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In 2006, the International Astronomical Union stopped classifying Pluto as our solar system’s ninth planet and demoted its status to “dwarf planet.” But 17 years later, Nigerian singer Shallipopi tells Billboard he’s “claiming it now” as his own domain.
He’s intimately familiar with that level of sovereignty, as Shallipopi – born Crown Uzama in Benin City, Edo, Nigeria – descends from a line of kingmakers, the Uzamas, who are the highest-ranking chiefs in the Benin Kingdom who appoint the new Obas, or traditional Edo rulers. And even though the 1994 Taiwanese kung fu comedy film Shaolin Popey that he grew up watching at home inspired his stage name, his self-appointed nickname Pluto Presido speaks more to his prestige — and the rule he has over his fans, the Plutomanians.
He’s even labeled his musical style “Afro Pluto,” a rousing fusion of Nigerian street-pop, Afropop, hip-hop and amapiano that’s littered with local slang with an infinite number of meanings and guided by a cadence that’s closer to talking than singing. And in just a few short years, it’s helped Shallipopi grow into one of the most in-demand up-and-comers from the continent. He says South African DJ/producer Tyler ICU texted him to hop on the remix of “Mnike,” the biggest amapiano record of 2023 that Rihanna claimed was one of her favorite songs that year. A week before the “Mnike” remix’s release, Shallipopi tag-teamed with Rema on their hometown hit “Benin Boys,” the first single from the latter’s Grammy-nominated album Heis. He’s also linked up with a range of other emerging and established Afrobeats acts like ODUMODUBLVCK on the chant-worthy club banger “Cast” and YBNL boss Olamide on “Order.”
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And two years after his 2023 breakout hit “Elon Musk” in honor of “the richest man in the world,” he says, Shallipopi strives for that level of astronomical wealth on his biggest hit to date “Laho,” which means please in the Edo language of Bini. While he name checks Italian footballer Mario Balotelli to prove the kind of prosperous company he keeps, “Laho” has attracted plenty of ballers in real life.
A month after the song’s release, Indiana Pacers power forward Pascal Siakam explained how he adopted the viral “Laho” dance, featuring pointed fingers and shuffling feet, to celebrate the team’s three-point shots in an interview with ESPN. “I just be playing it, and the guys, I think JJ [James Johnson] is the first one that saw me do it. And he was like, ‘Nah, I like that for a three-point celebration,’” said the Cameroonian basketball player, who added that he and his teammates “gon’ pull it out for sure in the playoffs.”
And while celebrating his team becoming Premier League champions again, Liverpool midfielder Harvey Elliott wrote “Minister of Enjoyment,” a phrase from the hit’s second verse — meaning someone whose main purpose is to find pleasure in life and enjoy it to the fullest — in his Instagram caption. Manchester City defender Rúben Dias posted the song on his Instagram post when his team qualified for their third FA Cup final (even though they eventually lost against Crystal Palace).
“Laho” has peaked at No. 5 on U.S. Afrobeats Songs and has registered 11.5 million official on-demand U.S. streams, according to Luminate. While major leaguers quickly gravitated to it, the African Giant Burna Boy added his international star power to the song’s second version that Shallipopi doesn’t refer to as the “Laho” remix – because that’s still on the way.
Billboard spoke with May’s African Rookie of the Month about “Laho” becoming an international sports anthem, performing it on massive world stages alongside Burna Boy and Central Cee, and setting his sights on even bigger collaborations.
When did you know music was your calling?
Pretty young, like my early teenage years. We always played music at home growing up, a lot of reggae and Afrobeats, old Afrobeats. My parents played a lot of Fela [Kuti], Lucky Dube, Bob Marley.
Your younger brothers Zerry DL and Famous Pluto also make music. How did you guys come to share that interest and pursue your own paths in this business?
We all grew up in the same house by the same parents who listen to the same music. I feel like they’re following in my footsteps because they feel like they can do it too. And they’re doing it already.
Who are your favorite artists whom you’re currently listening to?
I listen to a lot of Billie Eilish and Ken Carson.
How did you actually start making music?
I went to the studio [when I was 15] and said, “Let me try something. Let me sing on this beat. Let me test this thing finally and see if it goes.” But before that, I had voice memos on my phone, playing free beats off websites and vibing off it. I was just freestyling, not really recording original, mastered songs.
What kind of sounds and styles does your music encompass? How would you describe your music in your own words?
I would say groovy, energetic, fun. Club bangers. It’s for having a good time and raising your mood from being unhappy to being happy.
You earned a computer science degree from Auchi Polytechnic in 2023. How did you balance your schoolwork and your passion for music?
That was not really difficult. I just take music as a hobby and I focused on my education until I was done. When I decided to study computer science, I didn’t think music was really a way to sustain an income. You have to go study a real course to survive. You can’t be studying music, we’re in Africa. I decided to go with science because you have to chase the bag. [Laughs]
It’s dope to see you turn music from a hobby into a career. Is that something you expected?
Honestly, I didn’t expect it. I didn’t expect it to come this soon. But it’s God’s blessing. I was thinking, “Oh, it’s going to take time.” Or the way everybody prays, “Let my time come.” It’s like, “Oh, my time is here.”
A common thread in your music is the local slang you use, from “Evian” in “Elon Musk” to “Oscroh” in “Oscroh (Pepperline).” Which are your favorite terms that you’ve used in your music?
“Evian,” just because it got so popular. It’s my family name.
Travis Scott is a huge fan of “Cast.” What was it like to link up with him, especially when he started singing the song to you?
He was feeling the energy of the song, I think he likes Pluto’s songs. [The video was taken] backstage at his concert in London.
“Cast” recently won best rap single at The Headies this year, while Zerry DL took home the rookie of the year award. That must’ve been a proud family moment!
It was lit. We celebrated together, I’m happy for him. We partied all night and chilled together as family.
You announced in a letter last December that you ended your agreement with Dapper Music and Dvpper Digital because they mishandled your finances. Three months later, you released your biggest record to date with “Laho.” What was going through your head during that in-between period? How were you feeling about the trajectory of your career?
The career of a man is not really in the hands of anybody except him. Your career is in your hands at the end of the day. Your fans are waiting for you to do something, so it’s really the only thing at the end of the day that matters. Nobody’s going to really stop you.
“Laho” has been heavily embraced by the sports world. Did you expect it to become an anthem for athletes all around the world? Why do you think this demographic has gravitated to “Laho” so much?
No, I didn’t expect that one. I’m still in shock. I watch and enjoy, it because they’re not from the same sports. Some play football, some play basketball. I just really f—k with that s–t.
When did Burna Boy get involved with the “Laho” record? He wrote on his Instagram Story that he was on the original version but he couldn’t clear it at the time because it “clashed with other releases that had to do with me.” So should “Laho II” not be considered the remix?
“Laho II” is “Laho II.” We were just in the studio [in Lagos], I was playing the album and he was like, “Yeah, I f—k with that. Let’s do this.” And he dropped a verse on it. Wait for the remix.
Can we expect other big guests on the remix?
Just wait and see. But expect fire.
You two performed the song together at Manchester’s Co-op Live and at Paris’ State de France. What was it like to bring your song to life in front of tens of thousands of people?
It was lit. I was feeling the energy of everyone singing it back to me. It was amazing.
Central Cee also brought you out during his show at London’s O2 Arena to perform “Laho.” How did the opportunity come about?
He just told me to pull up and come perform “Laho.” I told him, “Cool, bro — I gotchu.”
You started your own record label, Plutomania Records, in 2023. Why were Zerry DL and Tega Boi the best fit as the label’s first signees?
They’re my family, I had to support them first before I bring in all the others.
What is your hope for the future of Plutomania Records in the next five to 10 years?
I want us to expand, to grow more business-wise.
What’s been the biggest “pinch me” moment of your career so far?
Performing at the stadiums. I was like, “Oh my God! Ah!”
Were you extra nervous?
I’m never nervous, I’m just happy to be there.
Who would you love to collaborate with this year?
Maybe from the Latin side, like Bad Bunny. It has to be a very big artist or have a big fan base, like Drake.
What’s next for Shallipopi in 2025? What can fans expect?
Concerts, so they can come see live, and more good music.
Young Thug called out Kid Cudi for testifying in Sean “Diddy” Combs’ sex trafficking and racketeering trial on Thursday (May 22), and labeled the Cleveland rapper a rat on X. Thugger quickly deleted the polarizing message, but the toothpaste was already out of the tube.
“Dam cudi a rat lol,” Thug wrote before taking the post down minutes later.
Billboard has reached out to Cudi’s rep for comment.
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Thugger had been locked up for more than two years while fighting for his freedom as part of the YSL RICO trial. He eventually reached a plea deal on Oct. 31, 2024.
However, there is a connection between the YSL trial and Diddy’s, as Thug’s attorney Brian Steel is part of the Bad Boy mogul’s legal defense team. Steel cross-examined Cudi while he was on the stand.
Cudder briefly dated Cassie in the early 2010s, but the romance was ultimately short-lived. As part of his testimony, Kid Cudi recalled Diddy allegedly setting his Porsche on fire in his driveway with a Molotov cocktail. Cudi also tied a break-in of his home around the time of his relationship with Cassie to Diddy.
Cassie named Cudi in her 2023 sexual abuse lawsuit, which lit the fuse against Diddy, claiming Combs attempted to blow up the “Day ‘n’ Nite” rapper’s car. While on the stand on Day 3 of the trial, she explained why she cut the relationship with Cudi short. “Too much danger, too much uncertainty of what could happen if we continued to see each other,” Cassie said.
As for Cudi, he took to social media to reflect on the “stressful situation” after taking the stand, and the Ohio native said he’s “glad it’s behind” him.
“I’ve been seeing all the love and support and I just want to say thank you so much, man,” Cudi said in a video he shared to various platforms. “People been hitting me up the past week just checking in and even today, it really means a lot to me, man. You guys are the best. I love y’all. This is a stressful situation. I’m glad it’s behind me.”
On Thugger’s side, he’s been teasing his UY SCUTI album, which he’s hinted at a June arrival date for. He reunited with Future for his “Money on Money” single in April.
Billy Joel is canceling all of his upcoming shows due to a health issue affecting his ability to perform, the musician announced Friday (May 23).
In a statement shared to his social media accounts, he shared that the decision comes following a “recent diagnosis” of normal pressure hydrocephalus. “This condition has been exacerbated by recent concert performances, leading to problems with hearing, vision and balance,” his statement reads. “Under his doctor’s instructions, Billy is undergoing specific physical therapy and has been advised to refrain from performing during this recovery period. Billy is thankful for the excellent care he is receiving and is fully committed to prioritizing his health.”
“He is grateful for the support from fans during this time and looks forward to the day when he can once again take the stage,” the announcement continues, concluding with a message directly from Joel: “I’m sincerely sorry to disappoint our audience, and thank you for understanding.”
Fans with tickets to any of the “Piano Man” singer’s scheduled shows will receive automatic refunds to their original payment method.
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According to Cleveland Clinic, normal pressure hydrocephalus is a condition that occurs when cerebrospinal fluid builds up inside the skull, pressing on the brain. It can affect “several brain-related abilities, including thinking and concentrating, memory, movement and more,” with treatment involving implanting a shunt to drain the excess fluid.
Joel had several shows planned throughout the summer and fall of this year, as well as a few performances scheduled for the first half of 2026. His canceled appearances include his joint dates with Sting, Rod Stewart and Stevie Nicks, as well as his solo gigs.
The Rock & Roll Hall of Famer previously delayed several of those tour dates by four months after revealing that he had recently undergone surgery. Joel did not disclose his medical condition at that time.
“While I regret postponing any shows, my health must come first,” he said in a statement in March. “I look forward to getting back on stage and sharing the joy of live music with our amazing fans. Thank you for your understanding.”
The five-time Grammy winner had been poised to make history on his trek, as his now-canceled shows at Yankee Stadium in the Bronx, N.Y.; Metlife Stadium in East Rutherford, N.J.; and Citi Field in Queens, N.Y., would have made him the first artist to play all three NYC-area stadiums in one summer. “Each [venue] holds personal significance to me,” Joel had told Billboard of the feat in early February. “There’s nothing like the energy of the crowds in New York.”
Joel’s health update comes shortly after it was announced that his upcoming two-part documentary, Billy Joel: And So It Goes, will premiere at the Tribeca Film Festival in June. Later in the summer, the project will air on HBO.
See Joel’s post below.
Alex Warren, whose hit ballad “Ordinary” has spent the last three weeks at No. 2 on the Billboard Hot 100 – and the last nine weeks at No. 1 on the Official U.K. Singles Chart – is set to perform on the 2025 American Music Awards, Billboard can exclusively reveal.
The 51st AMAs are set to “kick off summer” from the Fontainebleau Las Vegas on Monday, May 26. The show will air live coast-to-coast at 8 p.m. ET/5 p.m. PT on CBS and stream on Paramount+ in the U.S.
This will be Warren’s first awards show performance, though a performance on the finale of the Netflix series Love Is Blind on March 9 is credited with giving “Ordinary” a critical boost. Warren is considered a likely Grammy contender for best new artist. The nominations for the 68th annual Grammy Awards will be announced later this year.
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Warren, 24, is one of three performers announced for the AMAs so far who are in their 20s, along with Benson Boone, 22, and Reneé Rapp, 25.
Jennifer Lopez will host the show for the second time. Sir Rod Stewart is set to receive a lifetime achievement award. Janet Jackson is set to receive an ICON Award. All three of these artists will also perform on the show, along with Gwen Stefani, Gloria Estefan, Lainey Wilson and Blake Shelton.
The American Music Awards is the world’s largest fan-voted awards show. Tickets to the show are available now on Ticketmaster.
Kendrick Lamar leads this year’s AMA contenders with 10 nominations, followed closely by Post Malone with eight nods, and Billie Eilish, Chappell Roan and Shaboozey, with seven each.
Nominees are based on key fan interactions – as reflected on the Billboard charts – including streaming, album and song sales, radio airplay and tour grosses. These measurements are tracked by Billboard and Luminate, and cover the data tracking eligibility period of March 22, 2024, through March 20, 2025.
Fan voting is now closed, with the exception of collaboration of the year and social song of the year, which will remain open for web voting through the first 30 minutes of the AMAs broadcast via VoteAMAs.com.
The AMAs and Easy Day Foundation, a Las Vegas-based nonprofit organization committed to helping veterans transition to civilian life, will partner to present several in-show moments that celebrate veterans while raising funds for a variety of national and local organizations.
The American Music Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
Singer-songwriter Josh Ross, 30, from Waterdown, Ontario, achieves his first top 10 on Billboard’s Country Airplay chart as his first entry, “Single Again,” pushes 11-10 on the list dated May 31. The song increased by 10% to 16.6 million impressions May 16-22, according to Luminate.
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The track is from Ross’ eight-song set Complicated, released in March 2024. It hit No. 2 on the Canada Country chart last October, becoming the fifth of his six career-opening top 10s.
Ross co-authored “Single Again” with Joe Fox and Brad Rempel, and Matt Geroux produced it. (Fellow Canadian Rempel is a member of the group High Valley, which has notched 20 top 10s on Canada Country, in 2012-24.)
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Notably, “Single Again” reaches the Country Airplay top 10 in its 60th week on the chart, wrapping the third-longest trip to the tier since the survey launched in January 1990. In April 2023, Brett Young’s “You Didn’t” reached its No. 10 high in 70 weeks, while Chase Matthew’s “Love You Again” hit No. 10 in 62 frames (before peaking at No. 9).
Nice ‘Problem’ to Have
Morgan Wallen’s “I’m the Problem” tops Country Airplay for a sixth total and consecutive week (31.7 million, down 1%). It became the third No. 1 from his album of the same name, ahead of its release May 16, following “Love Somebody” (three weeks in February) and “Lies Lies Lies” (one week, November). His latest single being promoted to country radio, “Just in Case,” rises 15-13 (14.8 million, up 8%).
“I’m the Problem” is the third of Wallen’s 17 Country Airplay No. 1s to reign for six frames or more, after “You Proof,” which shares the record for most time on top (10 weeks, 2022-23), and “Last Night” (eight weeks, 2023).
Five total cuts from I’m the Problem are scaling Country Airplay, with the title track and “Just in Case” followed in the top 40 by “I Ain’t Coming Back,” with Post Malone (43-32; 2.9 million, up 48%). The other two debut: “What I Want” featuring Tate McRae (No. 55; 897,000), and “Superman” (No. 58; 846,000).
All charts dated May 31 will update Wednesday, May 28, on Billboard.com (one day later than usual due to the Memorial Day holiday May 26).
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, Joe Jonas gives us a long-awaited solo project, Reneé Rapp returns on her own terms and Alex Warren is far from “Ordinary.” Check out all of this week’s picks below:
Joe Jonas, Music For People Who Believe in Love
Fourteen years after the last album released under his own name, Joe Jonas is a lifetime (and several new hits) removed from the rhythmic pop of 2011’s Fastlife, and that personal and artistic growth is the foundation of Music For People Who Believe in Love, an earnest and surprisingly personal pop-rock project that includes both radio fodder (“Honey Blonde,” “Work It Out”) and a few unexpected collaborations, like the touching family reflection “Hey Beautiful” with Louane and Tiny Habits.
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Reneé Rapp, “Leave Me Alone”
Even if you didn’t know that Reneé Rapp’s “Leave Me Alone” is the first taste of an upcoming sophomore album titled Bite Me, you could probably deduce that the riotous new single represents a new beginning for a singer-actress who’s found her artistic footing: “Leave Me Alone” has made headlines for the tossed-off lyric about The Sex Lives of College Girls, but the real story here is Rapp’s embrace of slightly heavy guitar-rock, with the feedback buzzing as she forgoes all pop norms.
Alex Warren with Jelly Roll, “Bloodline”
A lot is riding on “Bloodline” for Alex Warren, considering that the song is his first new music since “Ordinary” conquered the charts around the world — so to ensure that his next step forward was a successful one, the singer-songwriter tapped Jelly Roll, one of the more reliable presences in popular music, for a stomp-clap anthem with the same reassuring tone as Warren’s current smash.
Burna Boy feat. Travis Scott, “TaTaTa”
As Burna Boy preps for the July release of new album No Sign of Weakness, fans have been given a thumping new Travis Scott collaboration to kick off their summer: “TaTaTa” is all slick rhymes and layered drums, with both MCs exuding star power and playing off of the beat by using the chorus as a percussive tool rather than a catchy refrain.
Jessie Murph feat. Sexyy Red, “Blue Strips” remix
“Blue Strips” has been one of the surprise hits of the year, thanks in part to Jessie Murph’s force of personality and a killer hook; now, Sexyy Red is jumping in on the fun, with a remix that actually shortens the song’s length but makes room for the rapper to warble the chorus and drop vehicular ad-libs over the original track’s still-simmering beat.
Karol G, “Latina Foreva”
Karol G knows that summer is right around the corner, and “Latina Foreva” functions as a warm-weather banger for the ladies: the superstar’s first new single of 2025 celebrates femininity with a fierce reggaeton arrangement, as Karol sounds more than comfortable navigating the speed-ups and slowdowns of the production before letting the beat work its magic at the end of the track.
Rob49, Let Me Fly
The viral hit “WTHELLY” has earned New Orleans rapper Rob49 newfound attention in popular hip-hop after years of grinding on the edges, and Let Me Fly sounds like a well-time artistic triumph, brimming with unhinged energy from the ominous piano keys that open the 22-song project and stretched across various collaborations (Meek Mill, Fridayy, Sexyy Red and Quavo are among the guest list).
Editor’s Pick: mgk, “Cliche”
After dabbling in country-fried songwriting following his pop-punk pivot, The Artist Formerly Known as Machine Gun Kelly has located a sleek little intersection of the two sounds: “Cliché,” along with its accompanying choreo-heavy music video, is an utterly charming new chapter in mgk’s winding story, all Warped Tour-ready hooks and nervy energy aimed at those of us still blasting his Tickets to My Downfall hits on the regular.
Christian Nodal‘s highly anticipated new album has officially arrived: The acclaimed regional Mexican artist released ¿Quién + Como Yo?, his first solo LP since Ayayay! in 2020, on Thursday (May 22). The 12-track production highlights Nodal’s commitment to “showcasing the ‘mariacheño’ sound” (mariachi + norteño) he coined, while “making us proud of our roots,” he says to Billboard Español.
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Released through Sony Music México, ¿Quién + Como Yo? — which follows his January EP, PA’L CORA EP. 02 — features previously dropped singles like “El Amigo,” “Amé,” and “X Perro.” These tracks gave fans a glimpse of the direction Nodal’s new music was headed: a fresh blend of sounds that he brought to Mexican music nearly a decade ago, paired with deeply emotional lyrics.
But for those wondering, Nodal clarifies: “There’s nothing personal in it,” he says. “These are songs that truly touched my soul. I think we’ve all been through things like this.”
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In this album, the 26-year-old Sonoran artist teams up with three major stars in regional Mexican music, each bringing their own unique style: Alfredo Olivas, on the heartbreak-filled track “Se Vienen Días Tristes”; Tito Double P, on a corrido tumbado titled “La Loba”; and Netón Vega, on the motivational single “EBVSY,” the focus track.
Ahead of the album’s release, Nodal shared a heartfelt video on his social media, reflecting on this moment in his career. “This isn’t just an album,” says the six-time Latin Grammy winner. “It’s a toast to what’s been lost, to what hurts, and to what still stands.”
Nodal has also announced a new U.S. tour, the Gira 2025, featuring nearly 20 dates starting Nov. 7 in Los Angeles. The hitmaker sat down for an exclusive interview with Billboard Español to discuss the making of his new album, ¿Quién + Como Yo?
Christian Nodal
Courtesy of Sony Music México
Musically, what can we expect to find in this new album?
The goal is to showcase the mariacheño sound, to make us feel proud of our roots, our instruments, and all the beautiful arrangements. In the videos, we’re also highlighting Mexico. There’s just one “tumbado” (urban corridos) track.
How did the collaborations with Alfredo Olivas, Tito Double P, and Netón Vega come about?
The song with Alfredo Olivas came about thanks to my engineer, who’s a friend of his. I asked him to give Alfredo a call, and he agreed to collaborate. It’s a real pleasure working with him — he’s an amazing musician and performer. With Tito, there’s a lot of camaraderie, and as for Netón, we happened to cross paths in Culiacán. He’s one of the most-listened-to Mexican artists in the world.
How was the recording process for these tracks with them?
Everything was recorded remotely. I only filmed the video with Alfredo, but there was always good communication with everyone, and everything came together really well. The videos will be released little by little. I’m sure people will enjoy this new work.
Has what you’ve experienced personally in recent months influenced the lyrics of the songs?
No, not at all — there’s nothing personal in the album. These are songs that truly touched my soul. I think we’ve all been through things like this. In fact, the songs came out of a songwriting camp, with many people from Sonora, Sinaloa, Mexicali, and so on. There was a lot of great energy. I can honestly say this is one of the albums where I’ve had the least involvement in terms of the lyrics — I let them do their thing. They’ve studied my style really well, so they know what works for me.
If you had to choose your favorite songs from the album, which ones would they be?
Without a doubt, “Sé Feliz Sin Mí” and “Se Vienen Días Tristes.” When I heard “Amé,” I knew it was a perfect song. Honestly, so many great songs came out of this project, and many were saved for the next album.
A very important U.S. tour is coming up this year.
I really miss my fans — it was about time. I’ve been enjoying the shows in Mexico a lot. This year, I did many palenques, which I love because there’s a much closer connection with the audience. This year, I’ll also be heading to Colombia, and we’re working on scheduling the dates for Europe before the U.S. tour.
Your fans have shown their love during the good times and the tough ones…
Without a doubt, they’re the best. About a year and a half ago, I went to France to step away from everything for a bit. When I came back, I wasn’t No. 1, I wasn’t trending, and the regional Mexican scene had changed a lot. It was so beautiful to see people showing up to my shows and singing the songs from [the 2024 EP] Pa’l Cora — an album that was musically experimental — along with my usual repertoire. Those kinds of moments are priceless.
You’re one of the young artists who are truly building a catalog…
I draw a lot of inspiration from the [genre] greats and the legacies they leave behind. Since the beginning of my career, I’ve worked hard to contribute to Mexican music in every way possible, and I’ll continue to do so with great pride so it keeps gaining recognition all over the world.
Stream Christian Nodal’s ¿Quién + Como Yo? below:
The time is counting down until BLACKPINK is finally back in your area, something the girl group members got BLINKs hyped up for with an intense new teaser for its Deadline World Tour.
In a 30-second promotional for the trek posted Friday (May 23), a strong, metallic synth drone plays as three-dimensional letters rise from a pool of pink glitter. With one punctuated drum beat, all of the sparkles fall away to reveal the word “DEADLINE.”
The teaser comes about two months ahead of the highly anticipated tour’s kickoff at Goyang Stadium in Goyang, South Korea, on July 5. The Deadline trek will mark members JENNIE, ROSÉ, JISOO and LISA’s first time hitting the road since their 2022-2023 Born Pink World Tour, which grossed $148.3 million with 703,000 tickets sold across 29 shows, earning BLACKPINK a spot on Billboard‘s 2023 Top Tours chart.
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Following two performances in Goyang, the girl group will play dates in stadiums across Los Angeles, Chicago, Toronto, New York, Paris, Milan, Barcelona and London before closing out in 2026 in Tokyo, Japan, on Jan. 16-18.
BLACKPINK hasn’t dropped an album since 2022’s Born Pink — which debuted at No. 1 on the Billboard 200 — but ahead of the new tour, the members have been teasing new music. “Actually, we were in the studio a few days ago,” LISA told Variety earlier in May. “We’re all so super excited to get back together and go on tour. We really miss the BLINKs. We can’t wait to see them.”
The reunion will follow about two years of the foursome working on solo projects, with the White Lotus star, ROSÉ and JENNIE all dropping debut albums, and JISOO sharing a solo EP in addition to starring in acting projects, during the group’s time apart.
Watch the new Deadline World Tour teaser below.
Sam Ryder is, undoubtedly, one of the United Kingdom’s greatest Eurovision success stories in recent years. At 2022’s Song Contest, he finished in 2nd place (its highest finish since 1998) and used that to springboard to a No. 1 album (There’s Nothing But Space, Man!), and cement himself as one of the scene’s most electrifying performers. Soon he was collaborating with Queen’s Brian May, performing in front of the Royal Family at Queen Elizabeth’s Platinum Jubilee party, and bringing a puppyish enthusiasm to every booking.
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But even so, things in this industry can change in a heartbeat. In 2023, a leadership change at Parlophone Records meant that the executives that Ryder had signed with were leaving the label, and Ryder was caught in the middle: He saw the benefits of remaining on a major label, but felt indebted to the people who backed him when few others did.
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Ryder was not an overnight success. Prior to his selection for Eurovision, he gigged hard for a decade in various rock bands, and held down jobs in construction and hospitality. His rise on TikTok during the pandemic in 2020 eventually helped him land the spot for Eurovision in 2022, and it came when Ryder had just entered his 30s. His was a late-blooming success story and hard-fought for; he understood how fragile the industry can be, and how quickly it can all change.
When it came to the next phase of his career following his debut album success, he prioritized the things that were important to him: respecting the music-making process, and staying loyal. His new run of music — including “OH OK”, out Friday (May 23), and “White Lies” — is earthier, country-flecked as opposed to the glam-rock stylings of his debut. He thought about the artist he wanted to be, and how he can be authentic to his craft. He signed with Artist Theory, the new label from Nick Burgess and Jack Melhuish, who he met at Parlophone and left the major label system with them.
It’s a move that now looks savvy. The material he’s releasing showcases a new depth to his songwriting, and sits alongside Hozier and Noah Kahan’s rugged productions, all while retaining his powerhouse vocals and inimitable charm. In June, Ryder will perform at Glastonbury Festival for the first time; in November, Wembley Arena in London beckons, a sign that everything continues to move in the right direction for the singer-songwriter.
As he releases his new single “Oh OK,” Ryder tells Billboard U.K. about having faith in himself, his move to Nashville and the next phase of his career.
How would you describe this new era?
I’d call it the ‘frontier soul’ era. Soul music – that goes without saying. I sang that for years when I was at weddings and love it. But when I say frontier, think about the grandeur of old Hollywood and the richness in that aesthetic. The music is very much inspired by the Westerns that me and my grandad used to watch together. There’s a real attention to how the score and sound is recorded; films like Alexander the Great where the credits would roll up on screen first with a massive orchestra score. There’s such a richness in all of that aesthetic for me that I really enjoy.
You made the decision to head on a new journey with your label for this next album. Talk us through that…
A door was presented, to be real. At the time I remember feeling sad about it, even though it’s a choice we made, it felt exciting to a degree but daunting also. Parlophone had been there for the entire first album stint, which was amazing. Every challenge we met and exceeded. Parlophone, at that time, was the small dog in the fight. They’d reopened the label and had something to prove and the reason I chose it was because it felt like me; I hadn’t been given a chance until so much later on in my life to reach my potential.
When that label got dissolved essentially, [my] album had just gone to No. 1 and I was turning up to play a sold-out Hammersmith Apollo in London. It shows no one is ever safe from that happening to their label – it wasn’t a situation of the label wanting to go in a different direction, but all these amazing people were getting fired. I didn’t want to move to another major label where you’re an artist inherited rather than believed in and journeyed with.
The executives you worked with left an impression. You must have had faith in them in their next venture?
It’s not just faith, you’ve actually seen them in action and what they can do. Faith can be misconstrued in any industry. Any time you go and see a different label or management – which I’ve been through in my career – everyone gives you their best on that first meeting. It’s almost impossible to make a decision on anything but a gut instinct and a proof of concept; you’ve seen the lengths they’ll go to to make something happen and seen how collaborative they are and how they manage situations. Those are really important attributes.
It must have given you a lot more freedom in the way you approached the writing and recording process. Is that fair?
Yeah, I mean the way that people write music in the current industrial age of recording, you’re in sessions most days of the week with different people. You just end up collecting songs. That’s what I did for the first album and what a lot of my peers are doing as well. You can collect in the region of 100 songs, which, on paper, sounds great right? You’ve got all these songs, and everyone you work with is a great writer and then you put an album together of the best 12 songs.
The problem with that is that you don’t get a concept for the journey of a record, because everything in isolation sounds great and a single song sounds amazing. But put that together and it feels like you’re eating Big Macs and profiteroles for an hour; it just doesn’t feel nutritious.
Your journey has not been a typical one. Success came for you at a different period of your life than a lot of acts. What would you say to the next wave of people coming through when they’re faced with important business decisions like you had to make?
For any new artist, I know how exciting it would feel to come from making music in your bedroom to getting an email from one of the big three labels. I mean, take the meeting, of course. I have so much to thank major labels for; the experience was really magical. It wasn’t without its challenges, but nothing worth fighting for is going to be easy.
But I would say that there’s a really exciting conversation happening in the indie space. The idea of the major label system is slightly outdated. That’s not to say that the people working in those industries are outdated. They love music as much as you and I do. But they’re working in the confines of a massive beast. It’s like working with any big corporation, things happen slowly as there’s so many moving parts; an indie label can be a bit more nimble. I believe [the major’s] intentions are right, but it’s going to take time for change… and I haven’t got the time, man. I need to move quickly!
Have you always dreamt of heading to Nashville?
For the last 13 years the goal has been to get to Nashville and I’m so stoked we’ve been able to do it. I’ve bought a log cabin in the trees which is so peaceful. The city has absolutely exploded in the best way, but it’s still kept its heart and soul.
What is that music community like, particularly for someone moving into the area?
With Nashville, if the evidence of other people’s success doesn’t psych you out everywhere you look, it can be a really good motivational place to be. It’s the same with actors in Hollywood, I imagine. Maybe they go to the Walk of Fame and see these examples of past and present success which aren’t yours yet. It’s kind of the same with Nashville… but I don’t get psyched out by seeing that. I love it. I think that if it’s possible for them, it’s possible for me. It makes me feel like things are happening there and you’re at the epicentre of something special. And I think serendipity and spontaneity are so crucial in music and all the arts. That’s where the good stuff happens.
Heading to Nashville, writing and recording there and on your own terms with the new label must have brought the best out of your creativity, right?
It was nice to have that more manageable pace with it. In the past you just didn’t have time to sit and consider what you’re doing. Your schedule fills up so fast and there’s just not much time. When I look back, making music felt like the side project to everything else that needed to be done. The schedule was so crazy with everything else like promo and TV, that sitting and making music almost felt like a luxury. You’d make music in a room, and then send it off for someone else to mix it and master it or whatever. You never spend time really feeling what you want from a song. And that’s how albums sound as opposed to singles.
You’ll be playing Wembley Arena later this year. Was that always a goal for you?
It was definitely a goal, but as life went on it felt more like a pipe dream. My career started a lot later than some others in my peer group. In some ways it’s a blessing because I have the thickest skin in the game. The amount of times I was certain it wasn’t going to happen but I had to carry on doing it because I had literally no idea what else I was going to do.
Are you glad it happened at this stage of your life where you can appreciate the journey a bit more?
Oh definitely. If I had hit Wembley at a younger stage in my career, I think it might have come from a place of ego and to show everyone at school, or whoever doubted me, “Look what I can do.” Whereas now it’s more of a peaceful feeling where I’m so grateful and I don’t want to let anyone down. I know I won’t because I’ll put my all into the show.
Bono is tired of the broken bottles under children’s feet and bodies strewn across the dead-end street, so he called for the Israel-Hamas war to stop during U2‘s induction into the Ivor’s Fellowship Academy at the Ivor Novello Awards ceremony in London on Thursday (May 22).
The singer-songwriter’s message came as he introduced the band’s acoustic performance of its 1983 hit “Sunday Bloody Sunday,” about the January 1972 massacre that saw British soldiers fire upon protesters in Derry, Northern Ireland, killing 14 unarmed people.
“I used to introduce this next song by saying it wasn’t a rebel song,” Bono began. “Believing in the possibilities of peace was then and is now a rebellious act — and some would say a ridiculous one. To believe peace was attainable between your country and ours, between our country and itself, was a ridiculous idea because peace creates possibilities in the most intractable situations, and lord knows theres a few of them out there right now.”
“Hamas, release the hostages, stop the war,” the Irish rocker continued. “Israel, be released from Benjamin Netanyahu and the far-right fundamentalists that twist your sacred texts. All of you protect our aid workers, they are the best of us!”
Hamas launched an attack on Israel Oct. 7, 2023, killing about 1,200 people and taking more than 250 others as captives, with the Associated Press reporting that 58 are still being held. More than 53,000 people — mostly children and women — have been killed across Gaza in Israel’s retaliatory attacks. On Friday, Gaza’s health ministry said that at least another 60 have been killed in Israeli strikes in the past 24 hours.
The band has been outspoken in its stances. In February, U2 shared a message of support for Ukraine, which has been fighting against an invasion by Russia launched thee years earlier. “All who believe in freedom and sense the jeopardy we Europeans now find ourselves in are not sleeping easily on this, the third anniversary of the invasion,” Bono captioned the Instagram post, which included a reading of Taras Shevchenko’s “My Friendly Epistle” accompanied by piano.
In January, President Joe Biden honored Bono with the Presidential Medal of Freedom, highlighting the rocker’s work as a “pioneering activist against AIDS and poverty.”
