the audience that night.

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“The big difference between the Golden Globes and the NFL? At the Golden Globes, we have fewer camera shots of Taylor Swift,” Koy had riffed during his monologue, after which cameras cut to a stone-faced Swift as she took a sip from her champagne flute.

Later, Koy clarified that he’d had “no ill intent” in name-checking the 14-time Grammy winner, telling the Los Angeles Times that “the whole intention of that joke was to make fun of the NFL.”

Helmed by Kimmel, the 2024 Oscars will air live at 7 p.m. ET on ABC, and will feature performances from Barbie‘s Ryan Gosling, Billie Eilish and Finneas, as well as presentations from Bad Bunny and Wicked costars Ariana Grande and Cynthia Erivo. Speaking about the trickiness of making jokes without offending their subjects, the Jimmy Kimmel Live! host admitted, “It’s not that easy.”

“It depends on the person because some people are more sensitive than others,” he continued. “God help you, if I know you. Like, if you’ve been to my house, you’re in trouble on Oscar night.”

Halle Bailey Says She ‘Had No Obligation to Share’ Her Pregnancy: Watch the Emotional Speech

Halle Bailey and her boyfriend, rapper DDG, are enjoying being new parents after they welcomed their baby boy, Halo, late last year. And while speaking at the 2024 ESSENCE Black Women in Hollywood Awards Ceremony on Thursday (March 7), the 23-year-old emotionally detailed why she hid her pregnancy and didn’t go public with her baby bump.

Ahead of Friday’s (March 8) International Women’s Day, Bailey explained that the decision to hide her pregnancy came from a “place of protection,” and the “state of the world” also played a role.

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“There was no way in hell I was going to share the biggest joy of my world with anyone. Halo was my gift. He is the greatest blessing, and I had no obligation to expose him, me, or my family to that,” Bailey declared. “With the state of the world and the place it is in with men trying to force their will on our bodies, no one on social media, and for d–n sure, no one on the planet was going to tell me what to do with my body or what to share with the world.”

The Little Mermaid star was on the verge of tears while thanking the women who came before her and set what she believed to be the right example.

“Do y’all remember when Prince Z David Marley, who came from a queen named Lauryn Hill, entered the world? Do you remember how private Beyoncé was about her pregnancy? We have that right. Every woman in the world has that right to choose what to do with their bodies and what to share with anyone or everyone,” she continued. “So thank you. Thank you to some of the strong women in my life, like my beautiful sisters standing here on the stage with me, for setting examples in resilience, confidence, and independence.”

Bailey and DDG revealed the birth of their son in January with a post on social media about bringing Halo into the world and becoming new parents.

While tending to mom duties, Bailey is also back in the studio working on new music, and she’s readying a single titled “In Your Hands” for next Friday (March 15).

“Whenever you’re down and sufferin’, I promise that I’ll be your only friend/ ‘Cause I know that the demons comin’ again, and we will never, ever let ’em in,” Bailey croons before bellowing the hook. “In your hands, in your hands, the world is yours!”

“You guys have asked for it, so i’ll gladly give it to you,” she added on X.

Watch the clip of Bailey explaining her decision to hide her pregnancy below:

Shawn Mendes Reveals He’s ‘Working on a New Album’ & Announces Rock In Rio Performance

A Shawn Mendes comeback is imminent. In a stripped-back Instagram post Thursday (March 7), the 25-year-old singer-songwriter revealed that he’s returning to the stage with new music in tow, confirming plans to release a new album in the near future.  

Sharing a black-and-white photo of him playing the guitar outdoors — sans shirt — Mendes wrote, “It’s been a really long time since i last played live.”  

“I’m so excited to share that I’ll be headlining Rock In Rio on Sept 22nd,” he continued. “I’ve missed being on stage and seeing you all in person so much!” 

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According to a poster Mendes included in his post, the “Stitches” singer will perform Sept. 22 at the two-weekend Rio de Janeiro festival, which kicks off Sept. 13. Also on the lineup are Travis Scott, Imagine Dragons, Ed Sheeran, Katy Perry and more. 

The star, who hasn’t released an album since 2020’s Billboard 200-topping Wonder, went on to reveal that a new LP is underway. “I’ve also been working on a new album and i can’t wait to play these new songs live for you,” he added in his post. “See you there. eu te amo!!!!” 

The news comes almost two years after Mendes canceled his 2022world tour, citing struggles with his mental health. “After speaking more with my team and working with an incredible group of health professionals, it has become more clear that I need to take the time I’ve never taken personally, to ground myself and come back stronger,” he said in a statement at the time.  

Since then, the “Treat You Better” musician has released a couple singles, including June’s “What the Hell Are We Dying For?” and “Witness Me” with Jacob Collier, Stormzy and Kirk Franklin. 

See Mendes’ announcement below. 

Watch Miley Cyrus Sing Banjo-Fied Cover of Talking Heads’ ‘Psycho Killer’ With Fresh Lyrics

Miley Cyrus gives the Talking Heads‘ jittery 1977 new wave classic “Psycho Killer” a fresh spin in a fan-posted video of the singer’s cover of the track from her November performance at Los Angeles’ Chateau Marmont. In the minute-long clip, Cyrus trades the original’s spare, bass-thrumming, quick-strummed guitar for finger-picked acoustic guitar and banjo, giving the track a country makeover.

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In keeping with the folky feel, Cyrus twangs up the vocals as well, crooning, “Cuz my bed’s on fiiiiiire/ No, don’t touch me baby/ I told you I’m a real live wire,” while messing with the lyrical timing to draw out and emphasize different syllables, transforming it into more of a bluegrass hoedown.

She then tells the crowd, “if you know this song, this is the regular part,” before breaking into the French-tinged chorus, which she also Miley-fies to make it uniquely her own. Speaking of which, Cyrus also completely rewrites the tune and adds her own fresh verse, on which she sings, “I love you psycho killer/ I’mma love you forever/ You know I’ll never run away,” cheekily asking the intimate audience if her take is “better than the original.”

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The video appeared to be from the same intimate November Chateau show that spawned the first live performance of Miley’s Billboard Hot 100 No. 1 smash “Flowers.” At press time a spokesperson for Cyrus had not returned Billboard‘s request for further comment on whether the singer’s rendition of the Talking Heads song will be included on the upcoming 16-track Stop Making Sense covers albums; Paramore’s rendition of “Burning Down the House” has already been released.

The tracklist for the Everyone’s Getting Involved: A Tribute to the Talking Heads’ Stop Making Sense tribute album has not yet been released, so it’s unknown if that is the song Cyrus will cover on the LP, though her name was among those announced as contributing to the celebration of the 40th anniversary of the Heads’ landmark Stop Making Sense concert film. In addition to Cyrus and Paramore, the soundtrack is slated to include covers by: LordeThe NationalTeezo TouchdownKevin AbstractJean Dawsongirl in redBADBADNOTGOODBlondshell, The Cavemen., Chicano BatmanMoney Mark, DJ Tunez, El Mató a un Policía Motorizado, The Linda Lindas and Toro y Moi.

It’s no surprise Cyrus gave the song so much personal attention, since she clearly has an affection for the band. During her 2023 New Year’s Eve special, the singer teamed up with Talking Heads singer David Byrne for covers of David Bowie’s “Let’s Dance” and Byrne’s “Everybody’s Coming to My House.”

Watch the Cyrus “Psycho Killer” video here.

Bunnie XO Reveals Why She Shut Down Her OnlyFans 1 Year Ago: ‘Don’t Mind Letting Y’All Know’

In Bunnie XO’s own words, she’s an open book. The Dumb Blonde podcast host is explaining to fans why she just retired from sex work by shutting down her OnlyFans last year, after her celebration of the one-year anniversary of her retirement apparently left some followers scratching their heads.

“A lot of ppl seem to be confused as to how I just retired from SW last year because I’ve been married for 7 years lol.. so here’s the answer,” Bunnie, who is married to country star Jelly Roll, began a Wednesday (March 6) Facebook post.

“When I married J I refused to give up my independence & rely solely on him,” she shared, noting that she has always worked and made her own money. “He knew how important it was to me to make my own money. But he did always say, ‘One day baby you won’t have to do this anymore.’”

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Bunnie noted that she started the Bunnie XO brand in 2018 — two years after she and the “Son of a Sinner” singer wed — with the money she made on her own, and not a dime of the country star’s coffers. Two years after that, she not only “stopped seeing clients” and having sugar daddies, but also launched her OnlyFans account, which Bunnie said made her millions of dollars. “It was crazy the amount of money that site made me in such a short time.”

Fast forward another two years to 2022, and her brand — which features merch such as sweatshirts, T-shirts, caps and more — started making just as much if not more than her sex work, Bunnie revealed. “So I couldn’t justify still having that part of my life when the new brand I created was thriving so much.”

But there was another reason she gave up sex work, the entertainer shared. “I also didn’t want to be the only wife in the country music scene whose butthole was on the internet,” she wrote, adding a laughing-crying emoji. “But my husband never once asked me to give up anything in my life.”

“So I decided to retire & 100% immerse myself into the Bunnie Xo brand in 2023,” she concluded her post. “Best decision I ever made. The rest is history baby!”

The Facebook post that kicked off the fan confusion had been made earlier that same day. In it, Bunnie celebrated the anniversary of her shutting down what she called her “spicy site,” telling followers: “I was SO scared to let go of that part of my life & leave behind the money I was making – wasn’t sure how I’d make up that part of my business. But I had faith & let God have it & he made sure I made it back 10 fold.”

While she may have given up sex work, Bunnie XO hasn’t been shy about getting sexy in her new projects. In December, she dropped a racy rap video for Christmas titled “12 Days of Rizzmas.” In it, she rhymes about female empowerment while also getting a bit NSFW in the lyrics.

“He was like, ‘Baby, this is so good,’” Bunnie shared with Music Mayhem of Jelly’s reaction to her video. “I don’t let him in my creative process or even tell him what I’m doing until it’s done. I never ask for his help in any of these songs because it challenges me more to try to make it so dope that he’s wowed.”

Watch Travis Kelce Kiss Taylor Swift & Rock Out to ‘Look What You Made Me Do’ at Eras Tour Show

Travis Kelce is proving that Taylor Swift‘s Eras Tour never gets old. The Kansas City Chiefs tight end was in attendance at the “Anti-Hero” singer’s concert in Singapore Friday night (March 8), and between jamming to “Look What You Made Me Do” and kissing his superstar girlfriend after the show, it looks like he had a great time. 

Fan videos captured Kelce passionately dancing to the pop star’s Reputation lead single with his friends and tens of thousands of other Swifties at National Stadium, rocking from side to side while singing along to the lyrics. And yes, he did snag one of Swift’s signature light-up bracelets, matching the rest of the crowd. 

In another clip taken just moments after the show wrapped, the athlete waits patiently backstage for the 14-time Grammy winner to make her way toward him — after which she wraps her arms around him and kisses him as fans roar with delighted screams. The couple then walks through a large black curtain, but not before sneaking in another quick hug. 

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The night marks Kelce’s third Eras show since he and Swift began dating last summer, beginning with his trip to Buenos Aires in November. Most recently, he caught one of the musician’s February performances in Australia, where the pair also went on a date at the Sydney Zoo.  

“Australians are pretty rowdy,” Kelce recalled on a recent episode of his New Heights podcast. “They like to have a good time, I like to have a good time … Taylor’s very fond of performing in Australia because of the crowds over there and how into it they get.” 

Watch clips of Kelce enjoying the Eras Tour in Singapore below. 

Friday Music Guide: New Music From Ariana Grande, Bleachers and More

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, Ariana Grande finds her Sunshine, Jack Antonoff pushes Bleachers forward and 4batz receives a huge co-sign. Check out all of this week’s picks below:

Ariana Grande, Eternal Sunshine



While Eternal Sunshine, Ariana Grande’s seventh studio album, explores a new beginning in her romantic life, the pop superstar is also pressing start on a fresh phase in her career: following 2020’s Positions and ending her longest gap between full-lengths thus far, Grande sounds emboldened through elapsed time and newfound wisdom, and more uncompromising than ever in her lyrics and aesthetic. Thumping lead single “Yes, And?” acts as a bit of a red herring for an album that’s often pensive and prodding, with the subtle R&B of Positions expanding in scope and deepening in detail; pop fans will find more playlist fodder in the shimmering synth showcase “We Can’t Be Friends (Wait For Your Love)” and the snappy, clever “The Boy is Mine” re-imagining, but Eternal Sunshine is an extended dive into the psyche of a generational talent who’s only getting more thoughtful, and better, with time.

Click here for a full breakdown of every song on Ariana Grande’s Eternal Sunshine.

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Bleachers, Bleachers 



Jack Antonoff keeps refining Bleachers, but instead of sanding down his band’s rougher edges, he’s amplifying their quirks, and translating the live-wire energy of their live shows into the studio setting. Bleachers, Antonoff’s fourth and best album as the leader of the collective, is an apt project to end up self-titled: songs like the rollicking “Modern Girl,” wistful “Alma Mater” and quietly graceful “Woke Up Today” exist in different modes but get to the root of Antonoff is trying to accomplish, various shades of indie-flecked pop-rock with communal hope coalescing around his strengthening voice.

4batz feat. Drake, “act ii: date @ 8” remix 



Since Drake emerged as a star in the late 2000s, there have been multiple years in which his career was defined by hopping on smaller artists’ hit songs and pouring some gasoline on their chart prospects. That age-old impulse returns with the remix to “act ii: date @ 8,” the viral R&B smash from Dallas native 4batz; here, Drizzy essentially doubles the original song’s length and remakes the second half in his image, taking 4batz’s late-night musings and running with an extended verse on love and lust.

Norah Jones, Visions 



Now squarely in her forties and 20 years removed from her mega-selling debut album Come Away With Me, Norah Jones keeps regularly cranking out accomplished, sonically adventurous projects. Visions, her strongest since 2012’s Little Broken Hearts, is especially daring in its verve, a soul record that’s swirled a little garage-rock onto its canvas: Jones sounds fantastic leading full-throated tracks like “Paradise” and “All This Time,” while producer Leon Michels guides the throwback arrangements with a light touch.

Editor’s Pick: The Marías, “Run Your Mouth” 



“Hope you dance to this one,” Marías leader María Zardoya declares in a press release for the band’s new single “Run Your Mouth,” which precedes forthcoming sophomore album Submarine. It’s easy to oblige: “Run Your Mouth” boasts an effortless groove that funks up the Marías’ alt-pop sound, with a hustling tempo and an extended instrumental breakdown that invites embarrassing hand-dancing (for some of us, at least). Drop this in your favorite weekend playlist and don’t think twice.

Half of Women in Music Industry Say Gender Discrimination Persists, New Report Finds

In honor of International Women’s Day (March 8), Believe and Tunecore have released their fourth annual collaborative report Be The Change: Gender Equity In Music.

Prepared by MIDiA Research and featuring a forward by Melissa Etheridge, the report aggregates responses from 4,146 creators and professionals in the music industry. This research was done through an online global survey translated into 14 languages and executed in November and December of 2023.

Of these respondents, 64% were men, 32% were women and 6% were gender expansive, with this segment indicating that they identify as nonbinary, agender, transgender or other. One-on-one interviews were also conducted with women and gender expansive creators in the U.S., South Africa, France, Mexico, and India.

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Among the key findings, the survey found that — despite some recently documented gains for women in music creation and representation — women and gender expansive people are far more likely than men to experience the music industry as “generally discriminative” based on gender, with 49% of women and 41% of gender expansive individuals expressing this belief, compared to only 16% of men.

Age plays a factor in regard to this finding, with Gen Z less likely to perceive gender discrimination than older generations. 31% of 16-24-yea- old women view the industry as generally discriminative based on gender, compared to 54% of 25-34 year olds and 42% of women 55 and older. The report notes that this finding “could reflect improving conditions” but could also be a function of younger women not yet being in the industry long enough to experience discrimination.

The study also found that three in five women in music have experienced sexual harassment, and that one in five have experienced sexual assault.

More than 70% of women who have these experiences do not report them, the study says, “due to fear of retaliation and not believing anything would change being the most common reasons.” The study also notes that 53% of men who witnessed sexual harassment and/or assault did not report it, with 37% of these men saying that they “did not feel it was their place.”

Additionally, 56% of women who reported sexual assault responded that their claims were ignored or dismissed. The study found that nearly one-third were told to “keep quiet about it” while 12% were terminated from their job after reporting an incident.

As such, the study states, “the burden is on women to adapt their behavior to avoid misconduct, rather than on perpetrators and the wider industry to stop it happening in the first place.”

In terms of money, the study found that women and gender expansive people “are twice as likely as men to discover they are paid less than colleagues in the same or similar roles.” Identity compounds this issue, with 49% of women of a marginalized race or ethnicity having learned they’re paid less than colleagues. The study advises that the pay gap “is likely even more widespread than these statistics indicate, as individuals may be subjected to unequal pay without knowledge of it.”

There were more positive outcomes from the study as well. The report states that over the last two years, one-third of the people surveyed saw a decline in harassment. Nearly half say their confidence and self-motivation improved over that same timespan, and around a third said opportunities for career progression and promotion have improved. 28% said that diversity of staff has increased and 31% say recognition has increased.

Regarding the key factors in driving positive change, the women and gender expansive individuals surveyed reported that more diversity in positions of power, pay transparency and stronger enforcement are the most crucial factors in shifting the landscape. The study continues that “women and gender expansive individuals lack trust in industry executives to implement change, so many are being the change themselves.”

The report also explores topics like attitudes towards emerging technologies, finding the respondents feel “a mix of curiosity and unease” about the advancement of tech like AI. It also speaks to the challenges of algorithmic demands, saying that “social platforms are increasingly important for music distribution and marketing, which means catering to what algorithms prefer. This ironically limits diversity in presentation, even as it promotes diversity in substance. The pressure to package artists’ identities into palatable, bite-sized social clips can also be damaging. Spotlighting an artist’s age, sexuality, or gender identity in headlines, posts, and marketing strategies may drive engagement and inspire others, but can reproduce existing biases and stereotypes.”

The study also breaks down respondents by region — Asia Pacific, Europe, Middle East and Africa, Latin American and the Caribbean and North America — finding, among other things, that 65% of women in North America frequently experienced pressure to look good, “the highest of all the regions.”