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Femme House, the nonprofit focused on creating equity in the music industry by amplifying voices of women, femme, gender-expansive LGBTQIA+ and BIPOC creators, will host the first ever Femmy Awards during Miami Music Week 2025.
Happening at Palm Tree Club — the waterfront hotel opened by Kygo’s Palm Tree Crew this past December — the March 27 event will honor artists, agents, managers, engineers, allies event brands and other figures across the industry who’ve worked to make the dance scene a more inclusive and representative space.
The Femmys will honor a flurry of groundbreaking artists, including Detroit legend DJ Minx and Chicago dance music royalty DJ Lady D, who will both receive the Pioneer Award for lifetime achievement. This award honors trailblazers who’ve broken barriers, reshaped the dance and electronic music industries and paved the way for femme, non-binary, and LGBTQ+ artists, leaving a lasting impact on music, culture and inclusivity.
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Barbara Tucker and Crystal Waters will be honored with the Voice of House award, which honors the vocalists who have soundtracked the dance music we know and love through generations. Meanwhile Sara Landry will be honored as Producer of the Year, an award that celebrates her singular contributions to electronic music.
Cross-category nominees will be announced in the coming weeks. Billboard is the official media sponsor of the Femmy Awards, which is taking place on March 27 from 1 to 3 p.m. Tickets and tables for the event are available now, with all proceeds from the event benefitting Femme House.
“The Femmy Awards were created to celebrate the artists, executives, and industry leaders who are actively shaping a more inclusive future for dance music,” Femme House Executive Director Emily Bass tells Billboard. “This year felt like the right time to launch because representation in electronic music is at a pivotal moment — there is progress, but there’s still work to do. Honoring legends like DJ Lady D and DJ Minx, who have spent decades breaking down barriers, alongside trailblazers like Sara Landry, who is redefining what it means to be a powerhouse producer today, reflects the impact that diverse voices have across generations. The Femmys are about more than recognition — they’re about cementing the legacy of those pushing this industry forward.”
“As an artist, I know firsthand how important it is to see yourself reflected in the industry — to have role models, mentors and a community that lifts you up,” adds Femme House co-founder LP Giobbi. “The Femmy Awards are our way of shining a light on those who are not only making incredible music but also creating opportunities for others to rise. DJ Lady D and DJ Minx have paved the way for so many of us, and Sara Landry is leading the charge for the next generation of producers. We hope The Femmys inspire more people to challenge the status quo and build a more equitable future in dance music.”
“The Femmy Awards aren’t just about celebrating talent, they’re about acknowledging the people who have fought to create space for underrepresented voices in dance music,” continues co-founder & Head of Culture, I know how powerful it is to see pioneers like DJ Lady D, DJ Minx, Barbara Tucker and Crystal Waters honored for their legacy, and to celebrate someone like Sara Landry, who is showing the next generation what’s possible. This moment is about more than awards — it’s about visibility, representation, and giving credit to those who are shifting the culture.”
Femme House will also host additional events during Miami Music Week, with the third annual Femme Friday happening March 28 at W South Beach. The daylong program will provide emerging artists with direct access to top industry professionals in an effort to foster education and community building.
With RuPaul’s Drag Race bringing back their Rate-a-Queen system for season 17, Billboard decided to rate each of the new queens every week based on their performance. Below, we take a look at the latest design challenge to see which queens crafted up a winning look. Spoilers ahead for episode 9. Part of the aim […]
With RuPaul’s Drag Race bringing back their Rate-a-Queen system for season 17, Billboard decided to rate each of the new queens every week based on their performance. Below, we take a look at this season’s Rusical to see which queens brought Broadway to the main stage. Spoilers ahead for episode 8. As Jewels Sparkles aptly […]
As Little Monsters everywhere gear up for the release of Lady Gaga’s hotly anticipated new album Mayhem, Mother Monster herself is giving them a glimpse of what they can expect from the new LP.
In a new interview for InStyle, Gaga spoke with Spotify’s head of global editorial Sulinna Ong ahead of her Little Monster Press Conference for the streamer. During their conversation, the “Abracadabra” singer shared a sneak preview of two songs — “The Beast” and “Perfect Celebrity,” respectively — that are featured on her new album.
Speaking about “The Beast,” Gaga revealed that the lyrics of the song see her “singing to a werewolf” that represents her. “The lyrics are: ‘You can’t hide who you are, 11:59, your heart’s racin’, you’re growling, and we both know why,’” Gaga revealed. “And somehow that gothic dream is not just about me in a relationship with this person that’s about to turn, but what if I was to just sing it to myself and the beast is Gaga?”
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When talking about “Perfect Celebrity,” Gaga mentioned that the concept of “duality” present in both her videos for “Disease” and “Abracadabra” continue in the new track’s lyrics. “The lyric is: ‘I’ve become a notorious being, find my clone, she’s asleep on the ceiling,” she said. “It’s this idea that we all, in a way, have our real selves and then our clone version that we project to the world. So there’s a lot in Mayhem about multiple yous or multiple mes and what it’s like to have those things be at odds with each other all the time.”
As for the inspiration behind her new project, the singer pointed directly to ballroom culture as a driving force that found its way into the album’s music and lyrics. “I grew up in New York City and I also was a student of Paris Is Burning when I was really, really young. And I was always inspired by the tremendous amount of grace, freedom, expression and joy of ballroom culture,” she said. I was lucky enough to be around some dancers that were a part of that life.”
Gaga continued, adding that she felt it is a “privilege” to be a member of the dance community, and to be embraced by those who have built such lasting institutions. “There are these spaces in the world where there’s an ability for the community to express and experience joy, even when life is not treating them that way,” she explained. “And I am still so inspired by it and to this day, it felt like a relevant thing to bring up in the [“Abracadabra”] video because it’s about resilience. I can’t think of a place where I’ve seen more resilience than in a ballroom.”
The news comes just one week after Gaga unveiled the tracklist for Mayhem (due out March 7 via Interscope), including singles “Disease,” “Abracadabra” and “Die With a Smile,” as well as the two new tracks she teased. Spotify’s Little Monster Press Conference — during which Gaga’s fans will have the opportunity to ask Mother Monster their own questions — is set to take place Thursday, March 6, at 6 p.m. ET, simulcast across Spotify’s social media accounts.
When it comes to his sophomore album, pop phenomenon Lil Nas X has been taking his sweet time. But fans finally got a glimpse at what’s coming next for the rapper on Thursday (Feb. 20). Explore Explore See latest videos, charts and news See latest videos, charts and news In a post to his X […]
Pisces season has officially begun! If you’re looking to celebrate the season by relaxing and staring listlessly into the distance, then why not do it to a soundtrack? Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ+ artists.
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From Dove Cameron’s highly-anticipated return to Doechii’s teamup with JENNIE, check out just a few of our favorite releases from this week below:
Dove Cameron, “Too Much”
This one is for all the girls, gays and theys that were ever told by an ex that they were just a bit “extra.” Dove Cameron excoriates a former flame that just couldn’t handle her on the electro-pop jam “Too Much,” making sure that they understand who the real problem was. A relentless beat and Cameron’s crystal clear voice make this campy kiss-off a must-listen, as she proudly declares “If you say I’m too much, baby, go find less.”
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JENNIE feat. Doechii, “ExtraL”
What happens when you take the leading rapper from one of the most successful K-pop acts ever and team her up with one of the hottest names in contemporary hip-hop? Well, you get something like “ExtraL,” a thrilling, bossed-up anthem courtesy of BLACKPINK’s JENNIE and Doechii. The duo trade verses flexing their inherent worth on this A-list banger, encouraging the ladies listening to take charge. JENNIE gets more than a few bars in (“Said ‘f–k your rules’ is the mood, damn right” hits hard in the pre-chorus), but Doechii really elevates the song to new levels with her motormouthed appearance (“In the boardroom looking bored ’cause I’m not here for pleasin’ the men,” she spits.)
Perfume Genius ft. Aldous Harding, “No Front Teeth”
Don’t go into “No Front Teeth” trying to predict what Perfume Genius and Aldous Harding are going to deliver, because you’ll simply never be right. On this stunning, chaotic new single, the duo start things off in a soft, indie-rock atmosphere that fits both of them perfectly. Within the first two minutes, the song has become a raucous rock track with both stars reveling in their respective universes of clashing sounds. If you want to see things get even weirder, pop on their excellent music video and watch this excellent pairing bring even more havoc to this thrilling new track.
Durand Bernarr, Bloom
R&B star Durand Bernarr has a lot to say about love — the good, the bad, and the ugly of it all. Bloom, Bernarr’s excellent new LP, carefully examines love (both romantic and not) in all of its facets, whether that comes in the form of frustration (“Overqualified”), initimacy dynamics (“Impact”) or even just the simple act of matching someone’s energy (“Jump”). Throughout each of these funk-infused songs, Bernarr’s acrobatic voice shines the brightest, as he effortlessly shows off why he is one of the most talented vocalists in the game.
Chloe Moriondo, “Hate It”
The worlds that rising pop singer Chloe Moriondo has created are colliding, and we couldn’t be happier to see it. Taking the unhinged lyricism of a project like Blood Bunny and blending it with the pop soundscape of one like Suckerpunch, Moriondo’s new single “Hate It” provides the best of both worlds for this artist as she crafts an immediate pop earworm while also singing about wearing someone else’s face over their own. In short, “Hate It” is the exact kind of unhinged energy we’re looking for in 2025.
Blondshell, “Two Times”
Blondshell seems to keep getting bigger, which makes her sparing new single “Two Times” that much more fascinating to listen to. On her latest single off her forthcoming sophomore album, Sabrina Teitelbaum removes any artifice surrounding her to sing a simple love song about the simplicity of her relationship. Leaning heavily into a rich acoustic sound, Teitelbaum tells it exactly how it is on this phenomenal new song: “You’re not bad, you’re not mean/ You lie about my hair ’cause you love me.”
Hurray for the Riff Raff, “Pyramid Scheme”
We all, collectively, probably spend too much time on the internet — and Hurray for the Riff Raff would like to talk about that. On their new single “Pyramid Scheme,” Alynda Segarra rails against the system that has been built to divide peoples’ attention and empathy into simple bits of information and code, all while wondering aloud what those systems are doing to the perception of art in the modern age. It’s the kind of modern folk anthem that gives you the shivers when you first hear it, because you know looking back in a few years, it’s going to feel even more prescient than it does now.
Check out all of our picks below on Billboard’s Queer Jams of the Week playlist:
After President Donald Trump was elected chair of the John F. Kennedy Center for the Performing Arts, many have speculated about what the embattled commander in chief would do with his new position. This week, one performing group got an answer.
On Wednesday (Feb. 19), the Gay Men’s Chorus of Washington announced that the Kennedy Center had canceled its upcoming Pride Month performance of a show titled A Peacock Among Pigeons, based on the LGBTQ+-inclusive children’s book of the same name. The concert, which was set to take place with the National Symphony Orchestra in May, was scheduled to kick of Washington, D.C.’s Pride celebrations ahead of the city hosting WorldPride 2025.
“We are deeply disappointed with the news that our upcoming Pride performance with the National Symphony Orchestra (NSO) has been canceled,” the chorus wrote in a statement posted to its Instagram page. “We believe in the power of music to educate and uplift, to foster love, understanding, and community, and we regret that this opportunity has been taken away.”
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The organization continued, adding that they would still perform their rendition of the piece during the WorldPride festivities. “While we are saddened by the decision, we are committed to this work and to our mission of raising our voices for equality for all,” the statement read. “We are grateful to those who have supported us, and we will continue to seek spaces where our voices, our stories, and our music can be heard.”
Billboard has reached out to the Kennedy Center for comment.
The news comes just a few weeks after President Trump staged a dramatic takeover of the cultural institution. The president purged the Kennedy Center’s board of 18 Democratic appointees while promising to install himself as chairman, added new members to the board more aligned with his politics, was unanimously named the new chairman and fired the Center’s former president, Deborah F. Rutter.
In a statement given to NBC News, the National Symphony Orchestra’s executive director Jean Davidson claimed that the decision to cancel A Peacock Among Pigeons was made prior to Trump’s reshaping of the Kennedy Center’s board. “Before the leadership transition at the Kennedy Center, we made the decision to postpone [A Peacock Among Pigeons] due to financial and scheduling factors,” she said in a statement. “We chose to replace it with The Wizard of Oz, another suitable program for World PRIDE participation.”
Abbey Road Studios has shared details of this year’s Equalise Festival, which will return for its sixth annual edition March 3-8.
In conjunction with International Women’s Day, the London event will provide young creatives with the opportunity to work with female and non-binary artists, producers and engineers through hands-on learning.
This year’s Equalise programme features workshop sessions from rising names including Aziya, Divorce, Man/Woman/Chainsaw, Fiona-Lee and Flowerovlove, with a final act to be announced.
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The respective acts will each record a new piece of music as part of their studio session, while aspiring engineers and producers will be invited into the room to observe the creative process. Producer and harmonica player Sarah Meyz will oversee the sessions alongside Marta Di Nozzi, assistant engineer at Abbey Road Studios.
Those interested in participating in Equalise Festival 2025 are encouraged to enter a ballot, where they can submit their work for consideration using the official form here. Entries will close this Sunday (Feb. 23) at 11:59 p.m., and winners will be notified the following day (Feb. 24).
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Speaking about Equalise 2025, the studios’ managing director, Sally Davies said in a statement: “I am incredibly proud that the Abbey Road Equalise program is entering its sixth year. At Abbey Road, we believe in fostering a diverse and inclusive music industry and Equalise plays a vital role in creating opportunities for talented young women and non-binary individuals.”
She continued: “By providing young talent with access to our facilities and mentorship from our engineers, we hope to empower the next generation of creative talent to shape the sound of tomorrow. Equalise is not just about providing technical skills; it’s about fostering a supportive community and breaking down barriers for underrepresented voices.”
Since its inception in early 2020, Abbey Road Equalise has delivered a multitude of events coinciding with International Women’s Day, Pride and Trans Day of Visibility, all with the intention of highlighting the need to drive greater gender balance in the music industry.
The site of the world’s most well-renowned recording studio, over 93 years, Abbey Road has welcomed the likes of The Beatles, Oasis, Amy Winehouse, Lady Gaga and Florence + The Machine into its hallowed recording spaces. Last year, it played host to the official live ceremony for the Mercury Prize.
With WorldPride returning to America for the first time since 2019, organizers are ready to give their audience even more reasons to celebrate in 2025 courtesy of their A-list headliners. On Tuesday (Feb. 18), WorldPride announced that Jennifer Lopez and Troye Sivan would serve as the official headliners for the Washington, D.C.-bound festival. Taking place […]
With RuPaul’s Drag Race bringing back their Rate-a-Queen system for season 17, Billboard decided to rate each of the new queens every week based on their performance. Below, we take a look at the iconic Snatch Game to see which queens nailed their celebrity impressions. Spoilers ahead for episode 7.
Even in a time when chaos reigns, some things are constants: the sky is blue; the grass is green; and the queens on RuPaul’s Drag Race will have to perform in the Snatch Game.
On Friday’s episode (aired Feb. 14) of Drag Race, the iconic challenge finally arrived as the 11 remaining queens were asked to deliver their best celebrity impersonations in the Match Game riff. Some queens — namely Suzie Toot — were confident in their abilities to deliver on the task at hand. Others rightly feared the expectations of the show’s longest-standing challenge.
Before we go any further, let’s make one thing clear — of all the Drag Race challenges, Snatch Game is famously the hardest. Not only do you need to create a semi-accurate recreation of a beloved star, but you also need to stay in that character for an extended period of time, with no script, making RuPaul laugh while there is no audience there to let you know how you’re doing. As Jinkx Monsoon, a two-time Snatch Game winner, told Billboard after season 14’s disastrous iteration of the challenge: “It’s one of situations where two things can be true at once – yes, Snatch Game happens every season, but also it’s either in your skill set or it’s not, and I don’t think it should really be held against queens for whom this is not their thing.”
With that being said … this was not a successful Snatch Game. While a few queens managed to get their laughs here (more on them later), most of the contestants were either forgettable or catastrophically bad. The two worst performers of the bunch, Crystal Envy and Lana Ja’Rae, wound up in the bottom — but with a lot of these performances, any number of the other girls could have easily wound up in their shoes.
Yet when it came time for a lip sync to Selena Gomez’s “Hands to Myself,” both Crystal and Lana turned it back on, delivering one of the most high-octane face-offs of the season. Ultimately, the judges decided to give Lana another shot in the competition, sending former frontrunner Crystal Envy home.
Below, Billboard takes a look back at episode 7 and ranks where our remaining contestants lie based on this episode and the season as a whole:
ELIMINATED: Crystal Envy
Image Credit: Courtesy of MTV