On Friday (July 11), K-pop girl group BLACKPINK released its latest single “JUMP” via longtime label YG Entertainment — but the distribution partner has changed. Since 2018, BLACKPINK’s distribution has been handled by Interscope Records, but the pre-save page for “JUMP” reveals that the group is now aligned with The Orchard.

While The Orchard declined Billboard’s request for comment on the deal, a company spokesperson confirmed that The Orchard does have a new distribution partnership with the K-pop group. Representatives for BLACKPINK did not immediately respond to a request for comment.

Over the last decade, The Orchard has become a powerhouse in the world of music distribution and artist services — a fast-growing sector of the music business as more artists opt against traditional label deals. Sony Music invested in the company, which was launched in 1997, starting in 2012; by 2015, it bought The Orchard outright. Since then, through competitive signings and the acquisitions of similar companies like RED, AWAL and IODA, The Orchard has become the top distributor in the U.S. It currently holds an 8.9% current market share for 2025 (through May 15), according to Luminate, which is triple the size of its closest competitor.

The Orchard also provides essential services for independent labels, helping them get their music online. This includes Rimas Entertainment (home to Bad Bunny) and Double P Records (co-founded by Peso Pluma). LVRN (Summer Walker, Leon Thomas, 6lack) also joined The Orchard after exiting a prior deal with Interscope Records.

The release of “JUMP” marks BLACKPINK’s first new single following its three-year hiatus. During that time, its members pursued successful solo ventures, only furthering their global fame. JENNIE released her debut solo album, Ruby, earlier this year and previously appeared in The Idol alongside The Weeknd and Lily-Rose Depp; LISA also released her debut solo album, Alter Ego, in 2025 and appeared in the latest season of White Lotus; ROSÉ found solo hits with songs like “APT.”, which she released with Bruno Mars; and Jisoo hit No. 2 on the Billboard Global 200 with her debut solo single, “Flower,” in 2023 and released her debut solo EP, Amortage, in February.

BLACKPINK recently kicked off a world tour, which will include 31 shows in 16 cities around the globe, including two-night stadium stints in major markets like Los Angeles, New York, Paris and London.

Chris Lake kicks back in a sprawling floor of a towering Los Angeles office building used mostly for storage, selecting one of the dozens of office chairs crowding the industrial space with floor to ceiling windows overlooking the city’s west side. He kicks his feet up on a packing box and declares himself comfortable.

It’s a rare moment of repose in the run-up to Lake’s album Chemistry, released independently Friday (July 11) through his own longstanding label Black Book Recordings. (While Black Book was previously signed to Astralwerks, that deal expired in early 2024, returning the label to an independent status.)

While it feels incorrect that the album is his first, given that the British producer’s releases go back to 2002, Chemistry is in fact his first solo long player, and it’s an excellent, often exquisite project — one that friends with the musical taste you respect most have texted about in the last few weeks, just to say how good they think it is.

But why is Lake doing it now, or at all?

“I got to a point where I felt like I should challenge myself in a different way,” he says. “Friends had talked to me about making an album, but I’d never felt like I had a style or sound in mind that would be right for 12 or 15 tracks.”

Gradually, however, a vision formed for the Los Angeles-based house producer, whose slinky, cool, often kind of deliciously strange productions have been a through-line of the scene since Lake came to wider prominence in the early 2010s. He had time in his schedule to focus and wanted to test himself by working with a wider collection of collaborators.

To wit, fellow artists like Kelly Lee Owens, Amber Mark and Nathan Nicholson came over to his house to work on music, with Lake and his guest du jour typically spending a few hours talking and drinking coffee before even attempting to make anything. He was nervous that Bonobo might not even like him, but when the guys got in the studio together they not only clicked, but made the album’s closer, “Falling,” which features vocalist Alexis Roberts.

“I don’t fawn for DJ culture… It’s just never been my thing,” says Lake, who is thoughtful, considered and funny, joking around and playing rock paper scissors with the trio of teammates he has in tow today. (He wins every round.) “I’m obsessed with music production and the power of the single and how one song can just make such a difference to people’s lives. There are people who’ve made songs that have had that effect on me, and they’re normally the people I get the most nervous or excited about. Bonobo was definitely one of them. I love his music. I adore it, so working work with him is really fun.”

With the album now out, there’s cause for celebration. Lake will play back-to-back shows at New York’s Brooklyn Storehouse tonight and tomorrow before he jets off across the summer and fall festival circuit, playing events including Shambhala, Deep Tropics, North Coast, Portola, EDC Orlando and a flurry of standalone club shows, including one at Red Rocks alongside Chris Lorenzo, Lake’s partner in their lauded Anti Up project.

Here, Lake talks about Chemistry, what his frequent collaborator Fisher is really like and how the low points of his career lead to these high ones.

You mentioned having a vision for the album? What was it?

I find it difficult to verbalize, but the best way to describe it is like, one of the things that’s really been brought by the popularity of dance music over the last few years, or the effectiveness of dance music, has been the almost radical simplification of beats and ideas.

It’s great, and it’s powerful. But I personally wanted a course correction. I’m a naturally musical person, and I had a vision of of how I could make things more musical, but still feel substantial and effective in a club. That’s what I wanted to do.

How did you do it?

There are things I wrote earlier on in the two year process where I was like, “Okay, I feel like I’ve got the beats to make this all click now.” The album is pretty much the vision I initially had of what I was setting out to create. It honestly was a really personal thing. It was this personal journey that I’m letting other people hear.

What I’m kind of saying is, I’m not making things to be popular. I’m making them because this is how I want it to sound. When I talk to a lot of musicians, I’m actually surprised by how many of them don’t talk that way. I feel like a lot of people want to be loved and do what needs to be done to be popular and successful.

Do you feel like you were ever that guy, that artist?

No, not really. From the outside, I probably make some really odd decisions. I love working with smaller artists and unknown artists. I’ve done it all my career. A popular thing to do is work with a really big singer; it helps to market your song. I’ve never done it.

With not doing things that would potentially make the popularity of your work exponential, how have you sustained and maintained your position in the scene?

I don’t know. That’s the bit I’m really thankful for, because I definitely think I probably could have taken an easier path. Maybe it’s those decisions that do help me keep my identity.

Over the years you’ve only grown in popularity and respect. Were there times where you felt that slipping away, given that you weren’t making any of the types of decisions you just mentioned?

No, not in the last 10 years. One of the things I’ve talked about quite a lot is that there was a period before that where I got a bit lost, disillusioned. I got disconnected. I started listening to other people’s thoughts about what I should do, and I made some really bad decisions both musically and in my career. I made decisions based on money that I look back on and would never do again.

What era of your career was this in?

It was 10 or 12 years ago, in the EDM boom. I made music that felt odd compared to the rest of the stuff I’d done up to that point. Luckily it was a short period of time. At the time, I felt like it was one of the worst things that happened to me, but I look back on it and it was one of the best. I actually say with pride how much I felt I f–ked up, because it brought this reaction out of me that was one of the best course corrections that could have happened.

How did you course correct?

I had a choice to either abandon my Chris Lake project and start fresh, or work extra hard and make better music that would make people forget some of the things that happened before.

That was the decision I made, and it was an absolute f–king nightmare, but it ended up working. It’s the thing I’m proudest of in my career to date, that I actually stuck to it, dug deep and connected to making my own musical decisions again and made decisions because they were right, not based on money. Money is secondary in everything I do, and it’s one of the best things that’s ever happened to me, because it’s very easy to make really s–tty decisions based on the Benjamins.

I’m not trying to embarrass you or anybody, but can you give me one thing that happened in your career where you were like, “I hated that.”

It was a culmination of everything. There’s things you can do that feel natural and right, and then things you can do where something feels a bit off. I made a lot of decisions that felt cumulatively off, both musically and in shows.

I remember doing a residency at XS [in Las Vegas] and I’m like, “I’m doing these shows for the wrong reason.” I f–king hated them. What would happen was, there’d always be an artist handler looking after you in the Vegas shows. You’re taken to the club, you play, and then they take you to the elevators and you get on and you’d be left alone. I’d finish these shows, I’d get in the elevator, the doors would close, and I just feel like [makes deflating motion]. I’d just be so sunken and defeated, so I knew there had to be a course correction.

You’re releasing Chemistry independently. Does being an independent artist help you untether yourself from all that?

Massively. These are all my team’s decisions. Everything’s put together by us. It’s kind of like, live or die by the decisions we make, and that feels great. It’s a lot of work, but I’ve got some great people around me.

You and Fisher playing that massive Coachella show in 2023, then shutting down Hollywood Boulevard together for a show together, or when you were on the 2017 HOWSLA house compilation by Skrillex and OWSLA or when you played the first ever campground set at Coachella this year — you’ve always been an artist that kind of busts out with these big moments, and it feels like Chemistry is another one of those.

I like the moments. They’re impactful, and the ones you mentioned feel like they’ve been impactful. HOWSLA as well — I look back on it and realize, “Holy s–t, that really felt like quite an influential thing.”

How so?

Skrillex was essentially co-signing a genre. I noticed at the time that conversations were shifting. It was almost like he brought an awareness to [the house] genre that I don’t think a lot of people necessarily understood was happening at the time. We did that album together, and it made a big splash. I feel like it opened up the genre. I remember the conversations with Spotify, Apple, YouTube and companies like that just shifted. Things got easier. I’m really proud of that.

Here’s a silly question.

Okay, I’ll give you a stupid answer.

Great. What is Fisher like? He never does interviews.

He’s a lunatic.

Is he really, though? 

Yeah. No, listen. There’s two sides to Fish. He couldn’t give a f–k about doing interviews, and I love that about him. He’s a fantastic human. For anyone that knows him, it’s no surprise that he’s so successful. He walks into the room, and you absolutely know he’s walked into the room. There’s no subtlety to it. He improves the mood in the room. He lifts people. Everyone loves being around him. He’s unbelievably fun.

And on a personal level, I’m very, very lucky. I’ve got unbelievable friends, and he’s one of my best friends. He’s a great mate. He’s crazy talented, but the effect that he has on a small room personally is completely mirrored through how he controls a massive room of 40,000 people. It’s exactly the same. The person you see up on stage, that’s him.

What do you think he’d say about you?

“He’s a boring c–t.” [Laughs.] We’re nothing alike. We’re so different, but we get on like a house on fire.

What’s your take on the scene at large right now? What I’m hearing from people is that a lot of the music is kind of, I don’t want to say reductive, but a lot of it sounds the same. What’s your take on that?

I try not to be overly highly opinionated publicly. I don’t want to be negative, but I get to listen to a lot of the music that’s released. I said it earlier, there’s some really great beat makers out there, but there’s not many people making anything new and original. Technology and AI have brought something called stem splitting, so you can now take a full mixed song, pipe it into a bit of software, and it’ll strip the vocal from the song, and the guitar, so you can separate things. It’s surprisingly good quality.

But now there’s this whole world and catalog of songs that anyone can sample. For the most part, people are taking a simple beat, putting an unbelievably previously successful vocal over the top, and that’s now a song or an original composition. It’s rewarding, but it’s kind of like McDonald’s, where it’s rewarding at the time, but it’ll leave you feeling like s–t if you have too much. That’s kind of what’s happening in the scene, and it doesn’t leave you feeling healthy. [We need] more f–king nourishing meals. I think there needs to be more people trying to write new, original stuff to feed the scene.

Who are the people making original music and pushing things forward?

That’s a good question. There’s a bunch of them. Skrillex is one. Fred again.., Rüfüs, Chemical Brothers. They’ve been around for f–king donkeys years, but they’re so f–king fresh and successful. Sault. F–k Sault’s amazing, holy s–t. They’re just the first ones that come to mind.

You’re obviously contributing to it too, with the album.

I hope so. We’ll see if people listen to it.

Do you feel like you’ve entered that kind of — I’m going to use this term because it’s the one that’s coming to mind, but I don’t mean old — elder statesman sector of the scene?

Yeah. It’s just a reality. I’ve noticed, especially since the pandemic, this shift in how people talk about me or to me. It’s fine. It’s just the reality of life. I’ve been around for a long time, and there’s a new generation coming in, and f–k, it’s nice that they even listen to me.

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Finding the best speakers to enhance your music listening experience can be tricky.

You’ve got a slew of options on the market today that are too pricy and overly complicated, making achieving quality sound feel like a luxury. Not to worry: With help from us and the deals on speakers available through this year’s Amazon Prime Day, you’ll be able to grab a speaker that’s just right. No more Goldilocks-ing things to find just the right one for you.

We’ve prepped a list of the best deals up to 47% off on models big and small from top brands like JBL, Bose, Sony and Beats, among others. Whether you’re on the hunt for something casual or looking for more advanced tech to make your Lorde or KATSEYE listening experience immersive, this list has it all for an affordable price.

This tiny portable speaker packs a major punch. Don’t let the size fool you. The little but mighty Ultimate Ears WONDERBOOM 4 features big 360-degree sound with a base you can feel, along with a long-lasting battery life that boasts up to 14 hours of playtime. If you want to take your tunes outdoors, you won’t have to worry about damaging your new speaker acquisition because it’s both water and dustproof. The WONDERBOOM 4 can also float in 3.2 feet of water for up to 30 minutes. If the blue colorway isn’t your thing, this tiny tech comes in three other unique colorways from monochrome to two-toned hues. With all this in mind, it’s safe to say that this speaker can withstand whatever adventures you take it on.

Sony’s ULT Field 5 Wireless Portable Bluetooth Speaker is a heavy-duty piece of tech that we can foresee becoming your new favorite. The portable style is jam-packed with improvements that weren’t expounded upon in the last few models. You’ve got 25 hours of battery life and a quick charging feature along with a nifty 10-band EQ that allows you to tailor your listening experience to your audio preferences to perfect the sound, clarity and depth of any track.

True to its portable nature, the Sony tech also comes with a shoulder strap. In the mood for a party? The speaker is also equipped with flashing ambient lights that create the ultimate vibe with the touch of a button. Like any good portable speaker, this one is waterproof, dustproof and rustproof. Beyond the black, three other colorways of the ULT Field 5 are currently available on Amazon.

If you’re planning on throwing a memorable party this summer, you’ll want to have Soundcore’s Boom 2 outdoor speaker in your arsenal. This hefty speaker is equipped with a heavy-duty racetrack subwoofer that adds depth and clarity. If you want to alter the sound, the speaker also includes a BassUp 2.0 feature where you mess with the bass EQ and increase the output per your preference. Like some of the other options on our list, the Boom 2 is waterproof and can float, so you’ll never be without your music, even if you’re taking a dip in the pool. From the beach to the park, this speaker is durable enough that you can bring it along no matter the weather or terrain.

This classic-looking speaker hailing from Marshall is a must-have for music snobs, and it’s currently on super sale on Amazon. The Emberton II Portable Bluetooth Speaker boasts Marshall’s signature sound with something the brand likes to call True Stereophonic, which, in simple terms, is multi-directional sound.

You’ve got around 30 hours of play or more on a single charge, which is longer than most commercial speakers, and a durable and easy-to-use design. This Marshall tech, like the other portable options on our list, is dust and water-resistant. We like this option because it’s endlessly sophisticated with gold accents and a monochrome black finish. It’s a classier option than some of the bulkier portable options on this list.

Despite its size, this JBL speaker packs a punch. Retailing for $27.95, the Go 3 features Bluetooth compatibility capable of connecting to a plethora of devices. This tiny device delivers punchy bass and a large sound signature to the JBL brand. You’ve also got an ultra-portable design thanks to its miniature build, making the style perfect for listening to hits on the go. If you’re worried about battery life, don’t be. The Go 3 gives you up to five hours of playtime on a single charge. The speaker is also dustproof and waterproof, perfect for bringing music poolside or to the beach.

This speaker is one of the larger entries on our list, but it doesn’t mean it’s any less compact. Retailing for $188.43, the Sonos Era 100 is sleek, modeled to be placed anywhere you want impactful sound, from bookshelves to your desk. This Sonos product is equipped with a 47% faster processor, and next-gen dual-tweeter acoustic that specializes in producing high-frequency sounds. The speaker’s architecture creates detailed stereo separation while a built-in 25% larger midwoofer acts to deepen the bass for sound you can feel. If Black isn’t your thing, the Sonos Era 100 also comes in White.

These dual speakers from Sony give you high-quality sound that can only be equated to a concert. Retailing for $168.00, this tech is meant to go in bookshelves, but can be placed anywhere you’d like your sound, from the living room to the garage. The speakers include key features that create a beautiful listening experience, including a high precision tweeter that delivers precise sound clarity and a bass reflex enclosure that creates distortion-free, low frequency sound that increases the perceived loudness of the bass. In non-music-nerd speak, these speakers are a must-have, especially given the affordable price.

Bose’s SoundLink Flex Portable Bluetooth Speaker is for those who like to bring their sound on the go. Retailing for $99.00 during Amazon Prime Day, this speaker is meant to withstand the elements while offering impactful sound quality. This thing is extremely durable. Beyond being waterproof and dustproof, the silicone-wrapped body can also withstand drops, shocks, and rust. If those facets alone haven’t convinced you, the speaker’s size makes it easily packable, so you can jam out without the stress of toting a bulky piece of equipment.

While this Beats Pill x Kim Kardashian speaker came out in October of last year, the model is still as fresh and innovative as ever. Retailing for a hefty marked-down price of $99.00, this speaker is equipped with a slew of key features that make it so dang great. Firstly, the style is compatible with both Android and IOS products.

It boasts a 24-hour battery life and an updated design that creates a more powerful sound thanks to a bespoke racetrack woofer and redesigned tweeter that promotes sound quality and range. Finally, the speaker is water and dust-proof. You’ve also got a Kardashian-certified sleek and simplistic gray construction that gives the speaker a modern look, if that’s your thing.

This Amazon Echo Pop is compact but mighty. Retailing for $21.99, this little speaker includes Alexa capabilities and a full sound that works great in bedrooms and small spaces. Not just for listening to music, this speaker’s Alexa function allows you to play audiobooks, and podcasts without touching a button from your favorite providers including Amazon Music, Apple Music, Spotify, Pandora, Sirius XM and more. To make your life easier, this speaker also has the ability to control compatible smart home devices like smart plugs or smart lights with your voice. The speaker’s compact size is also a major plus, meaning you can place it just about anywhere without crowding your space.

Over the past year, Australian rock duo Royel Otis has burst onto the global stage with a series of hits, each bigger than the last. But the band had already seen significant success in their home country, with a trio of EPs — Campus, Bar n Grill and Sofa Kings — and a debut album, Pratts & Pain, on indie label Ourness, which won them awards, recognition and a loyal fan base down under, and some traction on U.S. radio.

But it was two one-off cover performances for radio stations in 2024 that propelled them into the mainstream. The first, a cover of Sophie Ellis-Bextor’s “Murder on the Dancefloor,” recorded for Triple J radio in Australia, rocketed to No. 2 on Alternative Airplay last July. And the second, a cover of The Cranberries’ “Linger” recorded for SiriusXM’s live sessions, became their first Hot 100 entry last August, coming in at No. 94 and announcing the band’s arrival.

Last November, Ourness partnered with Capitol to propel Royel Otis further, and that development is paying off: the band’s latest single, “Moody,” became its first-ever No. 1 on a Billboard chart as it reaches the summit of Adult Alternative Airplay this week, a milestone for the group as it gears up to release its second album, Hickey. And with the group’s success so far, Ourness co-founder/director Andrew Klippel is Billboard’s Executive of the Week.

Here, Klippel talks about the rise of Royel Otis over the past few years, how those covers helped shine a light on the duo’s back catalog and win them new fans, and what comes next for both the group and his indie label. “Royel Otis are always writing, so I imagine after this cycle they will be back in the studio,” Klippel says. “Ourness will be working closely with our artists to help in whatever ways we can for them to be the most definitive version of themselves possible — to hopefully help build long careers.”

This week, Royel Otis lands its first-ever No. 1 on a Billboard chart, as “Moody” reaches No. 1 on Adult Alternative Airplay. What key decision(s) did you make to help make that happen?

It’s our first No. 1 at AAA, which is a huge milestone for the project. Prior to our partnership with Capitol we had taken the format seriously, but had more traction at non com, so it’s definitely been Dan Connelly and the radio team at Interscope Capitol working closely with Hallie Anderson from the Ourness team. With continued audience growth through touring, socials and streaming — the timing was right and we were able to convert that momentum into our first No. 1. Radio has always been a huge priority for us, and we intend on continuing that. Alternative commercial format on “Moody” is moving very strongly for us and timing wise on a trajectory that’s beating our prior No. 1, “Murder on the Dancefloor.”

This chart topper comes after the band had a couple significant hits in the U.S. with a few covers, including with The Cranberries’ “Linger” and Sophie Ellis-Bexter’s “Murder on the Dancefloor.” How were you able to leverage those cover successes into interest in the band’s original material?

While the covers brought significant attention, the band had the strongest growth on “Oysters In My Pocket” prior to the covers. That’s where the largest growth happened, exponentially speaking. That’s where they gained artist support and gate keeper support. There was strong love from the music community for the band based on that song and the discovery of the back catalog that existed prior to the covers and the ambitious release strategy from [EPs] Bar n Grill into Sofa Kings, then into [album] Pratts and Pain. Both “Murder on the Dancefloor” and “Linger” helped us introduce the band to new audiences and broaden our reach — but by that point, we had a strong foundation in place, with a strong catalog of original music. That allowed fans to dive into this and connect with the band.

The band has also had significant success in their native Australia. How did you work to cross them over into Europe and the U.S. over the past few years?

We worked the EU and U.S. in parallel from the start. We knew it would take a lot of time and invested accordingly in terms of risk profile. This way, more or less, the growth in those major territories was at similar levels and everything made sense in terms of live, PR, assets and the energy of the boys. We built a consistent global strategy and story from the beginning. That’s paid off with the consistent release schedule.

Last fall, Ourness partnered with Capitol to work the band globally. What has that deal allowed you to do?

It’s been great to partner up with Tom [March], Lillia [Parsa] and the Capitol team — it’s opened up so much on an A&R level in terms of access and experience. Being able to work closely with their DSP team has been great; global has been another outstanding elevation. It’s really helped us to scale. We’re not looking to scale in an artificial way unless that happens naturally, we’re looking to build solid career growth through our relationship with Capitol, which is something we aligned on from the inception of the deal.

“Moody” is the first single from the band’s forthcoming sophomore album. How are you planning to set up this album differently than the first, and what are you hoping to accomplish with it?

The key differentiator is that this album has a shorter, punchier cycle leading up to release. We’re hoping this will hold attention and build energy with our audience, gatekeepers and internal teams. The cadence feels customized around the songs and culture of this album. The intention is to build audience at a steady rate that supports retention and conversion on a career level. We’re not trying to create virality, but [we’re] always open to move with that when and if it happens.

DINO of SEVENTEEN brought the thunder to the Esports World Cup on Thursday (July 10), performing the tournament’s official 2025 theme song “Til My Fingers Bleed” at the opening ceremony.

Taking the stage at the ANB Arena in Riyadh, Saudi Arabia, the South Korean star and collaborators Duckwrth and Telle Smith — as well as 30 backup dancers and video game-inspired stage effects — gave the event an exciting kickoff with the high-energy anthem, which dropped on streaming services June 30. DINO’s showcase at the tournament makes him the first K-pop artist to ever perform at the EWC.

“Can’t take fight from the fighter/ Can’t take war from the warrior/ Can’t take soul from the soldier,” DINO sang while nailing every dance move. “And when it’s all done, bet they want more/ When do we settle the score?”

Post Malone also took the stage Thursday night. On Instagram, DINO shared photos of himself and the American hitmaker hanging out and laughing backstage on Instagram.

DINO and his collaborators debuted “Til My Fingers Bleed” on YouTube on June 29, writing on Instagram that the EWC theme song was created for “the ones who play with everything they’ve got.”

Following the star-studded opening ceremony, the players gathered in Saudi Arabia will now embark on seven weeks of gaming competitions. There are 24 different titles and $70 million in prize money up for grabs.

DINO’s performance comes just a few months after SEVENTEEN released its fifth album, HAPPY BURSTDAY, in May. The LP reached No. 2 on the Billboard 200, becoming the band’s seventh top 10 entry on the chart so far.

Watch DINO perform “Til My Fingers Bleed” (around the 1:16:48 mark) at the Esports World Cup opening ceremony below.