Music News
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Baylee Littrell, son of Backstreet Boys’ Brian Littrell, took center stage during Hollywood Week on American Idol with a moving original song dedicated to his late grandmother.
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The 21-year-old’s performance of “Hey Jesus,” a tribute to the woman he called his best friend, brought his parents to tears in the audience. Brian Littrell, visibly emotional, was seen singing along as his son poured his heart out on stage.
“Baylee, you’re so good,” judge Carrie Underwood told him after the performance, noting his “heat” and “genuineness.”
It’s been a few episodes since Baylee first stepped out of his father’s boyband shadow during the season premiere, and this week, he reminded everyone why he earned his spot in Hollywood Week. His heartfelt performance was one of the most memorable of the night and secured him a spot in the next round.
Hollywood Week also saw Idol’s most brutal cut yet, with more than half of the 144 contestants eliminated in what host Ryan Seacrest called “the biggest cut in Idol history.”
Among the standouts moving forward was 17-year-old Isaiah Misailegalu, who wowed with a masterful take on Teddy Swims’ “Lose Control.” “You have such a gift, and you’re so confident on the stage,” said Underwood.
The youngest contestant, 15-year-old Mattie Pruitt, stunned the panel with her performance of Chris Stapleton’s “Cold.” “Nothing about that is 15,” said Bryan, noting the “rasp and pain and heart” in her voice.
Josh King, a 24-year-old airport pianist, found his redemption arc with a stirring rendition of Rick Astley’s “Hopelessly.” “Josh! If you had done that in your audition, you would have gotten three yeses, absolutely,” Underwood told him.
Among the contestants moving forward include Thunderstorm Artis, Amanda Barise, Jamal Roberts, Slater Nalley, Sonny Tennet, and Platinum ticket holders Canaan James Hill, Filo and Kolbi Jordan.
Among those who didn’t make the cut were Landynn Kennedy, Sam Sparks and Mikaela Bautista—contestants who had impressed in earlier rounds but couldn’t recapture the magic under pressure.
Showstoppers Week continues Sunday, April 6 on ABC, followed by head-to-head performances on Monday, April 7.
Australian DJ and producer FISHER just scored one of the most surreal honors of his career: his own official day in Las Vegas.
March 29 is now officially recognized as “Day of the Fish” in Las Vegas, following a city proclamation that was rolled out as FISHER played a headline set at the city’s premiere party hotspot, TAO Beach. The Aussie tech-house star signed the proclamation before taking to the decks to celebrate with fans.
“NO FKN WAY!!! THEY NAMED A DAY AFTER ME IN LAS VEGAS! MARCH 29th IS OFFICIALLY ‘DAY OF THE FISH’!! THANK YOU LEGENDS @taobeach,” he wrote on Instagram on March 31.
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The proclamation reads: “We welcome [FISHER] to Las Vegas and thank him for bringing his energy and music to our fabulous city.”
This isn’t the first time FISHER has made waves in Sin City. His 2018 breakout track “Losing It” has become a dance music anthem, dominating festival stages and club sets around the globe. The track hit No. 1 on Billboard’s Dance Club Songs chart and earned him a Grammy nomination for Best Dance Recording, solidifying his status as one of the genre’s most in-demand names.
“Losing It” marked a turning point in dance music, helping usher in a broader appetite for tech-house while launching FISHER from Holy Ship! fan favorite to Coachella and Tomorrowland mainstay. He’s since performed back-to-back sets with longtime collaborator Chris Lake, become a fixture on the Ibiza club circuit, and launched his own label Catch & Release.
FISHER’s honor in Las Vegas arrives just weeks ahead of the return of his homegrown festival, Out 2 Lunch. Taking place May 3–4 on the sands of Surfers Paradise, the two-day event sees him doubling as both host and headliner. The 2024 edition will welcome an impressive lineup of global names including Chris Lake, Patrick Topping, DJ Boring, Noizu, Hayden James, Little Fritter and Shimmy.
The festival follows the record-breaking success of last year’s edition, which drew 30,000 punters to Coolangatta Beach and generated an estimated $50 million for the local economy.
Smashing Pumpkins frontman Billy Corgan will be playing classics from his beloved group when he hits the road this summer, though his backing group will look a little different.
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Hitting the live trail throughout June, Corgan will be joined by his new band, the Machines of God, for the 16-date tour of North America.
Dubbed A Return to Zero, the trek sees Corgan and his band touring in support of the 30th anniversary of the Smashing Pumpkins’ Mellon Collie and the Infinite Sadness, and the 25th anniversary of the 2000 albums Machina/The Machines of God and Machina II/The Friends & Enemies of Modern Music. The tour will feature classics and deep cuts from the records, along with selections from 2024’s Aghori Mhori Mei.
Joining Corgan in the Machines of God is nascent Smashing Pumpkins guitarist Kiki Wong, drummer Jake Hayden, and bassist Kid Tigrrr (aka Jenna Fournier of NIIGHTS).
This isn’t the only retrospective look that Corgan is taking in 2025. In early March, Corgan detailed a forthcoming series of performances which sees him and the Lyric Opera of Chicago reimagining Mellon Collie and the Infinite Sadness in a new operatic light in November. “Opera and rock both tell stories of heightened emotions, and I am excited for both fans of my music and traditional opera fans to hear some truly inspired work; for the balance here is to honor both traditions in a magisterial way,” Corgan explained.
Mellon Collie was issued in 1995 as the band’s third album, and managed to become the Smashing Pumpkins’ first release to debut atop the Billboard 200. The record also garnered seven nominations at the 1997 Grammys, including album of the year and best alternative music album, ultimately winning best hard rock performance for lead single, “Bullet with Butterfly Wings.”
Meanwhile, Machina/The Machines of God arrived in February 2000 as the band’s last studio album to be commercially released ahead of their breakup later that year. The record hit No. 3 on the Billboard 200, and received a Grammy nomination for best recording package.
Its follow-up, Machina II/The Friends & Enemies of Modern Music, was released in September of 2000 as a free download after plans to release the records as a double album fell through. A long-awaited reissue of the Machina albums is set to arrive later in the year.
Billy Corgan and the Machines of God – A Return to Zero North American Tour
June 7 – Baltimore Soundstage, Baltimore, MDJune 9 – Paradise Rock Club, Boston, MAJune 11 – Kee to Bala, Muskoka, ONJune 12 – History, Toronto, ONJune 13 – Beanfield Theatre, Montreal, QCJune 15 – Irving Plaza, New York, NYJune 16 – Theatre of Living Arts, Philadelphia, PAJune 17 – Archer Music Hall, Allentown, PAJune 19 – St. Andrew’s Hall, Detroit, MIJune 20 – Taste of Joliet, Joliet, ILJune 21 – Intersection, Grand Rapids, MIJune 23 – Roxian Theatre, Pittsburgh, PAJune 25 – House of Blues Cleveland, Cleveland, OHJune 26 – Bogart’s, Cincinnati, OHJune 27 – Summerfest, Milwaukee, WIJune 29 – Varsity Theater, Minneapolis, MN
Japanese heavy outfit BABYMETAL are preparing to kick off their latest era, announcing the release of their fifth album today.
As is tradition, news of the group’s latest happenings was shared on Fox Day (April 1, Japanese time), a day typically used by the group to unveil big announcements. The big headline for 2025 is the forthcoming release of BABYMETAL’s fifth album, Metal Forth, which will be released on June 13.
The ten-track release is a heavily-collaborative effort, featuring appearances from the likes of Spiritbox, Polyphia, Bloodywood, and Slaughter to Prevail. The album will also include previous singles released by the band, including the 2023 Tom Morello-featuring “METALI!!”and their 2024 collaboration with Electric Callboy, “Ratatata.” News of the forthcoming record will also be bolstered by the impending arrival of new single “From Me to U,” which drops on Friday (April 4) with guest vocals from Poppy.
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BABYMETAL first formed in 2010, releasing their self-titled debut in 2014. While the record peaked at No. 187 on the Billboard 200, subsequent albums performed better, with 2016’s Metal Resistance hitting No. 39 and 2019’s Metal Galaxy reaching No. 13.
In 2023, the band released fourth album The Other One, which became their first not to chart on the Billboard 200, and their first to be released as a duo following the departure of Yuimetal in 2018. Now, following the inclusion of Momometal as an official member in 2023, the forthcoming record is said to represent a new era for the band, with its title meaning “beyond metal,” and a new signing to Capitol Records being detailed alongside its announcement.
In a statement issued on Monday (March 31), Capitol Records noted that the deal makes BABYMETAL “the first Japanese artist to sign a frontline deal with the label.”
“BABYMETAL’s groundbreaking sound and compelling artistic vision have not only cultivated a worldwide following, but have also demonstrably shifted global music culture,” said Capitol Records Chairman & CEO, Tom March. “We at Capitol Records are privileged to join them in this next chapter as we continue to amplify their international reach and influence with the upcoming release of Metal Forth.”
The arrival of Metal Forth on June 13 will also coincide with the launch of a 24-date North American tour for the band, with dates in Europe, the U.K., and Asia also set to complement their current schedule.
The world of electronic music is currently coming to terms with news of an international ruse which has seen former Kraftwerk member Wolfgang Flür reportedly tricked into a false collaboration with Daft Punk’s Thomas Bangalter.
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Flür, who rose to fame as part of Kraftwerk between 1973 and 1987, issued his third solo album, Times, on Friday (March 28). Early reports of the record indicated the effort was a star-studded affair, featuring collaborations with the likes of Yello’s Boris Blank, New Order’s Peter Hook, and more. One of the most notable collaborations was with Daft Punk’s Thomas Bangalter, who was to be credited on the record under the name Thomas Vangarde.
According to a recent interview with Flür, the apparent collaboration began innocently enough when Bangalter got in touch with the veteran musician via social media to request a signed copy of Flür’s 2022 album, Magazine 1. “He said, ‘It’s so wonderful. Can I have a signed album? I collect albums but it must be signed personally from you. We love you guys. Without Kraftwerk we would not find our own robot style, being on stage with the helmets, you know. And I love you Wolfgang. And please, can you send me [an album]?’”
After the signed record landed at Bangalter’s house, Flür explained that he suggested the two work together on a track. Following some technical alterations to ensure Bangalter’s contributions fit the key of the initial musical ideas, his work was combined with Hook’s bass line, and both Flür and musical partner Peter Duggal completed the track. The final record actually features two songs credited to Bangalter/Vangarde; “Über_All” and “Monday to the Moon.”
However, following the release of Flür’s Times album, Daft Punk archivist Luke Perez took to their blog to confirm the collaboration was in fact a hoax, outlining the chronology of events that led up to the release of the final product.
According to research conducted by Perez, Flür had spoken about being contacted by Bangalter via Facebook back in 2023, admitting he was unaware of the Daft Punk member or his influence at the time.
Though initially suspicious of the news, given the reclusive social media presence of Daft Punk and its members, Perez further noted that something seemed amiss when Thomas Vangarde was credited on the record instead of Bangalter. Further compounding the mystery was the fact that Bangalter’s father had reportedly used the surname as a moniker during his own musical past, providing a reasonable explanation for the different name.
Ultimately, Perez concluded by mentioning that an individual in close contact with Daft Punk’s management had confirmed that Bangalter was not behind the collaboration with Flür, and that the former Kraftwerk musician had been duped by an as-yet-unknown individual on social media.
“I’m assuming the fake Bangalter must have convinced Flür’s camp that he was now going by Thomas Vangarde in some sort of effort to cover their tracks,” Perez concluded in their post. “Bizarrely, it seems no one in the real Thomas Bangalter’s sphere found out about this or brought this up to him until after the tracks released despite over two years of this being known about. It’s equally bizarre that at no point did Cherry Red Records (or any other involved party) question or debunk this bold claim that Thomas Bangalter was involved.”
Daft Punk officially announced their split in 2021, having not released new music since their fourth and final studio album, 2013’s Random Access Memories. The record was their first to top the Billboard 200, and earned the group five Grammys, including album of the year and best dance/electronic album, while lead single “Get Lucky” took out record of the year and best pop duo/group performance.
Since their dissolution, Bangalter has been active musically, curating scores for ballet, film, and other art projects, while fellow Daft Punk member Guy-Manuel de Homem-Christo has remained active in the world of production.
Lee Zeidman, longtime president of Crypto.com Arena, Peacock Theater and LA Live, announced his retirement on Friday (March 28).
“After 45 years in the industry, opening numerous venues and hosting approximately 6,500 events, I have decided I’m no longer interested in working full time and will move on to write the next chapter in the book of Lee,” Zeidman tells Billboard. “I’m looking forward to doing whatever I want, whenever I want, wherever I want and however I want.”
Zeidman says he has agreed to assist with the leadership transition with an official end date no later than Oct. 31, 2025. The building’s ownership group, AEG, has engaged an executive recruitment team to find Zeidman’s replacement and is splitting the job into multiple positions.
Zeidman is a graduate of Cal State Northridge and got his big break working at the Great Western Forum in Los Angeles. When the Lakers and Kings decided to move to Downtown Los Angeles, Zeidman was the first employee hired at their new home, Staples Center, and he helped manage the construction of L.A. Live, one of North America’s first entertainment districts.
In 2020, Zeidman was honored with the Association of Luxury Suite Directors’ 2020 Visionary Award. Under his management, Staples Center, later renamed Crypto.com Arena, hosted nine NBA championships, three Stanley Cup Finals and five WNBA Finals. The arena has also hosted a multitude of sold-out concerts, awards shows and high-profile events, including the Grammys and funerals for Michael Jackson, Kobe Bryant and Nipsey Hussle.
Zeidman says he has no immediate plans in his retirement but would like to teach and serve on the board of different non-profit groups or associations.
“I’m most looking forward to doing nothing,” Zeidman says. “Iv’e done this for 45 years, I’ve worked for some incredible leaders and feel incredibly lucky to have had this career.”
President Donald Trump was joined at the White House on Monday (March 31) by Kid Rock for the signing of an executive order that instructs the Federal Trade Commission (FTC) to enforce the BOTS Act and crack down on scalpers who illegally obtain high-priced concert tickets for resale.
Signed in 2016, the BOTS Act made it illegal to use specialized computer programs or automated bots to defeat access control systems designed to limit the number of tickets a person can purchase online for a popular concert. The legislation was created to combat bot-assisted attacks on high-profile ticket sales but has only been enforced once since its passage.
The order directs the FTC to work with Attorney General Pam Bondi to “ensure that competition laws are appropriately enforced in the concert and entertainment industry” and to “rigorously enforce the Better Online Ticket Sales (BOTS) Act and promote its enforcement by state consumer protection authorities.” It additionally calls for greater transparency around ticket prices and asks law enforcement to “take enforcement action to prevent unfair, deceptive, and anti-competitive conduct in the secondary ticketing market”; and instructs both the Secretary of the Treasury (currently Scott Bessent) and the Attorney General to make sure “ticket scalpers are operating in full compliance with the Internal Revenue Code and other applicable law.”
The order also instructs the Treasury Department, the Department of Justice, and the FTC to deliver a report within 180 days “summarizing actions taken to address the issue of unfair practices in the live concert and entertainment industry and recommend additional regulations or legislation needed.”
During the signing, Rock thanked the president for the order, adding that it’s a first step in cracking down on bots that “come in and…get all the good tickets for your favorite shows they want to go to, and they relist them, sometimes for a 400 to 500% markup.”
The National Independent Venue Association (NIVA) issued a statement shortly after the signing that read, “We applaud President Trump’s Executive Order to protect fans from ticket scalping by individuals and companies built to fleece American consumers. We are also encouraged to see the order’s aim to remedy anti-competitive actions by large corporations. These actions will help address the two problems jeopardizing the well-being of artists, independent stages, and fans: a predatory, unchecked resale market where bots and deceptive practices price gouge fans and the Live Nation monopoly that forces small businesses to shut their doors.”
The statement continued, “We want to thank Kid Rock for the education and advocacy he has provided policymakers on this critical issue. We urge Congress to heed his call to go further to protect artists in ticketing legislation, including a price cap on the resale market.”
Ticketing companies, booking agents, concert promoters and special interest music groups have all lobbied for greater FTC enforcement of the BOTS Act, which specifically “prohibits the circumvention of a security measure, access control system, or other technological measure on an Internet website or online service of a ticket issuer that is used to enforce posted event ticket purchasing limits.” Industry experts agree that companies like Ticketmaster are best suited for identifying bad actors, but can’t unilaterally take action and must work directly with federal authorities.
Morgan Wallen’s early Saturday Night Live exit made headlines over the weekend, and now longtime cast member Kenan Thompson is weighing in.
“I don’t know what goes through people’s minds when they decide to do stuff like that. I don’t know if he understood the assignment or not, or if he was really feeling a certain kind of way,” Thompson told Entertainment Weekly. “I thought maybe he had to go to the potty or something.”
The moment happened at the end of the episode, in which Wallen appeared as musical guest to perform a pair of songs from his forthcoming album, I’m the Problem. As is customary, Wallen joined the SNL cast onstage alongside host Mikey Madison to thank viewers for tuning in. Typically, the week’s guests hug and celebrate with the cast members onstage for a few moments before the episode ends.
However, Wallen was seen whispering something into Madison’s ear, giving her a hug and abruptly walking off the stage at Studio 8H. Shortly after, Wallen shared a photo on his Instagram Stories from his private plane, with the caption “Get me to God’s country” written over an image of the runway.
“It’s definitely a spike in the norm,” Thompson said. “We’re so used to everybody just turning around and high-fiving us, everybody’s saying, ‘Good job, good job, good job.’ So when there’s a departure from that, it’s like, hmm, I wonder what that’s about?”
Thompson added that it’s not the first time a musical guest left the stage suddenly. “Prince did the same thing,” he recalled. “I’m not saying Morgan Wallen is Prince, but we weren’t surprised because Prince was notoriously kind of standoffish. It’s just how he was. So we just thought like, ‘Okay, now he’s gone back into fantasyland.’”
He continued, “But Saturday I guess it was just different because it just felt so abrupt. And it was already such a small grouping on the stage anyway. So it was just like, oh wow, that was pretty visible. You know what I’m saying? It was a pretty visible thing.”
Thompson also weighed in on Wallen’s Instagram Story post. “The ‘God’s country’ of it all is strange because it’s like, what are you trying to say? You trying to say that we are not in God’s country? We’re not all in God’s country? We’re not all under God’s umbrella? That’s not necessarily my favorite,” he said. “But whatever. Moving on, we got a new show. We got Jack Black this week.
Wallen has yet to explain his side of the story publicly.
The inaugural MUSIC AWARDS JAPAN ceremony, the largest music awards in the country, is set to take place in May in Kyoto. Embodying the theme of “Connecting the world, illuminating the future of music,” the brand-new international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), an association jointly established by five major organizations in the Japanese music industry.
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This year’s MAJ will recognize works and artists in more than 60 categories, including the six major awards for Song of the Year and Artist of the Year and more, which have gained significant attention and recognition from Jan. 29, 2024 to Jan. 26, 2025. The entries for each category were announced on March 13 and the selection by domestic voting members is currently underway to narrow down the list to five nominees for each category.
Let’s take a look at the 256 songs that are up for the high-profile Song of the Year category, as compared against Billboard Japan‘s all-genre Japan Hot 100 song chart (hereafter BBJ), and delve deeper into the trends and characteristics unique to MAJ based on data.
Comparison with BBJ Chart Metrics
Billboard Japan
First, we’ll compare some of the differences between the MAJ and BBJ metrics. The chart above shows the point share of each metric for the 256 songs entered in the Song of the Year category. The figures for BBJ show the point share of the top 256 songs in the Japan Hot 100 chart during the same tallying period as MAJ.
The entries for Song of the Year is based on an original chart that combines the six metrics of the Japan Hot 100 (rounded up in two-month segments) and UGC data (click here for details). The system is structured in a way that makes it easier for songs with short peak periods to be eligible.
One feature MAJ and BBJ both have in common is that streaming accounts for the largest proportion of both. This shows that both are strongly aware that streaming is the main way people listen to music today.
CD sales account for 10% of MAJ, but only 2% of BBJ. Japan’s CD sales market is still large when viewed globally, and MAJ places importance on this unique Japanese user trend. Downloads are 7% of MAJ while 4% for BBJ, indicating that the former places a relatively higher value on ownership-type metrics.
While streaming is the main focus for MAJ, they are clearly also conscious of achieving a balance with a wider range of metrics. Its most distinctive feature is that its system is designed to take into account the characteristics of the Japanese market.
Analysis of the Songs’ Properties
Billboard Japan
The gender ratio of the MAJ entries is 61% male artists, 30% female artists, and 9% mixed acts. Compared to BBJ, the ratio of male artists is slightly lower, and the ratio of female artists is higher. BBJ has more mixed acts, mainly because many songs by male-female duo YOASOBI have charted.
84% of the entries were by Japanese artists. Compared to BBJ, MAJ has slightly more songs by South Korean artists (MAJ 14%, BBJ 10%). The only artists from outside Japan and South Korea were Mariah Carey, OneRepublic, and Taylor Swift, all of whom are from the U.S. There were also two entries for collaborations between artists from different countries: Rosé & Bruno Mars and BE:FIRST X ATEEZ.
Billboard Japan
The ratio of member composition of the acts entered in MAJ is highest for groups (37%), followed by bands (27%) and solo artists (26%). Dance and vocal groups, which have strong CD sales, are pushing up the ratio of groups. Meanwhile, BBJ has the highest proportion of bands (36%), influenced by the long-running hits of popular bands such as Mrs. GREEN APPLE and back number. Of the 256 songs, there are 124 acts in MAJ and 103 in BBJ, so the former has a greater variety of acts.
Billboard Japan
The genres with the largest number of songs for both MAJ and BBJ are pop and rock. Notably, K-pop accounts for 14% of MAJ, and idol performers account for 9%, indicating the major influence of dance and vocal groups. Hip-hop and Vocaloid account for less than 10%, but these genres have their own categories, such as the Best Japanese Hip-Hop/Rap Song and the Best Vocaloid Culture Song.
Billboard Japan
43% of the entries weren’t tie-ins, but songs connected to anime (19%), drama series (13%), and commercials (11%) were also prominent. BBJ shows a more continuous tie-in effect, while MAJ can be said to have a diverse collection of songs that are relatively independent of tie-ins.
These data show that MAJ incorporates a good balance of diverse metrics to reflect a wide range of mainstream music in Japan. The fact that the awards also places weight on metrics reflecting the unique characteristics of the Japanese music market, such as CDs and downloads, is a major difference from the BBJ charts.
It’ll be interesting to see how MAJ’s design will impact the future of the music market and the promotion of Japanese music worldwide. The nominated songs will be announced on Apr. 17, and the awards ceremony will take place on May 21 and 22.
Billboard Japan will continue to publish features on MUSIC AWARDS JAPAN. In the second installment, we’ll compare MAJ’s Song of the Year with BBJ’s Top Global Hits from Japan chart.
Miley Cyrus is continuing to create Something Beautiful with her next album era, and the superstar announced on Monday (March 31) that the project’s next single, “End of the World,” is arriving this week. Explore Explore See latest videos, charts and news See latest videos, charts and news In the 19-second teaser video for the […]