Pride
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When looking back on his husband Sir Elton John‘s storied career in the music industry, David Furnish points out that there is a lot to be proud of. Yet, when thinking about that legacy in connection to the future, Furnish settles on one aspect of John’s career that makes him proudest: the pair’s work with the Elton John AIDS Foundation.
Dedicated to ending the HIV/AIDS epidemic for good, the organization — which was founded by the singer in 1992 — makes headlines every year with their glitzy, star-studded Academy Awards Viewing Party. Over the course of 33 years, the annual benefit, held on Oscars night, has helped raise over $100 million for the organization’s fight against the virus.
“Things go in and out of fashion and change with the times,” Furnish explains. “But every year, to see that everybody keeps stepping up? That just blows our minds.”
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The 2025 iteration of the event promises to be just as much of a spectacle — along with being co-hosted by John, Furnish, and actors Jean Smart, Sheryl Lee Ralph, Neil Patrick Harris and David Burtka, the viewing party is also set to feature an exclusive performance from pop phenomenon Chappell Roan. (Tickets to the party are still available on the organization’s website.)
“We’re always passionate about bringing in great, new, rising talent where we can,” Furnish says of the “Pink Pony Club” singer, before pausing and correcting himself with a laugh. “Well, she’s already risen pretty quickly, and I’d say she’s arrived.”
Below, Furnish speaks with Billboard ahead of the annual fundraiser about his admiration for Roan, the evolution of the gala and why the fight against HIV & AIDS related stigma is far from over.
This year is the 33rd Oscars viewing party that Elton has thrown — in the time that you’ve been involved, how have you seen this party evolve into what it is today?
It’s been an extraordinarily gratifying and rewarding experience. I mean, the fact that we continue to host the premiere fundraising event on Oscar night, that we have that tentpole for our organization… not only does it give us a superb fundraising opportunity to raise much-needed funds, but it also is a tremendous profile opportunity to, one one of the biggest entertainment nights of the year, get the support that we do from the people that come to the party.
One of the most important things in the fight against HIV and AIDS is that we are not finished yet. We’ve seen tremendous progress and tremendous success with the medications, and a lot of people are under the impression that this disease is essentially cured. But consistency is the most important thing in this fight. We have an end in sight, we have our eye focused on the finish line, and we have all of the science and medication that we need to basically end AIDS for good. But we have to be consistent, we have to keep going.
I always say to Elton, “We always have tremendous attendance, we always have a great auction, you’d think after doing it for so many years it might kind of taper off.” But I kind of turn cartwheels as I come out the door every year, because I think, “Oh my god, this is as big or bigger than it’s ever been.” Every year, it continues to get such an extraordinary level of support from the sponsors, from the ticket buyers, from the auction donors, from the performers, from the people who help co-host.
Speaking of performers, you guys got an excellent one this year. You and Elton have been close with Chappell Roan over the last few months — what made you decide to bring her in as the performer this year?
Oh, loads of reasons! First and foremost, she is an unbelievably brilliant performer. We went to see her at the Brixton Academy in London — her command of the stage, her band, her way of delivering her songs, her connection with the audience, her voice, her performance, her visual, everything about her is just like, “Wow.”
She’s also had a fantastic year! She’s really risen so quickly, and has been received so enthusiastically, with great song after great song. I mean, look at that best new artist Grammy this year! But I’m sure that she’s had a lot of requests for her time, and she’s at that stage when you have to keep investing in yourself to grow — and the fact that she so identifies with our cause, and relates so much with our journey and our mission of making sure we put our arms around everybody and that no one gets left behind, is amazing.
It’s that magical combination of the most brilliant artist, at such an extraordinary moment in their career, who is also so connected with this issue. We are just counting our lucky stars. It’s so great that she was available, and so happy to do it, and so joyful about understanding what it really means and wanting to make the best contribution.
We’re at a cultural moment where the stigma-combatting work organizations like yours do is more vital than ever. Can you describe what the EJAF is doing to actively fight against anti-LGBTQ+ and AIDS-related stigma on a daily basis?
Yeah, we want to share the positive messaging that you live a full, happy, healthy life with HIV. When properly treated, you don’t pass the virus on to anyone else, it is nothing to be afraid of and it is nothing to be ashamed of. The programs we’re able to take the money [from this event] and invest in all go a very long way.
It’s about communication, education, breaking down stigma, outreach within key communities and key populations — making sure people have access to testing and know their HIV status, and then once they know their HIV status, having access to the right treatment to deal with the virus headfirst. If they don’t test positive, then it’s about being able to use the latest advancements in science to protect themselves from contracting HIV. If people test positive, then we make sure they have the appropriate counseling and support so that they can live positively and proudly with HIV.
It’s a disease that took hold and thrived in the shadows and corridors of shame. In the It’s a Sin TV series in Britain, Callum Howells’ character says, “I feel so dirty.” There was so much shame associated with it, and we’ve gone so far beyond that now, and we need to continue to reach out and find the key groups that are affected so we can make sure that none of that messaging continues to linger or stick around. We want to make people feel empowered and supported.
This is a celebration on top of a celebration, because Elton is nominated for best original song at this year’s ceremony alongside Brandi Carlile for “Never Too Late.” What does that mean to the two of you, to have Elton at this stage of his career still receiving these major nods?
We’re just so thrilled. There’s so many amazing things connected with nomination — it’s not just Elton, but also Brandi and Andrew Watt and Bernie Taupin, and they are like extended family for Elton and me. The fact that the song became the closing point for the documentary I directed with R.J. Cutler, and even the overall messaging of saying that it’s never too late to change your life and find hope, that there can always be a positive outcome and a happy ending if you work for it; the Oscar represents all of that, to us. Also, oh my god, it’s an Oscar nomination! It’s such an amazing honor, and Elton is incredibly proud.
He and Bernie got the Oscar [for The Lion King‘s “Can You Feel the Love Tonight?”] as the first major award they’d won as songwriters — they’d never won a Grammy at that point. This time around, for Brandi and Andrew to be a part of the process of creating the song, Elton is so excited for them, as well as for himself and Bernie. Yeah, I mean, we’re all just very thrilled.
And what an excellent prelude to Elton and Brandi’s album coming out later this year, too.
Yeah! It’s a wonderful album. Brandi started the process on this song before the album started, because I screened the documentary for her the summer before everybody went into the studio to start on the album. I knew Brandi was a huge fan and understood Elton’s history so well, so I wanted her to see the film. She was so profoundly moved by it, that she wrote this lyric before she went into the studio and started working on it. It’s been an amazing journey.
After defying gravity in 2024’s Wicked, Cynthia Erivo has raked in plenty of nominations during the 2025 awards season. Now, she’s add at least one trophy to her collection. On Wednesday (Feb. 12), LGBTQ+ advocacy group GLAAD announced that Erivo would be the recipient of its annual Stephen F. Kolzak prize at the 2025 GLAAD […]
As he nears the end of his run in Broadway‘s Cabaret at the Kit Kat Club, singer Adam Lambert celebrated his run with a stunning performance on The Tonight Show Starring Jimmy Fallon on Monday night (Feb. 10).
Dressed in all-black and wearing some glossy black lipstick and eyeshadow, Lambert performed “I Don’t Care Much,” the melancholy act II ballad sung by his character in the show, the Emcee. Dropping his character’s German accent, the American Idol alum sauntered through the jazzy number, placing particular emphasis on its harsh lyrics.
“Words sound false when your coat’s too thin/ Feet don’t waltz when the roof caves in,” he belted. “So if you kiss me, if we touch/ Warning’s fair; I don’t care very much.”
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Lambert released his rendition of the song as a single back in December, and in an interview with radio presenter Elvis Duran, explained the track’s painful meaning in the larger context of the show. “It’s like a torch song,” he said. “It’s really beautiful, and this is in the second act when things are sad, and it’s a song about indifference, and kind of just saying ‘I give up.’”
Cabaret takes place in Berlin during the late 1920s and early 1930s, as the Nazi party rose to power. In “I Don’t Care Much,” Lambert’s Emcee sings about Germany’s apathy in the face of the Nazis’ fascist, antisemitic rhetoric. While he was recording the song, Lambert says he couldn’t help but think about the parallels between that story and today’s politics.
“The day after the [2024 U.S.] election, I know we all felt some kind of way. We recorded this right around election week,” he explained. “I kept going back to how I felt, how a lot of the people that I know in my community felt [after the election], and it was this feeling of … ‘I don’t know what else to do, except to say that I guess I don’t care now as a coping mechanism.’”
Lambert currently stars in the production alongside Auli’i Cravalho (as Sally Bowles), with both of their last performances slated for March 29. Starting on March 31, the roles of the Emcee and Sally will be taken over by country singer-songwriter Orville Peck and Tony-nominated actress Eva Noblezada.
Watch Lambert’s full performance of “I Don’t Care Much” above.
Ariana Grande has seen how fans have been shipping her with Cynthia Erivo during the Wicked promotional cycle, to the point where some people think there’s actually something going on between the two stars in real life.
And in a new interview with The Hollywood Reporter published Tuesday (Feb. 11), the “Yes, And?” singer addressed the theories surrounding her relationship with her costar. “People think we’re secretly married,” she told the publication.
It’s clear to anyone watching that Grande and Erivo are very close, often comforting each other during teary-eyed interviews and red-carpet appearances. But some fans have taken things one step further and have started speculating that there’s a romantic connection between them, despite the fact that both women are in relationships with other people; the Victorious alum has been dating fellow Wicked star Ethan Slater since 2023, while the Pinocchio star has reportedly been with actress Lena Waithe for several years.
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So why the rumors? Grande says it’s likely “the Gelphie stuff,” aka people shipping her Wicked character, Glinda, with Erivo’ s Elphaba.
“I wish I could unsee some things,” the two-time Grammy winner said of the sexual artwork people have made using their characters’ likenesses. “I mean, wow, I had a feeling, but I didn’t know it would be on this scale or this graphic.”
To be fair, the theory that Elphaba and Glinda are more than just friends is a little less unfounded than the theories about their real-life counterparts. Grande has said herself that she thinks her character “might be a little in the closet,” and in January, she told Variety, “[Glinda] loves Elphaba so much, and that forgiveness and that unconditional love that they share — I think they’re in love with each other.”
Despite the pervasiveness of the speculation surrounding Grande and Erivo, it’s not the first time the “We Can’t Be Friends” artist has had to deal with whispers about her love life during the Wicked era. The rumor mill went crazy when it was first reported in 2023 that she and Slater were in a relationship following their respective splits from ex-husband Dalton Gomez and ex-wife Lilly Jay, a tabloid cycle Grande slammed as “bulls–t” in a September Vanity Fair article, adding, “The most disappointing part was to see so many people believe the worst version of it.”
Now, Grande tells THR that dealing with rumors will “never be unpainful.” “But also, I walk with the awareness that I’m an artist and this is a path that I’ve chosen,” she added. “So I just try to protect myself so that I never start to resent the art.”
See Grande on the cover of THR below.
When BLACKPINK was gearing up for its highly anticipated debut in 2016, rising creative director SINXITY was adamant the group needed an unexpected sound to distinguish itself. Alongside the group’s explosive EDM-trap banger “BOOMBAYAH,” the young exec at YG Entertainment pushed for a secondary, simultaneous single in the minimalist-yet-emotionally tinged “Whistle” to show their wider, “magical” range to distinguish them from YG’s other female outfit, 2NE1. Nearly a decade later, BLACKPINK remains one of the most successful acts from South Korea, and SINXITY is overseeing a new female quartet made for the global stage while emphasizing that “identity and diversity are important.”
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Seven years after exiting YG Entertainment and launching AXIS as a multi-operational label, production house and creative incubator for internationally minded projects, SINXITY (neé SJ Shin) is the executive producer for the freshly debuted cosmosy. The act consists of four Japanese singers who trained in Korea under the K-pop system and sing in a mix of English, Japanese and Korean to appeal to the global pop market. Two members, De_Hana and Kamión, rose to recognition after competing on Produce 101 Japan The Girls (a local spin-off of the Korean singing competition series that created Billboard Japan Hot 100 chart-toppers JO1, INI and ME:I), are joined by relative newcomers Himesha and A’mei, respectively the eldest and youngest member, who trained in dance since childhood (while idolizing the likes of British superstar Dua Lipa and BLACKPINK’s Thai icon Lisa).
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Executing the internationally minded group brings NTT Docomo Studio & Live (the entertainment wing of Japan’s major mobile carrier) together with Sony Music Korea (the Seoul-based label that recently signed multilingual Monsta X member I.M in 2022 for his solo work). The move isn’t entirely without precedence with XG (the Japanese girl group based in South Korea that sings in English with a mix of U.S., Japanese and Korean management), or the likes of HYBE’s KATSEYE and JYP Entertainment’s VCHA girl groups (both Los Angeles-based acts sing in English but have performed across Asia and the Americas). Leading all of cosmosy’s creative and professional decisions, SINXITY proudly says this is a group where the members’ “natural talent should be what’s emphasized.”
“I really want to open up a new path for the girls for them to be able to do a lot of different genres and try different concepts,” he shares during an afternoon video call when he’s taking a break from putting the final touches on cosmosy’s first music video before it goes live at midnight. “Inevitably, people are gonna compare the girls to groups like XG, NiziU, and the other Japanese girl groups, but I want to do something for them that is new and different. Whether it’s K-pop, J-pop, pop, hip-hop, R&B, I want to incorporate various music genres and create a new path for them.”
SINXITY and cosmosy both describe the group as having a “girlish crush” concept, inspired by the girl crush image that K-pop acts like BLACKPINK, ITZY, and (G)I-DLE embody with cosmosy peppering in additional sprinkles of mystique, innocence and even a little devilishness blended into “a group that has never existed before,” according to De_Hana.
“Unlike the typical girl crush everyone knows, our concept includes both cool and cute elements,” explains Kamión, an Osaka native who spent time studying abroad. “There is also a touch of mystery, which evokes the atmosphere of Japanese horror or anime.” Meanwhile, Himesha and A’mei use “mysterious” to describe the group.
After unveiling cosmosy’s debut single “zigy=zigy” alongside its music video on New Year’s Eve, the track was released globally on Feb. 7 to kick off the first of multiple digital singles the act will drop throughout the year with an EP potentially eyed for spring. With Korean television appearances and fashion-magazine features on the horizon, SINXITY emphasizes that as important as new cosmosy content is, the next, urgent priority is to meet fans in person.
“They’re super talented, really pretty, such nice and charming girls; I really want people and fans to meet them directly,” the producer adds. “The key factor is how to meet core fans.”
Showing up to work as one’s true self and connecting to others authentically is personally important for SINXITY, who says he’s finally at ease in a professional environment where he’s comfortable to fully focus his energy on the work at hand.
“The Korean entertainment industry has become safer than in the past,” he shares. “Because I am gay, identity and diversity are very important to me and something I’m trying to build on…it’s still not widely accepted to be in the LGBT community since there are restrictions and laws for gay people, but it’s more accepted and it’s a safer, better space compared to others. But it’s still not a thing to come out and be openly gay.”
Noting the three women assisting him during this video call in Seoul, SINXITY estimates that 90 percent of the crew that works with cosmosy are women. That’s a rarity in Korean entertainment, and an even bigger percentage than AXIS’ division focused on producing Boy Love (also known as BL) television, the popular genre of same-sex drama series that boasts majority female audiences. With works including the 2022 breakout hit Semantic Error and FC Soldout currently airing, SINXITY and AXIS are inevitably shifting the norms of what and how Korean-pop entertainment operates simply in the name of creativity — and openly support other industry shakers.
“I’ve worked overseas, I’ve done a lot of projects with YG in Japan and Korea,” says SINXITY, who also worked with YG Entertainment’s actors roster during his time. “I have a unique identity, so I can’t help but talk about it and share myself here anyway. I just want to be free to create, reach more people and show them even more in these creative areas.”
SINXITY smiles before asking to include an additional note before the call wraps and he goes back to color-correcting the “zigy=zigy” video.
“One more thing: wait for NewJeans and stand up for Min Hee-jin,” SINXITY says, with a visibly surprised translator noting that he may be the first Korean executive to support the embattled former CEO of ADOR publicly. “I really admire Min Hee-jin and respect her. She’s the one and only best producer in this K-pop industry, so I really [want to] stand with her and really pray for NewJeans to have more free activities. We’re in some of the same networks, but I’m really just a fan. She’s really the one-and-only qualified producer.”
RuPaul’s Drag Race star Hormona Lisa stood with her community on Monday (Feb. 10) when she called out President Donald Trump for pushing an anti-transgender agenda within his first few weeks back in office. (Spoilers ahead for episode six of RuPaul’s Drag Race). In an elimination interview with Entertainment Weekly, the Chattanooga drag performer spoke […]
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After making headlines with her critical acceptance speech at the 2025 Grammys, Chappell Roan is doubling down on helping up-and-coming artists earn a livable wage and affordable healthcare.
In a series of posts to Instagram Stories on Sunday night (Feb. 9), Roan continued the conversation about her speech, and called on music industry’s power players to invest more financial support into their artists. “Sharing my personal experience at the Grammys wasn’t meant to be a crowdfunded bandaid but a call to action to the leaders of the industry to step up, help us make a real change and protect their investments in a sustainable way,” she wrote.
The “Pink Pony Club” singer also continued to indirectly call out former music industry executive Jeff Rabhan, who criticized the singer’s speech in a blistering op-ed for The Hollywood Reporter. Rabhan referred to Roan’s call for change “wildly misinformed” and claimed that the singer was both “too green and too uninformed to be the agent of change she aspires to be today.”
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“My mind will not be changed about artists deserving more than what’s standard in the industry,” she wrote. “Random dudes are allowed to criticize my Grammy speech, but they best put their money where their mouth is, otherwise MOVE out the way.”
Roan and Rabhan previously traded public messages, with Roan calling for Rabhan to match her $25,000 donation to funding developing artists. Rabhan, in turn, replied that Roan should “stop dumpster diving” by criticizing his criticism, and instead should “act like the agent of change you say you want to be,” pointing out that the singer’s donation came after his critique.
In her posts, Roan also revealed the charity she was sharing her money with — Backline, a nonprofit that “connects music industry professionals and their families with mental health and wellness resources.” Specifically, Roan pointed to a fundraising initiative from the organization that is “supporting accessibility of health care for artists.”
However, Roan told her fans that she did not expect them to donate to these efforts — instead she pointed out that industry executives should feel compelled to donate to the organization. “Fans, y’all don’t have to donate a damn penny,” she wrote. “This is one of many opportunities for the industry powers to show up for artists. There is much more work to be done.”
For anyone questioning whether or not Roan herself shared such a donation, the “Hot to Go” singer concluded her posts with a screenshot of a confirmation email from Backline confirming her donation of $25,000 to their fundraiser. “Here,” she added.
Among those who shared their support for Roan were Noah Kahan and Charli XCX, both of whom pledged to match the singer’s $25,000 donation before her latest posts, with both artists posting since-expired posts to their Instagram Stories. “I’m inspired by you,” Kahan said of the singer. “Happy to get the ball rolling. Money where my mouth is.”
With the 2025 Grammys in the rearview, it’s time to start looking for new hits from queer artists that will nab a few nominations in 2026! 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 Lady Gaga’s spellbinding new pop single to Doechii’s well-earned victory lap, check out just a few of our favorite releases from this week below:
Lady Gaga, “Abracadabra”
There’s been a lot of talk online about Gaga reheating her nachos lately. But if “Abracadabra” is what reheated nachos taste like today, then pop open the microwave, because we’re seated for this meal. On the second single from her forthcoming album Mayhem, Gaga takes the familiar sounds of The Fame Monster, Born This Way and Artpop, chops them up and casts a spell over them to create an absolute pop killer. From her nonsense-word chorus to the immediately catchy beat breakdown to the haunting bridge, “Abracadabra” is Lady Gaga’s best song in years. Mother Monster, we’re happy to have you back.
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Doechii, “Nosebleeds”
Doechii haters, you might want to skip “Nosebleeds,” because the Grammy Award-winning rapper comes for her detractors’ throats on this fiery, chaotic victory lap. From the jump, Doechii quickly establishes her dominance at the 2025 Grammys and sets up her impeccable flow for a punchy set of verses. Gassing herself up and switching the beat at every given opportunity, the rapper leaves her haters with one impeccable thought: “Everybody wanted to know what Doechii would do if she didn’t win,” she declares, before shrugging and smirking at her audience. “I guess we’ll never know.”
Anitta, “Romeo”
After taking a foray into Brazilian funk last year, Anitta is diving back into reggaeton headfirst with her sultry new cut “Romeo.” The new single follows the singer on “a night of mischief” as she calls it in the Spanish chorus, tempting her soon-to-be lover with a good time. It certainly helps that it’s Anitta’s voice singing these words, as her silky smooth delivery makes bars like “Tonight, you’re going to be mine, I didn’t say maybe” land with the exact kind of swagger she’s looking to portray.
Elton John & Brandi Carlile, “Who Believes in Angels?”
Queer pioneers Elton John and Brandi Carlile have long spoken about their mutual adoration for one another — they’ve even collaborated a few times on tracks like “Simple Things” and “Never Too Late.” So, when it came time for them to link up on their new duet “Who Believes in Angels,” off their forthcoming duets album of the same name, fans knew what they would be getting. This 5 minute, dramatic ballad sees the pair play off one another’s voices well, as they shift their sound from pianos to guitars to synths to everything all together in this symphonic new song.
Olly Alexander, Polari
Since breaking out on his own from his trio Years & Years, Olly Alexander has been doubling down on the ’80s-tinged pop music that helped him become a star. Now, with his latest album Polari, the singer is taking a lifetime of experience and leaving it all on one LP. Taking on different facets of queer culture like cruising (“Cupid’s Bow”), gay slang (“Polari”), mythology (“Whisper in the Waves”) and more, Alexander creates his own escapist universe throughout his stunning solo LP, making it a ride you’ll want to be along for.
Serpentwithfeet, “Wanderer”
Need something a little more tender to listen to this weekend? We suggest “Wanderer,” the gorgeous, love-stricken new single from indie darling Serpentwithfeet. The star’s delicate vocal pairs beautifully with the sparse R&B production as he paints a vivid picture of desire, climbing to a beautiful declaration at the chorus: “My heart the ocean; mostly unexplored/ Won’t over-promise, but I could be yours,” Serpent croons.
Corook, “They!”
Sometimes even the silliest of songs can still be deeply affirming — that’s a fact Corook knows first hand. Their breakout 2023 track “If I Were a Fish” turned into an anthem for queer kids the world over. Now, the singer-songwriter is narrowing her focus to her own community with “They,” a song that takes their own experience being non-binary and explores it through the prism of bubbly, fun pop music. Across three minutes, Corook insists that “it’s no big deal, I’m more me now,” while reminding those listening who might be struggling with their own identity shouldn’t stress too much — someone out there gets it, which is sometimes all you need to hear.
David Archuleta, “Freedom” (George Michael cover)
It’s been 35 years since George Michael released the career-defining anthem “Freedom! ’90” — and now, American Idol alum David Archuleta would like to take a moment to celebrate its legacy. With his interpretation of the track, Archuleta keeps the formula simple — not quite recreating the song note for note, but sticking as closely as possible to Michael’s version as possible. Backed up by a full chorus and placing hismlarger-than-life voice front and center, Archuleta does a service to Michael’s legacy with this moving cover.
Wafia, Promised Land
In a time where our political reality is being defined by a relentless sense of upheaval, alt-pop singer songwriter is Wafia is here with a message for you that her mother shared with her: “Everything is already written.” Promised Land tracks Wafia’s own experiences as an immigrant, funneling the resilence (as on the stunning “House Down”) and hope that she’s crafted over the course of her life into a series of top-tier pop tracks. Let this be your sign to stop sleeping of Wafia — let her lead you to the Promised Land with this excellent LP.
Check out all of our picks below on Billboard’s Queer Jams of the Week playlist:
The devil works hard, but drag superstar Jan Sport and musician/producer Andrew Barret Cox both work harder. In a viral clip posted Tuesday, Sport and Cox shared a video of their live performance of Lady Gaga‘s new single “Abracadabra.” Re-creating the video — which Gaga premiered Sunday during the 2025 Grammy Awards — at New […]