State Champ Radio Pop
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It would’ve been a big-enough weekend for Morgan Wallen simply from the release of his fourth album Friday’s (May 16) I’m the Problem — his third album this decade to consist of 30+ tracks, this time with six of them already ranking as pre-release Billboard Hot 100 top 10 hits. But the biggest star in […]
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For global girl group KATSEYE, being Gen Z isn’t just a generational label — it’s a movement. With members hailing from the Philippines, South Korea, Switzerland, and the United States, the six-piece collective represents a bold, boundary-pushing vision of pop that’s deeply rooted in authenticity, individuality, and global unity.
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“We’re very opinionated — and very free,” the group says when asked to describe Gen Z’s energy. “We’ve been conditioned to know who we are from a young age, and that reflects in how we act, how we dress, and what we want to do with our lives.” That confidence, combined with a spirit of openness, makes this generation especially loud — in the best way. “We love that we can express our values and our style. Most of us are super accepting, which is really nice.”
KATSEYE’s latest partnership with Urban Outfitters taps into that same spirit of creative freedom. As the faces of UO’s new “UO Haul” campaign — a back-to-school-inspired activation that includes pop-up experiences, lifestyle “haul” trucks, and a high-energy live performance — they’re spotlighting what it means to be young, expressive, and unapologetically yourself.
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“A big thing about KATSEYE is we love to embrace who we are uniquely — where we come from, the world that we’re in,” the group says. “So partnering with Urban Outfitters for this campaign just made sense for us. One thing we always say is that we’re really connected to our fans.”
“We honestly feel like a lot of our fans are like our best friends,” they continue. “That’s a common thing, especially since we’re all Gen Z. Everyone’s on TikTok, everyone’s on social media — it’s like we don’t even have original experiences anymore because we’re all sharing everything and so connected. So that’s why this collab just felt right for us.”
With three lifestyle-inspired trucks on site — The Pretty Haul, The Pregame Haul, and The Plush Haul —each member gravitated to the one that fit their vibe best. Megan picked a hybrid between Pregame and Plush, saying, “One side for relaxing and one side for turning up.” Lara, Manon, and Daniela aligned with the Pregame Truck’s pre-party energy, while Sophia and Yoonchae chose the cozy comforts of the Plush Haul. “I’m definitely a homebody, and I’m always in bed whenever I can be,” Sophia adds. “I love to relax, snuggle up, watch movies, all of that. So, it really feels like me.”
Urban Outfitters Unveils “UO Haul”: The Back-to-Campus Campaign Built for Gen Z’s Biggest Moves.
Urban Outfitters
When it comes to defining Gen Z style, the group agrees: statement pieces are key. “Gen Z has a lot of flashiness,” they note. “A lot of statement pieces on top of basics.”
The collab also comes at a pivotal time for KATSEYE. The sextet’s debut single “Gnarly” just made its first entry on the Billboard Hot 100, and its upcoming EP, BEAUTIFUL CHAOS, marks a bold evolution from their debut SIS (Soft Is Strong). “It’s definitely very surreal,” the group shares. “We’ve been working insanely hard for almost two years now, and seeing our hard work pay off really motivates us to go harder and do more. We’re just so obsessed with our fans for making that happen for us — we’ve been smiling from ear to ear since we found out.”
The group expressed a newfound maturity as it gears up to release its second EP. “Every song has its own vibe and sounds really different from the others — it’s something we haven’t shown yet.” The members describe the project as “a whole different side of KATSEYE,” reflecting both sonic and personal growth. “We’re maturing a lot, we’re being a little more daring. Literally everything is different — the hair, the styling, the makeup, the music videos,” they explain. “It all feels super authentic to who KATSEYE is right now. We honestly can’t wait to drop it because we just want everyone to hear it.”
As a multicultural group, the six members of KATSEYE’s are redefining what it means to be a global girl group. “Representation has always been one of our biggest missions,” they explain. “We’re representing a lot of underrepresented groups, especially in music and media in general. But specifically in pop music, there aren’t a lot of girls or artists who really look like us.” By blending K-pop and Western pop through their sound and choreography, the group is carving out a unique identity: “There isn’t really a blueprint for KATSEYE—for how we sound, how we look, how we perform — so it’s something we’re building as we go. It’s a very new experience, and we’re kind of painting it alongside our icons.”
Their cultural backgrounds also shape their music and bond. “We’re all able to share this experience of truly representing where we come from — and being proud of that,” they say. Being away from home often, they find comfort and connection in each other, which strengthens their group dynamic. “We get to have moments where a little girl comes up to us and says, ‘Oh my goodness, you look like me,’ and that’s such an emotional experience for all of us. It really brings us together and ties us to the shared goal of KATSEYE and what we wanna do.” The group also plans to continue weaving its multi-cultural sounds into its music, promising that this influence will be even more present in future releases.
At the core of the UO Haul campaign is a connection to the fans, their icons, “Especially because a lot of them are around our age, Gen Z,” the group explains. “The whole thing about going back to school? We relate. It’s something that we understand. We fit the vibe.”
They emphasize that much of what they do is made for people like themselves — because they are the target market: “That’s why we feel like it’s really gonna amplify. It’s reaching the right people, and we’re showing them, ‘Hey, we’re right here with you. We’re doing this for you.’” Fans have told them that they can see themselves in at least one member of KATSEYE, and Urban Outfitters’ versatility makes the partnership a natural fit: “Our visions really, really, really are similar and they reach the same audience and same goal. We’re also big fans.”
When asked if they feel like they’re challenging traditional ideas of what a girl group looks and sounds like, the girls in KATSEYE don’t hesitate. “For sure. We’re always trying to break boundaries and reinvent ourselves,” they say. “There aren’t a lot of groups out there that are KATSEYE-coded — if any. So, that’s definitely intentional for sure.”
As KATSEYE gears up to perform live in New York City on May 20, fans can expect the same signature energy that has defined every one of its performances so far: “We’re performing outdoors in New York, which we’ve never done before. It’s not only going to be a treat for you guys, but also a new experience for us — and those moments are always so exciting.”
“Hopefully it’s not too hot,” I added. But the heat they’re bringing? That’s going to be “Gnarly.”
Pretty Haul
Stacie Round Coffee Table
$199.99
$399.99
50% off
Plush Haul
Cooper Velvet Bean Bag Chair
pregame haul
Velvet Dice Throw Pillow
Best known as a dancer, rapper and singer-songwriter in BTS, j-hope has long stood out, with a magnetic stage presence and captivating dance moves that helped propel the group to global stardom. Now — as ARMY around the world anticipate the group’s remaining members completing South Korea’s mandatory military service and BTS reuniting in June, with group activities on hold until 2026 — the charismatic 31-year-old is distinguishing himself further, carving out a bold solo identity that showcases a versatility and creative range that extend far beyond his BTS persona.
Following his 2022 debut solo album, Jack in the Box, which peaked at No. 6 on the Billboard 200, and his 2024 Hope on the Street, Vol. 1 EP that rose to No. 5 on the chart, j-hope has already released collaborations this year with stars including Miguel, Don Toliver and Pharrell Williams. And with his Hope on the Stage World Tour, which kicked off Feb. 28 in Seoul, j-hope is reaching new heights: His show at Los Angeles’ BMO Stadium made him the first South Korean male solo artist to headline a U.S. stadium. (His bandmate Jin will hit the road this summer.) The tour — which will wrap June 1 after visiting 15 markets across North America and Asia, including a May 31 show in Osaka, Japan, that will be broadcast live to cinemas around the world — has mirrored his own artistic growth as he prepares for the next stage of his solo journey with his upcoming album. J-hope sat down with Billboard Korea in Los Angeles for an exclusive chat about his music, touring and inspirations.
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Louis Vuitton shirt, jacket, and pants; Audemars Piguet watch.
Julian Dakdouk
What does it mean to you to be on the cover of Billboard as a solo artist?
Growing up, Billboard seemed like a completely different universe to me. I’d follow the charts to see where my favorite artists landed, and that’s how I got a sense of the era’s musical flow and what sounds were defining each moment. So having my own music recognized by Billboard still feels surreal and exciting. To me, Billboard remains a dreamlike presence, and the amazing thing is, that dream is still unfolding, much like my song, “Sweet Dreams.”
You’re widely regarded as a symbol of hope — not only for your fans, but also for many Asian artists globally. How does it feel to have that kind of impact?
Just as I drew inspiration from the artists I admired growing up, shaping my own music through their influence, I’d be honored if my work could inspire others and pass on that same positive energy — that would mean the world to me. Above all, I hope to continue growing into an artist who brings light and encouragement to others wherever I go.
Louis Vuitton jacket and pants, Audemars Piguet watch.
Julian Dakdouk
Is there a particular message you want to convey with this tour?
Embracing my identity as j-hope, I found myself reflecting more deeply on the true essence of hope. I realized it’s not something to be taken lightly, so I wanted to channel that sincerity into my music and bring it to life through Hope on the Stage, sharing it with as many people as possible. I was hands-on with everything — stage design, choreography, fashion and even the props — pouring my heart into every aspect. I hope the audience left with a sense of genuine positivity and inspiration. Moving forward, I want to keep creating authentic performances that unite everyone through the power of music.
You made history in April as the first South Korean male solo artist to headline a U.S. stadium. How did that feel?
Having performed at countless stadiums with BTS, I was always part of a seven-member team filling the stage. This time, I was on my own, and honestly, I wondered if I could handle that immense energy and pressure by myself. But I pulled it off and that means a lot to me — it’s a milestone I’ll always cherish.
Louis Vuitton shirt, jacket, pants and shoes; Audemars Piguet watch.
Julian Dakdouk
You’re often hailed as a fashion icon. What ignited your love of style?
Ever since I was young, I’ve had a genuine passion for clothes. I don’t really see myself as a fashionista — I just have a deep, genuine love for fashion. To me, clothing is a powerful way to express my identity. Even during BTS world tours, I’d make time to visit local boutiques and explore different styles, which really helped shape my personal aesthetic over time. For my solo world tour, I handpicked every outfit for each performance, ensuring every look was distinct. I believe my approach to fashion adds a fun, dynamic element for fans to enjoy while watching my shows.
Your recent single, “Mona Lisa,” debuted at No. 65 on the Billboard Hot 100 and was released in March two weeks after your Miguel collaboration, “Sweet Dreams.” What’s the story behind these tracks?
I believe my music should evolve as I grow. Before my enlistment, I leaned into my roots in dance, experimenting with a variety of sounds to express different facets of myself. But just a week after my discharge, I headed straight to the U.S. because I wanted to explore how the American producers I admire would interpret my sound. “Sweet Dreams” featuring Miguel — an artist I’ve long respected — has a smooth, soulful vibe that feels deeply personal. On the other hand, “Mona Lisa” brings a hip-hop-driven performance energy. Both tracks are easy to connect with, yet they offer a glimpse into the broader, more evolved musical world I’m building. This is just the start — I have plenty more musical experiments in store.
This story appears in the May 17, 2025, issue of Billboard.
Grab your synthesizer, pink wig and star earrings – Jem is celebrating its 40th anniversary this year. To commemorate four decades of Jem and the Holograms, Hasbro is releasing a new album of Jem and the Holograms songs.
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The series – which ran from 1985-1988 and inspired Jon M. Chu’s live action 2015 film Jem and the Holograms – combined music, sci-fi and a storyline that more than like inspired Hannah Montana (Jem is the secret rock star alter ego of Jerrica Benton). The show’s ’80s fashion was truly outrageous (truly, truly, truly outrageous) and its glimmering synth-pop tunes were, as the Jem theme song promised, undeniably “contagious.”
Billboard can reveal that in July, a 40th anniversary album for Jem will come out on vinyl and digital streaming platforms via Hasbro. The project includes six re-recorded tracks from the ‘80s series, held down by the original singing voice of Jem, Britta Phillips.
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“Seriously, I was thrilled to be asked to sing these songs again,” Phillips tells Billboard. “I had listened to and sang many Jem songs at Jemcon last year, so they were very fresh in my mind. And I’m so excited for the Jem fans to hear them.”
Those six songs are the Jem theme song, “Only The Beginning,” “Truly Outrageous,” “Like A Dream,” “I Got My Eye On You” and “She’s Got The Power.” You can listen to “Jem and the Holograms Theme (Reimagined)” right now thanks to a glamor and glitter, fashion and fame-filled music video below.
Listening to the reimagined theme song, it’s hard to believe this is Phillips’ voice four decades later – she sounds almost exactly the same as she did on the O.G. series. That’s especially impressive when you spin her post-Jem music, such as her 2016 album Luck or Magic, which found her adopting a more mature, dreamy vocal tone. But it seems that the spirit of Jem was still inside her, ready to return (even without the help of supercomputer Synergy).
“I took a couple of voice lessons before the recording sessions which helped with my confidence in belting those crazy high notes, but luckily the sound of my voice and my vocal range hasn’t changed much. It’s still pretty girlish,” Phillips tells Billboard. “To my surprise, the high notes weren’t difficult. We even kept the songs in the original key except for one track where we dropped down a half step – and that one didn’t have the highest notes. The biggest challenge was singing at such fast tempos (the original tempos), but it was very exciting and nostalgic for me, and I had a blast! And working with these amazing and talented producers (all female!) was inspiring,” she adds, tipping to the female-led team behind this anniversary album.
Of the re-recorded songs, Phillips says “Only the Beginning” – a song that appeared in the series pilot, which aired Oct. 6, 1985 – was “the most emotional one to sing. It brought me back to my beginning and so it felt like a full circle of my life from the very beginning of my musical career to the present.”
Phillips says returning to “She’s Got the Power” was also exciting for her. “It felt much like it did when I first recorded those songs, except now I know those little kids I sang to are all grown up! Makes me a little teary.”
Shakira made a special appearance on The Tonight Show Starring Jimmy Fallon this week, performing her beloved 1996 ballad “Antología” in front of a crowd that sang along word for word in a moment that underscored just how deeply her early catalog continues to resonate nearly three decades on. Explore Explore See latest videos, charts […]
In a swift follow-up to Jin’s debut solo album, Happy, released just six months ago, BTS‘ global superstar and resident rock enthusiast returns with Echo. Released on May 19, the seven-track journey explores more of the rock-influenced soundscapes that have shaped his musical identity, for deeper stories that can resonate on a more human level. […]
Barbra Streisand has recruited Paul McCartney to join forces for a new version of his 2012 single “My Valentine,” which was released Friday (May 16) via Columbia Records. “What if it rained? We didn’t care/ He said that someday soon the sun was gonna shine/ And he was right, this love of mine/ My valentine,” […]
LISA and Tyla unveiled the scorching music video for their collaborative single, “When I’m With You,” on Friday (May 16).
As the Olivia De Camps-directed visual opens, the onset of a heatwave is announced over the radio promising “the hottest summer ever recorded.” The two international stars trade lines on the first verse, — LISA fanning herself from the comfort of a lounge chair and Tyla hanging with friends at a salon — before coming together to dance through the song’s chorus.
Later, a shirtless Mason Gooding makes an appearance during the second verse, flirting poolside with LISA as she raps, “Quick trip, won’t wait and I’m there for you/ Good girl, I’ll dare, but I’m bad for you/ Elevate my space and my bed for you/ Anyways, any day, I’ll make plans for you.”
Eventually, the video culminates with the K-pop idol and South African Grammy winner taking a dip in the pool during the song’s chant-ready outro, singing, “You must be outta your, outta your, outta your mind/ Can’t tell me nothing ’bout, nothing ’bout, nothing ’bout mine.”
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“When I’m With You” is the latest track off LISA’s debut solo album, Alter Ego, to get the music video treatment following lead single “Rockstar,” Rosalía collab “New Woman,” “Moonlit Floor (Kiss Me),” the Doja Cat and RAYE-assisted “Born Again” and “FUTW,” which featured the Thai superstar stepping into the shoes of her alter ego, VIXI.
The studio set debuted at No. 7 on the Billboard 200 upon its March release, and since then, LISA has brought Alter Ego to Coachella and walked the carpet of the Metropolitan Museum of Art for her very first Met Gala.
Meanwhile, Tyla dropped her latest single, “Bliss,” earlier this month, just days before also making a splash on the Met Gala carpet in a pinstripe Jacquemus suit. Next, she’s set to host the 2025 Kids Choice Awards on June 21.
Watch LISA and Tyla’s “When I’m With You” video below.
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, Rihanna unveils a summer Smurf jam, Morgan Wallen pulls back the curtain and Jin continues his solo momentum. Check out all of this week’s picks below:
Rihanna, “Friend of Mine”
While Rihanna is no stranger to the soundtrack single, “Friend of Mine,” from the upcoming Smurfs film, does not function like a shiny product for kid’s movie — instead, the song thumps and shimmers with club-ready propulsion, as Rihanna lets the percussion take center stage and serves up what sounds like a long-lost, long-awaited summer jam.
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Morgan Wallen, I’m the Problem
At 37 songs and nearly two hours, I’m the Problem pushes Morgan Wallen’s mega-sprawling approach to full-length projects to a new limit — but if it ain’t broke, then the decade-defining, stadium-commanding country superstar has no reason to fix it, as his latest marks another rustic, self-examining storytelling extravaganza brimming with multi-song runs to be appreciated by different types of listeners.
Jin, Echo
Six months after making his solo bow with Happy, Jin has quickly returned with Echo — but instead of feeling like a continuation of that debut project, the BTS member has already moved on to vibrant new sounds and ideas, ranging from the stately romance of opener “Don’t Say You Love Me” to the punk-inflected YENA collaboration “Loser,” the latter making good use of the cowbell.
Lola Young, “One Thing”
“Everbody wants to know ya / But me? I only want one thing,” Lola Young declares on new single “One Thing,” a slinky sex jam that showcases Young’s ability to oscillate between commanding and yearning; following the smash confessional “Messy,” the ascendant pop star wields this follow-up with hedonistic glee, as if she’s ratcheting down the stakes to have some hard-earned fun.
Avicii, Avicii Forever
Avicii’s 2018 passing still feels crushing all these years later, yet his musical legacy has remained towering in his absence; Avicii Forever — a new compilation featuring the producer’s biggest hits, essential tracks and one unreleased single, “Let’s Ride Away” featuring Elle King — underlines his sonic impact and acts as a handy first step for casual fans looking to dive deeper.
Sebastian Yatra, Milagro
The title of Sebastian Yatra’s new album, Milagro, refers to a miracle that can occur thanks to a slight change in perspective; the idea defines the follow-up to 2022’s Dharma +, as the singer-songwriter tweaks his lyrical approach to dig deeper into ideas of faith, emotional availability and communication across generations, while still providing plenty of melodic heft.
Laufey, “Tough Luck”
“I wanted to reveal an angrier side of myself — a side that this unfortunate relationship brought out in me,” Laufey says of her new single, “Tough Luck,” in a press release. To preview upcoming album A Matter of Time, the rising singer-composer lets her frustration simmer above sighing harmonies and ornate string arrangements, producing a beautifully mad opening shot.
Editor’s Pick: Rico Nasty, Lethal
After spending the majority of her career exploring the ways in which rock music can inform her hip-hop, Rico Nasty pushes toward full-throated pop-rock at times on Lethal, displaying her voice with a newfound vulnerability and expanding her aesthetic in impressive ways; considering that several songs on the new album don’t reach the two-minute mark, Lethal zips by with verve and energy, and sets up an exciting future for Rico.
Alexandra Savior has considered leaving the music industry many times. Having started her musical career early – signing to Columbia Records at 17 and releasing her debut album Belladona of Sadness by the age of 19 – she’s had plenty of ups and downs all before the age of 30. She’s played in bars she was too young to be in, worked with well-known musicians including Danger Mouse and the Arctic Monkeys’ Alex Turner, and released an independent album after she was dropped by her major label.
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“It’s really a fight to try and survive in this industry,” Savior says. “I always wanted to go back to school just because I am the happiest when I am learning. After my first album, I was pretty ready to be done.”
Without a label or management, she moved back to the Pacific Northwest, and considers it a miracle her second album (2020’s Archer) even happened. “Throughout my life, I’ve felt that I wanted to go towards something else that would be easier, but it never happens,” she tells Billboard. “I always feel like I need to make another album anyways.”
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Now onto her third album, Savior is making a point to separate herself from her previous work and create music on her own terms. Beneath the Lilypad (out today, May 16, via RCA Records) is self-produced by Savior, alongside her partner and producer Drew Erickson, and delivers an intimacy not found in her previous two albums. Started during the height of the pandemic, Savior says her sound became a lot more tender, soft and quiet.
Alexandra Savior
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“I wasn’t thinking of how it would be perceived as much,” she says. “Because I was doing this on my own and literally on my own every hour of the day like the rest of us, it gave me a lot of freedom to let go of any sort of outside pressure. And not having a label, it made me feel more free to express myself.”
She kicks off Lilypad with the deceptively cheerful “Unforgivable,” which alludes to her mistreatment earlier in her career. In her signature voice that harkens back to Hollywood starlets of the 1950s, she sings, “When I get the chance, I’ll muster up some recklessness” and “I’ll use the knife that you once held/ And when it’s time to pay, I’ll send the invoice right your way.”
Savior has called the track a “mantra” to help her and other women who have been mistreated to stop blaming herself. The opening track sets the tone for her new 11-song collection, which sees the seasoned musician tackle the preservation of her mental health and find her unique sound all on her own.
Below, Savior dives deeper into Lilypad, and getting past the pressures of her early years in the industry.
The first track on the album is “Unforgivable,” which is about telling off someone in the industry who wronged you in the past. As a launch into the album, it feels like “let me address this, so we can move onto my album.”
Yeah, absolutely. It’s funny because it’s actually the last song that I wrote for the album. It felt like I was taking a step and trying to make a statement about wanting to have control over my own autonomy, of my own work and of myself as a woman that I don’t think I have had in the past. So, I wanted it to be at the forefront of this album.
You were a teenager when you first started in the music industry — and that’s a lot of pressure for a teen. Do you feel you’ve been able to shake any of the pressure by your third record?
Yeah, the expectation and the pressure I felt was like, “Find out who you are now so that we can market it and make money off of that.” I didn’t know who I was, because who knows when you’re that young. I had a lot of self-doubt within that experience and that was very confusing.
Beneath the Lilypad focuses a lot on your unmistakable voice and is more stripped down than your previous albums. Why did you scale back on that fuller sound?
That is because I felt a lot more confident with myself this time around. Before I felt like I needed to use that wall of sound to mask my insecurities about myself as a songwriter or a singer or a musician. I didn’t feel that way this time. I actually wanted to get rid of all of that and try to be vulnerable. That was definitely intentional.
On this album there are a lot of references to outer space like “Mothership” and “Venus,” what do you feel is your connection to the interstellar?
Well, first of all, I like conspiracy theories and UFOs and parallel universes and all of that. I feel connected to the universe and I think it’s a magical thing to think about, like how we are all made out of the same stuff and how does all of this affect us. You know, classic stoner thoughts. I don’t smoke weed, but I have a lot of stoner thoughts.
Another big theme on this album is mental health and how you are navigating that.
It is everything about what I write. I felt like it was impossible for me to not talk about ti with this album in particular because my songwriting comes from my mental illness. It’s a way for me to digest the experiences that I have within that and reflect on them. When I am in psychosis or mania or depression, I don’t have a clear perspective of what I’m experiencing.
So, to be in that space and write about my experience in a visceral way, instinctual way, it helps me be able to look back on that experience and understand myself more and understand my brain chemistry and what parts of it are me and what parts of it are just the perception that I have. Writing has been really helpful for that.
You created all of the art for this album including the cover art and the videos. How long have you been creating visual art?
I did the cover for the most recent single, “Mothership.” I did the album cover and then a lot of [my art] has been used within the merch and the videos. I’ve made stop motion videos for the songs. I’ve been doing [visual art] longer than I’ve been doing music. I started when I was 12. I took my first art class and that when I got my head kind of cracked open. I was immediately like, “This is what I have to do.”
You’re not thinking when you’re 12 how you are going to make a living when you’re 30, but I was painting and drawing predominantly. I was meant to go to art school. I had a dorm room picked out and everything. My mom was like, “You should probably try to make to make it with this, give it a few months and try to do this music thing.” So, now I have incorporated it into the music, because it’s fun.
