Music
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Lizzo is dreaming of a better future for members of the LGBTQ+ community, specifically Black trans women.
During her performance at WeHo Pride‘s OUTLOUD Music Festival on Saturday, the hitmaker dedicated a soulful cover of “Somewhere Over the Rainbow” to some of society’s most vulnerable members before penning a heartfelt message on Instagram.
Sharing a clip of the cover on the first day of Pride Month — one day after she took the stage in West Hollywood — Lizzo wrote, “As this month begins, let us remember there would be no pride without the Black trans women & trans women of color who fought against the systems that tried to erase them.”
“In honor of that fight we have to continue to take a stand against that very same system that threatens our rights to bodily autonomy and liberation,” she continued in her caption. “We ain’t free till we all free. I love you.”
The video finds the musician wearing a sparkly red coat, a cut-off Yitty T-shirt and denim shorts, her long hair blowing in the wind. “We still in some sh–, right?” she tells the crowd. “But hopefully one day beyond this mother—-ing rainbow, bi—, we will see a place where we no longer have to fight to exist. This is for you.”
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At that, Lizzo dives into her jazzy rendition of “Over the Rainbow,” which was originally sung by Judy Garland in 1939’s The Wizard of Oz before being adopted by the LGBTQ community as a gay anthem in the decades that followed. “Somewhere over the rainbow, way up high,” she sings with emotion tinging her voice. “There’s a land that I heard of once in a lullaby.”
The “Truth Hurts” artist was one of a few dozen acts on the OUTLOUD lineup, with Kim Petras, Frankie Grande and more also performing Saturday. The Sunday lineup was headlined by Remi Wolf, with sets from Honey Dijon, Paris Hilton, Rebecca Black and more.
Lizzo’s message comes during a particularly challenging year for the LGBTQ community. During his first few months back in office, President Trump has worked to undo a number of legal protections for gay and trans people, with GLAAD counting at least 225 “attacks” on LGBTQ rights within his first 100 days in office.
The singer/flautist, however, has long been vocal in her support for her LGBTQ fans, and in 2023, her brand Yitty unveiled a line of gender-affirming shapewear. “You deserve to feel like you,” she wrote at the time. “You deserve to feel good in Your Skin.”
See Lizzo’s message to the Black trans community below.
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Do not look for any Pusha T and Kanye West reunions anytime soon. The Clipse is back and the group landed a feature story in GQ magazine, and Push A Ton held nothing back when speaking on his once choice collaborator turned foe, Kanye West.
Malice and Push are great with the timing since the GQ feature arrives shortly after they announced their new album, Let God Sort ‘Em Out, is dropping in July and just after a surprise set at this past weekend’s Roots Picnic in Philadelphia. The story is full of plenty of insight into the VA group’s return, but the tea that many are jumping to is Pusha’s take on his former friend Ye.
Unless you’ve been AWOL from society, you’re aware of Kanye West burning every relationship with most of his past collaborators of note, Push included. Just in 2022, Ye handled half of the production (Pharrell covered the rest) on Pusha T’s last solo project, It’s Almost Dry. What a difference three years make because the one-time President of GOOD Music (he stepped down in 2022) is anything but good with Mr. West.
“But…let me tell you something. He’s a genius. And his intuition is even more genius level, right?,” explains Push to GQ. “But that’s why me and him don’t get along, because he sees through my fakeness with him. He knows I don’t think he’s a man. He knows it. And that’s why we can’t build with each other no more. That’s why me and him don’t click, because he knows what I really, really think of him. He’s showed me the weakest sides of him, and he knows how I think of weak people.”
Apparently, Push got word that collaborators weren’t speaking of him in the best of lights as far back as during the recording of Donda back in 2021, and he kept his third eye open ever since. While those interview words are biting, Push also let it be known in song that West was persona non grata on the new Clipse single. On “Ace Trumpets,” he spits, “Look at them, him and him, still waiting on Yeezy/I hope you got your squeegee, at your interviews, I just kee kee, life’s peachy.”
If Kanye West eventually responds, you just know Push—who does give Ye kudos for keeping his word and giving him back the profits to his Def Jam music—has more bars in the tuck.
Also, as far as Yeezy’s erratic behavior being due to mental illness and deserving some grace, Push offered how he takes that into account. “He’s sick, I do believe that much,” said Pusha. “You’re sick, but you’re also very calculated. And if I take your sickness and take how calculated you’ve been and disruptive you’ve been and tried to be to me, then it cancels itself out. I can’t look at it as sick, because you’re detrimental. You’re detrimental to everything.”
Read the full GQ interview, conducted by Frazier Tharpe, right here.
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SZA and Doja Cat haven’t kissed their smash-hit duet good-bye just yet, with the pair reuniting to perform “Kiss Me More” together for the first time in years Saturday (May 31). Rising up from beneath the stage floor to join the “Kill Bill” singer in front of thousands of fans at Allegiant Stadium in Las […]
E-40 kicked off Black Music Month with a swaggering Tiny Desk concert debut on Monday (June 2), which saw 40 Water run through three decades worth of boastful bops in 25 minutes.
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Everywhere he goes, E-40 brings a bit of the Bay Area with him, and he represented for the West Coast when heading to the other side of the country to perform at NPR‘s Washington, D.C. offices. “I’ve been doing this since Kermit the Frog was a pollywog,” 40 said regarding his longevity in the rap game.
40 set the tone with “Da Bumble” and “Yay Area,” before taking it back to the ’90s for “Sprinkle Me,” which featured an incredible transition into “Captain Save a Hoe.”
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“That transition from Sprinkle Me to Captain Save A Hoe was a special one,” E-40 wrote on Instagram. “Thank you @NPRMusic for letting me grace the Tiny Desk stage and set off Black Music Month.”
40 received a ton of flowers in his comments from peers and fans alike. G-Eazy, Ty Dolla $ign, Busta Rhymes, Rick Ross and Three 6 Mafia all saluted the Bay Area legend.
The 57-year-old brought an eight-piece band with him to give his hyphy hits a renewed texture with a mix of bass, keys, backup vocalists, guitars and drums. He continued the show with new arrangements to “Snap Yo Fingers,” U and Dat” and “Choices (Yup),” which broke through on TikTok earlier this year to introduce him to a whole new demographic. “I’m on my fourth wind,” 40 said.
He wasn’t done just yet either, as E-40 went back to the well for “Hope I Don’t Go Back,” 1-Luv,” “Function” and his idiosyncratic catalog staple “Tell Me When to Go.”
40 hasn’t dropped an album yet in 2025, but delivered his braggadocios “Beating They Ass” single in May.
Watch E-40’s Tiny Desk concert below.
As politicians around the world continue to pursue anti-LGBTQ+ agendas, Cynthia Erivo has a simple message for queer people in 2025: Don’t let them win.
In her new Billboard cover story published Monday (June 2), Erivo opens up about her thoughts on the Trump administration’s continued attacks on LGBTQ+ rights. When asked by Billboard Pride editor Stephen Daw how she’s coping with the political chaos, the singer-actress shared that she’s focusing on trying to combat the vitriol with peace and calm.
“I’m trying to be a person you can get positive things from, because that is the only way you can balance this stuff,” she says. “Fear-mongering is very powerful, and the only thing that you can do in order to offset that is to feed it with light and positivity.”
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For her queer and trans fans, Erivo highlights the importance of staying true to yourself, even amid a scary political landscape. “I want to encourage people to not decide to just tuck away and start hiding and not being themselves anymore, because that is exactly what they want,” she says. “The more yourself you are, the more you are in front of people who don’t necessarily understand, the better understanding starts to happen.”
All-star songwriter Justin Tranter agrees, saying that Erivo herself has become a powerful symbol for the LGBTQ+ community since her public coming out in 2022. “Cynthia being Black and queer, and being one of the most famous people alive in this moment while our community is dealing with what we are dealing with, is no mistake,” they tell Billboard. “For someone as talented as her to be a beacon for young Black queer people all over the world … is no accident.”
Over the last few years, Erivo made a name for herself as one of the premiere performers at The Kennedy Center, where she’s performed her own solo concerts while also honoring legends such as Dionne Warwick, Dame Julie Andrews and Earth, Wind & Fire. But earlier in 2025, President Trump announced that he was naming himself as the chairman of the prestigious arts organization, replacing existing board members with his own allies and ceasing any and all drag performances hosted by the Center.
“I don’t know who gains what from that. I hope that it comes back,” Erivo says of Trump’s takeover of the Kennedy Center. “It’s really sad to have to watch this happen to it. The Kennedy Center is supposed to be a space of creativity and art and music for everyone.”
See Erivo on the cover of Billboard and check out photos from her cover shoot below:
Pusha T severed ties with G.O.O.D. Music, where he served as the label’s president and distanced himself from Ye (formerly Kanye West) in late 2022.
King Push and his brother No Malice graced the cover of GQ on Monday (June 2), and Pusha reflected on his falling out with the embattled rapper, who has faced criticism for his repeated hate speech.
“The one thing that I can say about [Ye] is that he knows that every issue that he’s having and crying about online right now, I’ve told him distinctly about those things,” Push said. “He don’t talk to me like he talks to others.”
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Pusha T took things a step further while disrespecting Ye and saying that he doesn’t “think he’s a man” following his myriad controversies over the years.
“His intuition is even more genius-level, right? But that’s why me and him don’t get along, because he sees through my fakeness with him,” he continued. “He knows I don’t think he’s a man. He knows it.”
The Virginia rapper went on: “And that’s why we can’t build with each other no more. That’s why me and him don’t click, because he knows what I really, really think of him. He’s showed me the weakest sides of him, and he knows how I think of weak people.”
Billboard has reached out to Ye’s rep for comment.
Pusha T and No Malice kicked off the Clipse’s Let God Sort Em Out rollout on Friday (May 30) with “Ace Trumpets,” which finds Push name-dropping Yeezy.
“Sold ecstasy and disappeared, I am Whodini/ Look at them, him and him, still waitin’ on Yeezy/ I hope you got your squeegees/ At your interviews, I just ki-ki,” he raps.
Ye got wind of Pusha’s bars and expressed that he misses the friendship they once had. “I miss me and Pusha’s friendship,” West wrote of his ex-G.O.O.D. Music president to X.
While Yeezy won’t be appearing on Let God Sort Em Out come the July 11 release date, Push confirmed that Kendrick Lamar is slated to be featured on the album track “Chains & Whips.”
However, Lamar’s assist was at the center of Clipse’s rift with Def Jam, as the Universal Music Group-owned label wanted K. Dot’s verse removed from the project. Push stood firm in keeping the Compton rapper on the album, which led to a split with Def Jam for the duo as well as Pusha’s solo career. LGSEO will now be distributed by Roc Nation.
“They wanted me to ask Kendrick to censor his verse, which of course I was never doing,” he said. “And then they wanted me to take the record off. And so, after a month of not doing it, Steve Gawley, the lawyer over there was like, ‘We’ll just drop the Clipse.’ But that can’t work because I’m still there [solo]. But [if] you let us all go.”
Billboard has reached out to Def Jam for comment.
Despite weather-related chaos, the annual Philly festival delivered unforgettable performances and cultural moments.
The iMarine Project, a media mix content project by SANYO, is celebrating its 10th anniversary this year. It has recently kicked off a new chapter with “iMarine Project++” (read: “iMarine Project Plus”). Billboard JAPAN spoke with Aya Uchida, voice actress for iMarine, about what progress she feels the project has made over the past decade and her hopes for its future.
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The iMarine Project was launched in 2015, and then in 2020, Sanyo began iMarine Project (New Chapter). Now, in 2025, it is about to enter a new stage of its evolution, iMarine Project++. Looking back, what has your impression been of the past ten years?
The iMarine Project itself is celebrating its 10th anniversary, but I became a part of it with its third release, “Dive to Blue,” which was a full-length animated music video. It emphasized the concept that “iMarine is in your town, too,” which may be why I was chosen as the voice actress.
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From that point on, each year I’ve worked with a different creator, and the videos and aesthetic have kept on changing. The fourth release was an animated music video with characters from Umi Monogatari, who had their own lines, so it felt like the style had changed to one that was showing the world of Umi Monogatari through animation and lyrics.
“Deep Blue Town e Oide yo,” right? That was arranged like a story, starting out with an anime segment, then segueing into the song, and then ending with another anime segment.
Right. In the fifth release, we went with a more stylish, adult diva style. I feel like at that point the anime elements were completely gone, and the project had become more of a song-centered project.
Then 2020 saw the start of iMarine Project (New Chapter), whose concept was a “2.8-dimensional” idol.
This is where the story suddenly started getting much deeper. We were taking on a new challenge—expressing a story, a world, a scene, all through music.
There’s an online novel, and the Crystal Palace setting was reproduced in VRChat. It’s gone beyond just being a “media mix” to become a work that fuses all kinds of elements of all kinds of dimensions. The iMarine Project++ is the culmination of all that’s been done by the cast and directors to expand this one work.
Over the last five years, the project has fleshed out and defined the world and its aesthetics based on the story. This five year period has been a series of experiments, right?
The project is a media mix that combines not only physical spaces but also digital spaces, so every challenge has been a new one. This was also all being done while VTuber culture was growing, and it was so much fun being on the cutting-edge of the changing times.
As a performer, has the fusion of the digital and physical worlds made the project a difficult one?
Yes, a bit. As a voice actress, I’ve done a lot of work in the physical world, and I’m confident in that area, but when it comes to the digital world, I’m still feeling things out as I go along. For example, popular VTubers have their own defined characters, but they also speak really freely. [Laughs]
In the case of iMarine, the character is defined in a novel, so if I say the wrong thing, it could break that in-world feel. Like, if I wanted to say “I had some ramen today,” before I could even open my mouth, I’d start thinking “Wait, ramen might not exist in that world.” There’s a part of me that’s always operating with that actor’s mindset. [Laughs]
So because of the detailed setting, you’re in a different position than VTubers, who can act without thinking that deeply.
Yes, but lately, the way I’ve been thinking about it has started to change a little. There are things that Saeki has said as Ichika at VR events that just naturally became part of her character. For example, she said “I’m a big eater.” [Laughs] This thing she’d said became part of her virtual character, and when I realized that, I came to feel like I could speak more freely. The world and the aesthetic of the iMarine Project story is well-defined, but, surprisingly, the details about the characters themselves are a little vague. I think going forward, we’re going to be fleshing out the world of iMarine Project++ along with the members of the recently announced fan club, Musical Armored Division of Freedom.
In the new song, “M.A.D.,” which was recently debuted on-stage, you’ve taken on a new genre: hip-hop.
Idols have been performing some really cool hip-hop recently. I’m a big listener in my own personal life, so I was really happy that iMarine would finally take on the genre.
I think the presence of iMarine Project’s works goes beyond the bounds of anime and videos, so I’ve had this intense desire to perform using a really cool voice on a song that I felt really confident in.
So you feel like the quality of the music needs to be elevated beyond so-called “character songs” to better music-as-music. And also that the meanings of the songs are growing deeper as the story progresses.
This time, the music is going in a whole different direction. It’s darker, with more of a street vibe. It has this sense of a strong spirit that’s unbowed by everyday hard existence. Like a light in the middle of despair. I like that really down-to-earth feel in music.
In a strange way, even though the project is set in this digital world, the feeling of humanity really comes across. There’s this rebellious spirit in the face of daily struggles. It’s more human than human.
Exactly. The setting of the story is that iMarine and Ichika are both AIs, and the other members were originally humans, but they became AIs.
So I’m not human, but for precisely that reason, when I sing, it feels like in some way I’m almost being my natural self, the way I am now. I can express the passion in my heart. I love it, and in fact that may be the part that feels the most rewarding.
Everyone on the cast was overflowing with praise for a dance performance by one of the characters in the music video. I’m guessing that part made a big impression on you, too?
You’re talking about Isana’s breakdancing, aren’t you. [Laughs] I’ve done motion capture for characters on two songs before, and it really opened my eyes to how impressive and how hard motion capture is. That breakdancing was performed by using motion capture on an actual dancer. The level of technical skill needed to capture that kind of frenetic movement was just amazing! [Laughs]
There’s also the crowd of people wearing hoods. I liked how the concept of “we’re not alone” was highlighted through the whole video. Until now, we’ve been having people look at the world we created, but going forward, we’re going to make it so that people can get immersed from the perspective of the Musical Armored Division of Freedom.
This project is right on the bleeding edge, but it’s amazing how the end results always come out great. I’ve got to keep working hard to keep up so I don’t fall behind.
—This interview by Mio Komachi first appeared on Billboard Japan
CMA Fest will officially launch June 5-8 in Downtown Nashville, with tens of thousands of fans expected to participate in nightly stadium concerts, plus hundreds of daytime performances at smaller venues.
They’re also afforded the opportunity to collect autographs at Fan Fair X in the Music City Center.
On top of the official activities, a host of CMA Fest-adjunct events will take place beginning June 2. The following is a rundown of many of those events. (Advance confirmation may be required.)
June 2
• Darius & Friends ShowRyman AuditoriumDarius Rucker’s annual concert featuring a surprise guest list.
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• Ty Herndon’s Concert for Love & AcceptanceCategory 10The 10th and final edition includes Dasha, Sam Williams, Brooke Eden, David Archuleta, Shelly Fairchild, and Lindsay Ell.
June 3
• Craig Campbell’s Celebrity Cornhole Challenge6th & PeabodyFeaturing Jerrod Niemann and Gary LeVox.
• Whiskey Jam Takeover by River HouseWhiskey RowPerformers: Austin Snell, Ryan Charles, The Kentucky Gentlemen.
June 4
• CAA Whiskey Jam TakeoverWhiskey RowFeaturing Warren Zeiders, 49 Winchester, Colby Cooper, and Carter Faith.
• Turn It Up! Texas Daytime PerformancesCategory 10Featuring Smithfield, Jenna Paulette, and Jack Blocker.
June 5
• Warner Music Nashville’s Heatwave HouseBarstoolPerformers: Gabby Barrett, Ingrid Andress, Ian Munsick, Hudson Westbrook.
• FEMcountry Showcase by Leslie FramCity WineryFeaturing Brittney Spencer, Lucie Silvas, Abbey Cone, and more.
• Billboard Country Live (June 5–6)Category 10Featuring Drew Baldridge, Max McNown, Reyna Roberts.
• Big Machine Pop-Up (June 5–7)Bell Bottoms UpArtists include Greylan James, Caroline Jones, Brett Young, and Midland.
• Spotify House at Ole Red (June 5–7)Featuring Carly Pearce, Riley Green, Nate Smith, and others.
• BMI Block Party (June 5–7)Outdoor stage at Ryman AuditoriumPerformers: Kelsey Hart, Noah Rinker, Grace Tyler, Tyler Braden.
• Sounds Like Nashville by MCA (June 5–8)Skydeck on BroadwayFeaturing Tucker Wetmore, Vincent Mason, Crowe Boys, Caylee Hammack, Bryce Leatherwood, Sons of Habit.
June 6
• ASCAP Showcase6th & PeabodyFeaturing Jordan Fletcher, Maddie Lenhart, Beck and Call.
Whether she likes it or not, Megyn Kelly is a part of Beyoncé‘s Cowboy Carter Tour — but that’s not stopping the political commentator from slamming the superstar for including footage of her in the trek’s visuals.
In a recent clip from The Megyn Kelly Show titled “Beyonce Tries Playing Victim,” Kelly said it had recently come to her attention that “Beyoncé, who’s on some world tour right now reinventing herself as a country star, is running videotape during the show of yours truly.”
“Here is another one of the most privileged, beloved women in the world — and richest, based on her own fortune, never mind the man she’s married to,” the TV personality continued, referring to billionaire Roc Nation founder Jay-Z. “But [she] still has to look for the one sliver where she could play the victim and be aggrieved because big bad Megyn Kelly said something completely milquetoast about her entry into country music.”
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Billboard has reached out to Bey’s rep for comment.
Kelly’s remarks come more than a month after the Destiny’s Child alum kicked off her world tour in support of Billboard 200-topping album Cowboy Carter, which found Bey exploring her love for country music across 27 tracks, including collaborations with icons such as Willie Nelson and Dolly Parton. At a certain point in each show, a blurred-out clip of the former Fox News anchor blasting Bey for “sticking her big toe” into country music during an appearance on Australia’s Sky News plays on venue screens.
The moment in the show is representative of how many people were critical of the 35-time Grammy winner for experimenting with country music once Cowboy Carter dropped in March 2024. Many parts of the industry were unwelcoming — the album earned zero nominations at the CMA Awards and country radio did not embrace any tracks — but Bey would become the first Black woman to ever reach No. 1 on the Hot Country Songs chart with lead single “Texas Hold ‘Em.” Cowboy Carter also took home both album of the year and best country album at the 2025 Grammys.
But despite Bey’s success since the last time she spoke on the subject, Kelly doubled down on her early criticism of Cowboy Carter. “She and her marketing people were treating that entry [into country music] like the second coming, like it’s Jesus incarnate,” she added on on The Megyn Kelly Show. “‘All hail Queen Bey, she’s here to rescue country music,’ which was a perfectly thriving industry long before Beyoncé showed up.”
Following stints in Los Angeles, Chicago and the New York City area throughout the month of May, Bey is now gearing up to bring her Cowboy Carter trek to London for a string of shows at Tottenham Hotspur Stadium kicking off June 5. Her five-night stay at SoFi Stadium in Inglewood, Calif., grossed $55.7 million with 217,000 sold, marking the biggest single-venue engagement reported to Billboard Boxscore in 2025 so far.
Kelly’s complaint about the Sky News footage isn’t the first instance of someone taking issue with the Cowboy Carter Tour visuals, however. In May, attorneys for Sphere Entertainment Co. CEO James Dolan sent Bey a cease-and-desist for using imagery of the Las Vegas Sphere in a video interlude, after which the musician cheekily superimposed the city’s Allegiant Stadium over the first venue in the visual.