Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

This week, Chappell Roan takes “Subway” uptown, Metro Boomin packs the guest list and Demi Lovato briskly comes back to pop. Check out all of this week’s picks below:

Chappell Roan, “The Subway” 

There’s a reason why, more than a year after Chappell Roan performed “The Subway” during a few summer 2024 festival sets, fans were still pining for a studio version, which finally arrives today: the midtempo alt-pop ballad focuses on a dissolved romance with sweeping force, culminating in an extended outro that turns the phrases “She’s got a way” and “She got away” into a wounded belt-along.

Metro Boomin, Metro Boomin Presents: A Futuristic Summa 

While it’s easy to slot Metro Boomin’s A Futuristic Summa mixtape into the tradition of star-studded compilations from well-connected producers, a la Calvin Harris’ Funk Wav Bounces series, the late-00’s tone of this new project is defined by its thrilling splicing of old and new hip-hop generations, with veteran voices like Young Duo and Roscoe Dash joining Metro’s stable of mainstays.

Demi Lovato, “Fast” 

Following a foray into rock music that included reworking her old hits as guitar-heavy headbangers, Demi Lovato makes her pop return with “Fast,” a sweaty, kinetic club track that makes good use of her far-reaching vocals; Lovato has always possessed the talent to morph into a dance floor diva, and “Fast” hints that such a path is right in front of her.

Reneé Rapp, Bite Me 

The title of Reneé Rapp’s sophomore album suggests a newfound aggression, but really, the multi-hyphenate is simply honing her pop persona and rejecting those who want to dismiss it: Bite Me bristles with gleeful pop-rock anger at times, but on songs like “Shy” and “Sometimes,” that extended middle finger is balanced out by breathtaking vulnerability that deepens the project overall.

Mariah The Scientist & Kali Uchis, “Is It a Crime” 

“Is it a crime to fall in love a couple times?” Mariah The Scientist ponders on her new collaboration with Kali Uchis, which quickly follows the viral success of “Burning Blue” with an affecting meditation on modern romance — and utilizes Uchis’ gifts as a co-star, with two artists playing off of each other with deference and soulfulness on “Is It a Crime.”

Hayley Williams, “Glum” 

“Glum” is one part of a much bigger, and more amorphous, statement from Hayley Williams, as the Paramore leader surprised fans this week with 17 new songs (but not an album, exactly); the entire musical drop is worth perusing, but “Glum” is a muted, lightly strummed highlight, with Williams’ voice pitched up in the opening verse before clarifying on the hook.  

$uicideboy$, Thy Kingdom Come 

The underground rise of $uicideboy$ is well-documented, and on Thy Kingdom Come, the duo once again prove why their cultural resonance is less unlikely than you think: their sixth studio album is full of quick-hit observations and bruising rhymes per usual, but with some of the more deeply felt hooks of their career, as their bars wrap smoothly around each melody.

Editor’s Pick: Sofia Kourtesis, Volver 

Peruvian singer-producer Sofia Kourtesis’ 2023 debut Madres stands as one of the most mesmerizing dance albums of the decade, and while new EP Volver does not sprawl out as rapturously, the six-song project (which is dedicated to the LGBTQ+ community) pushes her thumping warmth towards a different set of grooves — most compellingly on “Unidos,” an acid-house riff made with Dan Snaith’s Daphni moniker.

INFAMOUS PR named Maxfield Frieser as CEO, with founder Alastair Duncan making the pivot to a new chairman role. Frieser, who joined in 2015 and most recently served as COO, helped build the PR agency’s festival and artist divisions, working with acts like Rüfüs Du Sol, RZA and Carl Craig, along with labels like Warner Records and Life & Death. His promotion aligns with INFAMOUS’ European expansion, launching a new office in Barcelona that’ll be led by Frieser and new hire Paul Geddis, who arrives from Sónar Festival. Assisting Geddis across the EU will be London-based communications pro Jamie Milton. Serving over 30 festivals and a diverse artist roster, the agency supports global clients like Time Warp, Sónar and Love Family Park. Duncan praised Frieser’s leadership, saying “there is no one I trust more to oversee the next chapter of our growth, and continue the excellence and innovation that INFAMOUS prides itself on.” Founded in 2008, INFAMOUS now has 13 staff across LA, NYC, London and Barcelona.

MNRK Music Group elevated Tina Warwick to senior vp of commerce and sales. In her expanded role, she will lead global strategy across streaming, digital and commercial platforms, reporting to COO Chris Moncada. Warwick will continue overseeing commerce and operations teams, focusing on data-driven strategy, DSP partnerships and international planning for MNRK’s growing roster. With over 20 years of experience, the LA-based Warwick joined MNRK in 2022 as vp of sales after holding senior roles at ADA/Warner Music Group and Sanctuary Records. “Tina’s unique perspective and leadership have been a great asset to MNRK from the very beginning of her tenure,” said Moncada.

The Country Music Association announced a wave of recent promotions and hirings. Emily Evans has been promoted to senior vp of business strategy and operations, taking over direction of the strategic partnerships team. Jenny Methling has been hired as senior director of strategic partnerships and will oversee CMA’ brand partnerships department; Methling previously served as vp of strategic partnerships at Musicians On Call. Devin Ford has been promoted to senior manager of social media. Luke Johnson has been hired as staff accountant, following time with Wilson Bank and Trust. Zarah Goldberg is the new video content creator, having previously held the role of digital marketing coordinator at Fox Nose Records. Finally, Liliana Manyara has been on-boarded as international industry relations coordinator, and previously worked at SESAC as licensing coordinator. –Jessica Nicholson

Major label vets Katie Vinten and Zach Lund partnered with Eclipse Music Group to launch Wild Child Music, a boutique management company. The company’s roster includes Delacey, Hayden Blount, Valley James, Cece Coakley and more. Vinten, formerly svp of A&R at Columbia Records and co-head of A&R at Warner Chappell, has worked with artists like Leon Bridges, Julia Michaels and Kygo. Lund, previously director of A&R at Universal Music Publishing Group, has collab’d with Stephen Sanchez (“Until I Found You”) and Cage the Elephant’s Matt Shultz. Eclipse’s leadership praised Vintner and Lund’s “drive, authenticity and commitment to artistic integrity” as “unmatched.”

Stern Management is making its U.K. debut by bringing on London-based talent manager Andrew Mishko and operations expert Jill Irvine. Mishko, formerly with Bad Habit and PC Music, brings a roster including EKKSTACY, Witch Post and Martha Skye Murphy. Irvine, based in Colorado, has over a decade of experience across management, agency and venue operations. Their hiring follows a wave of major successes for Stern artists, including Djo topping U.S. Alternative Radio and surpassing 2.5 billion streams, and Finn Wolfhard releasing his debut solo LP and completing a sold-out tour. Mishko, with a background in touring and brand partnerships and Irvine, known for elevating Grammy-winning talent, will strengthen Stern’s global presence. 

Veteran publicist Jenny Huynh joined Big Loud Rock as director of media, where she will lead press strategy and execution, reporting to senior leadership. Huynh brings extensive experience from her time at 2b Entertainment and Warner Records, where she led national campaigns for artists like Green Day, Shania Twain, My Chemical Romance and David Guetta. She began her career at Rogers & Cowan PMK and is known for her strong media relationships and creative storytelling. Excited to join Big Loud Rock, Huynh praised the team’s energy and leadership. Label president Joey Moi highlighted her “fresh perspective” and “strong connections” as “key in helping our artists stand out.”

Alan D. Valentine will retire as president and CEO of the Nashville Symphony at the end of the 2025-2026 season, concluding a transformative 28-year tenure. Since 1998, Valentine has led the Symphony through major milestones, including the creation of Schermerhorn Symphony Center, $145 million in fundraising and 14 Grammy wins. Under his leadership, the Nashville Symphony expanded its reach to over 550,000 people annually, launched the acclaimed Accelerando program, and emerged stronger after overcoming major challenges like the 2010 flood. A national search for his successor is underway, with acclaimed conductor Leonard Slatkin returning as music advisor in September 2025 to ensure artistic continuity during the transition. Valentine called his time at the symphony “the honor of a lifetime.”

NASHVILLE NOTES:  SMACKSongs promoted Sam Sarno to senior creative director of publishing. In this expanded role, she will continue working with the current roster while also focusing on signing and developing new talent. Sarno has played a key role in the success of artists like Lalo Guzman, Josh Dorr, and Johnny Clawson … Triple Tigers’ Akando Music promotion group added two regional directors: East director Christina Kosters and West director Greg Raneiri. Kosters arrives from Capitol Christian Music Group, where she was Southeast director of national promotion, while Raneiri formerly was KSON San Diego assistant PD/music director.

NAMM announced new leadership for its NAMM Young Professionals (YP) and Women of NAMM (WoN) groups. Erin Kessler (Maple Leaf Strings) will serve as NAMM YP president, joined by Scott Rife (Eastman Music Co.) as vice president and Matthew Kennedy (C.F. Martin & Co.) as secretary-treasurer. Leanne Chu (Gator Co.) has been named chair of WoN, with Gayle Eline (Menchey Music Service) as vice chair and Morgane Devos (Shure Inc.) as secretary. These leaders will guide NAMM’s fastest-growing communities, aligning with the organization’s broader mission.

Slacker Media Group appointed Joe Pulito as director of operations, bringing over a decade of experience in live entertainment, talent buying and tour production. Pulito will oversee daily operations and lead the scaling of the Boston-based company’s national event portfolio — including It’s A 2000s Party and Sploinky Rave — while streamlining internal processes and expanding production capabilities. Since its founding, SMG has sold over 250,000 tickets and generated nearly $4 million in revenue, pioneering innovations like real-time hologram visuals in live events through Sploinky Rave.

ICYMI: The Motion Picture Academy elected a president … AWAL promoted three … Warner Records realigned … Spotify’s ad chief dashed … UMG lost a board member … and DCP named its first CCO. Find these stories here.

Last Week’s Turntable: Kobalt Elevates Digital Dealmaker

In the middle of another successful touring season for his reunited band Creed, Scott Stapp has offered something unexpected: a 9-minute, high-octane short film, in which he stars as a man of faith who, Lord forgive him, has to go back to the old him.

Deadman’s Trigger: A Short Film, which was unveiled on YouTube on Thursday night (July 31), serves as both a music video for Stapp’s “Deadman’s Trigger,” from last year’s solo album Higher Power, as well as a Western shoot-‘em-up. Directed by Tyler Dunning Evans, the project stars the Creed frontman in action-hero mode and his 7-year-old son, Anthony, as the impetus for the return to his gun-slinging ways.

“It all was inspired through the song,” Stapp tells Billboard of “Deadman’s Trigger,” which is lyrically focused on a peaceful man being pushed beyond his breaking point and toward retribution. “The narrative was born of the Wild West — this stoic, patient, humble man, and those who target him forgetting how dangerous he can be. And as you’ll see, they find out real quick.”

Stapp says that “Deadman’s Trigger” is all about “life imitating art” and touches upon his devotion to family, which is part of the reason why he wanted to involve his children in the short film. While Anthony co-stars — and gets entangled in the action by the end — his 18-year-old daughter Milan also served as a production assistant on the project, which was filmed over two days at Whitehorse Ranch in Landers, Calif. 

“Anthony is a key part of the video, and a key part for how the song came about,” says Stapp. “All my kids have grown up doing acting and being behind the camera, so it wasn’t anything super new for them, but I definitely wanted to go the extra mile with him, and make sure that we understood exactly what was going on and had the proper safety protocols. And he just jumped right in, like he had been making movies his whole life. I’m so proud of him for what he did, how he owned his role, how he understood the concept of all the scenes emotionally even though his lines were short, and how he carried himself.”

While “Deadman’s Trigger” is being promoted as the third single from Higher Power, Stapp has been leading Creed through another North American tour — including an inaugural Summer of ’99 and Beyond festival last month — after the best-selling band reunited last year. With the latest leg wrapping up later this month, Stapp says that the reunion has felt similar to Creed’s discovery in the late ‘90s, with the commercial success exceeding all expectations.

“It’s been so rewarding, and so fulfilling,” he says. “We’re selling 80% of our tickets to fans between 18 and 35. There’s even younger fans there now! To see our music stand the test of time and reconnect like it’s brand new to an entire generation — I know it sounds cliché, but I’m just so grateful. I’m at a place in my life where I have a deeper sense of appreciation for how rare this is, and how fortunate I am to be able to do what I do.”

Now, that job description includes starring as an action hero in a short film. “It was a lot of fun, and a really cathartic experience,” says Stapp. “Hopefully the fans connect to it, and enjoy it as much as we did.”

SESAC Music Group has closed on an $889 million bond sale through senior, five-year notes, the company announced Thursday (July 31).

SESAC’s fourth securitization is a “whole business securitization” that is secured by SESAC’s assets and revenues, including its performing rights and music services businesses. Traditional securitizations are backed by specific assets, not the assets and operating revenue of an entire company. Most music companies’ securitizations — including those closed this year by Concord and HarbourView Equity Partners — are the traditional type backed by the rights to various music catalogs.

Following this securitization, SESAC has outstanding senior notes of approximately $1.1 billion.

The company’s performing rights division represents such songwriters as Kurt Cobain (Nirvana), Ariana Grande, Billie Joe Armstrong (Green Day) and Axl Rose (Guns N’ Roses). The music services division provides services to songwriters, publishers, collective management organizations and digital service providers. Through AudioSalad, the services division also provides metadata and media asset management, delivery and distribution services to artists and labels.

The securitization received a BBB (sf) rating from Morningstar and was three-times oversubscribed, indicating strong confidence. Guggenheim Securities LLC, Barclays Capital Inc., and ING Financial Markets LLC acted as joint book runners, with Blackstone Securities Partners L.P. serving as co-manager. Guggenheim Securities LLC also served as the structuring agent, while Virtu Global Advisors, LLC provided valuation services. Legal counsel to SESAC was provided by Latham & Watkins.

Purchased by private equity giant Blackstone in 2017, SESAC had been attracting interested suitors at the end of 2024, sources told Billboard. Blackstone was said to have fielded offers from private equity firms that bid unsuccessfully on Global Music Rights, which was valued at $3.3 billion when TPG replaced Hellman & Friedman as majority owner in January.