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Olivia Rodrigo has entered her Edward Cullen era with her long-awaited new single, “Vampire,” which arrived just after midnight on Friday (June 30). “Vampire,” out on June 30, is Rodrigo’s first project since her 2021 multi-platinum debut Sour. She shared the news of the track earlier this month, along with the single’s black-and-white cover art, in which […]
“It’s very nerve-racking,” Olivia Rodrigo tells Billboard during a call a few days before the release of her new single, “Vampire.” But also, she admits, “I haven’t put out music in, what, two years now?”
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Two years, one month and nine days, to be exact: with 2021 debut album Sour, Rodrigo ascended to superstardom and capitalized on the Billboard Hot 100-topping enormity of its lead single, the brilliant breakup ballad “Drivers License.” A pastiche of pop-punk flare-ups, bedroom-pop ruminations and crunchy alternative, Sour led to a best new artist Grammy win, a sold-out 2022 headlining tour, a documentary and a prom-themed concert film… but zero new music from Rodrigo since its release, save for a few previously recorded tunes from her role on the DIsney+ series High School Musical: The Musical: The Series.
Rather amazingly, all 11 songs on Sour have peaked within the top 30 of the Hot 100 — but they haven’t been followed by any bonus tracks, guest features or stopgap songs. No wonder “Vampire,” the lead single to Rodrigo’s forthcoming sophomore album GUTS (due out Sept. 8 on Geffen Records), is arguably the most anticipated new single of the year.
Created with her main Sour collaborator, writer-producer Daniel Nigro, “Vampire” begins as a betrayal-strewn piano ballad in the vein of “Drivers License,” but then busts open into a pop-rock epic full of jittery percussion and wounded, dramatic vocal runs — something like My Chemical Romance’s The Black Parade, refracted through a generation raised on Taylor Swift and Lana Del Rey. “Vampire” represents a go-for-the-gusto pop statement that both pushes Rodrigo’s songwriting forward while also providing plenty for Sour fans. It sounds purposely huge, and like it’s about to be inescapable.
“Putting out a new song is a little bit daunting, but ultimately really exciting,” Rodrigo says. “I just feel really lucky to have so much support coming from all angles.” Below, Rodrigo explains how the song became her new single, and the period of growth she experienced since Sour that will inform GUTS. (Ed. note: this interview has been edited for clarity.)
How did “Vampire” come together?
I wrote it on the piano, the original version, in December of last year, and I really liked it. I remember writing it and feeling like something special was there. And I took it to my producer Dan, and we finished it up together and rewrote some things and produced it. It was quite a long production — it’s pretty lush, so it took us a while. But I’m really happy with the way it came out.
I love how the song opens up after the first chorus into this huge, multi-part, theatrical statement. At what point did it become obvious that this would be the lead single?
We always said that it was kind of our version of a rock opera. [Laughs.] I think as the album was coming together, we were coming up with a bunch of songs that we really liked, but this one always stuck out to me as something that I felt like was honoring my singer-songwriter roots, but felt like an evolution — in a good way that wasn’t too stark. And so I really liked it for that, and it was always one of my favorites.
I’m curious about the messaging of the song — your take on someone using you, and leeching off of your fame. Where did those themes come from? Had they been rattling around in your mind for a while?
I think it’s just a song about feeling used, and all of the anger and regret and heartbreak that comes with it. And I think that’s a common feeling, whether or not someone’s famous. That was something that was just really bubbling inside of me — it’s kind of an angry song, and I think I have a lot of trouble expressing feelings like anger and regret, those are particularly tough ones for me to express. I go to songwriting to get those feelings out that aren’t super comfortable to express in everyday life. So it was a very therapeutic experience, writing this song.
It’s hard to imagine how cathartic this one is going to feel for you when you first perform it live.
Oh my gosh, I’m so excited. I’m really excited for the live show — I feel like the album is shaping up to be a really fun set.
You’ve spoken recently about the incredible growth you’ve experienced over the past two years — this whirlwind that included Sour, touring, the Grammys, traveling, now writing again. When you look back on the past two years, what was the most surprising part, something that the Olivia of two years ago never would have expected?
I mean, the Olivia of two years ago definitely wouldn’t have expected her career to do all the crazy, wonderful things that it did so quickly, and I’m very grateful for that. I’ve changed so much in the past few years. All that crazy stuff happened in my career — “Drivers License” came out and it broke all these records, and I was lucky enough to win some Grammys, which was a huge dream of mine ever since I can remember.
But I think the most change I’ve felt was just in Olivia as a girl — growing up and changing from being a teenager to a 20-year-old. All of the maturing and figuring yourself out, that’s just on a normal human-to-human level — I think that was the most surprising thing for me.
Is the pressure you’re feeling ahead of this single release significantly different than what you were feeling ahead of “Drivers License” or Sour?
Totally. It’s definitely a different feeling, and it felt different making this album too. I mean, it’s a lot of pressure. I’d be lying if I said that I didn’t feel that. But I think I got to a place throughout making the record where I really shifted my perspective from being like, “Oh, we have to make something that’s gonna impress everyone, and beat the last one!” All of this was just swimming in my head, and I wasn’t writing songs that I resonated with. It wasn’t productive, and conducive to good work.
And so I had to shift my perspective into just trying to make music that I would like to hear on the radio, and once I did that, things started flowing a little easier. So I just try to maintain that that perspective.
How indicative is “Vampire” of the sound of the rest of the album?
I actually feel like the album is really, incredibly diverse. There are other kinds of ballads — I guess I consider “Vampire” a ballad on the record — but yeah, I don’t know! It’s all pretty different.
With “Drivers License,” you translated this painful personal moment into something relatable for a wide audience. Now that you’re at the top of that roller coaster again with this lead single and ready to rush down, how does it feel to be sharing this new piece of yourself?
I mean, not gonna lie, it’s pretty scary! I was definitely a little more dauntless last time with “Drivers License,” because I had no idea that anyone would listen to it – but it’s scary to think about putting a song out into the world that’s vulnerable and represents painful feelings for you.
I’m just trying to not think about it, to keep my head down and do all the work. Everything else is out of my control. It’s kind of nice to give it to people, and then it’s not yours anymore. It’s a beautiful thing! So I’m just trying to remember that.
Madonna sent the entertainment world into a worry when her manager Guy Oseary took to Instagram on Wednesday (June 28) to reveal that the Queen of Pop spent a few days in the ICU after she developed a “serious bacterial infection.”
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As of Thursday (June 29), Billboard confirmed that the icon is at home and feeling better, and Oseary noted in his original post that “a full recovery is expected.” However, the hospitalization forced Madge to put her massive, highly anticipated Celebration tour on pause for the time being.
Following the news of her hospitalization, celebrities flooded social media with love, support and well-wishes. “Sending our prayers,” The Weeknd wrote on his Instagram Stories, in which he reposted Oseary’s statement.
Madonna’s longtime friend, Debi Mazar, shared a throwback photo of the duo, writing an assuring message in the caption: “Get well Sis! Rest, Restore, Reboot! Strongest gal I know… To all of her fans- Madonna is on the mend & home resting!”
The superstar’s backup singers Niki and Donna shared a similarly loving message alongside their own throwback photo. “Seeing, Believing and KNOWING ONLY the BEST for M’s Speedy Healing….. SHE is a Warrior and Her Body will listen to the Strength that resides within …. WE have SEEN THIS.. WE Believe THIS… WE KNOW THIS …. HEALTH and WHOLENESS are the Orders of the Day!!! And so it is. Sending our prayers of love and healing light always,” they captioned their post.
Under Oseary’s Instagram statement, a number of stars shared their well wishes, including RuPaul’s Drag Race judge Michelle Visage, who wrote, “TAKE GOOD CARE OF OUR QUEEN.”
Rita Wilson echoed the sentiment, writing, “Sending Madonna my prayers for a speedy recovery.”
Julia Garner, who was reportedly cast to portray Madge in the paused biopic on her life, commented with a series of heart and prayer emojis. Jon Batiste shared a similar sentiment with a string of prayer emojis. Isla Fisher continued the love in her comment, sharing, “Sending her so much love from us.”
See Oseary’s post with all the loving comments below.
Olivia Rodrigo sure loves her purple album covers. Just three days after announcing her sophomore album Guts and giving fans a peek at its plum cover art, the 20-year-old pop star has now unveiled an alternative vinyl available only through Target — and yes, the secondary cover also features quite a bit of Rodrigo’s signature […]
BTS‘ Jung Kook is about to light the summer up light dynamite! BIGHIT Music announced on Thursday (June 29) via Weverse that a new solo single is coming from the singer-songwriter — and soon. The track, titled “Seven,” is slated to arrive on July 14. The release describes the tune as “an invigorating summer song” […]
Amber Bain has a bit of a self-flagellating streak when it comes to her music. “I have this thing where I release songs, and I’ll come back to them later and be like, ‘That’s the most embarrassing thing I’ve ever heard,’” she tells Billboard, as a smile slowly forms on her face. “That’s not happening this time.”
Bain, formally known on stage as The Japanese House, sounds almost surprised as she reveals her lack of contempt for her new music. Her new album In the End It Always Does (out Friday, June 30 via Dirty Hit) shares plenty in common with her past works like 2019 debut LP Good at Falling or 2020 EP Chewing Cotton Wool — meticulously-crafted indie synth-pop that revels primarily in its own honesty about loss and heartbreak.
But Bain noticed something different about In the End shortly after she wrapped recording on the album last year. “It wasn’t intentional, but I think I used female pronouns on nearly every song,” she says. “That kind of stuff used to feel so huge to me — when I was a kid, I’d rewind t.A.T.u.’s ‘All the Things She Said‘ to listen to the word ‘she’ 3,000 times.”
The inadvertent proliferation of queer themes throughout In the End extends to Bain in real life — sitting in a conference room in Billboard’s New York office, Bain sports a beige t-shirt that reads “Abercrombie & Butch,” which she proudly points to as a sign of personal growth. “Three years ago, I would never have worn this, because I wouldn’t want to associate myself with the word ‘butch,’” she says, lightly laughing.
Below, Bain breaks down the conception and creation of her new album In the End It Always Does, how she worked with The 1975’s Matty Healy and MUNA’s Katie Gavin to bring it to life, and how it’s helped her come into her own as an artist and a queer person.
The album is coming out soon — how are you feeling about people finally getting to hear it?
I’m feeling super excited. I recorded it in summer of last year, so I’ve been living with it for quite awhile. which is kind of nice. Because I’ve had quite a big break from listening to it, I’m actually getting to hear these songs as a listener.
I really love that you’ve put a focus on releasing live sessions of some of the songs in lieu of more traditional music videos — is there a reason why you wanted to do that?
I think that, in doing this record, I’ve realized how much I really enjoy playing instruments and playing as a band. I love the musicality of that side of production — I’ve been less drawn to the electronic setup, on my laptop with my fancy screen. It didn’t feel natural to do a music video, because I didn’t want to create a whole narrative. The songs themselves are far less abstract than before, and they’re quite direct and to the point. So I thought, “Well, if I’m doing a performance video, it’d be cool to do a different version of the songs.” Some differ more than others to the original versions, but like, they’re all pretty different.
That “Sad to Breathe” live session was phenomenal, it was so cool to immediately get this very different interpretation of the song.
Thank you — yeah, it was nice to record them, because I really like my band. We haven’t toured since 2020, so those were the first time we were playing as a full band together again.
“Boyhood” is such a fitting lead single for this project, because it shares some DNA with your past work, while also getting right into the more explicit queer themes you see on the record. What went into the writing of that single?
It was a lot of things that sort of amalgamated into this one song. I’d called it “Boyhood” because I’d watched that Richard Linklater film — I love that film — and realized that I have some weird links to it; I think [the protagonist] is exactly the same age as me; my parents are also divorced. So then, I was just thinking about the way that you grow up, and how the things that did or didn’t happen to you really mold you, to the point where you either have to let certain things go or embrace them. And I was thinking about how it’s quite sad that you don’t have a choice of who you are.
That then made me think about how that tied into gender. For the last few years, I’ve really been exploring that I don’t feel like a girl. I really didn’t relate to a lot of my friends who were girls growing up — in our girlhood, I didn’t feel like I fit in to that bracket at all. As a kid, I truly think I was verging on trans; I would really think about changing my gender a lot. As I grew older, there was suddenly language that made it possible to talk about the fact that there are more than two genders, which allowed me to settle into just being whatever gender; I don’t really have a label for myself, maybe genderqueer. So, the song is me wondering how different I would be had I had the boyhood that I wanted. It’s about letting go of needing to know the exact catalysts for everything.
That’s part of what makes it so relatable — because it feels like, on the whole, labels around gender and sexuality have become a lot less important to a lot more people.
Completely — though I do think it’s obviously different for everyone, as well. I think people sometimes talk quite negatively about people making certain aspects of themselves a big part of their identity. But who cares? I mean, I used to be so afraid of making being gay part of my identity, in terms of releasing music. The thought was that I didn’t want that to be my “thing.” Now, I absolutely don’t care if it’s my thing — in fact, it’s kind of amazing that it can be a thing. Today, I walked down the street and I can’t tell if I’m looking at a bunch of lesbians or they’ve just been born after the year 2000. Everyone looks like a lesbian, and I love that!
What felt different to you about the making of In the End It Always Does compared to Good at Falling?
One of the main differences was working with Chloe [Kraemer, the album’s producer and engineer]. When I started working with Chloe, we just kind of became best friends. I don’t think I’d ever worked with another queer woman in that capacity, and it felt like I could see myself reflected. We’re so similar in a lot of ways; musically, our personalities, our identities. That just kickstarted the whole project.
We always talk about the lack of representation for women and queer people in production — getting to work with Chloe, what stood out in getting to experience that feeling of shared space?
It was kind of life changing — like, I don’t ever want to work on anything without her. We have such a close connection, which I do think is because we share such a similar experience. That’s not to say that I’m “missing” something when I’m working with George, but I can just look at her and roll my eyes, and she gets it. You feel f–king crazy when these old men in their 60s are telling you what a microphone is.
In one of the first meetings I had with a manager who I never worked with, he said, “You’re a girl, but you can also produce, that’s so crazy.” Like, why is it crazy? We can use computers. That was about 10 years ago, so just having that connection with someone and feeling completely comfortable and understood made a world of difference.
You also got to work with Katie Gavin from MUNA on “Morning Pages” and “One for Sorrow, Two for Joni Jones.” What was she like to work with?
So “Joni Jones” is probably my favorite-ever studio experience. I had this piano-y song I had recorded that was this really obvious ode to Joni Mitchell. Matty and I decided to make the vocal be this sort of rambling, non-linear piece with it. That morning, Katie was gonna come into the studio because she was in London and we were hanging out. I’d written this weird little poem, which would end up being the lyrics — I was too involved in thinking of how to do it, and so Katie just looked at it and said “I’ll give it a go.”
She sat at the microphone and in one take, note for note, did that entire song. I mean, we were sobbing. She’d never heard the song or read the lyrics. So we kind of got high off that moment for days after. Yeah, I love working with Katie, she’s just a really great friend.
You’ve been with Dirty Hit for nearly a decade of your career at this point — how have you seen your label evolve over the last few years?
I joined Dirty Hit when The 1975 were playing to a few hundred people — I was one of only a handful of people on the label, and I’ve been collaborating with George and Matty for pretty much the whole of my career. Now, the label has all of these other artists, and I feel like there’s a lot of producers who really like working with Dirty Hit. So it’s now a situation where, if you want to work with someone, there’s probably a way through all these artists and connections that you could get there. Which is kind of amazing.
Part of what makes this album work so well is the fact that you’ve clearly figured out a sound that works for you, but still offers you lots of room to play around. How much of that flexibility was an intentional part of the process?
I’ve never really made anything with a direct goal for what it should sound like; it kind of ends up sounding how it sounds, because I just prefer that in the moment. It will just sound like me. But I think your tastes change — the things that excited me five years ago are not the things necessarily that excite me now, but then there’s also like classic things that I’ll always be drawn to. Certain melodies, certain ways of producing instruments, stacking vocal harmonies; that’s just what I love, because it scratches that itch in my brain when I hear it. A lot of producing feels like Tetris to me — you’ve got the perfect line, and you fit it in just the right spot. That’s how I feel when I know that the song is right; it’s just satisfying.
Unlike their western counterparts, K-pop artists intentionally steer clear of any news or discussions regarding relationships. Dating within the realm of Korean idols remains a controversial subject and in 2018, DAWN found himself embroiled in a dating “controversy” with a senior artist from his record label—an incident that could have spelled the end of his career.
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Today, however, that very experience is shaping his most impactful music to date.
Following the infamous expulsion of DAWN and his then-girlfriend HyunA from Cube Entertainment after going public with their dating news (despite a wave of international media attention and fan support for the relationship that put the contract break on temporary hold), the then-24-year-old boy band member embarked on a solo journey. He became the first male artist to join PSY at his newly established P NATION label.
His second act delivered experimental pop and hip-hop singles like “Money,” “Dawndididawn” and “Stupid Cool,” with his relationship put on fully creative display with a joint EP with HyunA, titled 1+1=1.
By the end of 2022, both DAWN and HyunA decided to end their contracts with P NATION as well as their six-year relationship.
Now, DAWN’s personal and professional transformations have paved the way for his Act III, which commences with his latest single “Dear My Light.”
Now signed with the burgeoning hip-hop label AT AREA founded by production duo GroovyRoom (who have produced everyone from Korean hip-hop legends like Dynamic Duo to trending idol groups like (G)I-DLE and OnlyOneOf), DAWN has found a new home to build a dedicated creative team so “more people to understand me as a person better.”
With more music in the works, DAWN’s inaugural step with AREA through “Dear My Light” discards K-pop’s signature glossy veneer and unveils an acoustic-led and emotionally charged letter to his ex. This production is not the only thing stripped down as DAWN exhibits candidness through the lyrics that speak directly to his experiences with the K-pop industry and HyunA. Ironically enough, despite cultural norms prohibiting K-pop stars from dating freely, “Dear My Light” has emerged as DAWN’s most successful chart hit in Korea thus far.
Reflecting with Billboard from the comfort of his Seoul bedroom, DAWN opens up about this new chapter, the raw experiences charged into his new single and what lies ahead.
Billboard: You had a busy end to 2022 and start to 2023 with new professional and personal changes. First and foremost, how are you feeling these days?
DAWN: When I left P NATION, I had about four to five months where it was a time to recharge and also kind of rethink and plan out what I wanted to be and how I wanted to define myself as an artist. There were two things that came up as goals: One was trying to have my own artistic team and create a creative crew that I can work with. Another thing was finding a label that can really understand how and who I envision myself as as an artist. And, now, I feel confident that I’ve accomplished both so I’m very happy and continuing to work with that.
The music industry can be challenging and this was another significant shift for you. People can get disheartened or broken down by the industry. Did you ever consider leaving music or does it remain your core focus?
Sometimes I do think about not pursuing music anymore because in the back of my mind, I’m always [thinking], “Until when can I really do this? Is there an endpoint to this? Will I be able to continue?” I think that when listeners feel what I’m doing in terms of music is not trendy or I’m not putting out good quality of music, I feel like maybe that’s the time when I stop but, obviously, I don’t want to. That’s why I’m always putting in the effort to look for something new, trying to learn and be inspired because being inspired by something is also a big part. So, that’s also why I created our team because I felt like I could be inspired from other boundaries of art too—not just other musicians, but from paintings, a tattoo, graphic design. I obviously don’t want to stop, but I think about it and I’m doing everything I can to continue to deliver good-quality music.
What was the process in creating and finding this team with your new label, AT AREA? I don’t know if I’ve heard of a K-pop artist making an art team in this way.
I started in K-pop and there’s a lot of visual effects to the music. So, when the music comes out it’s very important to think about how we’re going to maximize the content creatively and visually. When a song comes out, you have to think about the artwork, the video and photos—I think K-pop is an interactive content and art form. With AT AREA, I obviously wasn’t only talking about the music with them, but I started sharing my ideas with them and creating an art team was one way for more people to understand me as a person better since the team would understand my stories the best. I feel very comfortable and safe brainstorming on how my music will be seen; I’ll talk about different styles like, “I want to be seen this way for this kind of music.” The synergy is really, really great now and I have the right partners for each aspect of my music.
I’m glad to hear that because “Dear My Light” is very different from the music we’ve heard in the past. Starting with the sound, what made you want to take this almost musical shift?
The change and transition happened very naturally from leaving P NATION. Although I left under good terms, one of the reasons why I did was because I knew I wanted to show a new side of myself as an artist. So, I don’t want to describe this as a “new” path for me really because I don’t see it as a transition but simply a change in my mindset.
Even the artwork for “Dear My Light” feels like a change from your past work, almost like a new artist, so it’s really exciting but you say it’s a transition?
Apart from the piercing, I guess my new mindset is that before it was very focused on talent. I would say, “I can dance like this, I can sing like this and I can perform like this” so I was very focused on that. But now I’ve changed to wanting to showcase more of who I am as a person. As in, “This is a type of story that I want to tell you and inspire you.” I want to talk more about myself and send a message, “This is my voice and I want to tell my stories more.”
You’ve shared how “Dear My Light” is about your relationship with HyunA, which was very brave to not shy away from and put into a song. What more can you share about the song in terms of your history together?
I can confirm that it is about my past relationship, but I want to add that it would be odd for me to deny that because, as an artist, I want to talk about what I’m going through now. So, I’d be lying because that is what I went through, that’s what I’m going through and that’s how I’m feeling. So, I’m confirming it is about that and the song is my story.
Do you have a favorite lyric?
It’s a part of the first verse, the [English translated] lyrics of, “Met you when you were most beautiful/ I could go through anything no matter what anyone said.”
Is that line referencing when things were unclear after you left Cube Entertainment?
It is referencing back to that time when I left the company and there were a lot of different comments, media, stories, a lot of talking happening. There was a lot of backlash from that, but also a lot of people worried about us and, of course, a lot of people supporting us too. I was also very young at the time. But if I think back to it now, I feel like that was such a hard time but I remember that even though it felt like the whole world was against us and we could really go through it because we had each other and because we loved each other so much—that was what kind of helped us get through it.
Thank you for sharing that. I loved the chorus’s last lines, “It’s okay if I lose everything/ As long as I can see you dazzling.” There’s a sense of being selfless even if you’re hurting. What inspired that?
It’s a pretty direct reflection of how I was feeling when I was in love and I still believe that that’s the right way to love because I heard someone say once that if I really love someone, then your brain oddly makes you think that your lover is actually you. So, you start cherishing them like you’re cherishing yourself. And so I believe that what I do for my partner is essentially what I’m doing for the two of us so that’s kind of my selfless attitude when I think about relationships.
Something that I thought was interesting was that HA:TFELT, or Yeeun from Wonder Girls, co-wrote “Dear My Light” with you. She also came from an idol group background and could show herself and her stories more as an artist. Was there any connection or common ground that you guys found together?
So, I’m not very good with words. [Laughs] Expressing myself and my emotions into words is very challenging sometimes. One of the challenges was, “How can I write my emotions in a beautiful way?” And HA:TFELT has been a friend ever since me and HyunA were in a relationship so she’s kind of seen the whole process of our history. And she’s an amazing writer too. So, I really wanted to work with her; there was a really good synergy between us writing this.
The artwork and concept photos are very powerful too I loved all the styles in “Dawndididawn” and “Stupid Cool,” but this feels like one, straightforward concept. What are the artwork aspects representing here too?
I think fashion is not just the wardrobe or what I’m wearing, but I use it as a tool to express myself. That’s why I think there’s consistency because me, as a person, doesn’t change. So, I feel very confident that it looks coherent together. In terms of the artwork and the photos itself in “Dear My Light,” it’s a song about the progression of a version of myself that was in a dark space finding a person, finding the light, and progressing into a more positive person that feels brighter. That’s why you see thorns around the neck and a hole in my heart on his chest; all of that expresses the void that I felt during my dark times, but the music video shows that void fills up and the same progression that the song portrays.
Is there anything that you want people to know who listen and connect to the song personally?
For people who either parted ways from their partners or are going through a dark time in their lives, I want those people to know that if you look around, there are people that can really shed light on them.. There are people who really love them and I really believe that. Through this song, I also want to be that for them and reassure listeners that maybe this song could be the light, or if you really look around there’s someone who could be that for you. I want to be a cure for those who need it sort of.
Anything else to share as you continue on this new chapter?
For my fans and listeners, I always aspired to make music that inspires others. Now with AT AREA, I have already written a lot of my stories and will continue to write more. I’m looking forward to people listening to that music and I’ll keep working very, very hard.
Olivia Rodrigo is gearing up for a bloody good comeback as she unveiled the music video teaser to accompany her upcoming single “Vampire.” In the brief clip shared to Instagram on Wednesday (June 28), the 20-year-old star is seen laying in a dimly lit, foggy grass field under the full moon as a piano melody […]
Madonna’s hotly anticipated Celebration Tour is on pause after the Queen of Pop spent several days in the hospital following a “serious bacterial infection,” according to manager Guy Oseary on social media. The new came on Wednesday (June 28) afternoon, with Oseary revealing on Instagram that Madge had spent several days in the ICU after […]
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Swifties better drop everything now and run over to Taylor Swift‘s online store if they want any hopes of securing items […]