Delta Goodrem one year, Keli Holiday the next.

The Australian singer, songwriter and co-founder of electronic duo Peking Duk, isn’t against the idea of following in Delta’s footsteps and representing Australia at the Eurovision Song Contest.

Holiday (real name: Adam Hyde) stopped by Triple M’s Mick in the Morning on Wednesday, May 27 for a chat with co-hosts Mick Molloy, Rosie Walton, and Nick Riewoldt.

Funnyman Molloy pitched the idea of Holiday throwing his hat into the glittery ring that is Eurovision. “I had a fever dream the other day,” Molloy remarked, “you would win us Eurovision.” He continued, “it’s possibly of no interest to you… it’d be incredible. You go there and do that (“Dancing2” dance), and they would lose their minds.”

Holiday was on the same page. “No, I would give it a crack. We could do it,” he enthused.

Goodrem is a hard act to follow. With her performance of “Eclipse” earlier this month at Wiener Stadthalle, Austria, Australia placed fourth overall – the country’s second-highest placement in the contest’s history, behind only Dami Im’s second-placed finish a decade earlier, in 2016.

Holiday is flying high right now, thanks to his viral hit “Dancing2,” song of the year winner at the 2025 ARIA Awards. Its parent album, Capital Fiction, opened at No. 3 on the all-genres ARIA Albums Chart in February, and topped the national Australian albums tally. The Canberra-based artist supported the record with a national tour in March that went deep into regional Australia, and headed abroad with his first-ever run of dates in North America. That’s where Holiday was, briefly, grounded.

As previously reported, Holiday says he was denied re-entry into the United States during that trek, forcing him to cancel a planned New York City performance and return home early. “Unfortunately I’m not going to make it to tonight’s show at Baby’s All Right in NYC,” Holiday wrote on Instagram in March. “I have spent all day detained at the Canadian border and denied entry back into the U.S. despite having the proper visa documentation in place.”

Speaking on breakfast radio, Holiday said he can’t wait to get back. “I was meant to go to Ol’ Mates [a pub connected to Aussie comedians Hamish Blake and Andy Lee], I was going to do a surprise set there and have a bunch of fun with a bunch of people,” he remarks. “I’m not at liberty to discuss such matters fully at this time… (laughs)… but what I will say, is that I love the United States. I’m gutted I couldn’t do the New York City show, and I hope to get back there soon because there is a lot of people wanting a Keli Holliday show, but I want to bring it to them, so we’ll see.”

The Keli Holiday experience continues with tour dates Down Under, the United Kingdom and Europe.

An appeals court has ruled that George Clinton must face a trial to determine whether a portion of the Parliament-Funkadelic catalog is co-owned by the heirs of late keyboardist Bernie Worrell.

In September, a federal judge in Detroit threw out the lawsuit brought by Worrell’s widow after determining that the statute of limitations had long expired. But the Sixth Circuit Court of Appeals reversed that dismissal on Wednesday (May 27), holding that it’s up to a jury to decide whether the claims are timely or not.

“The estate has successfully pointed to facts potentially rendering this the rare case in which a copyright-ownership claim may be brought a half-century after-the-fact,” wrote a panel of three appellate judges in the ruling, obtained by Billboard.

The dispute stems from a 1976 contract between Worrell and Clinton, in which the keyboardist released his ownership stake in the P-Funk masters in exchange for recorded royalties. This led to numerous court battles over the years about how to properly split these royalties, both during Worrell’s life and after his death from lung cancer in 2016.

The pivotal moment came in one such lawsuit in 2020, when Clinton’s attorneys claimed for the first time that the 1976 deal was null and void because Clinton never signed it. This led the Worrell estate to try a new tack and file the current lawsuit, which alleges that Worrell never stopped owning his share of the masters in the first place.

According to the Sixth Circuit, it remains unclear whether the statute of limitations for these claims expired decades ago or only began running in 2020. However, the judges said a trial is only appropriate on the songs expressly covered in that contract — those created between 1976 and 1979 — and not the entire catalog from Worrell’s time in P-Funk between 1969 and 1981.

Clinton’s lawyers had separately argued that the case should be thrown out because there’s insufficient evidence of Worrell co-creating these P-Funk songs. The Sixth Circuit rejected this too on Wednesday, saying there’s clearly enough fodder for a jury to decide otherwise.

“To start, we need look no further than Clinton’s own admissions. He recognized in this litigation that Worrell ‘radically charted the course of emerging keyboard technology during the golden age of analog synthesis,’ and that he brought to the table a ‘sonic stew’ including ‘perfect pitch and a well-honed facility with a classical canon,’” wrote the panel. “These statements contradict any suggestion that Worrell was just a session player or hired hand.”

The case will now head back down to the federal district court to prepare for a trial, unless a settlement is reached. A lawyer for the Worrell estate, Richard Busch, said in a statement that the Sixth Circuit’s ruling “is a great step in the right direction.”

“Bernie Worrell was the heart and soul of Parliament-Funkadelic but had to spend years of his life chasing Mr. Clinton for what he believed Mr. Clinton owed him,” added Busch. “While he is no longer with us, Bernie’s loving wife Judie continues to fight for Bernie’s rights.”

Clinton’s attorney, Jim Allen, said in his own statement, “We respectfully disagree with the Sixth Circuit’s decision and believe it requires some unusually large leaps in logic, metaphysics and precedent to transform a disputed, judicially-invalidated 1976 agreement into a springboard for copyright claims fifty years later.”

Allen emphasized, however, that the ruling “is extraordinarily narrow” and allows for a trial on only ” a tiny fraction of the decades-long body of work George Clinton created and led.”

“We also look forward to finally litigating this case in a courtroom rather than through the fog of mythology, revisionist history and shadow-boxing conducted by interests that have been hovering around the P-Funk business empire for decades without ever quite wanting to step fully into the light,” added Allen. “The Mothership keeps flying. Trial is next. We will prevail.”

Clinton is separately suing Universal Music Group (UMG) for freezing his royalties amid the Worrell litigation. That case remains pending.

After a major viral moment sparked by the Prime Video series Off Campus, Jennifer Lopez’s “On the Floor,” featuring Pitbull, returns to the Billboard charts, as the song debuts at No. 117 on the Billboard Global 200 and No. 80 on the Global Excl. U.S. charts (dated May 30).

“On the Floor” sees a resurgence following a steamy scene starring the character Allie (Mika Abdalla), dressed as J.Lo, and Dean (Stephen Kalyn), dressed as Tom Cruise’s character Maverick from the Top Gun films, who dance to Lopez’s 2011 hit at a Halloween party. Lopez later joined the moment on social media, teaming up with Abdalla to re-create part of the scene and dance to the song.

“On the Floor” opens at No. 117 on the Billboard Global 200 chart, totaling 15.1 million streams worldwide during the May 15-21 tracking week, according to Luminate. The streaming surge gives Lopez her second entry on the chart, following “Pa’ Ti” with Maluma in 2020 (No. 106 high). For Pitbull, “On the Floor” marks his third chart visit, his highest being the No. 106-peaking “Give Me Everything,” featuring Ne-Yo, Afrojack and Nayer (2025).

On the Global Excl. U.S. chart, “On the Floor” earns Lopez and Pitbull their second entry each, debuting at No. 80 with 12.5 million streams earned outside the U.S. during the tracking week.

The song also remains a milestone in both artists’ chart histories: It marked one of Lopez’s 10 top 10s on the Billboard Hot 100 — where it peaked at No. 3 in 2011 among her 32 career entries — and stands as one of Pitbull’s 10 top 10s among 45 total entries.

Adding on, the hit peaked at No. 2 on the multimetric Hot Latin Songs chart in June 2011, where Lopez secured seven top 10s and Pitbull 17 to date.

“On the Floor” was the first single from Lopez’s seventh studio album, LOVE?, released on Island Def Jam in April 2011. It debuted and peaked at No. 5 on the all-genre Billboard 200 chart.

Taylor Swift’s longtime lawyer argued in court on Wednesday (May 27) that the First Amendment protects The Life of a Showgirl from trademark claims.

Douglas Baldridge appeared in Los Angeles federal court to oppose Las Vegas performer Maren Wade’s injunction bid. Wade, who puts on a cabaret show called “Confessions of a Showgirl,” alleges Swift’s latest No. 1 album infringes her intellectual property and wants to block The Life of a Showgirl merch sales until the litigation is fully resolved.

Judge Serena R. Murillo opened up the hearing by suggesting that her “real concern” in this case is whether The Life of a Showgirl should be shielded from trademark litigation because the album is a piece of art — that is, a so-called expressive work under First Amendment case law. Wade’s attorney, Jaymie Parkkinen, argued on Wednesday that the answer is no because Swift uses the album title not just for music, but also for a massive “branding campaign.”

Baldridge, who has represented Swift for years as both outside counsel at the firm Venable and in-house during her record-breaking Eras Tour, countered that The Life of a Showgirl is a “classic expressive work.” He cited Lady Gaga’s recent court victory in a similar trademark lawsuit over her Mayhem album on artistic expression grounds.

“That’s why the First Amendment applies here, and that’s why they can’t get a preliminary injunction, much less win the case,” Baldridge said.

Wade, born Maren Flagg, has owned the trademark “Confessions of a Showgirl” since 2015 for her touring cabaret show about the escapades of a modern-day Las Vegas performer. Swift’s company TAS Rights Management sought to trademark the phrase “The Life of a Showgirl” upon the album’s announcement in August, but the U.S. Patent and Trademark Office (USPTO) preliminarily denied the application due to a likelihood of confusion with Wade’s existing mark. The trademark request remains pending.

The Life of a Showgirl debuted atop the Billboard 200 in October with a record 4 million units in its first week, and the album went on to reign atop the chart for 12 weeks. Then came the lawsuit: Wade sued Swift in March, claiming the new era “threatened to swallow” her much smaller business.

During Wednesday’s hearing, Parkkinen argued that Wade’s trademark is “being absorbed in real-time.” He said an injunction would make a huge difference for Wade, while any resulting lost profits for Swift or her label partners at Universal Music Group would be nothing more than a “rounding error.”

Meanwhile, Swift’s attorneys have asserted in response to the lawsuit that there are significant differences between “Confessions of a Showgirl” and The Life of a Showgirl. Pointedly, they noted in a May court filing that while Swift plays sold-out stadiums, Wade “performs, if at all, in small intimate venues, such as a 55+ active community.”

Swift’s camp has also criticized Wade for intentionally associating herself with Swift’s brand on Instagram and TikTok, citing more than 40 posts that featured hashtags like #thelifeofashowgirl, #TS12, #taylorswift and #swifties. On Wednesday, Baldridge pointed to one post in which Wade said she was in her “showgirl era.”

“I don’t know if your honor follows Ms. Swift, but ‘era’ is a pretty big word for us,” said Baldridge.

Judge Murillo did not announce any ruling on the injunction motion during the hearing, saying a written decision would come down “shortly.” Swift’s team has also requested separately to dismiss the lawsuit outright, and that motion remains pending.

Hilary Duff is saying cheers to self love.

Speaking to Billboard‘s Tetris Kelly backstage at her recent Las Vegas concert, the singer — who announced Wednesday (May 27) that Aperol Spritz will sponsor her upcoming Lucky Me Tour — opened up about her current philosophy as she gears up to embark on one of the biggest treks of her career.

“If I were to toast to one thing, it would be toasting to becoming like more of yourself instead of becoming more impressive,” she says poignantly. “We’re in our body, we’re fine with who we are, doing great, we’re proud of ourselves. We’re always reaching for more but not reaching too far where we’re like overextending and exhausted. We’re just happy!”

The Lizzie McGuire alum has a lot to be happy about these days. In addition to kicking off her arena tour in June, the star dropped her first album in a decade, Luck … or Something, in February and reached No. 3 on the Billboard 200.

As part of her team-up with Aperol, the beverage company will curate Aperol Spritz Day Club pre-show experiences at some of the venues Duff will play on tour, as well as local bars and restaurants nearby. The former child star says that her personal ideal setting for sipping on a spritz would be “in New York with a small group of friends, and we’re at a sidewalk cafe and people are just starting to flood the streets because everyone’s getting warm in their bones again … they’ve planted the flowers, everything’s blooming, you can feel the energy in the air.”

She also notes that the Luck … or Something track that most embodies “golden hour Aperol” is “Adult Size Medium,” on which she sings: “Was it a sip of wine or Aperol?/ I remember everything and nothing at all.”

“I think I’m most looking forward to seeing everyone show up for me,” Duff adds to Billboard of the Lucky Me Tour, which follows her run of mini-residency shows in Vegas. “When I think about this era, for me it took a lot of guts. I showed up for sure, but the only reason it’s working is because everyone’s showing up, and I don’t even exactly know why, but I’m really excited to see it and feel it and feel something that I’ve gotten a little taste of now. Obviously it’s in my body from before, but I’m such a different version of myself than I was back then, so it’s really magical to do this again.”