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Trending on Billboard

Pop superstar Sir Elton John is begging politicians around the world: Don’t let the sun go down on vital research for eradicating HIV/AIDS.

In a new cover story for Variety published Tuesday (Nov. 24), John called out a lack of political support for combatting the lethal epidemic, saying that politicians have the ability to help bring an end to the disease in our lifetimes. “I just am enraged by it,” John said. “It’s very frustrating when you’ve got the tools in your hand to end it, and then you find that countries in Africa, Russia, the Middle East and Eastern Europe won’t help.”

Turning his attention to the U.S. specifically, John praised the efforts of the current administration to bring an end to the war in Gaza, while simultaneously calling them out for fumbling an issue as vital as ending HIV and AIDS. “There’s another war with people who are suffering from HIV and AIDS that should be able to get their medicine but can’t, because governments won’t let them. It’s inhumane,” he said. “So my big beef at the moment is, yes, thank God, maybe there’s peace, after more things are sorted out. But there are crimes against millions of other people that are happening because of governments and stigma and hate.”

John has plenty of experience in the arena of combatting HIV/AIDS — his non-profit, the Elton John AIDS Foundation, is currently the fifth-largest funder for research into the disease globally. To date, the organization has helped raise more than $650 million for the cause.

When speaking about Donald Trump specifically, John made the argument that if the president dedicated his efforts to helping end the global epidemic, he could go down as “one of the greatest presidents in history” for doing so. “If he ended AIDS, that would really be a feather in his cap,” he added.

Despite John’s wishes, the Trump administration has turned the opposite direction, halting funds originally intended for global programs aimed at HIV prevention and openly threatening federal funding for domestic programs aimed at helping those afflicted with the disease.

“It’s so frustrating when you have the medicine, you have PrEP, you have the antiretrovirals,” John concluded. “We can stop the spread of AIDS, if people just got off their backsides and treated human beings in a Christian kind of way.”

Trending on Billboard

We’ve known Kevin Jonas for the better part of 20 years as the eldest member of the Jonas Brothers, and last week, we were introduced to what he sounds like when he’s all on his own.

Jonas officially released his first solo single “Changing” last week, but he’s been playing an abbreviated version of the track on the JoBros’ ongoing Greetings From My Hometown Tour, starting with their August date at Boston’s Fenway Park.

“What a great way to start it off,” Jonas told Billboard‘s Pop Shop Podcast of making his solo debut at the famed ballpark. “Really thrown into the fire, getting to actually do that at Fenway Park, which was wild. You know, this tour has been about surprises. It’s been about the surprise guests we’ve been bringing out from the start of it. And so I guess, in essence, I was also another surprise guest.”

In addition to the tour, Kevin’s role in A Very Jonas Christmas Movie — which arrived earlier this month on Disney+ alongside a soundtrack album via Hollywood and Republic — also set up his solo debut, but that hadn’t been the plan all along. Listen to Kevin’s full interview in the podcast below, and find highlights from our chat as well — including whether there’s more solo music on the way.

Why was now the right time for Kevin’s solo music?

I didn’t have the right song. I think for me, it was about finding my voice in the music, and it took a long time. You know, I’ve recorded and wrote songs and recorded music for 15, 16, 17-plus years, and nothing ever really just felt like authentically me and real and honest and like how I wanted it to sound. And also, maybe my vocal ability didn’t feel as strong as I wanted it to be. I’m pretty critical of myself. You know, it’s kind of challenging when you’re standing next to two of the best vocalists I’ve ever met.

How did he find the perfect song?

I wrote Jason Evigan — a longtime friend, songwriter, producer — and I wrote him in February, and I said, “Hey, man, do you have any songs that you feel could work for me?” … And I didn’t hear back from him until June, and he wrote me and said, “I thought about you last night, and I remembered I have this song.” I’m like, oh, OK, five months later. [Laughs] It doesn’t matter; it’s all about timing, right? And he sent me “Changing,” and it just instantly felt like a song I’ve heard before. It felt weirdly like a part of the ether for me. And I was like, “I know this song. I feel like I’ve lived this song.” It’s weird. And I was like, “I’m coming to L.A. in two weeks. … I would like to cut it.” I flew in early, and we cut it, and instantly, while singing it, it was the first time I’ve ever felt at ease cutting vocals like that for myself. And I was like, “OK, this feels different.” And I got the cut, and [producer] Mark Schick and team, they killed it, and they really made me feel great and comfortable.

Is more solo music on the way?

I have been recording more music with this team, yes, but I luckily, as an independent artist — which is fun to say, outside the Jonas Brothers, right? I’m really able to do kind of whatever I want, so I don’t have to follow specific rules. I don’t know if an album’s in the works. Maybe an EP, maybe just a collection of some music that I like over the course of the year. I really don’t have exact plans. I know the next song I want to release, but as of right now, I’m gonna get through this one first.

How did A Very Jonas Christmas Movie set up his solo debut?

My song “Changing” wasn’t even a thought yet. And so for now, for this movie to come out, which has that storyline, and then the next thing comes out, and it’s a week later, [is] my song. The stars are kind of aligned on it.

Why now for a Jonas Brothers Christmas movie?

I will say, it’s been a bucket-list item for us to do a Christmas movie ever since the days back working with Disney, like when we were much younger. We met with Bob Iger and team, and we said, “We’ve always wanted to do a Christmas movie.” Who doesn’t love the holidays, right? And it didn’t come together then, but then the last couple years, we’ve been reigniting our relationship with Disney, and now we’re doing Camp Rock 3 as executive producers, and we’re in the film and then working with them on this project. It really happened at the right time. Our families are involved. I think we can speak to the adult nature of things now, at the same time of allowing it to be just enough fun so kids will love it, but still, like, you know, I’m almost 40, so I think it’s a little easier to digest as a film.

How did the movie soundtrack come together?

The album and soundtrack is incredible. You know, it really is special that we got to work with an incredible team. Justin Tranter did a great job of creating and helping us craft this universe. “Coming Home This Christmas” is a song that we’ve actually held on to for a while. We had it before the movie, and we kind of ended up knowing that it felt perfect for this film, and so we kind of built the story around that as well. Sometimes you’ve just got to collect those songs and just hold on to them for a little bit.

How did Kevin prepare for his first non-music-video acting gig with his brothers since their Disney Channel days?

I leaned on [Joe and Nick] a lot. I worked with an amazing acting coach who’s a really good friend, Michael Park. He’s a Broadway actor. We’ve seen him in a lot of things, but he’s like one of our best friends, and I really called him every day. Just leaned on him. Because playing yourself to start is a weird challenge. … Nick’s done a lot of movies, Joe’s done a lot of movies and acting, and I just kind of had to do the best version.

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Also on the podcast, we’ve got chart news on how Taylor Swift continues to dominate both the Billboard 200 albums and Billboard Hot 100 songs chart; how Summer Walker, NF and 5 Seconds of Summer all debut in the top 10 on the Billboard 200; and how Mariah Carey’s “All I Want for Christmas Is You” jingles back into the top 10 on the Hot 100. Plus, Katie tells Keith about seeing Robyn’s first concert in six years (plus the live debut of her newest single “Dopamine”) and the penultimate show of Sabrina Carpenter’s year-plus Short n’ Sweet Tour.

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s managing director, charts and data operations, Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)

Trending on Billboard

When Mavo celebrated his 22nd birthday at the top of this month, he had “1” “2” and “3” LED marquee numbers to symbolize another significant figure. He had occupied the top three spots of the Apple Music Nigeria Top Songs chart with “Money Constant” with DJ Maphorisa, DJ Tunez and Wizkid, “BODY (danz)” with CKay, and the “Shakabulizzy (Remix)” with Davido.

“My friends actually did that for me. My friends did a surprise party for me,” he tells Billboard while on Zoom in Cape Town, South Africa, where he reveals he’s recorded another song with Davido (their “Galorizzy” collaboration with Scotts Maphuma, Morravey, Ecool and Iphxne DJ was announced less than a week after our interview and released the following week). “Davido is my friend. After I dropped the ‘Shakabulizzy’ remix, we’ve been always talking.”

Such an auspicious musical career is quite the extracurricular for someone who’s currently studying optometry at Afe Babalola University in Ekiti State, Nigeria, where Mavo (real name Oseremen Marvin Ukanigbe) will graduate in July 2026. But outside of wanting to specialize in eye care, he’s also taken a special interest in linguistics when it comes to his music.

His self-described “Burbur music” is an experimental hybrid of Afrobeats and rap that’s riddled with his idiosyncratic slang and unfiltered storytelling. “Burbur” – meaning “something that’s crazy, something that’s busting out speakers,” he describes – is one of 80 terms that Mavo has devised for his Bizzylingua vocabulary and defined in the Bizzpedia, A Native Bur Bur Dictionary that he worked on for two years and recently published with NATIVE Mag.

The “Bizzy” prefix is Mavo’s self-appointed nickname, which personifies his hustle as an independent artist and university student. He says listening to Wizkid at a young age inspired the semantic highlight of his music. “He’d start songs by saying ‘yaga.’ This guy’s feeling fly on the song. I’m like, ‘These are things I need to think about. How can I create words that when you say them, you’d be like, ‘What’s he saying?’ But they also sound cool at the same time,” he explains.

His favorite slang is “burti,” a “term referring to a great deal of swag and motion” as defined by the Bizzypedia. Many words in the Bizzylingua are suffixed with “izzy,” as popularized by his witty street-hop “Escaladizzy” hit with WAVE$TAR that BNXN co-signed, while ZerryDL put his own spin on it. Zerry’s brother and Plutomania Records boss Shallipopi individually reached out to contribute a verse to the remix, as did Ayra Starr and Zlatan, so Mavo combined their starpower on “Escaladizzy II.”

“I knew that anything was possible,” he reflects after “Escaladizzy II.” And while the stars continue aligning for – and collaborating with – Mavo, he’s determined to end his breakout year on a high note and continue his ascent into the new year.  

Billboard spoke with November’s African Rookie of the Month about juggling his optometrist career goal and A-list artist ambitions, educating his listeners on the Bizzylingua, and cooking up the viral “Your body na meat pie” lyric from “BODY.”   

When did you know music was your calling?

When I was in secondary school, there was a music club. So before I went to university, I had already written songs but not so full of metaphors or any form of literature, just basic lyrics. When I went to uni, I wanted to be more imaginative and innovative in my lyrics. I always try to trigger people with what I’m saying. I don’t want to say triggering, but that’s what it does. People [ask], “Why would you say this?” And that’s what works for me: the ability to make people want to know more.

How did your upbringing in Ekpoma, Edo State impact the music you listen to and the music you make?

It was a do-it-yourself thing. You had to be independent. I was in an all-boys school. There’s no impressing any girl. Nobody’s going to do anything for you because they like you. I was growing the habit of being independent for six years while I was in school before I went to uni.

Who are some of your favorite artists whom you grew up listening to?

Wizkid, Travis Scott, Playboi Carti, Burna [Boy], Lil Uzi Vert, Davido, Rema, Seyi Vibez, Omah Lay. Future and Young Thug are my greatest inspirations ever. I’ve not dropped a lot of music, so people can’t tell that, but in due time. I’ve worked on so much music. Right now, I have over 1,500 songs on my laptop.

You’ve recorded that many songs since you’ve started making music in general or just recently?

Over the past three years. I started recording commercial music when I was in 300 level optometry. When I got to 300 level, I had time to multitask by recording songs and reading my books.

As you’re recording and studying at the same time, what does your schedule look like these days?

I had to choose channeling my school energy into my music. I have some songs where I met this girl when I was coming from class, or I met this girl when I went to buy food last night and I just tell the story. What I could do during my leisure [time], when guys are going to play basketball, I just record in my room. I have my microphone and everything.

Most of my songs, like “Escaladizzy,” were recorded in my room in my hostel. I believed that me doing it in my room is actually better than me going to a bigger studio. But for “Shakabulizzy” and moving forward, I saw the importance of actually going into the studio and following proper engineering routes.

How did you learn to record music in your room?

In my 200 level, I had friends that did music as well. We bought the equipment then started recording. My friend already knew about FL Studio and he started telling me about it and setting me up. Because I was in medicine, I had to stay back in school for three months. I was practicing FL Studio every day and finally made one banger, the song was so sweet. I sent it to my manager like, “Bro, can you hear the song?” She’s like, “Yeah, this song is crazy.” I’m like, “Yeah, man, I just recorded it.” And that’s how everything started.  

And what made you pursue optometry?

My mom had some issues. I don’t know what it was, but I knew it was some issues with her eye. That was when I was really small. It was really hard for me to juggle school and my mom. I already had it in mind I wanted to become a doctor but not an eye doctor in particular. I was studying medicine originally. After a while, I told my lecturers I wanted to change and study optometry.

I already knew I was going to do music. I just needed something to inspire my educational side. I didn’t want to study music. I was doing really, really well in science. And my parents didn’t really want me to do art. Funny thing is when I started studying optometry, I realized that it was so fun. It’s different from being an optician or a regular eye specialist. You have a lot of things in your hands, you are closer to the patients. You are next to the ophthalmologist. It’s a lovely opportunity to become an optometrist.

How do you envision your career path being post-grad?

It’s going to be very interesting. I’m not really a person that likes to spill tea. I have a song with Wizkid and Davido, and nobody actually knew about it until the day they were dropping. But I have a really, really big thing happening during the first quarter of next year. That’s all I can say. Serious music. What I’m going to do is going to actually blow minds by God’s grace.

Take me back through the making of “Escaladizzy.”

I wrote it when I was in school. I had classes that week and during the weekend, I had shows in Lagos. After writing the song on Thursday, I had to go to Homecoming [Festival] on Friday. I performed [it] in my set the next day, it was unreleased. [WAVE$TAR] was like, “You should come to the studio” the next day. I was like, “No problem. I’ll pull up to your studio tomorrow.”

I went to the studio, I recorded one song, then I’m like, “Yo, yo. I’m still feeling the vibes. I feel like we need to record another song.” He’s like, “Oh yeah, yeah, that’s calm. Let’s do it.” Then I recorded “Escaladizzy.” I had the beat on my phone already. I had already written my part before I came there. But we didn’t finish it. I had to finish it three weeks later when it was hitting on TikTok.

When did you know that that song was special? Were you caught by surprise by the fan reaction to the snippet you shared on TikTok?

Trust me, I have a lot of songs that I know would do a lot of things, like more than 100, but I didn’t know this one was going to do this. After I recorded “Escaladizzy,” the only way it was going to work out for me business-wise was if I made another song like “Escaladizzy.” So I went to make “Shakabulizzy.”

Between “Escaladizzy” and “Shakabulizzy,” what is the significance of your signature “izzy” suffix?

The Bizzy form of something is going to be “izzy,” so the Bizzy form of an Escalade is Escaladizzy. The Bizzy form of Shakabula is Shakabulizzy. The Bizzy form of a clock is a clockizzy. The Bizzy form of a socket is a socketizzy. It just depends on if you want to do this. I don’t use my words all the time. It’s like an alternate word if I want to joke with my friends or be funny.

How did you get Davido on the “Shakabulizzy” remix?

He just texted me on Instagram. He’s like, “Could you send me ‘Shakabulizzy’? I want to do something.” I sent it to him. And he sent it to me the next day. Then he sent me a lot of money for the video as well. He’s a really nice person.

When did you realize that you were going to have a song with Wizkid and a song with Davido come out on the same day?

I knew that a month before it happened. They came to me. DJ Tunez texted me in September saying, “Wiz and you should do a song. Can you send the chorus?” I’m like, “OK, can you send me the beat?” Then he sent it. I just did my thing.

What was your reaction to occupying Nos. 1, 2 and 3 on Apple Music Nigeria Top Songs chart with “MONEY CONSTANT,” “BODY (danz)” and the “Shakabulizzy (Remix)”?

We knew it was going to happen. My team already told me. Surprisingly, I felt like there was going to be some sort of shuffling, like it was going to come on, go off, maybe [Nos.] 1, 2 [and] 5. But the funny thing is my team already told me it was going to go [Nos.] 1, 2 and 3.

Speaking of “BODY (danz),” how did you come up with the viral lyric “Your body na meat pie?”

I initially was telling you about being more metaphorical in my music, being more literature-based, trying to make a body of work an actual art piece. Let’s just say “meat pie” is metaphorical.

Did you expect that line to get as much attention as it has?

That, I can’t say — because I’ve related the body to a lot of other foods, trust me.

One X user commended you as a “lyrical genius” and broke down the mathematical meaning behind “meat pie,” equating that to “she’s a ten.” What do you think of all the lyrical breakdowns?

I see a lot of crazy breakdowns. I didn’t even know this was happening. But it’s cool to know that if you do that, it actually works.

You performed “BODY” at a club where everyone was holding up meat pies. What was going through your head as that was happening?

[Laughs.] I was like, “Why are you guys holding up meat pies?” Yeah, I said, “Your body na meat pie.” But this doesn’t mean you guys [should] actually hold up meat pies. I think for my live show in December, I’m going to give free meat pies to everybody there.

Who would you love to collaborate with next?

SZA, Travis Scott or Drake. Future and Young Thug is going to happen, but I want to go step by step. The way original Afrobeats artists have already worked, I feel like it’s only right if I do a song with Drake or Chris Brown. My music doesn’t really go in line with Chris Brown’s music. But I love Drake so much.

What’s been the biggest “pinch me” moment of your career so far?

Wizkid calling me. Anytime Wizkid calls me, it still doesn’t feel like it’s him calling. It’s crazy. Somebody I’ve been looking up to can just call me like, “Yo, Mavo, I’m coming in December. Hold it down for me.”

You’ve had multiple causes of celebration recently, since you just turned 22. What’s at least one career goal you have for yourself in the new year?

In 2026, I’ll be a mainstream international artist, like A-list. I personally want to drop three projects next year. And I want to make sure I get the collaboration of the year award.

Trending on Billboard

Suno and Warner Music Group (WMG) have signed a licensing agreement to forge “a new chapter in music creation,” as Suno CEO Mikey Shulman put it in a company blog post. The deal effectively settles WMG’s part of the $500 million copyright infringement lawsuit against Suno, which it filed alongside UMG and Sony Music last summer. (UMG and Sony Music’s part of the lawsuit is still ongoing).

The deal also includes Suno’s acquisition of the WMG-owned live music discovery platform Songkick, which will continue to run as-is. “The combination of Suno and Songkick will create new potential to deepen the artist-fan connection,” says a press release about the deal.

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As Suno’s blog post puts it, the licensing agreement with WMG “introduces new opportunities for artists and songwriters to get paid,” but it does not describe exactly how. It does, however, note that participating is optional for WMG artists and songwriters, who can “opt-in” for the use of their names, images, likenesses, voices and compositions to be used in AI-generated music as they wish. A press release about the deal also notes that it will “compensat[e] and protect artists, songwriters and the wider creative community.”

The blog post also states that the WMG partnership “unlocks a bigger richer Suno experience for you,” including “new, more robust features for creation, opportunities to collaborate and interact with some of the most talented musicians in the world.” It adds that the deal “preserves the magic of Suno and the way you’ve come to love creating with it.”

News of the agreement comes just weeks after Universal Music Group (UMG) forged a licensing deal with Udio, which was also sued by the majors in a near identical lawsuit. That deal resulted in Udio pivoting its service significantly, becoming more of a fan-engagement platform where users could play with UMG copyrights whose rights holders opted into the platform’s “walled garden” environment, rather than one where users can create and download AI-generated songs at the click of a button. WMG followed suit with a similar agreement on Nov. 19.

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The press release states that in 2026, Suno will make several changes to the platform, including launching new and improved licensed music-making models, but it is not pivoting away from its core offerings. When that new model rolls out, the release says that the current one will be “deprecated,” given that it is not licensed. “Moving forward, downloading audio will require a paid account. Suno will introduce download restrictions in certain scenarios: specifically in the future, songs made on the free tier will not be downloadable and will instead be playable and shareable,” the release adds. Paid users of Suno will also be limited in the number of downloads they can make each month; to unlock additional downloads, they will have to pay extra fees.

“This landmark pact with Suno is a victory for the creative community that benefits everyone,” said WMG CEO Robert Kyncl in a statement. “With Suno rapidly scaling, both in users and monetization, we’ve seized this opportunity to shape models that expand revenue and deliver new fan experiences. AI becomes pro-artist when it adheres to our principles: committing to licensed models, reflecting the value of music on and off platform, and providing artists and songwriters with an opt-in for the use of their name, image, likeness, voice and compositions in new AI songs.”

Suno CEO Shulman added: “Our partnership with Warner Music unlocks a bigger, richer Suno experience for music lovers, and accelerates our mission to change the place of music in the world by making it more valuable to billions of people. Together, we can enhance how music is made, consumed, experienced and shared. This means we’ll be rolling out new, more robust features for creation, opportunities to collaborate and interact with some of the most talented musicians in the world, all while continuing to build the biggest music ecosystem possible.”

Chris Brown’s Breezy Bowl XX wrapped over a month ago, but is still generating new chart highlights. According to figures reported to Billboard Boxscore, its seven shows in October grossed $46.8 million and sold 286,000 tickets, scoring yet another month at No. 1 on Billboard’s Top Tours chart.
When Brown was No. 1 last month, he matched a Boxscore feat only previously achieved by Bad Bunny and Beyonce by linking two consecutive months with a reported gross of $90 million or more. Now, he joins them in another elite club, as the only acts to ever string together three consecutive months at No. 1 on Top Tours.

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In fact, Brown immediately follows Beyonce’s three-peat from May-July, capping a six-month stretch of only those two superstars atop the list. The streak ends here, as he had no concerts on the books for November.

Brown’s October routing mostly stuck to the American Southeast, selling out stadiums in Atlanta; Birmingham, Ala.; New Orleans; and Raleigh, N.C.. But his stop in Washington, D.C. was the biggest, playing to 121,000 fans over three nights (Oct. 5, 8-9), combining for $20.7 million.

Those shows at Nationals Park give Brown his first month at No. 1 on Top Boxscores. He’s the first artist in venue history to report an engagement with a gross of more than $10 million (let alone $20 million), attendance of more than 100,000, or a string of three shows.

Since launching in June, Breezy Bowl XX grossed $295.5 million and sold just under two million tickets (1.983 million) over its 49 shows in Europe and North America. It’s the highest-grossing and best-selling tour of Brown’s career, more than three times over.

Guns N’ Roses follows at No. 2 on Top Tours, with $35.2 million and 346,000 tickets from 11 shows in October. It’s the second highest gross of the month, but the hard rock legends sold more tickets than anyone else.

GNR stakes their claim with the Latin American leg of the Because What You Want & What You Get Are Two Completely Different Things Tour. The biggest one-night stop was the Oct. 25 performance at Sao Paulo’s Allianz Parque ($5.2 million; 47,600 tickets), but Buenos Aires in Argentina was the band’s ultimate winner, with $7.8 million and 73,300 tickets over two nights (Oct. 17-18) at Estadio Tomas Adolfo Duco.

The tour began on May 1 in South Korea, playing throughout Asia and Europe over the summer. Those 27 shows grossed $95.6 million and sold 823,000 tickets. The October and November shows push the tour’s total revenue well over the $100 million mark, with one show in Mexico City left to be reported.

Yesterday (Nov. 24), Guns N’ Roses announced its 2026 world tour with headline dates in Brazil, Europe, and North America. It will continue a consistent pattern of touring for the band since reuniting in 2016. Since then, it has grossed more than $980 million, surely surging beyond $1 billion with next year’s tour.

Brown and GNR’s totals are significantly down from top honors in September, marking the end of stadium season in North America and Europe. Still, the top 30 is strong, with a total gross of $568.7 million and attendance of 4.5 million. Those figures are up 7% and 6%, respectively, from October of last year.

Two rap acts follow in the top five, with Travis Scott and YoungBoy Never Broke Again at Nos. 3-4, respectively. It’s relatively rare for a rapper to be in the top five, but the one-two punch of Scott and YoungBoy lengthens a strong 2025 for the genre, marking the third month where two such artists (with significant history on the Top Rap Albums and Hot Rap Songs charts) have paired up simultaneously. Tyler, The Creator did it in February with Drake, and again in March with j-hope.

They took wildly different paths to the top five this month. YoungBoy played 18 arena shows in the U.S., stacking up to $32.8 million in the second month of his first headline tour. Scott played five stadiums in Asia and South Africa, pushing his sprawling Circus Maximus Tour to $265 million since launching in 2023.

Lady Gaga rounds out the top five with $31.9 million and 185,000 tickets sold while in Europe on The Mayhem Ball. It’s her fourth month in the top 10 this year, stretching back to May when she hit Singapore’s Indoor Stadium for four nights. Through her Paris shows (Nov. 17-18, 20, 22), Gaga has grossed more than $225 million and sold 1.1 million tickets in 2025.

Last month, Tate McRae and Benson Boone made their top 10 debuts on the monthly Top Tours listing. This month, McRae ranks even higher (at No. 6) as her $111 million Miss Possessive Tour came to a close. She passes the proverbial baton, as another young woman in pop hits the top 10 for the first time: Laufey is No. 10 with $19.2 million and 180,000 tickets sold.

Trending on Billboard

50 Cent teased a documentary surrounding Diddy’s fall and allegations against him of sexual abuse for well over a year, and Netflix announced on Tuesday (Nov. 25) that the four-part docuseries is coming to the streaming giant on Dec. 2.

“I’ve been committed to real storytelling for years through G-Unit Film and Television,” 50 said in a statement. “I’m grateful to everyone who came forward and trusted us with their stories, and proud to have Alexandria Stapleton as the director on the project to bring this important story to the screen.”

The G-Unit mogul is an executive producer on Sean Combs: The Reckoning, while Alexandria Stapleton sits in the director’s chair.

The Reckoning will explore the sexual assault and abuse allegations against Diddy, along with his federal conviction on prostitution charges. Former associates, friends, artists and employees have come forward to participate in the explosive docuseries, detailing the world that hid below the Bad Boy empire.

“Being a woman in the industry, and going through the #MeToo movement — watching giants in music and film go on trial, and to know what their outcomes were … When Cassie dropped her lawsuit, I just thought this could go a million different directions,” director Stapleton said in a statement. “I wondered how she had the confidence to go out there against a mogul like Sean Combs. As a filmmaker, I instantly knew it was a stress test of whether we’ve changed as a culture, as far as being able to process allegations like this in a fair way.”

Stapleton continued: “This isn’t just about the story of Sean Combs or the story of Cassie, or the story of any of the victims, or the allegations against him, or the trial. Ultimately, this story is a mirror [reflecting us] as the public, and what we are saying when we put our celebrities on such a high pedestal. I hope [this documentary] is a wake-up call for how we idolize people, and to understand that everybody is a human being.”

50 Cent and Diddy have a tumultuous relationship. The longstanding feud found 50 continuously antagonizing Combs on social media as Diddy’s empire began to crumble, starting with Cassie’s bombshell sexual abuse lawsuit filed against Diddy in 2023, which was quickly settled.

The trolling from 50 Cent didn’t stop when Diddy was arrested on sex trafficking allegations by federal agents in September 2024. The year-long prosecution came to a close in October when Combs was sentenced to 50 months in prison for violating federal prostitution laws.

50 posted the first poster for The Reckoning docuseries on Tuesday, which sees a desolate Combs with his face in his palm. “They said I was capping, what happened?” he wrote.

50 Cent announced plans for a documentary surrounding Diddy last year and The Reckoning found a home at Netflix in September 2024.

Stream Sean Combs: The Reckoning on Netflix on Dec. 2.

Source: Arturo Holmes / Getty

Since hitting the scene, Meek Mill championed real substance in Hip-Hop.

The North Philly MC went online to share his thoughts on the direction rappers should take:

“That bubble gum rap sh*t not gone work when that organic sh*t hit them streets! If your song has no meaning we not listening, f*ck that marketing budget lol.”

Making it clear that only the real will prevail. The timing of the Dreamchasers rapper couldn’t have been any better as he recently released his Indie Pack Volume 1 EP. The feedback online has been positive; fans have not been disappointed at all.

Beyond his music, Meek has made headlines for his spontaneous, random thoughts online. From pondering a TikTok purchase to recently sharing his thoughts on wanting multiple girlfriends, he’s kept the internet talking:

“Some days I want 2 girlfriends walking around my house? Am I wrong?”

Besides his random tweets about anything and everything, Meek Milly has been focused on his music. With Indie Pack Volume 1 out, fans are pressing him for Volume 2. A snippet of the possible intro track for the second Indie pack has been circulating online. 

The Expensive Pain rapper gave Hip-Hop one of its most iconic intros with Dreams and Nightmares and has continued the trend by delivering heat at the start of all his projects. Meek has been gearing up for his big Philly show on December 5th, “Meek Mill and Friends” at the Xfinity Mobile Arena. It is safe to say, no “bubble gum” rap will be played that night.

From Shakira’s hair care products to Maluma’s mezcal, see the list below.

11/25/2025

Trending on Billboard

Vicki Peterson, founding member of The Bangles, and Mixi Demner, frontwoman of Stitched Up Heart, are set to cohost the 2026 She Rocks Awards on Friday, Jan. 23 at the Hilton Anaheim Pacific Ballroom in Anaheim, Calif., during NAMM. Peterson was a 2015 She Rocks honoree; Demner was honored in 2024.

The Bangles had a pair of No. 1 hits on the Billboard Hot 100 – “Walk Like an Egyptian” and “Eternal Flame,” and a pair of No. 2 hits – Prince’s “Manic Monday” and a cover of Simon & Garfunkel’s “Hazy Shade of Winter.”

The awards are presented by the Women‘s International Music Network. NAMM is the presenting sponsor of the annual event, which celebrates the achievements of women in music and audio. It will feature live music, speeches and a silent auction, along with dinner for attendees.

The organization also announced the full slate of honorees, joining singers Rachel Platten and Judith Hill, bassist Rhonda Smith and guitarist Sophie Burrell, who were the first honorees to be announced on Sept. 16.

The show is open to the public. Tickets are on sale now at the She Rocks site or at Eventbrite. Tickets are $188.58 (VIP tickets), $161.90 (platinum) and $92.55 (gold), inclusive of fees. Through Dec. 2, attendees can use a code (BF10) to get $10 off She Rocks Awards tickets.

Here’s a complete list of the 2026 honorees (in alphabetical order):

Sophie Burrell

Guitarist, educator and online personality. Burrell will serve as the opening act for the 2026 She Rocks Awards. Hosted by PRS Guitars

Andreea Gleeason

CEO of TuneCore and founder of their BE THE CHANGE initiative

Kay Hanley

Songwriter, lead vocalist of Letters to Cleo and co-founder of Songwriters of North America (SONA)

Judith Hill

Vocalist, songwriter, arranger and multi-instrumentalist known for her work with Stevie Wonder, Spike Lee, Prince and Michael Jackson. In 2014, she was featured in the Oscar-winning film 20 Feet From Stardom. The following year, she and her co-stars Darlene Love, Merry Clayton and Lisa Fischer won a Grammy for best music film for their work in the film.

Reina Ichihashi

Roland’s global product marketing manager for Wind Instruments

Michelle Lewis

Songwriter and cofounder of Songwriters of North America

Susan Lipp

Recipient of NAMM female entrepreneur of the year award. Owner and CEO of Full Compass Systems.

Lisa MacDonald

Director of vertical marketing for Yamaha Corporation of America and inaugural Chair of the Women of NAMM Council.

Rachel Platten

Singer-songwriter best known for her anthemic 2015 hit, “Fight Song.” The song reached No. 6 on the Hot 100 in August 2015. Platten received a Daytime Emmy Award for a live performance of the song on Good Morning America.

Heather Dembert Rafter

Trailblazing attorney in audio and music technology, and principal counsel at RafterMarsh

Rhonda Smith

Bassist celebrated for her work with Prince and Jeff Beck, and her role as bassist for Jimmy Kimmel Live!  Hosted by Aguilar

Lisa Worden

SVP Rock & Alternative for iHeartMedia; program director for ALT 98.7 Los Angeles; and host of She Is The Voice.

Trending on Billboard

Viral beauty expert Aditya Madiraju gives a step-by-step tutorial to Billboard on how to recreate the iconic smokey eye and matte face of Bollywood actress Rekha. Keep watching to see how you can achieve the same look and what products Aditya used!

Do you love a smokey eye? Let us know in the comments!

Neha Joy: Hey, guys. Welcome to Billboard’s Rock the Look. I’m Neha Joy here with beauty expert Aditya Madiraju. OK, tell us, what iconic look are we recreating today?

Aditya Madiraju: When you say “iconic,” the only person that comes to my mind is Rekha.

Neha Joy: Yes.

Aditya Madiraju: Now, Rekha is a ’60s, ’70s, ’80s actress. She can act, she can sing, she can dance, she can emote. She’s a diva, she’s a princess, she’s a queen. But she had a very specific look like a matte face with a smokey eye, but with a white or a cream eyeliner. And I think back in the day, nobody did that, and that is so camp, and I think the world needs to know.

Neha Joy: So let’s talk about why you wanted to choose this look in particular.

Aditya Madiraju: I think this look in particular, it’s like a matte face with a smokey eye, but you see the white liner. And I think this is so relevant even today because you see this on TikTok all the time. 

Neha Joy: I feel like she, like, started this iconic makeup trend.

Aditya Madiraju: Absolutely.

Neha Joy: How would you describe this?

Aditya Madiraju: I would say, like, blurred, porcelain skin with beautifully defined eyebrows, but not overdone. Very smokey eye, which is balanced out with a glossy lip. So glossy, matte, smokey, overall clear complexion. Like, I think Rekha is everyone’s dream girl. Even today. She’s 72, I think.

Neha Joy: Wow.

Aditya Madiraju: And she recently, like two years ago, did a shoot with Vogue Arabia.

Neha Joy: Yes.

Aditya Madiraju: If I didn’t know who she was, I would think she’s an empress of some era. 

Neha Joy: Also, I didn’t realize how recent that-

Aditya Madiraju: How recent that is.

Neha Joy: That shoot was. 

Aditya Madiraju: She looks exactly the same.

Neha Joy: Yeah.

Aditya Madiraju: Whatever skincare she has, that’s what we need. 

Neha Joy: That’s what we want. We want Rekha’s skincare too.

Aditya Madiraju: I know. So the eyebrow for me is a very defining feature on your face. Depending on how dark you go, how much you fill in, how much you hold back, it’s going to define the rest of your makeup.

Neha Joy: OK, so what did we do on the brows here?

Aditya Madiraju: I’m using an Anastasia Beverly Hills Brow Pen. I filled it in with two different colors. I’m combing and diffusing the harsh lines as I’m going, and I’m trying to create a gradient where it’s a little lighter and goes a bit darker as we hit the tail end.

Keep watching for more!