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Nike & Kool Kiy Reach Settlement Over Trademark Infringement

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After a year of back-and-forth in a court of law, Nike and a Kool Kiy partner have reached a settlement on a trademark infringement lawsuit that the Swoosh brand filed against Kool Kiy in 2022.

Nice Kicks is reporting that Nike and Kool Kiy partners David Weeks and Nickwon Arvinger have seemingly settled their lawsuit filed, Aug. 23, in which Nike accused the up and coming brand of straight biting their Air Jordan 1 silhouette with minor differences and making a profit off of it. Real talk, a lot of heads were copping those Kool Kiy kicks as they weren’t half bad. Yes, they looked like OG Air Jordan 1s, but instead of a Swoosh check they sported a lightning bolt logo on the side.

Nice Kicks reports:

The court ordered that defendant David Weeks admit that Nike is the exclusive owner of all registered trademarks named in the lawsuit.

Additionally, the judge ordered that Weeks would no longer be able to produce and distribute Kool Kiy’s shoes.

On February 15, Kool Kiy filed a counter lawsuit that stated that customers wanted a product different from the “norm” and that Kool Kiy’s registered Lightning Bolt trademark logo did not resemble the Nike Swoosh. The new ruling dismissed all of Kool Kiy’s counterclaims against Nike.

Yeah, the reasoning behind Kool Kiy’s countersuit didn’t have a chance in hell. Just sayin’.

The news comes a year after Nike reached a settlement with John Geiger over his trademark Infringement as he was using the Nike Air Force 1 silhouette to create his own GF-01 sneakers that bore a striking resemblance to the classic Nike silhouette.

In the past few years, Nike hasn’t been scared to flex their legal muscle as they’ve been suing any and everyone they feel are exploiting their products for their own personal financial gain. From custom designers to Stock X, no one is safe if they’re messing with Nike’s billion dollar empire. Heck, if you go viral for dancing wrong in a pair of SB Dunks, Nike might serve you with a legal notice to stop dancing in their products. It’s that real.

What do y’all think of Nike settling with Kool Kiy? Will you miss the Kool Kiy kicks with the lightening bolt? Let us know in the comments section below.

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Here’s What (and Who) J Balvin Obsessed Over While Making His New Album

While J Balvin still hasn’t shared the name of his upcoming album, he notes that he had decided on the title before he recorded a note. “My albums have always started with their names,” the Colombian star says. “That way, we let ourselves be guided by the vibe.” In the past, he has mostly used one-word titles: Jose (2021), Colores (2020), Oasis (2019), Vibras (2018) and Energía (2017).

He says that the mood of his latest, arriving this fall, was sheer joy. Recorded at RAK Studios and Abbey Road during a monthlong stay in London, Balvin’s first full-length album in nearly two years features a variety of producers, including Tainy, Mura Masa, Michaël Brun, Hear This Music/DJ Luian, Mambo Kingz and Súbelo NEO. The project also boasts “precisely” curated collaborations, including tracks with Stormzy and Anuel AA.

“I like to explore other cultures and genres,” he says. “But as far as my DNA and my essence, I represent Medellín, Colombia.”

London Nightlife

Coming out of the pandemic, Balvin and his team looked around at a world mired in negativity. “The vibe wasn’t right for inspiration,” Balvin says. “We decided, from within ourselves, to focus on giving happiness to our listeners and change the vibe from negative to positive.” A key element was London’s vibrant club scene, which became a living, breathing experiment to discover and test beats. Balvin and his team hit two or three clubs every weekend to take inspiration from dancefloors and observe what fans were connecting with. And, on occasion, he would even play demos. “We wanted to see fan reaction,” he says, “and it was amazing.”

Usher

Though Balvin has known the veteran hit-maker for years, their first collaboration was the result of a chance encounter during Paris Fashion Week in July. “When I saw him, I had that flashback to the songs that defined my childhood,” recalls Balvin, who, on the spot, asked Usher if he could sample his 2004 smash “Yeah!” in a new track that wasn’t even done yet ­— and whose title he hasn’t yet divulged. “He said of course, but then I thought, ‘It’d be great to actually do something with him.’ Recording the track and filming the video with someone so legendary fills me with nostalgia and gratitude. I think this song will have huge global impact.”

Work-Life Balance

Balvin and girlfriend Valentina Ferrer welcomed son Río in June 2021. “Having my son has changed my perspective, but my competitive spirit, that drive to improve as an artist and a person, is part of my day to day,” says Balvin, who often takes Río on his global travels. Daily workouts, he says, are also key — as is maintaining mental health, a topic he has been outspoken about. In that regard, his new album is a way to actively put positivity to work: “It’s not just talking about mental health, but actually applying the concept,” he says. “This album is a mood that will make people happy just by listening to it. I’m contributing by raising serotonin levels.”

This story will appear in the Aug. 26, 2023, issue of Billboard.

Ben Gibbard Is Pulling Double Duty on the Fall’s Hottest Indie Rock Tour

Late last year, Ben Gibbard was staring down a pair of significant milestones: Death Cab for Cutie’s breakthrough album, Transatlanticism, would be turning 20 in 2023, as would Give Up, the lone full-length that Gibbard and electronic artist Jimmy Tamborello released as The Postal Service. Death Cab’s management suggested separate 20th-anniversary tours, but Gibbard envisioned a two-for-one nostalgia jamboree.

“I was like, ‘People are going to lose their minds if this is one tour,’ ” he recalls. “And I think the initial response and ticket counts were certainly a vindication of my approach.”

Indeed, the Give Up/Transatlanticism joint tour will bring both indie touchstones to arena and theater crowds beginning Sept. 5, with stops at New York’s Madison Square Garden and two hometown gigs at Seattle’s Climate Pledge Arena among 31 scheduled dates (up from 17 when the tour was announced in December). Gibbard will naturally pull double duty — performing Transatlanticism front-to-back with Death Cab and all of Give Up with Tamborello and Jenny Lewis, who provided backing vocals on six album tracks.



For Gibbard, the tour will revisit the most pivotal year of his career. Death Cab, which formed in 1997, famously came close to breaking up in late 2001 after touring and recording at a breakneck pace. The subsequent downtime gave a then-25-year-old Gibbard the space to craft the foundation of Transatlanticism, as well as work with Tamborello on an indie-pop side project by mailing CD-Rs to each other (hence the name The Postal Service).

“All of a sudden, I found myself with a lot of time to meander creatively,” recalls Gibbard, now 47. “I felt very confident, and maybe a little bit cocky. I could musically wander and explore the space, and it was very fruitful for me.”

Give Up turned into a blog-adored cult classic, while Transatlanticism took Death Cab “from indie-rock popular” to “popular popular,” as Gibbard puts it. Although Give Up peaked at No. 45 on the Billboard 200 and Transatlanticism at No. 97, they’ve earned 1.8 million and 1.1 million equivalent album units, respectively, according to Luminate.



Looking back, Gibbard is grateful that his breakthrough with both albums occurred a half-decade into his career. “We had [already] gone through some very difficult times together, and come out the other end,” he explains. “I can’t say with any certainty that if things were like they are now — a band puts out a three-song EP and is selling out shows and has people putting cameras in their faces — there’s no way we would have survived that.”

While Death Cab was just on the road in support of its 10th album, 2022’s Asphalt Meadows, the upcoming tour will mark The Postal Service’s first concerts in a decade, since Give Up turned 10. For Gibbard, these Postal Service shows will be slightly different — unlike in 2013, Give Up will be played in order, without B-sides or covers — but performing again with Tamborello and Lewis will be just as fulfilling.

“These are two of my best friends, that I get to spend extended time with on this trip,” says Gibbard. “We get to celebrate this record that we made, that became this kind of lauded moment in indie rock — but also, it’s a celebration of our friendship.”

A version of this story will appear in the Aug. 26, 2023, issue of Billboard.

X Fans Say Drake Duped Them With For All The Dogs Artwork Drop #ForAllTheDogs

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For fans who thought Drake was dropping his latest album For All The Dogs this weekend, they woke up Friday (August 25) to discover that the anticipated project is still unreleased. On X, fans of the Canadian superstar are saying that they were duped into thinking the album would see a release after the artwork was posted to Drizzy’s Instagram page.

For All The Dogs is essentially shrouded in mystery and few details about Drake’s forthcoming eighth studio album have been revealed. Drake’s latest solo single, “Search & Rescue,” is the first single from the project according to reports but little else is known.

As we previously reported, For All The Dogs features album cover artwork from Drake’s young song, Adonis. The dog in question is especially menacing, leading many to believe Drake is in rapping mode for the album. But if that is true, “Search & Rescue” would make a dubious choice for a lead single.

Along with the announcement of his book of poetry earlier this year, Titles Ruin Everything, Drake also hinted at the album being a return to the “old Drake” as referenced in his message which also borrows a line from his “Headlines” track from the rapper’s Take Care album.

On X, formerly known as Twitter, fans are discussing the fact that the new album isn’t in their hands yet. Check out the reactions below.

Photo: Cole Burston / Getty

10 Musicians Who Have Spoken Out About Gender-Affirming Care: Ariana Grande, Ne-Yo & More

With healthcare for trasgender kids becoming a hot political topic in the last few years, a number of stars have spoken up either for or against it.

As the fight over trans rights escalates, stars such as Ariana Grande, Ne-Yo and more are picking sides.

Over the course of the last few years, right-wing politicians have put transgender youth in their crosshairs by targeting gender-affirming care — a series of social, psychological and medical treatments that help support an individual’s gender identity, especially when it does not match the gender they were assigned at birth.

Conservative lawmakers have argued that gender-affirming care represents “irreversible” life decisions that children shouldn’t be able to make until they are at least 18 years old — and the most right-wing of those lawmakers (including Kentucky’s Sen. Rand Paul) go as far as referring to such procedures as “genital mutilation.”

Gender-affirming care includes much more than just “top” and “bottom” surgery (procedures that both the Endocrine Society and the World Professional Association for Transgender Health do not recommend for minors). The term serves as an umbrella for a variety of different treatments, including social transition, puberty blockers and gender-affirming hormone therapy (GAHT), all of which are largely reversible treatments.

Peer-reviewed research from top medical groups including the American Medical Association (AMA), the American Psychiatric Association (APA), the American Academy of Pediatrics (AAP) and the National Institutes of Health (NIH) all show that gender-affirming care significantly reduces the risk of depression and suicidality among transgender patients. The AAP has even authorized a systematic review of their research on the subject to further expand their guidelines for gender-affirming treatment.

With the controversial practice becoming a hot-button issue in our modern political discourse, multiple celebrities have spoken out about gender-affirming care, both promoting and denouncing it. Below, see what musicians have had to say about best-practice healthcare for transgender people.

Jonas Brothers Reimagine Switchfoot’s ‘The Beautiful Letdown’: Stream It Now

The Jonas Brothers definitely didn’t let Switchfoot down. As part of a special anniversary edition of the latter band’s breakthrough 2003 album The Beautiful Letdown, Joe, Nick and Kevin Jonas have released their version of the influential record’s title track.

Produced by John Fields, “The Beautiful Letdown (Jonas Brothers’ Version)” dropped Friday (Aug. 25), featuring the three brothers replicating Switchfoot’s original slow-burning alt-rock recording. Complete with whirling strings and call-and-response vocals, the track marks the third cover contributed by a guest artist to be released off Switchfoot’s upcoming 25-track celebration album, The Beautiful Letdown (Our Version) [Deluxe Edition].

“We grew up listening to their album The Beautiful Letdown, and ‘Meant to Live’ was a huge influence for us,” said Joe in a statement on behalf of his brothers. “‘Twenty Four’ was the first song that me and Kevin ever played together. This album has incredible significance for us on an emotional level but also sonically it was a big part of our sound.”

“The guys in the band have always been so supportive of us,” the DNCE frontman added. “Thank you for inspiring us and we are so happy to be part of this project singing one of our favorite songs ‘The Beautiful Letdown.’”

The Jonas Brothers cover follows reimagined recordings of Beautiful Letdown songs from Jon Bellion, who put his spin on “Meant to Live,” and Ingrid Andress, who recorded her take on “On Fire” for the project. Those three covers will appear alongside upcoming contributions from One Republic’s Ryan Tedder, Dayglow, Twenty One Pilots’ Tyler Joseph and more on The Beautiful Letdown (Our Version) [Deluxe Edition], which will follow Switchfoot’s May 2023 re-release The Beautiful Letdown (Our Version).

The original The Beautiful Letdown album came out in 2003, marking Switchfoot’s very first entry on the Billboard 200. More than a year after its release, it peaked at No. 16 on the chart.

“The first time we met the Jonas Brothers was on our tour bus somewhere in the middle of the country,” said Switchfoot frontman Jon Foreman. “This was at least a decade ago and I had never heard of them before. (Apparently I live under a rock!) They seemed like wonderful, talented young men … From the beginning, I’ve been impressed by their musicality and talent.”

Stream the JoBros’ cover of Switchfoot’s “The Beautiful Letdown” below:

What Oliver Anthony Music’s ‘Rich Men North of Richmond’ Has in Common – and Doesn’t – With 2023’s Other Hot 100 No. 1s

Thanks to only guitar and vocals, and lyrics that have commanded the attention of the both the right and left politically, Anthony Oliver Music’s “Rich Men North of Richmond” soars in at No. 1 on the Billboard Hot 100 (dated Aug. 29).

How do the song’s characteristics compare to those of other hits that have topped the Hot 100 this year?

Here is a comparison of the nine songs that have notched their first weeks at No. 1 on the Hot 100 in 2023, including “Richmond,” noting both key commonalities and – more so – differences between the first eight No. 1s and the latest leader.

Most similarities and variances apply to all Hot 100 top 10s, not just No. 1s, this year, as well.

First, here are this year’s Hot 100 No. 1s, listed chronologically, per their first weeks atop the chart:

  • “Flowers,” Miley Cyrus
  • “Die for You,” The Weeknd & Ariana Grande
  • “Last Night,” Morgan Wallen
  • “Like Crazy,” Jimin
  • “Kill Bill,” SZA
  • “Vampire,” Olivia Rodrigo
  • “Seven,” Jung Kook feat. Latto
  • “Try That in a Small Town,” Jason Aldean
  • “Rich Men North of Richmond,” Oliver Anthony Music



Commonalities Between “Rich Men North of Richmond” and the Other 2023 Hot 100 No. 1s:

  • “Richmond,” at a brisk 118 beats per minute, is in line with the average tempo of a 2023 Hot 100 No. 1 song: 106 BPM. Of this year’s No. 1s, 67% are over 100 BPM.
  • Its short run time – 3:05 – fits with that of other No. 1s this year. It’s just four seconds shorter than the 3:09-length average among leaders.
  • The song has a familiar and easy-to-follow song structure: Verse – pre-chorus – chorus – turnaround – verse – pre-chorus – chorus – outro.
  • The first chorus in “Richmond” hits 32 seconds into the song, only eight seconds earlier than the average No. 1.
  • The song’s title appears in the chorus, where the listener commonly expects to find it. The titles of all but two No. 1s this year are heard in the chorus – Jimin and SZA don’t sing the lyrics “like crazy” or “kill Bill,” respectively, in those songs at all.

Differences Between “Rich Men North of Richmond” and the Other 2023 Hot 100 No. 1s:

  • “Richmond” is the only Hot 100 No. 1 of 2023 credited to a single writer, Oliver Anthony (real name Christopher Anthony Lunsford). Over the past decade, such leaders have been rare, although two reigned last year: Glass Animals’ “Heat Waves” (written by frontman Dave Bayley) and the Encanto ensemble hit “We Don’t Talk About Bruno” (Lin-Manuel Miranda).
  • “Richmond” sports raw, old-school, demo-like production, including clipping and background noise. While this notably contrasts with the more polished production of the other No. 1s, it provides an organic quality that bolsters the song’s emotional connection, along with Anthony’s emotive, passionate vocal performance.
  • It’s the only No. 1 this year to possess country-folk, singer-songwriter and Americana influences.
  • Controversial, political and lifestyle-themed lyrics are central to “Richmond.” “Try That in a Small Town” is the only other 2023 No. 1 that’s similar in that sense. The majority of the other leaders feature a tried-and-true love/relationships theme.
  • “Richmond” goes against the grain of short song titles. Over the past decade, only 6% of No. 1s have featured five or more words in their titles. However, this is a clever title, with the rhyming quality of “rich men” and “Richmond,” helping it to connect easily and be remembered.
  • It’s the only No. 1 this year that features only one instrument in the mix. And while acoustic guitar is featured in roughly half of 2023’s leaders, including the three country No. 1s (“Richmond,” “Last Night” and “Small Town”), it’s the only song that uses a resonator guitar (identified by its big metallic plate), which adds to its organic allure.
  • “Richmond” is the only No. 1 of 2023 that kicks off with a verse as opposed to an intro. However, the benefit is that it immediately grabs listeners’ attention and hooks them in with its striking opening lyrics (“I’ve been sellin’ my soul, workin’ all day …”) Additionally, over the last decade only 5% of top 10s opened with a verse; in 2023, just one other song has: PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2.”
  • Plus, “Richmond” is the lone No. 1 this year that doesn’t include a “D” (departure) section in its framework, such as a bridge or a bridge surrogate section. A common core form of hit songs is: Verse – chorus – verse – chorus – D section – chorus, with the bridge being the post popular “D” section type.

David and Yael Penn are the co-founders of Hit Songs Deconstructed. In 2022, Hit Songs Deconstructed and fellow song analysis platform MyPart partnered to launch ChartCipher, a new platform analyzing hit songs, as defined by Billboard’s charts.

Friday Music Guide: New Music From Selena Gomez, Miley Cyrus, Zach Bryan, BLACKPINK and More

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, Selena Gomez’s new “Single” is here, Miley Cyrus waxes poetic on her youth, and Zach Bryan drops another affecting opus. Check out all of this week’s picks below:

Selena Gomez, “Single Soon” 



Although Selena Gomez has been plenty busy over the past few years — with her starring role in Only Murders in the Building, her Spanish-language project Revelación, her cooking show Selena + Chef and her remix of Rema’s summer smash “Calm Down,” among other endeavors — a proper follow-up to her great 2020 album Rare has remained elusive. Within that context, “Single Soon” functions as both a promise of new music on the horizon, and a delicious first bite: unlike the sweeping emotion of Rare lead single “Lose You to Love Me,” “Single Soon” shrugs off a relationship and looks ahead to giddy independence with oversized synths and a sing-along melodies (Gomez does, in fact, perform karaoke to the song in its music video).

Miley Cyrus, “Used to Be Young” 



Miley Cyrus’ mammoth 2023, led by her longest-leading Hot 100 chart-topper “Flowers,” doubles as the 10-year anniversary of her Bangerz era, back when hits like “We Can’t Stop” and “Wrecking Ball” firmly removed her from her Disney Channel days. “Used to Be Young,” which appears on an expanded edition of her Endless Summer Vacation album, finds Cyrus reflecting on how she’s evolved to the point where now her wild days are in the rearview mirror: “You tell me time has done changed me / That’s fine, I had a good run,” she admits, tapping into the pop balladry that she’s utilized her entire career, from “The Climb” to “Wrecking Ball” to “Flowers.”

Zach Bryan, Zach Bryan 



In the midst of a wild run of country songs and artists near the top of the Hot 100, Zach Bryan, one of the genre’s biggest breakout stories of the past few years, has stayed steadily successful, with “Something in the Orange” spending months on the chart while his album American Heartbreak remains in the Billboard 200’s top 20. Whereas American Heartbreak was a marathon — 34 songs, most of them gorgeously written, over a two-hour run time — his new self-titled full-length is a 54-minute sprint through grief, bitter memories, love stories and formative travels across the country; Bryan’s lyricism is as affecting as ever, the arrangements are more thoughtfully rendered, and Zach Bryan immediately establishes itself as one of the strongest country projects of a topsy-turvy year.

BLACKPINK, “The Girls” 



“The Girls” catches BLACKPINK at a celebratory moment: the new single, which launched as part of their popular mobile game The Game and comes in the midst of U.S. stadium dates, allows the K-pop quartet to flex a bit after all of their successes. On a stopgap single that sounds just as fresh as their best cuts from Born Pink, BLACKPINK praises girl power by exuding strength in numbers — over bouncy pop production and crackling percussion, all four members sharpen their individual skills while complementing one another on the hook.

Burna Boy, I Told Them… 



With his album Love, Damini last year, Burna Boy scored a real, world-spanning smash, as “Last Last” grew into the Nigerian superstar’s signature hit; with the follow-up I Told Them…, Burna tries to catalog his journey to household-name status while also crafting a more fully formed full-length statement. Guests ranging from J. Cole to GZA to Dave to Seyi Vibez make for inspired ways of switching up the album’s energy, but the solo run of songs in the middle of the track list, beginning with the boisterous “Big 7” and ending with the sensual “City Boys,” showcases why Burna Boy is able to gaze down from the heights he’s scaled and declare “I told them so.”

Editor’s Pick: Victoria Monét, Jaguar II 



The title of Victoria Monét’s new project is a bit deceptive — after all, the original Jaguar was a 2020 EP that found a fervent fan base but didn’t deliver the veteran singer-songwriter as a commercial artist. Jaguar II may be a sequel in name, but the full-length stands on its own, head and shoulder above its predecessor in every way: the interpretations of R&B, funk and soul are markedly more distinct, the Kaytranada-produced “Alright” sounds like a surefire hit, and Monét generally comes across as more comfortable commanding each track, conjuring a handful of dazzling moments while announcing her real, undeniable arrival.

How the Hollywood Strikes Affects the Music World

The ongoing dual Hollywood strikes, by the American actors’ union SAG-AFTRA and the Writers Guild of America, have brought the movie and TV businesses to a grinding halt as the historic work stoppage appears headed into the fall — and perhaps beyond. The impact has already been felt on the red carpet, as actors have had to skip new interviews or promotional appearances for some of the summer’s biggest blockbusters, as well as their upcoming projects.

When Troye Sivan spoke with Billboard recently, the singer was happy to talk about his summer single, “Rush,” but was unable to discuss his work on the HBO drama The Idol, which had wrapped its run weeks earlier. “I am in total support of the strike and am holding strong with everyone in waiting it out and making sure that everyone gets treated fairly,” Sivan said, adding that he also could not discuss his upcoming starring role in the coming-of-age drama Three Months.

Sivan’s statement was pitch-perfect, according to SAG-AFTRA chief negotiator Duncan Crabtree-Ireland, who says that artists are expected to avoid promoting music created for film, TV and streaming under the old contract during the strike. They also cannot enter into any new music licensing agreements or approve any new tracks for film or TV projects and must cease promoting songs already licensed.

The work stoppage over issues including streaming residuals and stricter safeguards against the use of artificial intelligence has shuttered all late-night talk shows for the longest stretch in modern history. It has also raised questions about Saturday Night Live’s 49th season — expected to start in September, though a representative said there wasn’t an update on a return to air — cutting off crucial promotional avenues for rising and established musical acts.

A number of major awards shows that typically feature music performances and presenters have been put in limbo by the action that began May 2, when Hollywood writers walked out, followed by members of SAG-AFTRA (which represents actors, announcers, broadcast journalists, singers and others), who joined them on July 14 to create the first dual strikes by the two unions since 1960.

The just announced 16th annual Academy of Country Music Honors will air Aug. 23 on Fox with returning host Carly Pearce, while the 2023 MTV Video Music Awards had announced a Sept. 12 airdate just as the first strike began. A representative said the latter is still planned for the Prudential Center in New Jersey, but could not comment on whether that date might change or if the broadcast could go ahead with an unscripted show, as the Tony Awards did in June. The 2023 Billboard Music Awards are scheduled for Nov. 19.

“They are not supposed to facilitate any promotion of work done under this contract, which includes going to an awards show and accepting an award,” Crabtree-Ireland says of musicians who are also SAG-AFTRA members. He noted that it’s “virtually impossible” to find a workaround, as the rules require artists to skip red carpets, interviews and accepting their trophies onstage.

A representative for the 96th annual Academy Awards, slated to take place March 10, 2024, had no comment on the strike’s impact. Similarly, a representative for the 2024 Grammys said the show slated for Feb. 4, 2024, at Los Angeles’ Crypto.com Arena is expected to go forward, but additional information isn’t available.

In the meantime, streaming services and networks are judiciously doling out already completed movies and series, like the slate at Paramount+. It includes an Elvis Presley documentary and a Biz Markie biopic; a new CBS game show, Superfan, in which die-hard supporters of artists including LL COOL J, Shania Twain and Pitbull compete for the title of ultimate fan; and the third season of Fox’s celebrity edition of Name That Tune, featuring JoJo Siwa, the Spice Girls’ Mel C, Darren Criss and Debbie Gibson.

The trickiest tightrope for musicians who also act might be social media, according to Crabtree-Ireland: “They can tweet about anything else they want, so long as they are not promoting work done under the [current] contract.”

This story will appear in the Aug. 26, 2023, issue of Billboard.

AQUA Announces Barbie World Tour: Here Are the Dates

You wanna go for a ride back to the ’90s? AQUA is here to deliver. The Danish dance-pop group announced its Barbie World Tour on Friday (Aug. 25) with dates across the United States in an appropriately pink photo. The trek kicks off in Seattle at the historic Paramount Theatre on Nov. 12, and wraps right before Christmas, on Dec. 20 at Los Angeles’ Hollywood Palladium.

The tour comes on the heels of the band’s headlining shows at Irving Plaza in New York City and The Belasco in Los Angeles in late June and early July, respectively.

“We’ve been working for this for 27 years! Performing two sold out shows in NYC and L.A. this summer was a dream come true, and to be able to come back soon for a nation-wide tour is absolutely insane,” the trio said in a statement. “We cannot wait to meet everyone for the first time, face to face.”

The tour comes as AQUA’s 1997 hit “Barbie Girl” off its debut album, Aquarium, has found renewed interest with the arrival of the mega blockbuster Barbie movie, which boasts a current box-office total of $1.3 billion, according to The Hollywood Reporter. Nicki Minaj and Ice Spice’s “Barbie World” song from the film’s soundtrack samples AQUA’s Billboard Hot 100 No. 7-peaking tune; the new track — which the trio is credited on — from the rappers debuted at No. 7 on the all-genre tally dated July 8. It became Minaj’s 23rd top 10, and Ice Spice and AQUA’s second.

The Spotify Fans First presale begins Monday (Aug. 28) at 10 a.m. ET. The general public will be able to buy tickets starting Wednesday (Aug. 30) at 10 a.m. ET.

Check out AQUA’s announcement below for the Barbie World Tour dates: