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The Red Hot Chili Peppers‘ recorded masters catalog is up for sale, and sources say the band is seeking upwards of $350 million from suitors. The catalog includes such hit songs as “Under The Bridge,” “Dani California,” “Snow (Hey Oh), “Californication,” “Otherside,” “Can’t Stop” and “Give It Away.”
Sources say the band owns the 13 studio albums and other releases issued by the Warner Music Group (WMG) in the U.S. Billboard couldn’t determine if the band also owns its first four studio albums, which were issued through EMI in the U.S., although one source says they do. Whatever rights the band owns in those EMI records, those rights are also a part of what’s being offered for sale, sources say.
Billboard estimates that the Red Hot Chili Peppers master recording catalog generates about $26 million in revenue annually, with the bulk of that coming from the WMG portion of the catalog and about $1 million in revenue coming from the EMI portion. While some sources suggest that a potential deal for the recorded music assets has already been reached and that WMG is the most likely buyer, other sources say a deal has yet to be struck.
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The news comes four years after the band sold its music publishing to Hipgnosis for about $140 million to $150 million. That means that if the Red Hot Chili Peppers realizes its $350 million asking price for the recorded music catalog, it will have snared about $500 million for selling its music assets. Sources say Eric Greenspan of the law firm Wyman Greenspan Fox Rosenberg Mobster Younger & Light has been shopping the band’s recorded music catalog deal, just as he did for its publishing assets.
While sources say the deal includes all of the rights for the band’s recorded music catalog, Billboard couldn’t determine if the deal also includes merchandising and name, image and likeness rights.
What’s more, it’s also unclear if all the suitors were shopped the same set of recorded music assets, based on the math involved in the deal. With $26 million in revenue, after subtracting production, distribution, shipping, warehousing and reserve expenses, Billboard estimates that net label share (NLS), or gross profit, for the catalog would be about $20 million. But non-strategic suitors who are aware of the assets say that they hear that the catalog’s NLS is about 3/4 of that, or about $15 million.
While the band is seeking upwards of $350 million, it’s more likely the deal will go for $325 million to $340 million, some sources say. If the band were to achieve $340 million for the sale of its recorded catalog, on a NLS of $20 million, that would imply a 17-times multiple, which is pricey for recorded music assets — even for a steady high revenue earner like the Chili Peppers. Moreover, at the $15 million NLS cited by some sources, a $340 million potential sale price would work out to a 22-23 times NLS multiple, which music asset traders would describe as a “frothy” valuation. Consequently, sources suggest that the deal makes more sense for a strategic suitor, like one of the majors, than a private equity firm or a music asset buyer backed by private equity.
WMG declined to comment for this story. Greenspan, the band’s lawyer, didn’t respond to requests for comment.
Offset isn’t letting anyone shake his confidence following his split from Cardi B — especially fans claiming his famous ex is the only reason other women have dated him since.
In a since-deleted post on X Tuesday (Feb. 18), the Migos rapper shut down a troll who wrote that “the only reason” he’s attractive to women is “because he was married to Cardi B.” “Incorrect lol I’m him,” ‘Set simply replied, according to VIBE.
Earlier in the thread, another person had pulled up five-year-old screenshots of posts by Atlanta model Melanie Jayda — whom Offset is rumored to be dating — praising the “WAP” hitmaker back in 2019. “Just excited to get Cardi’s leftovers,” the user had written of Jayda.
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Another Cardi fan also got a reaction out of the “Stir Fry” artist by writing, “Offset is operating from a bruised ego!! Cardi not only moved on, she upgraded … with another man who is better looking and has more money,” potentially referring to the Grammy winner’s rumored new boyfriend, Houston Texans wide receiver Stefon Diggs.
“You b—hes delulu wouldn’t I be the perfect n—a if …,” Offset wrote in another now-deleted reply. “Stop talking bout money baby u delusional.”
The exchanges come about seven months after Cardi filed to divorce ‘Set for a second time. Just over a month later, the couple’s third child arrived Sept. 7, 2024.
The exes have been going back and forth on where they stand ever since. While the Whipshots founder has said she wants a “healthy co-parenting relationship” with Offset, both hip-hop stars have put each other on blast online multiple times. In December, for instance, the “Ric Flair Drop” musician accused Cardi of focusing on “d—” and trying to “make me look bad,” after which she fired back, “So dating because I’m single means I’m just worried about d—?? You sound like a dummy … F–k off and sign the papers TODAY.”
Cut to Valentine’s Day, and Offset appeared to air out his grievances on a new single titled “Ten.” “I don’t need you, I got money/ I don’t miss you, I got money,” he spits on the track. “Love you, but not like money/ Love all my hoes the same.”
Less than two years after first appearing on a Billboard chart, Sleep Theory hits No. 1 on a ranking for the first time, jumping three spots to the top of the Mainstream Rock Airplay list dated Feb. 22 with “Stuck In My Head.”
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The four-piece reigns with its third charted song on Mainstream Rock Airplay, following “Fallout” (No. 2 peak last August) and “Numb” (No. 9, January 2024).
Sleep Theory, which formed in Memphis in 2020, is the first act to land an inaugural Mainstream Rock Airplay since The Funeral Portrait led with “Suffocate City,” featuring Spencer Charnas, in November.
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Concurrently, “Stuck In My Head” becomes Sleep Theory’s first song to reach Alternative Airplay, debuting at No. 38.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, the single lifts 15-13 with 2.6 million audience impressions, up 6%, in the week ending Feb. 13, according to Luminate. It’s a new best rank for the band, eclipsing the No. 14 peak of “Fallout.”
On the most recently published multimetric Hot Hard Rock Songs chart (dated Feb. 15, reflecting data accrued Jan. 31-Feb. 6), “Stuck In My Head” ranked at No. 8, after reaching No. 6 in January. In addition to its radio airplay, the song earned 728,000 official U.S. streams.
“Stuck In My Head” is the third single from Afterglow, Sleep Theory’s debut full-length, due May 16 via Epitaph. The band is set to follow with more than 30 U.S. tour dates between May 18 and July 18.
All Billboard charts dated Feb. 22 will update Tuesday, Feb. 18, on Billboard.com.
Drake has remained at odds with Sacramento Kings star DeMar DeRozan ever since the former Toronto Raptor seemingly sided with Kendrick Lamar during the 6 God’s feud with the Compton rapper last year.
Footage went viral earlier this week when a DeRozan jersey was thrown on stage during Drake’s Sydney concert, and once he realized who was on the back of the No. 10, Drizzy discarded the jersey in disgust as “Rich Flex” rang off.
Like many DeRozan fans, the Sacramento Kings’ social media team came to the defense of the team’s superstar wing with a clip clapping back at Drake.
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The video uses Drake launching the DeRozan jersey, but is edited to a Kings fan happily catching it. “the 916 loves Deebo,” the Kings captioned the video.
Kings fans chimed in defending the Compton native in the Instagram comment section: “DeMar did more for Toronto and Canada than Drake could ever dream of.”
Another added: “SOCIAL TEAM NEEDS A RAISE!”
DeRozan spent the first nine years of his NBA career in Toronto, where he grew a close friendship with Drake, before being shipped off to San Antonio.
“No matter what, when it comes to him, he’ll forever have a friend in me and loyalty out of me because he cared,” DeRozan said of Drake in 2021 after leaving the Raptors. “He was there for me when everything was kind of going crazy.”
However, the relationship looks to have soured when DeRozan appeared in Kendrick Lamar’s “Not Like Us” video after K. Dot shouted out the hooper on the track. DeRozan also showed up to support Lamar’s Pop Out concert on Juneteenth, where Kendrick performed “Not Like Us” for the first time live.
DeRozan attempted to play it down the middle even after showing his support for Lamar. “We love Drake, we always can play him,” he said during an interview last summer. “Kendrick been a friend of mine, family. Damn near family, for a long time, for a while.”
Drake wasn’t having it, and he proceeded to blast DeRozan and the idea of the Raptors retiring DD’s No. 10 during an appearance on the Raptors broadcast in a game against the Sacramento Kings in November, threatening to “pull it down myself” if his number ever went up on a banner.
Watch the Sacramento Kings’ reaction to Drake spiking DeRozan’s jersey below:
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.”
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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.”
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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.
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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.
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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!
A$AP Rocky was full of emotions in the moment a jury ruled he was not guilty in his 2021 felony shooting case Tuesday (Feb. 18). So much so, he leapt straight over a courtroom barrier into the arms of the first person he wanted to celebrate with: Rihanna. In a news clip from a […]
“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.
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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.
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“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.
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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: