Scooter Braun is once again addressing his feud with Taylor Swift.

While speaking to Danielle Robay on the Thursday (July 17) episode of her Question Everything podcast, the former music manager opened up about the misunderstandings he thinks took place in his famous feud with the pop star before addressing whether her song “Vigilante Shit” is about him. When the topic of his conflict with Swift — which sprung out of Braun acquiring her catalog in his 2019 purchase of Big Machine Records — first came up, the businessman said frankly, “I think going backwards and revisiting this is a waste of time.”

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Even so, Braun went on to rehash his perspective on what transpired with Swift, who was outspoken in her opposition to the SB Projects founder’s purchase of her masters from the start. At the time, she accused him of “incessant, manipulative bullying” in a Tumblr post, and when Braun later sold Swift’s catalog to Shamrock Holdings in 2020, the 14-time Grammy winner claimed that he “would never even quote my team a price” without her first signing an NDA, which Swift refused.

“The only thing I didn’t appreciate is it was so public without an understanding of what was actually going on,” Braun reflected in the interview. “When Taylor says that she wasn’t offered the masters, the reason I was under NDA was because we were in negotiations to sell it back to her. I just choose to believe her that maybe [her team] didn’t tell her.”

“For me, the only thing that I really regret is that it’s easy to [see someone as] a monster if you never meet them,” he continued. “Taylor and I have only met three times in our life. I think at that point we hadn’t seen each other in two, three years. I was managing people she wasn’t a fan of, and she probably saw my name come up and was like, ‘I don’t like those people, so I don’t like him.’ But we never had an opportunity to sit in front of each other and have a conversation, to this day.”

At the time of the catalog purchase, Braun — who has since retired from management — represented Justin Bieber and Kanye West, both of whom Swift has clashed with in the past. In her 2019 Tumblr post responding to the initial sale of her masters, she shared a screenshot of an Instagram post from Bieber featuring Braun and West with the caption, “Taylor swift what’s up.”

Though he wishes things had played out differently, Braun says he’s still heartened by the fact that “everyone in the end won.”

“When [Swift] turned it down, we ended up selling it to someone else, because she didn’t want us to have it,” he told Robay. “We did very well in that sale, because we bought it at a really great price, and the value of the masters went up.”

Billboard has reached out to Swift’s rep for comment.

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As Braun pointed out, the value of the musician’s old catalog heightened as she embarked on her Taylor’s Version series, re-recording four of her first six albums to reclaim ownership of her work. The project manifested in the record-breaking success of her Eras Tour, which led to her becoming a billionaire and eventually having the chance to finally purchase her masters from Shamrock this past May.

“She did incredibly well and basically had the biggest moment of her career,” Braun praised Swift, calling her the “biggest artist of all time.” “It was brilliant on her part. But also, each time she released [a re-recorded album], you saw a spike in the original catalog, and that’s how we were able to tell, ‘OK, if she doesn’t want them, this is still a really great asset.’”

That said, Swift seemingly hasn’t softened in her opinions on Braun since the beginning of their feud. In her December 2023 TIME Person of the Year interview, she doubled down on her stance that the mogul wanted her catalog for “nefarious reasons” — something he said on Question Everything doesn’t make “any sense” from a “financial standpoint” — and fans have long assumed that Swift has written about the situation on songs such as Folklore‘s “My Tears Ricochet” and Evermore‘s “It’s Time to Go.”

As for one such song — “Vigilante Shit,” on which Swift sings, “Picture me thick as thieves with your ex-wife” — Braun laughed when asked whether he thinks it’s about him. The entrepreneur was previously married to Yael Cohen, but he filed for divorce in 2021.

“No, ’cause I talk to Yael every day,” Braun told Robay, brushing off the possibility of his marriage inspiring the Midnights track. “My ex-wife is one of my best friends. Me and my ex-wife laugh about that stuff — we don’t even call each other ‘ex.’ That’s like my partner. That’s the mother of my children. That is my family for life. So no, I never thought that was about us. Great strategy move, but nah.”

Watch Braun’s full interview on Question Everything above.

On Thursday (July 17), the two-time ACM entertainer of the year winner Lainey Wilson celebrated the opening of her new exhibit at Nashville’s Country Music Hall of Fame and Museum, titled Lainey Wilson: Tough as Nails, which will run until June 2026.

It’s an appropriate title, showcasing the grit, ambition, work ethic and creativity that have propelled the Baskin, Louisiana native to stardom.

Just prior to the exhibit’s official opening, Wilson took a few moments with her family to look over the exhibit.

She reflected to Billboard, “It has been a team effort from the beginning, as you can tell. I mean, even when I was nine years old… we kept the Opry tickets, the Dollywood tickets. They told me, they were like, ‘We had a feeling, and because they believed, I believed. It’s just cool to be able to walk through here and look at the journey together.”

Pointing out some of the pieces in the exhibit, Wilson reflected, “I mean, even my first little cowgirl boots down there and my first saddle. I leaned a lot in the saddle, of course. I feel like I tell the kind of stories I do because I grew up as a cowgirl. There’s the picture of me in my first performance singing ‘Butterfly Kisses’ in kindergarten. You just get to see where it started, and the cool thing about it is I think I’ve got so much more story to tell.”

The exhibit showcases Wilson’s journey from Louisiana’s Franklin Parish to the country music limelight. There are dresses from her time performing in local pageants and talent competitions, and photos and even a wig from her time as a Hannah Montana impersonator. There’s the journal where a 16-year-old Wilson wrote of her dreams of becoming a country music artist, and a letter she wrote as a young fan of another Louisiana-born country singer, Tim McGraw.

Though Wilson told Billboard she has yet to really meet McGraw, she added, “He was such an influence to me, and he’s from my neck of the woods. Just looking at that letter, I see how pure it truly was and the passion I had for country music. Literally, the last sentence of that letter is, ‘All I need is the opportunity. I can do the rest.’”

Numerous CMA and ACM honors are on display, as well as her Grammy Award for best country album (for her album Whirlwind). The numerous outfits on display chronicle her style evolution and love of flares and bell bottom pants, including early skinny jeans that she attached extra, colorful fabric to in order create flared jeans. There’s the outfit she wore when she made her Grand Ole Opry debut in 2020, and the jumpsuit, hat and necklace she wore on the red carpet of the CMA Awards in 2023 — when Wilson became the first woman to win the CMA’s entertainer of the year accolade, since Taylor Swift in 2011. There are even outfits from some of her collaborators, including a jacket worn by her “Save Me” collaborator Jelly Roll and the orange prison outfit HARDY wore in the video for the Wilson-HARDY collab “Wait in the Truck.”

Later in the evening, in the rotunda at the Country Music Hall of Fame and Museum and surrounded by bronze plaques of Country Music Hall of Fame members, the Country Music Hall of Fame and Museum CEO Kyle Young greeted gatherers and feted Wilson’s journey, before Wilson herself took the stage, thanking those who have been involved in her career — especially her earliest supporters, her parents.

“My mama would sit in the bathroom where the acoustics were the best, and she would listen to every lyric I ever wrote, and then I’d go play it for daddy and he would listen to the finished product and he would tap his foot if he liked it. And I knew that if he didn’t tap his foot, I needed to get back in there and work on it a little bit more,” she told the crowd. 

Speaking with Billboard before the event and thinking of some of the youngest girls in her fanbase, she hopes they take inspiration from seeing the new exhibit.

“I hope they can start at the very top, and I hope they read every little paragraph and I hope they look at everything and see that this was not a hop, skip and a jump,” she said. “I hope they can walk through here and see that it’s been a journey, but that’s what makes life so cool. It’s about learning, living, growing, and figuring out who you are along the way, and holding on to the thing that makes you, no matter where you go in lie. I hope they can just look at this and feel inspired.”

One of the true pleasures of dance music over the five-plus years has been watching Shaquille O’Neil forge a post-NBA career path straight through the bass music scene.

DJ Diesel hasn’t been a vanity project, but a committed endeavor that’s established the four time NBA champion as a sizable (pun intended, of course) force in both live shows and releases. His Shaq’s Fun House and Shaq’s Bass All Stars Festival have become staples of the bass circuit, and he’s a regular at genre festival like Lost Lands, with his summer dates including Elements Music & Arts Festival, two editions of the traveling festival Breakaway, Miami’s hedonist club E11even and many more.

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This month also marks the six year anniversary of him being famously spotted moshing in the crowd at Tomorrowland 2019, with O’Neil later telling Billboard that he simply loves the “game seven energy” of bass.

O’Neil’s latest project is his M.D.E. EP, with the project’s name being an acronym for “most dominant ever.” Out today (July 18) on Monstercat, the nine song release features collabs with a collection of hard-hitting bass mongers including Virtual Riot and Ivory. Here, O’Neil shares a bit about each track and collaborator.

“M.D.E.” (with Rzrkt)

This record came together when I went to Rzrkt and asked him to help me produce an epic show intro. It needed to be cinematic, as if it was the beginning of a war movie. I wanted to feel like I was going into battle; something that was slow with nice plucks in the beginning, then ramping up into high intensity. Once I witnessed how crazy the crowd went when they heard it live, I knew it would also be perfect as my EP intro. I really love the female vocal that lies behind it all. This is probably the most dominant record on the project.

“Animal” (with SampliFire and Ivory)

Andy [Ivory] and I have produced some of my biggest records, “Run It”,  “Moshpit,” now “Animal,” and a bunch of unreleased music coming soon. We are constantly cooking up new stuff from WIPs, to live edits, to even a joint sample pack that is on the way. Sammy (SampliFire) and Ivory are super close friends, so when we were all at Lost Lands, I told them we all needed to get in the studio together ASAP. Fast-forward two years later and now “Animal” is on this EP. For what it is worth, if you think Ivory and SampliFire are good bass producers, you should hear some of their new hip-hop beats.

“Damage” (with Virtual Riot)

I think everyone knows that Virtual Riot is a legend in the bass scene. After meeting for the first time at Electric Forest, we stayed in contact and started sending each other new music. Only a little time went by before VR came to me and suggested doing a drum n’ bass record, which I had never done before. Somehow, to even my surprise, we struck magic and put out one of the most sonically eclectic records in my discography. Even though this record is already released, we still send each other new music regularly.

“Run It” (with Ivory)

Ivory is the only collaborator to have multiple songs on my EP. That is probably because he sends me so many of his IDs and he never misses. He is the bass music Steph Curry… and I love Steph Curry.  “Run It” came together after I heard one of Ivory’s drum n’ bass IDs that had a really old-school hip hop intro. It spoke to me and I instantly knew I had to hop on this instrumental, which is why I made the first lyric of the song “Hop on the instrumental with ease.”  This is another record on the EP where the second drop is insane. The sound design is incredible, and is something you will hear across all Ivory songs.

“Pay Respect” (with GorillaT and Fraxure)

The minute I first heard of and saw GorillaT I knew he was special. I love his unique sound and contagious energy.  GorillaT also introduced me to Fraxure at Red Rocks, all I can say is this dude is a beast of a producer.  It was at that moment we knew we needed to make a song together. I wanted to try something aggressively wonky that’s  a perfect hybrid of our sounds.  I think “Pay Respect” does just that.  On our  second drop, we even dabbled into a bit of UKG.

“Bring the Pain” (with Layz)

Ahh yes, Layz, the bass meteorologist! Layla (Layz) and I have been friends since I entered this bass world. She has always been an avid fan of the DJ Diesel brand. And when we realized that it wasn’t going  to fly, that we didn’t have a record together, so we sat down and tried to produce the hardest song possible. Our goal was to bring the storm to the moshpit. I think, mission accomplished. Also, Layz, is the only person who has the audacity to pour a bag of chips on my head without consequences. If you don’t know what I am talking about, go to my @DJDiesel Instagram.

“Fadeaway” (with Benda)

Benda’s music has been a staple in my set since day one. In my opinion he is one of the best producers in the game. As you can see in “Fadeaway,” he is a phenomenal songwriter. The guy’s had me feeling like Travis Scott on this track. This dude is one of my ride-or-dies, which is why we got that line into the lyrics. Benda is yet another producer who crushes hip hop so we wanted to add that vibe into the song… I am a very busy man but I make time for the things that matter to me, hence the lyric, “I got time today.”

“Throwin’ Bows” (with Perry Wayne)

This collab with Perry Wayne has been long overdue. “Throwin’ Bows” actually started off as a remix to my record “Moshpit,” but after hearing the first version I knew I needed to jump on this and make it an original with my boy Perry. The dude has a very unique brand and produces very aggressive music which I absolutely love. I wanted to keep the vocal minimal so we could let the song shine. Perry has been on multiple of my shows including my Shaq’s Bass All Stars Festival, and I can testify that he’s as violent in the studio and on the decks.

“Show Em” (with Neotek)

Another song that has been in the making for a long time. Neotek is one of the best upcoming artists in my opinion. He is young and hungry, something that I completely understand and appreciate. The dude moved across the world from Australia to the bass capital, Denver, to pursue his dream. That is real dedication. This song has been supported by some of the biggest acts in bass music, including Excision and Sullivan King. Neotek has an arsenal of unreleased music. I am lucky enough to have access to these bangers, and play them in my sets all the time.

How does Bobby on Broadway strike you? Celebrity chef Bobby Flay dropped by The Tonight Show on Thursday night (July 17) and revealed to host Jimmy Fallon that he’s in the early stages of a Broadway musical about his life. “Beat Bobby Flay, you know the show, we’re making Beat Bobby Flay the musical actually for Broadway,” he told Fallon, who initially seemed to think that a song-and-dance play about the food writer and restaurateur was a put-on.

“Don’t laugh, it’s gonna happen… The whole thing’s happening,” he promised Fallon, explaining, “It’s going to tell a little bit of my life story and it’s gonna be a party. This is not gonna be a bunch of show tunes. This is gonna be amazing… It’s gonna be a real New York situation where it’s going to be a party every night in the theater.”

While Flay promised that what he has in mind is not a traditional jukebox musical-style production, and that he already has an unnamed “amazing composer” and writer on board, what he needs is an A-list star. That’s where Fallon came in. “I need a lead to play the Bobby Flay character,” he explained, quickly clarifying that he was not asking the Tonight Show host.

“Hmmm… unbelievable… do I know Jon Hamm?,” Fallon said in mock frustration while crumpling up his notes.

“No. We need JT. We need Justin Timberlake,” Flay said of the pop singer and Fallon BFF who has four Emmys and 10 Grammys on his shelf so far. “He hasn’t won a Tony yet. Come on! He can sing. He can dance. He can do it all.”

After an brief awkward silence Flay initially thought meant Fallon was not on board, Jimmy assured him the ask was as good as “done.”

“Oh? Really? Just for a month,” Flay promised, as Fallon said, “yes, on Broadway, he’s doing it.” While the details are thin at this point, Flay promised that there “will be food” incorporated into the show, though he could not describe how.

Checking in one more time to make sure Fallon was on board, Flay reminded him, “I need your friend to help me out… I know that’s an easy get.”

“You don’t mean the Justin Timberlake?” Fallon joked. “I could probably get a guy named Justin Timberlake to come.”

While JT has performed on stages around the world and starred in a number of films, to date he has not starred in a Broadway show.

Watch Flay manifest his JT connection on The Tonight Show below (Timberlake talk begins around 4:57 mark).

In our Latin Remix of the Week series, we spotlight remixes that the Billboard Latin and Billboard Español editors deem to be exceptional and distinct from the rest. We might not publish a review every week. This is our selection today.

Marking the 10th anniversary of Joan Sebastian passing, Colombian-Mexican DJ/producer and multi-instrumentalist Sinego breathes fresh life into the Mexican legend’s iconic catalog with his latest hypnotic Afro House-infused single, “Un Idiota (Te Perdí).”

Out Friday (July 18), the remix is part of a three-track celebration of Sebastian’s timeless ballads, which also includes previously released “Sentimental (Sombras)” and “Secreto de Amor (La Noche).” The full set honors the enduring legacy of a musician whose heartfelt songs defined generations.

Originally a gut-wrenching ballad of regret and unrequited love built around accordion and banda-inspired instrumentation, Sinego takes a bold detour with his remix, replacing the earthy acoustic textures with flamenco-style guitar, moodier percussion and smooth electronic layers.

“’Un Idiota (Te Perdí)’ is a blend of my biggest inspirations: Joan Sebastian and the soulful guitar vibes of Sevilla, Spain,” Sinego said in a press release. “This is my way of reimagining what Joan’s music might sound like today, with a more cinematic twist. I rerecorded every instrument — except for the vocals — to keep things raw and organic. The goal? To bring some real artistry and emotion back into Afro House and house music.”

“Un Idiota,” which peaked at No. 2 on Hot Latin Songs in 2015 — the year of the icon’s passing — is a ballad that quintessentially captures the essence of heartbreak.

Sinego

Sinego

Courtesy of Vitalic Noise

Sinego’s efforts are part of a collaboration between Craft Latino and Discos Musart designed to recontextualize Joan Sebastian’s music for a new generation. 

Stream all three Joan Sebastian remakes, including newly released “Un Idiota (Te Perdí),” below:

Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor Connie Francis, whose infectious 1960 smash “Everybody’s Somebody’s Fool” — the first of her three No. 1s on the Hot 100 — was the first song by a female solo artist to top the chart. Francis died on Wednesday (July 16) at age 87.

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Connie Francis’ “Everybody’s Somebody’s Fool” may be the cheeriest-sounding song ever recorded about unrequited love. The peppy toe-tapper made history in June 1960, becoming the first song by a female solo artist to top the Billboard Hot 100, which had been introduced nearly two years earlier.

Francis was born on Dec. 12, 1937, to an Italian-American couple in Newark, N.J. At 13, she appeared on Arthur Godfrey’s Talent Scouts, a top-rated TV variety show. Francis was just shy of 19 in December 1957 when she made her first appearance on a pre-Hot 100 Billboard pop chart with “The Majesty of Love,” a duet with Marvin Rainwater. The song peaked at No. 93. She landed her first big hit, a remake of the 1923 ballad “Who’s Sorry Now,” the following spring. It climbed all the way to No. 4.

Francis nearly became the first solo woman to top the Hot 100 in January 1959 when “My Happiness” (a cover of another vintage ballad, from 1948) peaked at No. 2. It was kept from the top spot by a classic, The Platters’ doo-wop remake of the standard “Smoke Gets in Your Eyes.” In November of that year, Della Reese nearly was first to the honors  when her torchy ballad “Don’t You Know” also peaked at No. 2, again stopped by a classic – Bobby Darin’s version of “Mack the Knife.”

Francis would simply not be stopped with “Everybody’s Somebody’s Fool.” The song opens with an organ solo, which gives it a distinctive sound. It has a steady beat, a pleasing shuffle arrangement and a pronounced country/pop sound.  Francis, who was just 21 when she recorded the song, sings with youthful zest.

The song has an unusual lyrical thrust — she’s staying in a bad relationship, reasoning “I’d be twice as blue without you” and “Though I’m a fool/at least I know the score.” (This is not the most clear-headed logic, but we’ve all been there.) The song is similar to Guy Mitchell’s “Heartaches by the Number,” a No. 1 hit in November 1959, both in the way its jaunty melody belies its heartache theme, and in its overall country/pop sound.

The lines “And there are no exceptions to the rule / Yes, everybody’s somebody’s fool” were recycled almost word-for-word in The Main Ingredient’s 1972 hit “Everybody Plays the Fool.” (Of course, the exact title of Francis’ song was itself recycled from a different song that Lionel Hampton recorded in 1950 – and which Michael Jackson covered on his 1972 album Ben.)

“Everybody’s Somebody’s Fool” was the top new entry on the Hot 100 at No. 52 in the issue dated May 9, 1960. In the June 13-dated issue, it reached No. 2, matching “My Happiness” as Francis’ highest-charting hit to that point. It remained in that position the following week, making it seem like she might just miss out on a No. 1 again. But in the issue dated June 27, in its eighth week on the chart, Francis bumped the Everly Brothers out of the top spot, after five weeks on top with their smash “Cathy’s Clown.” She remained in pole position for a second week, before she was dethroned by Hollywood Argyles’ “Alley-Oop.”

Connie Francis Forever No. 1

Billboard

Francis’ version of “Fool” also reached No. 24 on Hot C&W Sides – C&W standing for Country & Western. (The chart name was modernized to Hot Country Singles in November 1962; today, it’s Hot Country Songs.)

Many country artists have since covered the song. Country legend Ernest Tubb had an even higher-charting country hit with the song in 1960. His version, produced by the great Owen Bradley, reached No. 16 on Hot C&W Sides. Debby Boone – daughter of Pat Boone, a contemporary of Francis on the pop charts in the late ’50s and early ’60s, took it to No. 48 in 1979 on what was then called Hot Country Singles. (Debby Boone had previously had country hits with covers of two other Francis hits, “My Heart Has a Mind of Its Own” and “Don’t Break the Heart That Loves You”). The song also appeared on Billboard 200-charting albums by instrumentalist Billy Vaughn (in a country arrangement), Jody Miller and Marie Osmond. Loretta Lynn and Lynn Anderson, among others, also took a crack at it.

According to lore, “Everybody’s Somebody’s Fool” was originally intended to be the B-side of Francis’ Italian-language ballad “Jealous of You (Tango Della Gelosia).” That’s plausible: Francis’ previous single release, “Mama,” which made No. 8 on the Hot 100, had been an Italian ballad.  And Francis had reached No. 4 on the Billboard 200 in March 1960 with Italian Favorites, her first of four chart albums sung in Italian.

We should be glad that “Fool” got the push instead, because it’s an irresistible pop confection; a one-listen smash. (“Jealous of You,” released as the B side of “Fool,” reached No. 19 on the Hot 100.)

A polka-style version of “Fool,” recorded by Francis in German, was a smash in what was then West Germany. The song was titled “Die Liebe ist ein seltsames Spiel.”

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Francis’ follow-up single, “My Heart Has a Mind of Its Own,” also topped the Hot 100, making Francis the first female solo artist to land two No. 1 hits. Howard Greenfield and Jack Keller co-wrote both songs. Greenfield had co-written three earlier Francis hits – “Stupid Cupid,” “Fallin’ ” and “Frankie” – with his usual collaborator, Neil Sedaka. Greenfield and Sedaka would go on to write “Where the Boys Are,” the title song to the 1960 movie in which Francis co-starred. The ballad became one of her signature hits.

Greenfield went on to co-write two more No. 1s with Neil Sedaka for other artists – Sedaka’s 1962 smash “Breaking Up Is Hard To Do” (1962) and Captain & Tennille’s “Love Will Keep Us Together” (1975). These Francis hits were Keller’s only No. 1 hits. The two songwriters also composed pitch-perfect theme songs for two sitcoms that debuted within a year of each other – Bewitched (1964) and Gidget (1965). 

Francis topped the Hot 100 for a third and final time in March 1962 with “Don’t Break the Heart That Loves You.” She was the only female solo artist with three No. 1 hits in the ’60s. She stood alone as the only female solo artist with three Hot 100 No. 1s until Cher nabbed her third No. 1 with “Dark Lady” in March 1974.

Francis had 14 Hot 100 top 10 hits, the last being “Vacation” in September 1962. (That doesn’t count the pre-Hot 100 smash “Who’s Sorry Now.”) Those 14 top 10s constituted the record among solo women artists until Aretha Franklin’s “Freeway of Love” became the Queen of Soul’s 15th top 10 Hot 100 hit in August 1985.

Francis never received a Grammy nomination and has never even been nominated for the Rock & Roll Hall of Fame. But while such institutional honors never came her way, she was beloved by fans. “Everybody’s Somebody’s Fool” is one of the best indications of why.

In 2023, Kesha completed her yearslong record deal with Kemosabe and RCA with the release of her experimental pop album, Gag Order. After its release, she parted ways with her longtime management, Vector. And by the start of 2024, she was ready for her next chapter: freedom. 

In February 2024, Kesha signed a new management deal with Crush (Miley Cyrus, Lorde). And fittingly, this July 4, she released her first album, . (Period), with the new team intact – and her first as an independent artist, releasing on her own Kesha Records and distributed by ADA.

“I am full of so much gratitude. Thank you for supporting me,” Kesha recently wrote on Instagram. “As an independent artist, I’m really floored by the amount of love and support yall are giving me.”

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Crush CMO Dan Kruchkow recalls meeting the pop star for the first time, saying: “You could immediately tell her ambition, vision and competitiveness were not lacking in the least. That’s a very good first impression in our book.”

And it’s helped her deliver, big time. .(Period) debuted atop multiple Billboard charts and has placed Kesha on the biggest stages of her career, including tour stops at New York’s Madison Square Garden and Los Angeles’ Forum.

We are as ambitious as she is and the goal was to make everything bigger than [it had] previously been,” says Kruchkow. “We’ve checked quite a few boxes off the last 12 months.”

“It’s been really exciting to see both her lifelong fans and all aspects of the industry join Kesha in this new phase of her career,” he continues, crediting press, streamers, radio, social media partnerships and fashion and beauty collaborators for supporting the artist throughout this rollout. “It was all a risk, but there’s no reward without that and now it’s only going to get bigger.”

Kesha

Kesha

Brendan Walter

This week, Kesha’s first independently-released album debuted at No. 1 on Billboard’s Top Album Sales, Vinyl Albums and Top Dance Albums charts. What key decision(s) did you make to help make that happen?

For starters, launching her first ever independent release as a surprise on July 4 set it off real quick. But the result is a culmination of well over a year of planning and executing on Kesha’s vision. Her having the freedom to do whatever she wanted (godbless ADA!) was a huge driver of the plan. We have no guardrails, which for us at least, makes it very fun and empowering. 

She earned her career best sales week on vinyl. What was the strategy and why was vinyl a priority?

This all started with a fantastic album. Then you add in Keshas’s creative behind the packaging, colors and even the names (which are definitely NSFW). And finally, now that vinyl’s become a super viable and important format again, this all made the perfect combination of physical release for super fans.  Fans want to own something, collect it, play it, show it off. And they are.

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This was her first rollout with a new team — what challenges and opportunities did that bring?

The obvious challenge is that its new for everyone and we had to establish systems and all the boring stuff but once that locked in we approached everything with the concept of no idea is too big or too crazy. We’ll figure it out. Nothing is off limits.

Kesha is headlining some of the biggest stages of her career — including the Forum and, next week, Madison Square Garden. What made now the right moment to take on these iconic venues?

For starters, she made an incredible record that we knew her fans, new and old, would love. The early signs were there once we started releasing new music. Her catalog quickly started to react as well and hasn’t stopped since. A surprise appearance at Coachella and major set at Lollapalooza last summer really locked in the potential we all saw. The fans were hungry. All that, coupled with Kesha’s new freedom and personal ambition, we knew we could take risks — and booking her biggest headline tour ever was one of them. Our partners at CAA and Live Nation delivered big time and now Kesha is playing to these tremendous crowds — 22k sold out in Chicago, sold out MSG, 18k sold out at opening night in Salt Lake. It’s a freight train.

What’s next for Kesha?

World domination! She’s hitting the UK and EU to play to her biggest headline crowds ever there next year with more territories to be announced soon. On the music side of things, we’re really just getting started and have already released a deluxe album. There’s several songs we’re working at the moment in different ways and we might have more to come sooner than later. Expect to see Kesha very busy for a long time to come.

Last Week: How Royel Otis Readied Their First Billboard No. 1

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Bad Bunny has kicked off his summer residency No Me Quiero Ir de Aquí at the Coliseo de Puerto Rico José Miguel Agrelot in San Juan. Dates run until Sunday, Sept. 14, while shows exclusive for residents of Puerto Rico go until Sunday, July 27.

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Meanwhile, some of the best and bright recording artists in reggaeton and Latin music are supporting Bad Bunny throughout his residency. So far, special guests included Chuwi, Los Pleneros de la Cresta, RaiNao and other surprises.

Ticketmaster is a preferred ticketing distributer for the residency and currently has resale options for tickets.

Want to see Bad Bunny live? Scroll down to find the best tickets for his Puerto Rico residency online.

How to Get Bad Bunny Tickets Online

To help you score tickets online to Bad Bunny, we rounded up the best resale and third-party ticketing sites, such as StubHub, Vivid Seats, SeatGeek and more below:

StubHub

You can find Bad Bunny tickets on StubHub for as low as $202 as of this writing. Each order is backed by the online retailer’s FanProtect Guarantee, which ensures valid tickets by the day of your event or your money back. Ticket options can be sorted by price and number needed, and you can use the venue map to choose exactly where you want to sit.

Vivid Seats

Bad Bunny tickets on Vivid Seats are available, and you can use the site to sort ticketing options based on price, number of tickets, where in the venue you want to be and whether it’s an instant ticket delivery or sold from the site’s “Super Seller.” Each purchase is also backed by the site’s Buyer Guarantee. Bonus offer: Get $20 off orders of $200-plus when you use the code BB30 at checkout.

SeatGeek

SeatGeek’s Bad Bunny tickets are available with each option rated on a scale of 1-10 based on how good of a deal it is. Tickets that are given a rating of a one are considered the worst deal, and tickets given a 10 are the best. When searching for tickets, you can also included estimated fees. For additional savings, first purchases can get $10 off orders of $250+ with the code BILLBOARD10 at checkout.

Gametime

For the cheapest last-minute Bad Bunny ticket options, Gametime is a go-to destination where you can find Bad Bunny tickets for as low as $205. Select ticket options are labeled either the “cheapest option” or the “best deal,” and you can use the interactive map to pick where in the venue you’d like to sit. Looking to save more? You can score $20 off purchases of $150+ when you enter the code SAVE20 at checkout.

Ticket Network

We also found tickets to Bad Bunny’s Puerto Rico residency at TicketNetwork. Right now, you can save $150 when you spend $500 with promo code BILLBOARD150. Additionally, you can save $300, if you spend $1,000 with promo code BILLBOARD300. Learn more about TicketNetwork’s pricing and ticket availability here.

Bad Bunny 2025 Puerto Rico Residency Dates

Check out Bad Bunny’s upcoming dates below. All dates take place at Coliseo de Puerto Rico José Miguel Agrelot in San Juan, Puerto Rico.

  • July 18*
  • July 19*
  • July 20*
  • July 25*
  • July 26*
  • July 27*
  • Aug. 1
  • Aug. 2
  • Aug. 3
  • Aug. 8
  • Aug. 9
  • Aug. 10
  • Aug. 15
  • Aug. 16
  • Aug. 17
  • Aug. 22
  • Aug. 23
  • Aug. 24
  • Aug. 29
  • Aug. 30
  • Aug. 31
  • Sept. 5
  • Sept. 6
  • Sept. 7
  • Sept. 12
  • Sept. 13
  • Sept. 14

*exclusive dates for residents of Puerto Rico only

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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, Alex Warren is far from “Ordinary,” Jessie Murph delivers on her promise and BTS bring us back to live. Check out all of this week’s picks below:

Alex Warren, You’ll Be Alright, Kid 

With the success of “Ordinary” eclipsing even the wildest expectations, Alex Warren now has the opportunity to establish an enduring foothold in popular music — and You’ll Be Alright, Kid, a new album that features his No. 1 smash as well as previously released collaborations with Jelly Roll and ROSÉ, fleshes out the boom and gravel of his voice, with opener “Eternity” in particular operating in the same emotional songwriter register as his breakthrough hit. 

Jessie Murph, Sex Hysteria 

“Blue Strips” may have been the viral smash-turned-top 20 hit that finally delivered Jessie Murph to the mainstream, but the singer-songwriter has spent years honing her pop persona and hopscotching across genres with ease; Sex Hysteria contains plenty of the earworm hooks that made Murph’s voice ubiquitous over the past few months, but more importantly, the new album places her fierce spirit front and center, and gives her the widescreen platform that she deserves.

BTS, Permission To Dance On Stage – Live 

Although the long-awaited, full-throttle return of BTS is expected for 2026, Permission To Dance On Stage – Live — the group’s first live album, which is taken from various performances during their 2021 tour — serves as a timely reminder of their global appeal, from their Hot 100 chart-toppers to their fan-favorite album tracks that still resonate a decade after their release.

Zach Bryan feat. Gabriella Rose, “Madeline” 

Two weeks after releasing a three-pack of songs, Zach Bryan has quickly returned with “Madeline,” a heartfelt collaboration with Gabriella Rose that also precedes a newly announced album, With Heaven On Top; Bryan remains as prolific as ever, but none of the recent material feels rushed or tossed-off, and Rose’s gentle twang nicely plays off his own delivery here.

Alex G, Headlights 

Alex G signing to RCA Records was both a big deal and a natural next step for the indie stalwart: as the singer-songwriter’s commercial prospects have steadily grown, new album Headlights contains the potential of a true crossover for his deeply felt, idiosyncratic tone, especially if songs like “Oranges” and “Afterlife” find the right rock-leaning audience.

Myke Towers, Island Boyz 

A press release for Myke Towers’ Island Boyz describes the project as “an album that doesn’t aim to fit into any mold, but rather to create its own language” — and across its 75-minute run time, Towers centers not just his Puerto Rican roots but the entirety of Caribbean music, reaching a new level as a mainstream artist through synthesis and experimentation.

Cam, All Things Light 

As a fresh generation of country artists has stepped into the spotlight, Cam has remained among the most consistent in her class, with new album All Things Light reflecting on personal struggles and offering hope to those in desperate need of it; it’s a different shade for the singer-songwriter, but the newfound urgency powers this collection.

Editor’s Pick: Nine Inch Nails, “As Alive As You Need Be to Me” 

Nine Inch Nails’ studio output has slowed down over the past decade as Trent Reznor has focused on scoring film projects (and become a fixture at the Academy Awards as a result) — and while “As Alive As You Need Be to Me” is attached to a movie, as the first taste of the upcoming Tron: Ares soundtrack, the single gloriously flexes the band’s industrial-dance muscle that recalls the highs of With Teeth, and Reznor spends the track sounding commanding, re-energized back in front of the microphone. 

Nicki Minaj is involving two other superstars into her social media spat with SZA: Drake and Beyoncé.

In her latest post dissing the R&B singer-songwriter, the Queen of Rap claimed Thursday (July 17) that Drizzy initially wanted her, not SZA, to be featured on his hit “Rich Baby Daddy,” before alleging that Bey was reluctant to sing the “Kill Bill” artist’s “s–t lyrics” on 2015’s “Feeling Myself.” “I wonder if she know I turned down being on the ‘shake dat a– for drake’ song,” Minaj began, referencing Drake’s 2023 collaboration with SZA and Sexyy Red.

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“He wanted me & [Sexyy] on it,” she continued. “I said I want to wait for [Pink Friday 2] for me & him to do a dricki song so it felt more special. And now that silly goose still out here shaking dat a– for drake every day.”

Minaj went on to claim that SZA “has been trying to tell the world she wrote for Beyonce every other other business day,” referring to the R&B hitmaker’s co-writing credit on the New York native and Bey’s decade-old joint effort. Earlier in their back-and-forth, SZA had claimed that Minaj previously asked to collaborate with her “twice to no response” before teasing, “In addition to rapping my lyrics on feeling myself ‘Cooking up the bass looking like a kilo’?”

“I remember me & Beyonce was going back & forth on the phone about that part of the song,” Minaj wrote Thursday. “Bey was like you sing it, I was like NOOOOO you sing it, she was like noooooo you sing it, I was like PLEASE!!!!! I can’t sing! … none of us wanted to sing those s–t lyrics.”

Billboard has reached out to reps for SZA, Drake and Beyoncé for comment.

The rapper’s latest post comes a couple of days after she first started lobbing insults at SZA on Tuesday (July 15). It all started with Minaj posting about her issues with the One of Them Days actress’ former manager, Terrence “Punch” Howard, after which SZA posted on X, “Mercury retrograde .. don’t take the bait lol silly goose” — which Minaj took to be a subtweet aimed at her.

Minaj has since fired off a number of posts dissing SZA, calling her opponent “ugly” and a “liar,” repeatedly making fun of her for wearing “fake freckles” and writing, “B—h looking & sounding like she got stung by a f–king bee.”

SZA, on the other hand, has not directly responded to Minaj more than a couple of times. When the latter first started posting messages about her, the former wrote, “I don’t give a f–k bout none of that weird s–t you popping.”

Later, SZA responded to Minaj calling her a “s–t girl’s girl” with a screenshot of the rapper allegedly asking to collaborate with the singer, writing, “Nicki … You absolutely know my music and what I contribute cause you’ve asked for features twice to no response.”

Of SZA’s reply, Minaj added in her post about Drake and Beyoncé, “Took the Btch 2 days to be coached on what to say & do next. These btchs have no identity, can’t thing off the top of their heads if you paid them to.”