Lizzo is clearing the air about Love in Real Life, the album she was originally supposed to release last year but ended up delaying to release the mixtape My Face Hurts From Smiling in June instead.

At the time, the singer told Vulture that the first project “just wasn’t what I was feeling right now,” leading many to believe that she’d scrapped Love in Real Life entirely and created a brand new album in the form of Bitch, her LP dropping on June 5. But in a recent interview with Billboard about her new partnership with Chili’s, Lizzo explains, “I think the biggest misconception about my album is that I shelved Love in Real Life when I didn’t.”

“[Bitch] is technically the same album,” she continues over Zoom. “I just changed the name. The music is the same.”

The biggest difference between the original version of the album and its final form, the Grammy winner says, is that she removed what was previously its title track from the tracklist, prompting her to rename the LP as well. “When you change the name of something, it changes its destiny,” Lizzo says. “Like, when I went from Melissa to Lizzo, it changed my destiny.”

“When this album went from Love in Real Life to Bitch, it changed the trajectory of its past,” she elaborates. “I do think that I feel like I can express myself the way that I want to express myself right now through Bitch. I think Love in Real Life was really somber and a little bit more introspective, and I think Bitch is a little bit more empowered and self-actualized and bold.”

Ahead of Bitch, Lizzo has released singles “Don’t Make Me Love U” and “Bitch.” Before that, she’d dropped the songs “Love in Real Life” and “Still Bad” in spring 2025 to usher in what would have been the Love in Real Life era, but shortly afterward, she decided to press pause and release My Face Hurts From Smiling first.

“By 2025, I’ve changed, the world has changed so much, and so much has happened,” she also told Vulture last year, noting she wrote most of her upcoming album in 2022. “I was like, ‘I need to do s–t differently, and I don’t know what it is, but I’m going to just start following my instincts.’”

The detours before Lizzo’s next album aren’t done quite yet. In the weeks ahead of Bitch‘s release, the hitmaker also unveiled another project that has nothing to do with the LP: her recreation of Chili’s iconic “Baby Back Ribs” jingle. Lizzo added some of her own lyrics, and flute playing, to the recognizable tune, which she performs in a theatrical ad spot for Chili’s featuring scenes recreated from the original 1996 commercial and ribs galore. The video, as well as Lizzo’s a cappella version of the jingle, are available now on YouTube.

Speaking of My Face Hurts From Smiling, Lizzo also tells Billboard that she foresees the mixtape growing in popularity retroactively. Sharing her “hottest pop-culture take” at the moment, she begins, “Everybody hates everything right now. We’re in a nostalgia-based society right now, where, like, nostalgia is the hottest commodity.”

“So no one’s gonna like anything that comes out immediately,” she adds. “You gotta let things cook, because we’re just so obsessed with nostalgia. You drop a song, and it’s like, ‘I can’t wait until you guys love it next year.’ When I dropped my mixtape last year, I was like, ‘This is going to appreciate in value.’ Like, five years from now, people are gonna be like, ‘Oh, my gosh, My Face Hurts From Smiling is a classic.’”

Check out Lizzo’s version of the Chili’s “Baby Back Ribs” jingle below.

Kylie Minogue let fans into her private life in the recent three-part Netflix documentary Kylie. Now the Australian pop superstar is pulling back the curtain even further with the concert special Kylie. Tension Tour Live.

The two-hour and two-minute Netflix special that went live on Wednesday (May 27) chronicles the singer’s 66-show 2025 tour in support of her sixteenth studio album, Tension, which included runs through some the star’s most beloved hits, including “What Do I Have to Do,” “Spinning Around,” “The Loco-Motion,” “Last Night a D.J. Saved My Life,” “Padam Padam,” “Can’t Get You Out of My Head” and the Tension title track, among others.

“When I stepped off the stage on the closing night of the Tension tour, I could hardly believe what had transpired over the previous eight months,” Minogue says in voice-over at the top of the live film over footage of her running off the vividly colored stage amid an eruption of cheers from the ecstatic crowd.

The screen then fills with a quick-cut montage of onstage scenes from those previous eight months, with Minogue adding, “The Tension tour was everything I’d hoped it would be. I was so grateful for all the love from all around the world, and it was absolutely a chance to finally break the tension together. My dream was to get amongst the audience, to really connect and coexist. And that’s what happened. In such an emotional way, and I just feel more present in … everything.”

The action kicks off in Minogue native Australia at the tour’s dance rehearsals, with glimpses of the gigs kicking off in Perth and running through the final Aug 26 show in Monterrey, Mexico. Early on, we see Minogue getting final touch-ups before taking the stage at New York’s Madison Square Garden, a show she says in voice-over was one of her favorite on the tour.

We then see the tension (sorry) build as lasers fill the air, fans begin losing it and Minogue, dressed in a blue leather outfit, is hoisted above the stage on a giant swing, emerging in a giant projected laser diamond singing “Lights Camera Action” as she is slowly lowered to the main stage, where she is greeted by a troupe of dancers in futuristic silver helmets.

The film bounces around from city-to-city and country to country, and, after touching down in Asia, Minogue says over footage of fans freaking out, “The feeling of unity was just unbelievable. Every night, every venue, there’s so much shared, collective experience with my audience. And now we’ve got the chance to make all these new memories together.”

It also, of course, chronicles the many colorful outfits Minogue busted out during the show, from a sparkly red leather jumpsuit, to a purple leather dress and leggings look, a short silver minidress, a shimmering silver top with dangling red and green fringe, a strappy black dress with carefully placed cut-outs and many more. “Yeah, we like to change things up,” Minogue says over the montage of looks as she does vocal warm-ups in the wings with her backup singers.

The tour, which supported both 2023’s Tension and its 2024 sequel, Tension II, stretched from March through September of last year and the doc comes a week after the release of the Kylie doc, which takes viewers through the singer’s 40-plus year career, including a previously undisclosed second cancer diagnosis in 2021 after Minogue received treatment for breast cancer in 2005.

Forget walking when you can FLY. Starship Entertainment’s new boyband IDID returns with their Single Album [FLY!], a two-track release that pairs the lead track “FLY!” with the B-side “Attent!on.”

Dropping Wednesday, May 27, the pop drop “signals a new chapter defined by clarity, chemistry, and effortless confidence,” reads a statement. The overall mood of the two tunes is characterized as “after-school energy,” a bubbling sound loaded up on “unfiltered, spontaneous, and rooted in togetherness.”

The seven-strong group was formed through the survival show Debut’s Plan, which premiered in March 2025. IDID made their official debut later that year, in September 2025, with the EP I did it, a title that represents their full name.

Comprising Jang Yonghoon, Kim Minjae, Park Wonbin, Chu Yoochan, Park Seonghyeon, Baek Junhyuk and Jeong Semin, IDID is Starship’s first new boy group in about five years, joining a roster of global K-pop artists that includes MONSTA X, WJSN (Cosmic Girls), CRAVITY, IVE and KiiiKiii.

The Single Album [FLY!] is the followup to “[PUSH BACK],” and it’s been enjoying a big tease in recent weeks with the release of the “Diary” trailer. In it, the lads hang out in the city, and get up to some good, clean fun. Check it out here and stream The Single Album [FLY!] below.

It’s been a long time since Jeff Mills worked his techno wizardry on Sydney audiences. Almost 25 years. Almost a lifetime. He broke that spell Friday night, May 22, with a marathon masterclass at Sydney Opera House, an Australian exclusive performance celebrating his iconic Liquid Room Mix.

Mills is an architect of Detroit techno, a founding member of the Underground Resistance. He’s known fondly as The Wizard for concocting magic at the decks, a world-class vinyl technician who thinks multiple stages ahead of the next drop, pulling at dizzying speed from his crate anonymous, white label cuts that would have the rest of us cooked.

Getting down to business in the Studio, a nightclub proper hidden underneath those famous sails, Mills got his Vivid LIVE opening night performance away with a history lesson, a 30-minute documentary on his legendary three-hour set at Tokyo nightclub Liquidroom. Recorded in 1995 at Tokyo nightclub Liquidroom, it’s a moment that’s spoken of in hushed tones. The benchmark in progressive techno.

All told, Mills mixed more than 200 records on the night. Mills, the producer, worked many of his own tunes into that set for the first time, fresh from the studio to the wheels of steel. They were “so cutting edge,” he explains in the doc, and “reflective of what was happening deep in the underground of Europe and America.”

Many were masters and white labels, and they’d go on to become well known wherever techno is played. Some were pressed on 14” copper acetate, a format that was expensive, hard to find, and which, he explained in the film, played at twice the volume as wax. The detonations can be easily spotted on those YouTube streams. “I knew I wanted to make the audience scream,” he recounts of his motivation. “So I knew I had to do something that exploded.”

“The Bells” was one. Perhaps his signature track, Mills made the track on one afternoon. “It took me a few hours,” he admits. After all these years, “The Bells” is still ringing, as it did on opening night.

Mills last visited Australia in 2024 with his “Tomorrow Comes The Harvest” jazz-electronic project, a collaboration with Jean-Phi Dary and Prabhu Edouard. And before that in 2016, for a project with the Melbourne Symphony Orchestra (MSO) and fellow Detroit scene-builder Derrick May. On a drizzling night at the SOH, Mills’ got to work with vinyl, an appropriately austere scaffolding as his backdrop. No pre-programmed bits, no cheating, just lights, lasers, and a tireless smoke machine.

“DJing at a higher level than just mixing records together is quite complex,” he recently told Billboard’s Katie Bain. “It’s like being an athlete, like a tennis player. You have so many things you need to think about at the same time, as time is moving forward. You literally have to split your mind into multiple parts, and you have to pay attention to each one of these things at the same time, so your peripheral sense becomes enhanced.”

Although released by Sony Music on CD and cassette at the time (but not on DVD, against his wishes), the Liquid Room Mix has never been officially available digitally until now. It’d be considered a myth, if the set hadn’t been recorded for posterity.

Mills completed a two-night stand for Vivid LIVE on Saturday, May 23. Vivid LIVE is the annual contemporary music centerpiece of the Sydney Opera House, and part of the broader Vivid Sydney festival, which runs through June 13, and is owned, managed and produced by the New South Wales government, Destination NSW and Feel New Sydney.

Read Billboard’s “20 Questions” with Jeff Mills here.

When Glen Matlock published his memoir I Was A Teenage Sex Pistol in 1996. he “thought I’d never have to talk about (the story) again.”

But 30 years later, he’s doing it again.

The Sex Pistols‘ founding bassist — who co-wrote 10 of the 12 songs on 1977’s seminal Never Mind the Bollocks, Here’s the Sex Pistols before parting ways with the band that year — is now the subject of a documentary also titled, wait for it… I Was a Teenage Sex Pistol. Based on the book, of course, the 94-minute film begins streaming May 26 on Apple TV and Prime Video. It’s directed by Andre Relis (Randy Rhoads: Reflections of a Guitar Icon) and Nick Mead (Who Do I Think I Am? ).

Amidst its reams of vintage footage and images is commentary from Matlock and a wealth of friends and associates, including Billy Idol; Blondie members Debbie Harry, Chris Stein and the late Clem Burke (Matlock’s been touring with the band since 2022); the late Wayne Kramer of the MC5; Spandau Ballet’s Gary Kemp; Rat Scabies of the Damned; Slim Jim Phantom of Stray Cats; Kenney Jones (the Faces, the Who); Cheetah Chrome (the Dead Boys, Rocket from the Tombs; L.A. Guns’ Tracii Guns; and members of the Vandals, Bazooka Joe, Doctors of Madness and more.

Sex Pistols frontman John Lydon (aka Johnny Rotten), the band’s late manager Malcolm McLaren, and the late Sid Vicious, who replaced Matlock during February of 1977, are represented via archival footage and audio clips.

“It’s no real kind of MGM, the big lion thing,” says Matlock, who co-produced the film. “It’s a little bit more of a DIY project. People have been interested over the years; it didn’t come together, and then I met Nick Mead, who introduced me to Andre Relis a couple of years ago, and we slowly went about piecing it all together. I think it’s come together really well.”

He adds that, “I think what’s quite good about it is Andre… is sort of a bit late to the punk rock thing. So he asked people questions that may be a bit naive, but he gets a more straightforward answer out of them than somebody who knows it already and asks some tricky question instead.”

The point of the I Was a Teenage Sex Pistol documentary is much the same as the book — essentially restoring Matlock’s somewhat obscured contributions and his place in the band’s groundbreaking legacy. “I thought this might make a slightly different take on the Sex Pistols story,” he explains. “I’ve always felt I’ve been passed over a little bit in the public eye. People like to paint me as the guy from the Sex Pistols that nobody knows; there were so many people involved that they’ve all got their own take on the story. This is mine.”

That notion is certainly supported throughout the film. As Joe Escalante from the Vandals says on camera, “We’re kind of fed a Sid Vicious story, that Sid Vicious was punk rock and Sid Vicious is the Sex Pistols. And we found out Sid Vicious could not play bass, did not play bass, and there’s some other guy named Glen Matlock. And we’re like, ‘Who’s he?’”

Matlock — who’s long contended that he chose to leave the band while others have maintained he was fired — says that he’s “really pleased with the quantity and the caliber of people who stood up to pick me up a little bit — friends, acquaintances, work colleagues. That can only boost your confidence a little bit, and it’s interesting to hear the slightly different takes on things.”

What …Teenage Sex Pistol does make clear is the key role the bassist played in the band’s formation and its music, including its first single, “Anarchy in the U.K.,” and the equally iconic “God Save the Queen.” In the documentary Matlock demonstrates show they came about, playing the chord progressions on his bass for the camera. “I always tried to get Steve (Jones) doing something on the root (progression), which he’d pick up on and lay around with a little bit,” Matlock explains. “Then I’d give it a bit more color, like what (John) Entwistle did on (the Who’s) ‘My Generation’ — nowhere near as good as that, but counterpoint rhythms and things like he does.”

The documentary also explores the roots of punk rock in the United Kingdom, with observations from the figures such as Alex McDowell, an acclaimed production designer who booked what was to be the first Sex Pistols concert, at the Central School of Art and Design, and Mike Thorpe, a record executive who signed the band to its ill-fated first contract with EMI. “I did subscribe to the socio-politico kind of thing myself,” Matlock says now, “but that could be misconstrued because everybody in the band had totally different ideas about it. Paul (Cook, drummer) might have been more along my lines. (Jones) couldn`t give a s— as long as he got paid and there were some girls involved. And John ended up more on the sort of (politically) right end of things, which I’m certainly not. I’m not an out-and-out socialist, but I’m leaning that way. So there was a big split in the camp.”

After leaving the Sex Pistols, Matlock formed Rich Kids with a then-unknown Midge Ure, then went on to the short-lived Vicious White Kids with Sid Vicious, Spectres and the all-star International Swingers. He also worked with Iggy Pop, the Damned and the reformed Faces before his tenure with Blondie.

Cook and Jones appear in …Teenage Sex Pistol, their relationships with Matlock largely repaired since he rejoined the band for its 20th anniversary Filthy Lucre tour in 1996 and continues working with them. “Me, Steve and Paul have always gotten on enough,” Matlock notes. “They always blame (McLaren) for what happened. We’re not the best of friends, but we’re not the worst of enemies. We sort of hang together and enjoy each other’s company when we do that.”

But Matlock remains unhappy with Pistol, the 2022 British TV miniseries which was based on Jones’ memoir Lonely Boy: Tales from a Sex Pistol, and executive produced by the guitarist. “I did tell Steve, I said, ‘Mate you got a shocking memory,” he says. “I wasn’t that happy with it, but that’s not why I made this movie.”

Matlock says there were “a few people I did ask” to be interviewed for the film but refused. “They were maybe more in the John camp,” he notes, “so probably said ‘no’ because it could’ve been awkward. Lydon was not approached, under the assumption he “just wasn’t interested. He’s moved on from (the Sex Pistols) now. But good luck to John; he’s got the Public Image (Ltd.) thing going. People say we’re a tribute band without John, but there’s three of us, and he’s the only Public Imager. I think he’s painted himself into a corner of a very big hallway.”

Asked if he’d be open to having Lydon back in the Sex Pistols if he wished, Matlock is silent for a moment before saying that, “It’s just not gonna happen.”

Matlock, Jones and Cook are happy enough with the current incarnation of the Sex Pistols, however. British singer Frank Carter began fronting the band during 2024, at the suggestion of one of Matlock’s sons; the group will be going on a 50th anniversary Jubilee tour this year, starting June 11 in Europe — with several festival appearances — with U.S. dates beginning Sept. 11 in Dallas to make up for shows canceled last fall after Jones broke his wrist.

“Frank has given us a new lease on life,” Matlock says. “It’s a bit like the beginning in the band, when we first started out, before John got his face in the papers. Jenny, (Cook’s) wife), came to see us and said, ‘Y’know what; that’s the first time I’ve ever seen you guys come off stage with a smile on your face.” And he predicts that bonhomie might even lead to some new music from the quartet.

“I’d like to,” Matlock says. “I’ve got some tracks; they’re not finished songs, just sort of earmarked if that (opportunity) comes up. I think Frank would like to. The only thing is Steve lives in L.A., I live (in London), Frank’s out of town. When we get together (to tour) we have enough time to do what we need to do. There’s not a lot of hanging around. But who knows. We’re beginning to run out of time a little bit, but never say never, right?”