Ashley McBryde is adding her name to the star bars in downtown Nashville, starting Aug. 28. The Grammy winner will open bar and entertainment venue Redemption Bar, located on the fifth floor of Eric Church‘s six-story Chief’s venue.

“When the opportunity to make my mark on Broadway came, I knew I wanted to create a space that champions what’s made a difference in my life — a space that lifts up the brushed aside, and makes sure everyone feels welcome,” McBryde said in a statement.

“Redemption is a great place to start a conversation,” she continued. “A spot with incredible drinks of all kinds that are as well crafted and thought out as the songs you’re hearing from the vagabonds, drifters, and dreamers that make this music city, Music City.”

Inspired by her own three-year journey of sobriety, Redemption Bar will feature a zero-proof cocktail menu, with each taking its name from various song lyrics. Of the beverages — which will include alcoholic drinks — the artist noted in her statement that they’re as “well crafted and thought out as the songs you’re hearing from the vagabonds, drifters and dreamers that make this music city, Music City.”

Given that McBryde’s songwriting prowess has been front and center on her career-propelling songs such as “Girl Goin’ Nowhere,” Redemption Bar will also feature rising musical talent and songwriters who prefer to perform their own music over cover songs.

Opening her own spot inside of Church’s venue is natural partnership, given the longtime artistic camaraderie between the two artists. Back in 2017, Church welcomed McBryde to perform her song “Bible and a .44” at one of his shows. Two years later, they performed “The Snake” together at the ACM Awards. In 2021, Church joined McBryde during her run of headlining shows at the Ryman Auditorium to perform a version of The Allman Brothers Band’s “Midnight Rider.”

Check out McBryde’s announcement below:

JP Saxe was planning a fall headlining tour for rock clubs in the 1,000-2,000 capacity range to support the second half of his two-part album Make Yourself at Home. But after tickets went on sale, the Grammy-nominated singer announced on a brutally honest TikTok earlier this week that if he didn’t sell an additional 20,000 tickets for the run of shows he would have to cancel the entire thing.

“If we’re just not in a place yet to sell yet to sell out these two or three-thousand-cap venue that’s fine,” he said in the video. “It’s always been my goal to connect deeply not widely and I stand by that.” The clip was followed by another super honest one in which Saxe described his friends encouraging him to ask for help moving tickets, to which he said he initially respond, “no, that’s scary, I’m a man, I must do it all by myself.

The 27-date North American tour slated to kick off Sept. 9 in Edmonton, AB at Midway Music Hall was booked to play venues including San Francisco’s Masonic, Nashville’s Cannery Hall, Detroit’s Saint Andrew’s Hall, Toronto’s Massey Hall and Brooklyn Steel in New York through an Oc. 15 gig at the Beachman in Orlando.

Then, on Wednesday (July 30) Saxe offered an update, saying that he’d sold “a few thousand extra tickets” since his initial plea, which he said he was grateful for and praised as a reminder that honesty and “being transparent in failure” can be more powerful than the “facade of success.”

“But what those few thousand tickets are not is enough to save this tour,” he lamented. “I’m really sorry. I’m so sorry,” he added, offering refunds for all the tickets purchased for the tour. And while he admitted to being “a little embarrassed,” Saxe said he is also feeling “a lot of ambition” to make sure he’s never in this position again and to make the most honest music he can going forward so he can fill those rooms in the future.

Saxe further explored the tour’s failure to launch in an essay for Variety on Friday (Aug. 1), in which he said the quiet part that most musicians (and their managers) don’t often say out loud about why they’re pulling dates after they’ve been announced.

“Due to unforeseen circumstances… The circumstance: I didn’t sell enough tickets,” he began. “Last week, my team told me we were going to have to cancel my fall tour. Ticket sales weren’t where they needed to be. The suggestion was: take the L, try again next year.” And while he wrote that he knows this kind of situation is often met with press releases about “wrong timing” or “a scheduling conflict,” the reality is something he knows you’re not supposed to admit: “‘I guess people aren’t really f–king with me right now.’”

He noted that the 20,000-tickets-or-bust video got a “few million views” and his grassroots army of “emotional song-loving cuties showed up” for him. But, alas, it wasn’t enough. “If you’re only as successful as you appear to be, then success starts to depend on your ability to shape perception,” he wrote about the difference between how an artist is actually connecting versus the perception of their success.

“In scroll-world — where there’s no time for nuance — the flash becomes the fact,” he said. “That’s why if a show is over 80 percent sold, you call it sold out. It’s not a lie, it’s marketing. We’ve all seen it work. You create the illusion of buzz, people get curious, the crowd grows — and suddenly the buzz is real.”

By sharing that his ship was sinking, Saxe said some people jumped on board to help and what was initially embarrassing to admit began to feel “weirdly empowering,” with the honesty cracking something open. He said that fissure was filled by messages from “many other” unnamed artists praising his boldness, as well as calls to his team from others in the industry commending his truth-telling.

His action comes more than a year after the Black Keys abruptly pulled the plug on their 31-date fall 2024 North American tour and split with their management and Jennifer Lopez cancelled her 2024 This Is Me… Live arena tour in order to, as a release said, take time off “to be with her children, family and close friends.”

“It’s not just about making something worth caring about — it’s about knowing how to make people care,” Saxe concluded. “I’m scared I’m only ever as successful as I’m perceived to be. That to feel successful, I need to look successful — to my peers, my friends back home, my family, their families,” Saxe added, wondering how much of that brave face is just, well, lying.

“Very few artists want to be sleeping in their car eating ramen, but every artist wants to say they used to sleep in their car eating ramen,” he said about the RAV4-to-riches tales of other acts who’ve climbed from penurious obscurity to high-flying chart dominance. “So if I really believe (which I do) that I’m going to sell out arenas someday… then I also have to believe in how much better it’ll feel when I get there,” he wrote. “Knowing I can tell the story about that one time, in the fall of 2025, when despite the support of a few thousand beautiful strangers on the internet… I had to cancel my whole tour.”

Drake is continuing his trek through Europe, and on night two in Amsterdam Thursday (July 31), he brought a fan to the stage named Julia during “Yebba’s Heartbreak,” who left an impression on the 6 God.

Now, Drizzy is looking for some help from his fans to reconnect with his “new friend” Julia. “Need to find her man she’s a special spirit I lost her in the crowd after,” he wrote in the comments of a @DrakeDirect Instagram video.

Footage of the moment circulated on social media as Drake shared a warm embrace with Julia on stage.

“Make some noise for her one time,” Drake said after the hug. “She needed a hug. This is Julia, everybody. This is my new friend right here. Make some noise for Julia. That’s what you gotta do sometimes. You gotta show love.”

Seconds later, Drake picked up a Canadian flag from a fan in the front row to show the rest of the crowd. “You trying to make me feel like I’m at home, huh?” he said while proudly waving the red and white.

It appears he wants to see her back at the third Amsterdam show on Saturday night (Aug. 2). “Julia we need you back at the next show you are the best vibe find us cause we can’t find you,” he wrote in a caption of a deleted Instagram Story, according to Complex.

Drake has made headlines with his earlier Amsterdam concerts, which found him giving a speech about how his “karma is straight” and why he’s been able to maintain longevity in the rap game for nearly two decades. He also revealed to the crowd that his 7-year-old son, Adonis, was conceived in the Netherlands’ capital.

On the music side, Drake kicked off the Iceman album rollout with “What Did I Miss?,” which debuted at No. 2 on the Billboard Hot 100, while he joined forces with Central Cee for “Which One” last week.

In need of some new tunes from your favorite queer artists? We’ve got you covered. 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.

From Chappell Roan’s long-awaited new(ish) ballad to Reneé Rapp’s rowdy new album, check out just a few of our favorite releases from this week below:

Chappell Roan, “The Subway”

After more than a year of patience from fans, Chappell Roan is finally ready to offer them a ride on “The Subway.” The plaintive ballad paints a vivid picture of Roan mid-heartbreak, as she recounts the mundane tale of seeing an ex on the train and going into a full-blown spiral of Big Feelings™. It’s easy to see why fans have wanted a full studio version of the song — the dreamy guitars end up pairing perfectly with Roan’s ethereal vocal, as she pines for the day her former flame becomes “just another girl on the subway.”

Reneé Rapp, Bite Me

Reneé Rapp is ready for a switch-up. Where her excellent 2023 album Snow Angel saw the singer getting vulnerable about the hard realities surrounding her, Bite Me, her raucous new album, sees her disengaging from the hardships and opting to have fun instead. Over pop, rock, and R&B-tinged tracks, Rapp revels in sex (“Kiss It, Kiss It”), parties (“Good Girl”), and petty breakups (“That’s So Funny”), all while giving some of her best vocal performances to date. The pathos and angst from Snow Angel is still present throughout, but as Rapp herself sings in the back half of the album: “If I can’t be happy, then at least I’m hot.”

Demi Lovato, “Fast”

Everyone, please welcome back Demi Lovato, Pop Star. After zigging and zagging into adult contemporary and hard rock on her last few albums, the singer steps firmly back into the pop space with “Fast,” their new dance-fueled banger. Plinking synths litter the background of the new track, alongside a beat that slowly ratchets up until bursting into an electric symphony on the chorus. But as usual, the standout on “Fast” is Lovato’s inimitable voice, as she flexes the power and versatility of her own instrument throughout this delirious new single.

Slayyyter, “Beat Up Chanel$”

If Lovato’s new song hasn’t quite slaked your need for a high-octane new club track, then Slayyyter’s should get the job done. Over a crunchy industrial beat, Slayyyter works her way through a nightlife scene packed with “sex, money, drugs, chains on my chest, vintage Celine” and just about everything else you can hope to encounter. But she’s not interested in the opulence of the scene, as suggested in both the lyrics and grimy production — Slayyyter’s on a mission to find the filthy underbelly of the club. And with a track like “Beat Up Chanel$,” she’s sure to find it.

Debby Friday, The Starrr of the Queen of Life

After spending much of her career sowing chaos into dance tracks, Debby Friday is having an introspective moment. The Starrr of the Queen of Life finds the underground dance star still firmly situated in the club, but this time she’s ready to tackle some more existential questions about her personal life (“Alberta”) and about life itself (“Arcadia”), all while still providing some of her most fascinating production to date.

Adam Lambert, “Heaven on Their Minds” (Jesus Christ Superstar cover)

Leave it to Adam Lambert to make a 55-year-old rock opera song sound new and vital again. Ahead of his performance this weekend in the Hollywood Bowl production of Jesus Christ Superstar alongside Cynthia Erivo, Lambert shared his rendition of the show’s opening number “Heaven on Their Minds,” letting his stratospheric voice go as far as it can. You can also hear his acting in the role of Judas throughout, as the performer brings a sense of desperation and panic to this rollicking new rendition.

Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:

You don’t need to come in first in order to win.

That’s something SZN4 – one of the bands to come out of Netflix’s recently wrapped singing competition Building the Band – are learning and living as they begin to plot the next phase of their career.

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Early on in the show, Cameron Goode, Katie Roeder, Aaliyah Rose and Donzell Taggart put themselves in a group together, sight unseen, based solely off audio-only performances and conversations with each other. (The show brings a Love Is Blind flavor to the singing competition format.)

After meeting each other for the first time mid-performance, SZN4 – the only mixed group in a competition that featured girl groups and boy bands – routinely blew away the judges with their impassioned performances and unlikely chemistry. They eventually came in second (the also impressive girl group 3Quency won the show), but one week after the final episode’s airdate, SZN4 stands on top as the most-streamed band of the show’s top four finalists when looking at global official on-demand song streams, according to Luminate.

It’s easy to see why. I was on set for Building the Band’s final day of filming, and while there was talent aplenty, SZN4’s fiery, confessional and soul-stirring cover of Rag’N’Bone Man’s “Human” left the entire studio shook. A follow-up version of Jazmine Sullivan’s “Bust Your Windows” demonstrated their vocal abilities and stylistic diversity, ultimately helping them lock down the runner-up spot.

Certainly, many pop stars have come out American Idol who didn’t win the crown – and One Direction, one of the most successful boy bands of the 21st century, actually came in third on The X Factor. That’s a fact which Liam Payne – one of the Building the Band judges alongside Kelly Rowland and mentor/judge Nicole Scherzinger – made a point of emphasizing to the show’s contestants while providing feedback and encouragement. (Payne tragically died at the age of 31 last October, after the show wrapped filming.)

Now, with the building blocks of Building the Band beneath them, SZN4 (pronounced “season 4”) is planning for their future as “family” together – and they gave Billboard a taste of what to expect from what they’re cooking.

After you all sang “Human” in the finals, host AJ McLean of the Backstreet Boys was legit tearing up. What did those final performances feel like in the moment?

Cameron Goode: Being on that stage is just such an unreal experience. The moment we get on stage, we just turn on like these superstars that we are. But I know for “Human” in particular, that song, and the message that we wanted to tell with that, it was truly so therapeutic to be on that stage in that moment and to let out all these emotions that we had bottled up. All these ideas that we have projected onto us (by others) when at the end of the day, we’re just people that live in this world: we’re just taking it day by day. It meant a lot. I can only remember bits and pieces of how I truly felt — when I’m on the stage, I tune out, it’s just about telling that story. It was so powerful from top to bottom.

So obviously, you didn’t win the whole thing — you came in second — but you left an incredible impression on viewers. So far, your Spotify numbers are actually the highest of the top four bands on Building the Band, which has gotta feel good.

Donzell Taggart: I ain’t know that!

Looking back on the whole experience now, how are you feeling?

Aaliyah Rose: As cheesy as it is, I feel we got the win: the win for us was meeting each other. And honestly, I can’t believe I’ve gone my whole 23 years of life without knowing them. It’s weird to even think that we just met last year and it was an instant click. We just get each other, and we get each other on a deeper level because it’s music. It’s like we all speak the same language, which is so cool. I would do it a million times over to meet them again and have the experience that we had. Also, to have the mentors we did, being mentored by them was insane. I feel like we get to cherish that forever.

Watching it at home, did you learn anything about yourselves? Did anything surprise you?

Donzell Taggart: Honestly, I feel like it really helped me being on the show. It just brought the full picture of everything. It really helped me be able to be myself ‘cause I used to always say “I’m not going to do no video longer than 30 seconds” — another story for another day — but the show really helped me and it got me to be able to be who I am. So thank you Netflix.

Katie Roeder: Seeing us up there and seeing us do what we love to do was also empowering in and of itself. Being able to watch that from our homes and then especially on social media, to see the amazing feedback and the awesome comments we’ve been getting. I’ve been getting so many DMs of people being like, “Seeing you guys on stage is inspiring me so much to be who I am” and I tear up a little bit. Clearly, I’ve been emotional on the show, and I’m emotional afterwards. These DMs are making me tear up because people see themselves in us and they get to aspire for things because they see us. It pushes them to follow their dreams, which I love.

That’s sort of the ultimate win, inspiring others to follow their dreams. What have you been doing since then as a band? Working on any songs, originals?

Aaliyah Rose: For sure. Obviously on the show we did covers — we would take a song and we would always make it our own, that was our thing. It’s been so fun doing original music and being able to create. All the emotions and storytelling that we want to tell, we’re trying to put that all into our music. The creative process is the most fun.

Cameron Goode: Obviously, we’re a part of Building the Band, but even outside of the show, we’re literally family. We get each other in all wavelengths, but we’re still continuing to figure out our sound and who we are in real time. And it’s cool that we can now essentially continue to build this band now with people and fans that love and support us.

Aaliyah Rose: It’s only the beginning. Looking back, it’s like we were babies on the show. Now it’s like we have these monsters that just want to come out whenever we’re on stage, so hopefully we put that into our music as well.

Katie Roeder: Yeah, we definitely are. We’ve been cooking for sure. We have some things coming, which is really exciting.

Glad to hear you’ve been cooking. Donzell, there was a moment on the show where Liam got off the judges platform, went into the crowd and hugged your mom. That was so sweet.

Donzell Taggart: No, literally I was on the phone with my mama today. Even while we were there on the show, it was just like…I don’t know. We love Stephanie [his mom]. We love everything about Stephanie. I just want to thank God for her, so I’m just going to go shout out my mama real quick. He walked up to her, he’s like, “Can I just give you a hug?” And that’s the Holy Spirit. But we love Liam, and I love that moment that he had with her because she got to experience that with me. We get to share that together.

Are there any particular critiques or bits of advice from the judges that have stuck with you?

Katie Roeder: Overall, one that we got multiple times is just how much we trust each other and to stay true to that trust and stay true to ourselves. So bringing that into our music going forward and who we are as people, just making sure it’s present, because that’s what makes us special and that’s what makes us SZN4. That’s definitely stuck with me and I know that we’re going to continue bringing ourselves into everything that we do.

Cameron Goode: Heavy on the fact that every other time we performed, Kelly would say that it doesn’t seem like it would like work — you know, it’s so unconventional — but what she’s also saying is that when we sing it just works. That’s how you know the music is what binds us all together. And it’s so exciting that we’re figuring out our sauce in real time. This is just such a new caliber for SZN4. We’re just having fun and figuring out what works and what doesn’t and figuring out our own sauce. We are all aware that this is something so fresh and so new.

Aaliyah Rose: Being like one has been a huge thing for us. Every time before we step on stage, we always do like a huddle, we do a pinky promise, we pray and we all breathe and just get on like the same breath. Then we all feel like we’re connected. The second we step on stage it’s like we’re all locked in and at peace with each other. So I feel like that’s a big thing that’s also helped us stay grounded before we perform.

Donzell Taggart: We’re still figuring it out. There’s no formula to life. We got to figure out who we are. We just living, we just want to love people, we want to put it on music, we want to tell stories. Music is so dope, it’s so beautiful. I’m glad we get to do this together. We couldn’t have planned this out — it’s just magic for sure.

There’s a lot on the show you’re getting critiques about – not just your singing but choreography and even fashion. What was the hardest part for you to get through?

Cameron Goode: I know for me the wardrobe and the hair. I never really take risks when it comes to what I wear and what I’m doing with my hair. This is the first time I’m actually stepping out of, not necessarily my comfort zone — because it was all in me to experiment with my clothes and my voice and my hair – but I definitely got out of my comfort zone with this show in the best possible way, ‘cause I always had it in me. There was a whole moment in the show that didn’t air actually: I was just talking about my past and how I felt like I wasn’t able to wear certain things or be this person that I wanted to be because of my environment. It’s truly so cool, such a blessing that this show really took off whatever mask I was wearing and I was able to get out of my head be a part of this beautiful band and just cook.

Is there one moment that stands out as the absolute most fun you had on the show?

Donzell Taggart: (Our performance of) “Bust Your Windows” for me. That was the most nerve-racking, terrifying. We came out singing “Don’t Cha” ‘cause Nicole was performing for the crowd (before us). That was the most fun performance ever. I love that one.

Katie Roeder: One thing that was really fun that obviously you don’t get to see as much in the show is how amazing the crew was. We loved everybody on the crew and in the cast. Spending time with them and talking and joking — anytime we had downtime, we’d be dancing or singing or playing some kind of game. It was so fun to have such an amazing group of people to work with.

Cameron Goode: One of my faves was just figuring out every time we did the arrangements, just when it all comes together. Particularly when we get on those stages and it just shines, it just comes out of us. We’d go to sleep at night knowing that we practiced to the best of our ability, but the fact that when we got on stage, it was just 110%.

The music of Danny Ocean is the kind that connects, heals, makes you fall in love and is a pure reflection of his genuine, relaxed vibe. And his new album, Babylon Club, released on Thursday (July 31) under Atlantic Recording, is no exception.

“I think this album is like that, it’s about moments a lot, not so much about thinking,” the Venezuelan artist tells Billboard. “It was much more about the moment and the energy you brought to the studio or to compose.”

Babylon Club features 14 tracks and a narrative universe where freedom, desire, love and celebration occupy a central place, presenting a dynamic mix of sounds and collaborations that highlight Danny Ocean’s global vision. It includes exciting contributions from recognized artists such as Arcángel (“Arena”), Aitana (“Anoche”) and Louis BPM (“Sunshine), as well as previously released singles “Priti” featuring Sech, “AyMami” with Kenia Os and the No. 1 hit “Imagínate” featuring Kapo.

Listening to it is like trying musical flavors from the Caribbean. There is a merengue, “Pirata” with El Alfa; his first salsa, “Crayola”; and a merenguetón, “Margarita,” which also carries that Venezuelan sound. “It is not a genre that was born in Venezuela,” Danny explains. “But I think it is a genre that we adapted to ourselves, to our way. And yes, it tastes like a little rum.”

It also goes further in its sound exploration, reaching a refreshing flamenco in “Corazón.”

Danny is not one to keep trophies, plaques or other visible reminders of his success at home; instead, he keeps them in the homes of some of the people he loves. With one exception: After our interview, he received a certificate plaque for “Imagínate” with Kapo going 3x Platinum from his Warner Latina label; the track spent seven weeks at the top of the Billboard Latin Pop Airplay chart.

Anxious, excited and ready to share his new music, Danny Ocean spoke with Billboard a day before the release of his LP in the intense heat of summer in Miami Beach. Below, he breaks down five essential tracks from Babylon Club.

Musikfest kicks off tonight in Bethlehem, Pa., with a headlining performance by Riley Green, launching a 10-day celebration of free and ticketed concerts that organizers hope will draw record-breaking crowds to the historic steel town.

In 2024, Musikfest drew 1,020,000 attendees — a decline from 1.3 million in 2023 — yet still outpaced major festivals like the Hardly Strictly Bluegrass Festival (750,000) and Chicago’s Blues Fest (500,000) in overall attendance.

Despite the dip in total attendance, the festival still set a new record for ticket sales for its headliner shows on the Wind Creek Steel Stage, selling 54,786 tickets. The festival also saw four headliner shows completely sold out.  

The festival has played a key role in Bethlehem’s revival, transforming the former steelmaking hub into a rising music destination — trading steel furnace blasts for pedal steel guitars as it now hosts one of North America’s largest free music festivals. 

Since the 1980s, local cultural org ArtsQuests has been leading an effort to transition the town towards music tourism.

“We served the entire country – Bethlehem steel was used to build the Golden Gate Bridge, the Brooklyn Bridge and the Empire State Building,” said Patrick Brogan, chief programming officer and manager of the ArtsQuest Center. But the mill fell on difficult times, parts of the northeast deindustrialized and much of the mill was demolished to make way for a casino.

But not all from the past was lost – the mill’s iconic 250-foot blast furnaces were renamed the Bethlehem Steel Stax and repurposed as the backdrop for the Levitt Pavilion SteelStax amphitheater, the 2,500-seat shed that anchors the ArtsQuest campus. The shed hosts the festival’s paid concerts this summer from acts like The Avett Brothers, Darius Rucker, The Black Crowes, Chicago and The Black Keys. The rest of Musikfest’s 300 concerts are free to the public and spread out at 15 different venues across the city and the ArtsQuest campus, a four-story performing arts center that serves as the central hub for 12 festivals including !sabor! Latin Festival, One Earth Reggae Festival and the Blast Furnace Blues Festival.  

“When you’re working with these 200-foot tall blast furnaces behind you, scale is everything, and ArtsQuest is scaled to be able to produce a higher volume of events than your average performing arts center,” Brogan said, noting that ArtsQuest is the third largest arts organization in the state behind the Kimmel Center in Philadelphia and the Pittsburgh Cultural Trust. In total ArtsQuest hosts 1,100 events a year.    

“The heart of Musikfest comes from the 450 artists coming in from all over the world,” he said, “It’s the free to the public stages all across the city, spilling over the stacks on to the campus.”

King Combs is relieved that his father’s trial is over.

The son of Sean “Diddy” Combs — who was recently found not guilty of sex trafficking and racketeering, but guilty of illegal prostitution, for which he is awaiting sentencing — sat down with Billboard over Zoom to talk about his seven-song EP Never Stop executive produced by Ye (formerly knows as Kanye West) and the past year he’s had as his father was in jail awaiting trial.

Once the verdict was in, ABC News caught up with King Combs outside of the Manhattan courthouse where he was notably in high spirits and expressed positivity, which will be a common them in our interview. “We love y’all. We love everybody watching. I’m so happy,” Combs told the outlet. “Pops coming home. God bless the whole world.”

Combs has songs dedicated to both of his parents on his Never Stop EP that he dropped last month.

The song “Kim,” about his late mother Kim Porter who passed away unexpectedly at 47 years old in 2018, features lines like, “When it rains, I feel your pain, it got my vision cloudy/ Tryna keep my head up, but that watеr, it feel like I’m drownin’,” and on the track “Diddy Free” (about his incarcerated father), he raps, “Tired of n—as speakin’ on the family/ N—as claim they brothers, but they can’t be.”

The project also features Ye on the track “People Like Me” and his daughter North West on the intro “Lonely Roads.”

Check out our convo with King Combs below, where he talks about how the project with Ye came together and where he and his family go from here.

So, it’s been an interesting year for you. I know your father is still waiting on his sentencing, but how do you feel now that the trial is over and the verdict is in?

I feel good. The whole family. We feel good. We just, you know, humbly, just waiting for the sentencing and waiting for pops to come home. We got good expectations. My new tape Never Stop is out right now. It’s going crazy. I’m happy to be here with Billboard. Thank y’all for having me.

How did the tape come together? How did Ye get involved?

Shout out Ye, too. He reached out to me during a time where, you know, a lot was going on, probably the worst times in my life. And he reached out to lend support and we talked about a Sean John collab. A lot of people may not know, we’ve been was gonna do a Sean John collab. Then we were gonna work on some music and stuff, but we never got a chance to. So, we started talking about the Sean John collab and he said he wanted to do a five-song EP with me. And then from there, I was like, “Yo, it’s no brainer, of course.” And we just made it happen.

And whose idea was it to have North on the intro?

Yeah, it actually was his idea. She was just in the studio one day. We was at the warehouse studio, and she was just real eager to work and real eager to hop on a track. It came out dope.

There’s a line where you’re like, “When they needed our help, they didn’t have to ask for it.” Do you feel like you and your family were betrayed by certain friends during this process?

I wouldn’t say betrayed, but you know, Ye definitely showed love and showed support when it was needed. And it definitely was a little quiet out there, but I wouldn’t say betrayed.

Because you do mention the “No Diddy” phrase on “Pick a Side.” I’d imagine that a phrase like that bothered you. Did seeing it take off online affect you in anyway?

I never really heard it in person. I seen it on the on Instagram and stuff like that. That’s about it.

So, how does that stuff change now? Because people kind of left your pops for dead and you came out with “Pick a Side” trying to respond to things.

I think now that the truth is getting out and pops is on the way home, God willing. I think we just need to stay with positivity, spread love. I just hope all the hate and all the negative stuff is past us and we can just move forward and with just love and good vibes. That’s what we’re here to do: never stop. I get vulnerable on this tape a little bit but for the most part it’s just good music for people to feel good and get through whatever they’re going through.

Do you regret releasing that track? You had some lines in there that had people talking.

Just creative expression, you know? But like I said, sometimes you can speak from emotional places. Let the truth just come out. Sometimes it’s better.

There’s a track named after your mom where you mentioned that she cried during one of your first performances.

That was a theme with my mom. Every time she seen me do something, even if it was something little she would start tearing up, start crying, especially when I perform, she always would cry.

You also mentioned that you didn’t know the difference whenever you watched her cry. How did she react when you told her you wanted to be a rapper?

She was just proud of me and really excited. She was my No. 1 fan. There would be times where I would perform in front of her in like the bathroom and stuff like getting ready, showing her what I’m gonna do and she would just start crying, like, bawling out.. And for me, it was just confusing that’s why I said I didn’t know the difference. I didn’t really understand.

What advice did she give you that you still think about and cherish?

Some advice she gave me that I still think about is to follow my dreams. The album title is called Never Stop. It’s one of my mottos I kind of get from her too because she always taught me to be myself, and just keep going. In life there’s going to be a lot of obstacles, a lot of people trying to doubt you, a lot of people trying to push you in different ways and just to stay focused and do what I want to do.

How do you guys plan on moving forward once the sentencing comes in?

Like I said, we feel like just moving forward with positive vibes, love. Me? My tape just dropped. I got videos dropping. My sisters got a clothing line coming out. My brother Quincy’s into acting, Justin business. My little sister Chan, she’s in college right now, going to NYU. Baby Love is growing up. So, yeah, just, you know, continuing to live life and just bring positive vibes to the world. I think that’s just the main focus.

You’re in town visiting your pops, right? Have you gotten a chance to see him yet?

Yeah, I saw him. Of course, it wasn’t in the ideal place. Was is it in person or was it like a video call? In person. We dapped up and all that. At least it’s not like behind the wall, but it’s definitely not it. Any advice that he gave you while he was inside this past year? You had came out with “Pick a Side” trying to fight back at the narrative a bit. It was really just to be positive and not let everything that’s going on get to me. And, you know, don’t react off of emotion. Just be me and do what’s true to myself.

Do you think the Bad Boy and Diddy brand can bounce back from this?

Yeah, for sure. We’re definitely gonna keep going. Like, I said, “Never Stop.” We can’t stop, won’t stop, and we’re going to just continue to spread love and hopefully receive that back.

What you got going on in New York now that you that you’ve seen your pops, you’re gonna, you’re gonna stay out here for the weekend?

Yeah, we here in the city, but I’ma just be here, be working, cooking up some new heat, cooking up a video. Billboard might have to come get the behind the scenes.

Never Stop dropped about a month ago. What other plans do you have in store?

After this, we never gonna stop. We’re gonna keep going, keep dropping hits. We got some videos coming out for this tape. I can’t tell y’all which one, so it’s a surprise. We’re just gonna keep it going.

Is there any anything else you you want to talk about or add?

Goodfellas is my new record label. We’re going to go crazy starting my entrepreneurship at an all-time high. Also want to say, I love all the supporters and fans who stuck with us through this hard time, through this dark time, who stream Never Stop, all the people who showing love, spreading love, that’s what it’s all about. And I want to say, Thank y’all. Love y’all so much. Thank you, Billboard. Yeah, Never Stop out now, Goodfellas, Bad Boy. CYN.

Sometimes, the things that are unplanned are the most beautiful. Just ask Christina Aguilera, who revealed that one of her most iconic lines was never supposed to be included in her signature hit.

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While appearing on the Thursday (July 31) episode of Heart Evenings With Dev Griffin, the pop superstar shared an anecdote about how producer Linda Perry elevated 2002’s “Beautiful” by keeping in a candid moment that Aguilera’s mics picked up while she was in the booth. The subject first came up when host Dev Griffin asked whether it was true Xtina had recorded the ballad — which reached No. 2 on the Billboard Hot 100 in February 2003 — while lying down.

“Lying down? I don’t know if I was coming up or down or whatever,” she replied. “But it was a special moment, because I had somebody else in the booth with me and I was feeling a little bit insecure, which taps into the song and the vulnerability of the moment. And that is where the beginning goes, ‘Don’t look at me.’”

“It was real, and it was raw and authentic in the moment, and Linda kept it in the song,” Aguilera continued. “Which actually embodies it perfectly, because it’s just introducing, like, ‘I’m insecure but trying to look at the positive and optimism of I’m beautiful no matter what.’”

The line in question is said in a muffled whisper at the beginning of “Beautiful,” which appears on her album Stripped. Debuting at No. 2 on the Billboard 200, the LP was responsible for many of Aguilera’s most iconic moments, from the vulnerability on “Beautiful” to the music video for “Drrty.”

Of the visual, Aguilera reflected on the podcast, “It was just outrageous and fun, but it was one of the best times I’ve ever had on a music video.”

“It was just honestly so fun and such a great memory,” she added. “I’d do it all over again and I’m glad I had the balls to do it and wear the f–king chaps. I love seeing it, and I love seeing people dress as the ‘Dirrty’ outfits with the chaps [on Halloween], and all of it, the black and blonde hair. I love seeing people reinvent and have fun with different creative free choices I’ve made. So, it’s a really beautiful thing.”

Fifty-five years ago, Andrew Lloyd Webber and Tim Rice set out to create a musical that asked a central, controversial question about the central figure of Christianity: what if Jesus Christ wasn’t the Son of God, and was just a man trying to make a difference? “It’s not really a religious piece,” Rice said in a 2023 interview. “It’s a story.”

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Half a century later, Jesus Christ Superstar, the award-winning 1971 musical created by Webber and Rice, has become a global phenomenon, with hundreds of major productions put on around the globe since its Broadway debut. Stars like Deep Purple’s Ian Gillan, Mel C, John Legend and Sara Bareilles have all starred in the show, with new productions regularly cropping up around the world.

The latest production of the show promises to be one of its buzziest — starting Friday (Aug. 1), Jesus Christ Superstar is set to take over the Hollywood Bowl with a star-studded cast, including Cynthia Erivo in the titular role and Adam Lambert opposite her as the show’s tragic protagonist Judas Iscariot.

Just as it was in 1971, this modern production is still proving to be controversial. After Erivo was cast in the role of Jesus, conservative Christians quickly called the choice “blasphemous” due to the fact that Erivo is Black, queer and a woman. “You can’t please everyone,” Ervio told Billboard about the backlash for her June cover story. “It is legitimately a three-day performance at the Hollywood Bowl where I get to sing my face off. So hopefully they will come and realize, ‘Oh, it’s a musical, the gayest place on Earth.’”

Below, Lambert talks with Billboard about the rehearsal process for the three shows this weekend, how his starring role in Broadway’s Cabaret helped prepare him for the role of Judas, and why he thinks Erivo’s casting continued the show’s tradition of pushing the proverbial envelope.

You’re performing as Judas just a few months after wrapping your run as the Emcee in Cabaret — how do you feel performing nightly on Broadway helped prepare you for this show?

Returning to the theatre and making my Broadway debut this year was a dream and definitely prepared me for Jesus Christ Superstar at the Bowl. Emcee and Judas have long been two of my absolute dream roles so this year has been full of “pinch-me” career moments.

The company has been rehearsing for the last couple of weeks. Tell us a little bit about what that process was like; what stood out to you about the cast and direction during rehearsals? Were there any particular difficulties when it came to putting this together?

I first heard the original concept album when I was 10 and my Dad would play it on vinyl, so I came in super familiar with the musical and excited to hit the ground running. We only had about nine days of rehearsal, but this cast is truly next level. I’m blown away every day by the talent and professionalism of the cast, and excited for the audiences to hear us sing our faces off.

You’re performing with a truly stellar cast and starring opposite Cynthia Erivo. What has Cynthia been like to work with, and what did you make of the backlash to her casting as a Black, queer Jesus?

Cynthia’s brilliant. Her voice, presence, and simultaneous power and vulnerability absolutely blows my mind and working with her has been a dream. I’m excited by the challenge of presenting the audience with a production led by a female, Black “Jesus” and encourage the audience to expand their minds a bit. Originally utilizing rock and roll, Jesus Christ Superstar is supposed to provoke and challenge, that’s the point. And shouldn’t the teachings of Jesus transcend gender?

Judas gets some of the best songs in the show, “Heaven on Their Minds” and “Superstar” being the most popular among them. Do you have a favorite song that you get to perform in this show? 

I love them both but opening the show with “Heaven on Their Minds” is electric. And even more special as I was asked to record a studio version of it by Andrew Lloyd Webber, which is such an honor.