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Close to three years on from the release of BLACKPINK‘s latest album, LISA has confirmed that new music from the group is in the works.
LISA shared the news with Variety on Saturday (May 3) while promoting the release of her new Bose earbuds collaboration. “Actually, we were in the studio a few days ago,” she explained. “We’re all so super excited to get back together and go on tour. We really miss the blinks. We can’t wait to see them.”
New material from BLACKPINK would be the first released by the South Korean quartet since 2023 single “The Girls,” which in turn followed on from their second album, 2022’s Born Pink. The record became the group’s first to top the Billboard 200, and was also accompanied by a global tour which became the highest-grossing for a female group.
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In the time since, all members of BLACKPINK have embarked on solo careers and released albums in recent months, beginning with Rosé, whose Rosie album peaked at No. 3 on the Billboard 200. While Jisoo released her Amortage EP in February, LISA’s Alter Ago and Jennie‘s Ruby were released in consecutive weeks across February and March, with both peaking at No. 7 on the Billboard 200.
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Most recently, LISA also appeared as a featured artist on Maroon 5’s new single, “Priceless.” The single marks Maroon 5’s first collaboration with a K-pop artist and features a guitar-driven sound that nods to the band’s early 2000s roots, complemented by LISA’s confident rap verse. The accompanying music video, shot on 35mm film and directed by Aerin Moreno, takes visual inspiration from the movie Mr. & Mrs. Smith.
BLACKPINK last performed live in September 2023, but are currently readying their live return, which launches in South Korea in July before visiting North America, Europe, and the U.K. in the following weeks, with three dates in Japan scheduled for January 2026.
When asked by Variety about the potential release date for new BLACKPINK music, LISA neither confirmed nor denied it would arrive in time to coincide with their live return. “You have to be patient about it,” she urged. “It’s coming soon, I promise. It’s about time.”
Pop superstar Kylie Minogue capped her first arena tour of the United States and Canada on Friday night (May 2) as her Tension Tour touched down in Los Angeles at Crypto.com Arena.
“Good evening, Los Angeles! We are here!” the ever-gracious performer exclaimed to the packed house early in the evening. “Thank you so much each and every one of you for coming out tonight, and welcome to the Tension Tour.”
While the two-hour show took fans on a journey through four decades of Minogue’s hits, it also highlighted eight songs from her two most recent studio albums, Tension II (released in 2024) and Tension (2023). Among those choice cuts were Tension’s Grammy Award-winning “Padam Padam,” which was also a top 10-charting hit on Billboard’s Hot Dance/Electronic Songs chart in 2023, and the show-opening “Lights, Camera, Action” from Tension II.
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The Tension Tour is just the third traveling show Minogue has brought to the U.S. and Canada, having previously visited the country with Aphrodite Live in 2011 and the KYLIE trek 2009, with both staged before more intimate crowds as compared to the arena-sized audiences of the Tension Tour. Separate from her three tours, Minogue also mounted her first Las Vegas residency in 2023-24, with 20 dates at the 1,000-seat capacity Voltaire at The Venetian Las Vegas.
The Tension Tour kicked off on Feb. 15 in Perth, in Minogue’s home country of Australia, moved to Asia for a trio of dates (March 10-15) and then reached North America on March 29 in Canada. For the U.S. and Canada run, the Tension Tour played 16 shows between March 29-May 2, including a pair of nights at New York’s Madison Square Garden (April 4-5). The trek now moves to Europe on May 16, then to South America on Aug. 7, and then back to North America for its three final dates in Mexico (Aug. 22-26). By the close of the Tension Tour, Minogue will have played nearly 70 shows in more than 25 countries on five continents.
At one point during the Los Angeles show on Friday, Minogue paused and reflected, “Here we are in 2025 and I get to be on a world tour with these beautiful humans, beautiful intelligent humans — the ones you can see on the stage and off stage. And I get very emotional thinking about this, this… that I’ve… it’s been a lifetime and sometimes it just amazes me. So very, very grateful. Thank you so much for being here.”
That “lifetime” of a musical career was on display through the show, with Minogue offering up a bevy of hits like her first single, the 1987 cover of “The Loco-Motion,” along with “Better the Devil You Know” (1990), “Spinning Around” (2000, and joined onstage by the show’s opening act Rita Ora), “Can’t Get You Out of My Head” (2001), “All the Lovers” (2010) and many more.
Before the final song of the night (“Love at First Sight”), a joyful Minogue shared a message with the crowd: “You’ve been beyond tonight. You’ve been here, present, ready, going — thank you so much for being here, for your beautiful energy, for being here for me in all different times of my career. For being there for each other! I just want to give a real shout-out to our entire crew because this has been an incredible run. We’ve loved it, so thank you.” After a moment of applause from the crowd, she then humorously added, “I’ve got some old friends here tonight. Look at me now!”
One of the most acclaimed new musicals on Broadway right now has all the charm of a corpse — literally.
The unlikely subject of Dead Outlaw is the life — and death — of Elmer McCurdy, a late 19th-century ne’er-do-well who came to an early end but whose corporeal form enjoyed a bizarrely long afterlife as a well-preserved (well, for a time) traveling oddity. On paper, it might not sound like typical musical fare, but thanks to an expert creative team — led by co-composers David Yazbek and Erik Della Penna, director David Cromer and writer Itamar Moses — Elmer’s tale becomes not just strangely humorous and poignant but deeply thought-provoking.
Yazbek has a résumé stacked with great musical adaptations of films — including The Full Monty, Women on the Verge of a Nervous Breakdown, Tootsie and The Band’s Visit, the latter of which won him the Tony for best original score. But Dead Outlaw is an increasingly rare breed of show on Broadway these days, based on no pre-existing intellectual property and not driven at the box office by celebrity names above its marquee.
So far, that’s working out well: Dead Outlaw just received a best musical nomination for the 2025 Tony Awards, one of seven nods for the show also including best score for Yazbek and Della Penna’s music, which is performed by a crackerjack band onstage. Yazbek is rarely working on one show at a time — among many overlapping projects, he’s also creative consultant on the Tony-nominated Buena Vista Social Club — but he and Della Penna took the time post-opening to talk to Billboard about Dead Outlaw and why often, on Broadway, smaller is better.
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How did you become aware of McCurdy’s crazy story in the first place, and how did you know it would lend itself well to musical form?
David Yazbek: The answer to the second part of that question is not until basicallyopening night (laughs). I heard the Elmer McCurdy story like 30-something years ago; when his body was discovered in 1976 by The Six Million Dollar Man TV crew it was a national story briefly, and I think a college friend’s mother sent him clippings about it. He told me the story and it really stuck, especially the themes of identity and death and mortality and greed and fame. For years and years, anyone who heard the actual true story was just amazed that it actually happened. And one of the people I told it to eventually was Erik, who I was in a band with and had written some songs with, and he got hooked.
Erik Della Penna: It was just such an odd story that it’s immediately compelling — anybody I tell this story to is immediately interested. I consider myself a student of American music and of history in general, so this kind of hit all my buttons for those interests
Yazbek: And those factors don’t make it an obvious thing for a musical or a play or whatever, but…
Della Penna: I feel like a musical is sort of the best way to tell the story. Theater really succeeds when it in some way represents an otherworldly environment, and there’s only scant facts in the Elmer McCurdy story. So it’s the perfect way to present them and to really show the depth of it, and not just the cold facts — to bring some humanity to it and relatability.
Yazbek: We both had the instinct that that would be the way to tell the story, and that we could write the songs to tell the story. And, you know, I guess we’re right. So far.
Erik Della Penna (left) and David Yazbek
Jennifer Small
The ideas it brings up about achieving fame and notoriety at any cost — about this very American obsession with being remembered for something, anything — feels especially timely…
Yazbek: I have his memory of when I was maybe 15, I wrote a short story for a class, and it was kind of about that ephemeral idea that for some reason being remembered will afford you some degree of immortality. It’s just another f–king illusory comfort, but it really does drive people, sometimes for their entire lives — this idea of, “Oh sh-t, I’m gonna die. But wait a minute, I’ll be remembered! I’ll have a legacy!” Even the word legacy is dangerous. It’s why some people amass much more wealth than they should and put their name on buildings.
Della Penna: It doesn’t even work with buildings. Like, [New York’s] Alice Tully Hall is now David Geffen Hall, so what happened to Alice Tully? Now we all forget about her?
The onstage band is central to the show. Did you have a particular sonic palette or influences you were drawing upon in writing the music?
Della Penna: I think Yazbek asked me because my musical interests were in early 20th century American music…
Yazbek: That’s pretty accurate. I don’t read reviews, but people keep throwing little bits at me, and [the New York Times review] was referencing an album of mine called Evil Monkey Man, and Erik is all over that album, and just like in this show, he’s playing lap steel, different electric and acoustics, and there’s some banjo. That’s sort of at the root of all of this: Erik and I are both capable of being very eclectic in our songwriting. We both love this genre — I don’t want to call it Americana, but like you just said, that early 20th century American music…
Della Penna: And that includes Cole Porter, Irving Berlin, Jimmy Rogers…
Yazbek: And all of that stuff is very apropos for this show. The show is 100 years of American history. And from the very beginning, we sort of said, “Let’s Lennon and McCartney this” — in other words, let’s not be counting bars and who wrote what, let’s go all in, and that was part of the fun of it.
Though you do have two standout performances in central roles — Tony nominees Andrew Durand as Elmer and Jeb Brown as the narrator and bandleader — this truly feels like an ensemble piece. The cast is a band too, in a way.
Della Penna Absolutely — the cast as a band, that’s right. We were thinking about that for a while, getting a star in there [as] the narrator. I thought that would be more guaranteed juice for this to move [to Broadway]. But I also felt bad that it was sort of a cop out for the quality of the piece and the quality of the music. So I’m glad where it landed.
Yazbek: Yeah, me too. I was talking to somebody, maybe one of our producers, about how there’s the artistic currency of a show, but then there’s also, like, the currency for marketing the show itself. And to me, the currency for marketing the show is quality with a capital Q. The star of the show is how great everyone is who’s in it, and its uniqueness and its depth. Like, can’t you market that? (laughs)
Dead Outlaw
Matthew Murphy
Dead Outlaw started out at New York’s Minetta Lane Theater as part of Audible’s theater series there. How did that help launch the show?
Yazbek: There are several independent theaters, regional and local, that should have just immediately said, “Oh, the Band’s Visit guys. Oh, this music, oh, this story. Yeah, sure, here’s a slot.” And for some reason, I guess because we didn’t have a star and it wasn’t [preexistent] IP, they didn’t do it. I’ve had at least two artistic directors tell me how much they regret not doing it, which is very satisfying. But it was [Audible’s] Kate Nathan who said, “Oh, I think we can do this. I think we want to do this.” And as the budget grew, she just saw us through the development. That takes vision.
David, you’ve done big, splashy shows, and you’ve done smaller shows like this one. As creators, does doing a smaller-scale show allow you to do something that a big budget spectacle doesn’t as much?
Yazbek: Part of it is like independent film versus studio films. There are producers out there who don’t really understand how to bring quality, other than just bringing the big flying helicopter or whatever the money can buy. There are economic exigencies to putting up a show on Broadway and keeping it running. And from the very beginning [with Dead Outlaw], I had that in my head. When we first were thinking, “Oh, well, let’s just do this as a band show with one narrator, and that narrator’s in the band” — to me, that was like, how could you say no to that? It’s just got to be good, but it’ll also be so inexpensive that you could put it in a playhouse and it could run as long as people want to see it without us having to charge $800 a ticket. Sometimes great art is done with a limited palette, as opposed to with anything you want. How much value is there in seeing these eight performers do 60 parts, and they’re great? Like, that’s f–king theater right there.
Featuring aural floral offerings from Miley Cyrus, the Foundations and more.
April showers bring May flowers, along with a slew of new music releases from Ed Sheeran, Maroon 5 and LISA and more to start off the month right. On the first New Music Friday of May 2025, the British pop star followed up April’s “Azizam” with a nostalgic new single titled “Old Phone.” Both songs […]
98 Degrees knows what you want. The long-running boy band has made heart-melting ballads its calling card since signing to Motown Records in the late 1990s.
Now, the quartet featuring brothers Nick and Drew Lachey and bandmates Jeff Timmons and Justin Jeffre are preparing to release their first non-Christmas album in more than a decade, Full Circle (May 9) — and to hear Nick tell it, Taylor Swift kind of had something to do with it.
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“She [Swift] was definitely an inspiration to us, and probably to a lot of musicians out there who felt like they just didn’t have ownership of their own creativity, of their own career to an extent,” says Nick, 51, in a recent group Zoom call with his bandmates about their decision to include six “98°’s Version” updates of their biggest hits on the album. The move follows Swift’s decision in 2021 to begin issuing “Taylor’s Version” remakes of (to date) four of her most iconic albums following the sale of the masters of her first six albums to former Justin Bieber manager Scooter Braun.
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“We were certainly inspired by her to do it, to great success and acclaim [and] we felt it was the right time in our career to make that move and take some ownership back over the songs that have paved the way for our success over the years,” says Lachey of the band, which had a hand in writing a number of the songs on their initial four-album run from 1997-2000. Admittedly, like Swift’s re-records, the fresh 98 takes don’t sound radically different, and Timmons, also 51, says that was the point.
“We decided we wanted to keep them true to their original form that people fell in love with,” he says of the spruced-up recordings of their Billboard Hot 100 top 20 hits “I Do (Cherish You)” (No. 13), “Invisible Man” (No. 12), “Because of You” (No. 3), “The Hardest Thing” (No. 5) and “Give Me Just One Night (Una Noche)” (No. 2).
“Over the past 20-plus years we’ve developed vocally in different ways, but we wanted to keep the songs with the integrity of the originals, because that’s what people fell in love with,” says Timmons, admitting that sometimes fans will give them feedback if the group messes around with the arrangements or melodies of its top hits. “We wanted them to sound almost exactly like the originals.” He also stresses that there was “no dispute” with former label group Universal Records that led to the decision, but rather a desire to have more control over how and where their most cherished songs appear.
“Some of the things that started irritating me was if I wanted to use my own music, our own music on a video post, Universal striking my own post for copyright infringement… it’s our own songs!” Timmons says. Like with the Swift remakes, Nick Lachey says he thinks it would be “great” if these new takes become the standard versions for their fans.
In addition to the revamps, the album features the first new non-holiday songs from the guys since their 2013 2.0 album. Again knowing their lovestruck lane and happy to hang out in it, they say the five ballads are 100% fan service. The album kicks off with the mid-tempo bubbler, and recently released single, “Stranger Things (Have Happened).” The bouncy pop tune was inspired by Netflix blockbuster Stranger Things and, like that show, it employs vintage synths alongside the quartet’s signature interwoven vocal melodies.
The classically keening 98 ballad, “Got U,” was co-written by Nick along with Soulshock & Karlin (Usher, Whitney Houston) with Alex Cantrall (JoJo) and produced By Anders Bagge (Madonna, Jennifer Lopez), while “Same Mistake” and “Tremble” are heartbreaking tales of regret over the one(s) that got away.
One of the most intriguing fresh cuts is “Mona Lisa,” which plumbs the mysteries of Leonardo da Vinci’s smiling painting in a super 98 Degrees way. “A portrait of a fairytale/ So we cover canvas like/ The colors mask the pain/ We only ever let them see/ The picture that we paint,” they sing before the uplifting chorus, “Is Mona Lisa smiling, or is there pain in her eyes/ Is it just an illusion?/ What is she hiding behind?/ Was she trying to put on a show?/ Not let Leonardo know/ That in between the cracks of the brush strokes/ Lies the truth only Mona Lisa knows.”
That song also features additional vocals from Filipino vocalist Janine Teñoso in what Timmons says is a nod the one of two territories where the band first broke nearly 30 years ago; the other one is Canada. “We didn’t break in the U.S. right away… and we wanted to get back into the Philippines because we knew we were going to tour there,” he says of the band’s upcoming first shows in the country that has been a stalwart supporter for decades.
The album also spotlights another team-up with a Filipina singer, Katrina Velarde, on a Taglish version of “I Do (Cherish You),” which should get the crowds on their feet when the guys perform in Manila on May 30 and 31. “They love love songs there [in the Philippines], it’s a very passionate, romantic culture and when we’ve been there we also noticed everyone can sing, really well! Like even the valet at the hotel!” Timmons says.
Listen to some of the new mixes and a preview of “Stranger Things (Have Happened) ” 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, Maroon 5 and LISA aim for the charts, Ed Sheehan stumbles through memories and Don Toliver and Doja Cat are ready to race. Check out all of this week’s picks below:
Maroon 5 & LISA, “Priceless”
From Christina Aguilera to Cardi B, Maroon 5 have teamed up with A-list solo stars on singles that have reached the top of the Hot 100 over the years; they’ll attempt to do the same with “Priceless,” a lightly funky, easy-listening pop track featuring LISA, hot on the heels of her debut album and Coachella performances, balancing out Adam Levine’s romantic crooning with airy sing-rapping.
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Ed Sheeran, “Old Phone”
After kicking off his new era with the global anthem “Azizam,” Ed Sheeran returns to the wistful, emotionally piercing pop-rock of previous eras with “Old Phone,” on which the singer-songwriter keeps strumming as he stumbles upon a long-dormant phone and gets flooded with the photos, texts and memories stored inside, searching for resolution within the discovery.
Don Toliver feat. Doja Cat, “Lose My Mind”
The upcoming Brad Pitt-starring racing drama F1 will boast one of the most high-profile soundtracks of 2025, and the compilation rollout gets kicked off with “Lose My Mind,” a shimmering, synth-drenched club track (courtesy of producer Ryan Tedder) that showcases Don Toliver’s silky melodic streak and Doja Cat’s chest-thumping rhyming, a few years after the latter scored a top 10 hit with her Elvis theme “Vegas.”
Bailey Zimmerman feat. Luke Combs, “Backup Plan”
“Getting back up — that’s the only backup plan you need,” Bailey Zimmerman declares on “Backup Plan,” the empowering new single that seems tailor-made for end-of-workout playlists to give you that extra bit of motivation. After Zimmerman teamed up with BigXThaPlug on the top 10 hit “All the Way,” Luke Combs serves as his co-pilot here, with the fellow country star’s rumbling voice turning into the perfect foil.
Selena Gomez & Benny Blanco, I Said I Love You First… And You Said It Back
In addition to a few stray tracks and remixes, the real appeal of I Said I Love You First… And You Said It Back, the deluxe edition of Selena Gomez and Benny Blanco’s collaborative full-length from March, is “Talk,” a cheeky new single that reanimates Cake’s beloved 1998 single “Never There” for a new generation of pop fans, complete with halting lyric delivery and slinky alt-rock arrangement.
Quavo feat. Takeoff, “Dope Boy Phone”
The tirelessly prolific recording run of Migos in the 2010s and early 2020s has resulted a slew of unreleased material seeing the light of day following the tragic passing of Takeoff in 2022, and “Dope Boy Phone,” Quavo’s new single featuring a posthumous appearance by his nephew and group mate, sounds as fresh as any of the rap group’s earth-rattling hits, including those on the pair’s underrated joint project Only Built for Infinity Links.
Fuerza Regida, 111XPANTIA
A press release for Fuerza Regida’s 111XPANTIA describes the new project as “pure Fuerza from start to finish”: with 12 songs and zero features, the album does indeed offer an unadulterated version of the Mexican music superstars’ aesthetic, full of carefully constructed arrangements and harmonies that encourage the listener to join in after a few listens.
Editor’s Pick: Key Glock, Glockaveli
Key Glock’s excellent new album may include an update of Three 6 Mafia’s “Stay Fly” on the single “Blue Devil,” but the rapper was already carrying on the tradition of Memphis hip-hop long before Glockaveli: through his recent mixtapes and particularly his critical work with Young Dolph, Key Glock has demonstrated an unflappable delivery and ear for effective production, and his new album feels like the mainstream arrival for an artist who’s already been putting in the work.
Dove Cameron is back with “French Girls,” an espresso shot of electro-pop that finds her continuing to explore moody, campy dance-pop that won’t quit.
“There’s a huge intersection between pain, heartbreak, joy and camp and levity. And that’s where we found ourselves in ‘French Girls,’” Cameron tells Billboard. “The melodrama of being a muse for a sculptor or a painter. There’s something so painfully romantic and also constricting about that. In ‘French Girls,’ the thing that I was really obsessed with was this self-sacrificing mania about being a muse that is not healthy.”
Aside from the song being inspired by her love for Paris and Parisian museums, she confirms that the chorus is a reference to Titanic, specifically the scene where Rose asks Jack to sketch her. And yes, she knows she’s technically misquoting the movie. “The public remembers it differently than what it was: in the movie, it’s ‘draw me like one of your French girls.’ But ‘draw me’ just didn’t sing as well as ‘paint me’.” Given that a lot of people “collectively remember it” as “paint me like one of your French girls” anyway, she took the creative license to tweak the line for her song.
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“I’m definitely not talking entirely about myself,” she explains of the song. “I’m talking about all of the women in the industry that are considered these great, larger-than-life personalities, these Helen of Troy people that we remember in history as these icons of beauty and art who can also be the most tragic figures. In ‘French Girls,’ it was just that (question of), ‘How far do we go to sacrifice ourselves for our art and for our love of what we do and for the people who love what we do?’ Are we interconnected? What is this amalgamation of things that we’re creating together as the audience and the person on the stage?”
Speaking of the stage, it was just announced that Dove Cameron will serve as the opening act on several dates of Dua Lipa’s Radical Optimism Tour in the U.K. and Ireland. You can find those dates below.
June 20, 2025 – Wembley Stadium – London, EnglandJune 21, 2025 – Wembley Stadium – London, EnglandJune 24, 2025 – Anfield Stadium – Liverpool, UKJune 25, 2025 – Anfield Stadium – Liverpool, UKJune 27, 2025 – Aviva Stadium – Dublin, Ireland
Ed Sheeran is bringing it all back home to celebrate his upcoming Play album. On Friday (May 2), the singer announced the run of shows in Ipswich this summer, which will have the Ed joined by an all-star roster of support acts as she sets up shop at Suffolk town’s Portman Road stadium, home of his beloved Ipswich Town FC football club.
The shows on July 11, 12 and 13 will find Sheeran joined by, respectively, Myles Smith and Tori Kelly on night one, Busted and Dylan on night two and James Blunt and Maisie Peters on the final evening. Sheeran, who last year bought a minority stake in the football club, posted a promo video on Friday morning cued to his new single, “Old Phone,” in which he toiled at drawing the lines on the venue’s pitch alongside a lengthy essay about what the venue means to him.
“Something incredibly exciting to announce. One of the first ever concerts I went to as a kid was at Ipswich Town Portman Road to see Elton John,” he wrote. “James Blunt opened for him, and I got so obsessed with James’ music, it really shaped me as a singer songwriter from then on. I started doing shows around ipswich as a young teenager, in pubs and bars, then moved to London to ‘make it’ because that’s what you did back then. Then things took off for me and I toured the world, but never ended up playing ipswich really, for whatever reason, but mostly because I lived there and thought if I’m gonna do it, it has to be special.”
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The singer said he first wanted to play Portman Road in 2019 when we wrapped up the Divide tour, but because football season was still in full swing he ended up playing elsewhere. “It’s always been such a dream to play Portman Road that I kept badgering the @ipswichtown team, but because I tour so much and football is very rigid in their schedule I always missed the opportunity to play it,” Sheeran added. “Fast forward to now, having become an investor in Ipswich Town, I got a bit more sway and asked if I could launch my new record there, as a one off weekend of shows, and they agreed. I play all around the world, in such amazing stadiums, but nothing means as much as this one here. This really is a true home coming, and is 3 nights only. It’ll be such a special weekend of shows, with a killer line up (shout out @jamesblunt for coming back and completing the circle).”
You can get early access to tickets by pre-ordering Play from Sheeran’s official store by 3 p.m. BST on Tuesday (May 6). A pre-sale will begin at 10 a.m. BST on Wednesday (May 7), followed by a general on-sale at 10 a.m. BST on Friday (May 9); click here for more information on ticketing.
Sheeran recently announced the details about his upcoming eighth studio album, Play, which is due out on Sept. 12 from Gingerbread Man Records/Atlantic Records. His first full-length LP since 2023’s Autumn Variations will feature the Persian-influenced first single, “Azizam” and nostalgic new song, “Old Phone.”
Check out the poster and video pitch for Sheeran’s Ipswich Town shows below.
We are delighted to announce that @edsheeran will be playing three live shows at Portman Road this summer! 🏟️🎶— Ipswich Town (@IpswichTown) May 2, 2025
Maroon 5 has returned with a major pop crossover moment. On Friday (May 2), the Adam Levine-fronted band unveiled their new single “PRICELESS” featuring BLACKPINK’s LISA, released via 222/Interscope Records.
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The track marks Maroon 5’s first-ever collaboration with a K-pop artist and offers a guitar-driven sound that nods to the group’s early 2000s roots, paired with LISA’s confident rap feature. The accompanying music video, shot on 35mm film and directed by Aerin Moreno, draws inspiration from Mr. & Mrs. Smith.
“It’s just a guitar-based song which we haven’t really done in so long. It happened first for us while we were recording the album. I think it’s just the purest and we are so happy to have LISA on it,” frontman Adam Levine said in a statement.
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He added, “The guitar intro is literally me playing into an audio message on my iPhone with an unplugged guitar. I actually got a little emotional recording ‘cause it was sort of reconnecting to our roots, which a lot of our fans have been saying ‘hey we want to hear that sound again.’ It’s been like over 20 years so I think it’s time for that to return.”
Teasers of the track, which Maroon 5 previewed on Instagram in late April, included Levine’s falsetto vocals alongside a rap verse from LISA: “Yeah, talk is cheap boy stop it/ Got my love that’s a real big profit.”
In the days leading up to the confirmation of “Priceless,” Maroon 5 also teased the collab by posting an Instagram photo from behind of the lead singer and a mystery woman standing side by side, gazing out of a floor-to-ceiling window at a cityscapeLISA’s IG Story also featured a clip with audio, showing the K-pop star lying back while seemingly filming a music video.
The single also serves as the first preview of Maroon 5’s upcoming 2025 album, which the band first teased during Levine’s recent appearance on The Tonight Show Starring Jimmy Fallon (April 8).
“PRICELESS” follows Maroon 5’s 2021 album Jordi, which peaked at No. 8 on the Billboard 200. For LISA, the track adds to her growing list of international collaborations as a solo artist, following the success of her 2021 debut single “LALISA” and her ongoing work with BLACKPINK.
Watch the “PRICELESS” video and stream the single now.