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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.”
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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 […]
Amsterdam’s electronic, queer-inclusive Milkshake Festival recently announced that rapper Azealia Banks would be joining the lineup for its 2025 festivities. Now, two days later, the event has cut her from the lineup altogether.
In an announcement posted on Tuesday (Feb. 4), the organization revealed that Banks would be “serving C-NT” at its July 2025 festival. But in the comments of that announcement, a number of fans implored Milkshake to reconsider the choice. One commenter wrote in Dutch that Banks was “an artist who has repeatedly spoken negatively about the LGBTI+ community, and especially about our transgender friends.” Another added in Dutch that as “a festival that claims to stand for a safe and inclusive community,” Milkshake should instead “give the stage to artists where everyone feels safe and welcome.”
In an initial statement posted to its Instagram on Wednesday (Feb. 5), Milkshake told fans “we hear you,” and said that it would “try to create a platform for artists who haven’t always had equal access to popular spaces” at the annual festival. “We strive to pay homage to the roots of club culture, a community that has always been at the forefront in fighting for equality,” the statement read. “We have reached out to the management of Azealia Banks to get a clear statement. Please allow us some time to manage this situation.”
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Commenters continued to call for Banks to be removed as a performer — and on Thursday (Feb. 6), Milkshake confirmed that the “212” rapper would no longer be performing at the festival. “It is clear to us that we made a mistake and that we have overlooked essential information. We sincerely apologize for this,” the statement read. “The safety of our visitors, our team, the artists, and crew will always be our main priority. Furthermore, we will assess our initial social media response for learnings and improvements.”
Billboard has reached out to Banks’ reps for comment.
While the festival was praised by some commenters for its decision, others continued to criticize the organization for enlisting Banks in the first place and for their various responses. One commenter summed up their feelings on the matter in Dutch: “Maybe it’s time to take a hard look at the exploitation of the queer and trans community and make Milkshake a fairer festival as a whole,” they wrote.
Banks — who has become well-known in recent years for her inflammatory rants on social media — does indeed have a track record of making homophobic and transphobic comments online. Back in 2015, Banks compared the LGBTQ+ community to “the gay white KKK’s” and was filmed hurling homophobic slurs at a flight attendant. In 2020 and 2021, she made a series of transphobic comments about trans women, specifically when it came to gender-affirming healthcare and surgeries.
On Tuesday (Feb. 4), though, Banks appeared to backpedal some of those comments when she called out Harry Potter author J.K. Rowling for her transphobic comments. “I love you down sis, but [trans women] are not a threat to your femininity,” she wrote on her X account. “You are really too rich and legendary to keep spewing the same stuff over and over and over.”
Read both of Milkshake Festival’s full statements regarding Azealia Banks below:
Azealia Banks has become more known for her public beefs than her music in recent years, and now, she’s starting a new one with author J.K. Rowling
The rapper — who has herself issued a number of anti-trans rants online — took aim at the bestselling Harry Potter author and noted anti-trans advocate in a pair of posts to her X account on Feb. 4. Responding to a fan asking why Banks’ body looked a certain way, the “212” rapper called out the way people discuss women’s bodies in conjunction with the ongoing issue of “transvestigation” online.
“I think the dolls are fab and do not need to shade them or change myself because my femininity is not threatened by them,” she wrote. “All of the insane anti-trans paranoid people like @jk_rowling feel their femininity is threatened for whatever reason and try to mask that insecurity with ‘science’ like anyone is stupid and doesn’t already know these things.”
In a follow-up, Banks directly addressed Rowling who began following her after her initial tweet. “No shade @jk_rowling thanks for the follow and I love you down sis, but [trans women] are not a threat to your femininity,” she wrote. “You are really too rich and legendary to keep spewing the same stuff over and over and over.”
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Continuing, Banks claimed that her own brother identifies as trans, and shared her experiences watching someone struggle with their gender identity. “I have witnessed first hand the type of misery, pain, ostracism, suicide attempts, unnecessary and unwarranted abuse my mother doled out to my brother, the discomfort with his body — it’s not a mental illness it’s a spiritual thing,” she shared. “One would assume that you of all people who have written books about magic and esoteric things would be able to comprehend and understand how states of consciousness vary in a human being. It’s been YEARS sis.”
Closing out her comments, Banks called out Rowling’s views one final time, writing, “I really do think it’s a front for some weird inferiority thing that’s truly just in your mind. I Say this with lots of love and respect.”
The latest tweets represent something of a switch for Banks, who has been criticized multiple times over the past years for her own transphobic comments, in which she’s claimed that transgender women are not real women and spread misinformation about gender-affirming care.
Rowling, meanwhile, has been a vocal critic of transgender issues for years, regularly spreading inaccurate information regarding gender-affirming care, trans women using women’s restrooms and trans youth participating in women’s sports and much more.
For years now, fans of queer country crooner Orville Peck have waited for the day when they might sneak a peek at him without his iconic mask covering his face. On Tuesday (Feb. 4), they got just a little bit closer. Explore Explore See latest videos, charts and news See latest videos, charts and news […]
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 show’s compilation album challenge to see how the queens performed in the first group challenge of the season. Spoilers ahead for […]